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Anyone at all familiar with Dale Chihuly's work knows that the individual glass objects he creates represent only isolated moments in a complex creative continuum. Like stills or out-takes from an endless film loop, a given Basket or Cylinder or Float is as much an image as it is an object—a reference to all the forms that precede and follow it, to the action and process that go into its making and to the intuitive form-idea, which is its origin. Chihuly's fondness for obsessively photographing his glass and his eagerness to have it described in words are only corollaries of his habit of nesting and stacking and gathering pieces into astonishing accumulations and his predilection for further enlarging these accumulations through their lighting and installation. Taken together, these "exaggerations" do indeed work to create a sense of wonder, if only by allowing permutation to read as possibility.
This helps to explain the popularity of Chihuly's art, a widespread appeal that Chihuly has mistakenly attributed to the glass itself, to its "accessibility" and inherent magic: "People for centuries have been fascinated with glass," he has said. "It's the most magical of materials."2 But this explanation doesn't do justice to the more uncanny aspects of his art or to its excess and energy. And it fails to account for the hundreds of glass objects that incite no magic at all. There is something more complex at stake here, a visceral presence that encourages metaphoric description even as it eludes explanation. In an age characterized by the "always already," Chihuly manages to transform appropriation into invention and, in so doing, to bypass irony, instilling a belief in the life of form itself.
Chihuly's talent, however, has not won universal acclaim. If he has been well served by a broad public and, more recently, by a number of formalist critics—those who would, as Walter Darby Bannard recently put it, "...take the work as it is, as an unconditional aesthetic object"3 —he has also been held suspect by those self-styled art world cognoscenti who tend to distrust both form and formalism and to value art less for its presence than for what it might portend. Chihuly's prolific output and energy alone arouse suspicion among some; the apparent accessibility and seductiveness of the objects seem only to make things worse.4
In fact, neither Chihuly's most ardent supporters nor those who would happily dismiss him have managed to account for the alchemy he regularly enacts or his penchant for strange beauty and for willfully dysfunctional forms that nevertheless retain a vestige of their functional or symbolic source.
Now that Chihuly's series have begun to loop back on themselves; now that forms once distinct are begetting
hybrids, we can move away, I think, from the technical analyses, elaborate metaphors and ever-expanding web of description with which Chihuly surrounds his work. Chihuly's achievement has only partially to do with his ability to exploit the inherent properties of glass; only partially to do with the abstract, plastic richness of his aesthetic; only partially to do, even, with his love of spectacle. Buried within these talents is an instinct for significant form. It is as if Chihuly's first language is a language of form, as if he reads the world in terms of its format potential. He is one of the few artists working today whose forms "mean" most effectively as form.
This is not only because he seems to understand intuitively how certain simple form-ideas might catalyze a new body of material and technical explorations. Even more impressive is his ability to recognize not just the aesthetic but the symbolic potential in what, for most of us, would appear to be only arbitrary or circumstantial phenomena—the Northwest Native American baskets collapsing under their own weight, a few eccentric remnants of Venetian Art Deco glass, even the generalized underwater creatures that helped him give shape to his series of "Sea Forms." The resulting glasswork manifests something more than a collision of art and craft preoccupations, especially once the forms are deployed in real space. What this "something" might owe to, however, is precisely what most of the writing on Chihuly fails to address. At the same time, Chihuly's success in limiting viewers and critics alike to the terms he sets out within his art may explain the pleasure with which such formalist critics as Walter Darby Bannard and Hilton Kramer have begun to celebrate him.
But, as I hope to make apparent here, I have never believed the significance of Chihuly's glasswork lies soley in its material or format self-referentiality.
This essay is in part a response to the challenge that a formalist appreciation (such as Walter Darby Bannard's) presents, an attempt to question what beyond the glass itself enables Chihuly to spin his web.5
Chihuly himself frequently seems anxious to explain various aspects of his work, if only better to understand it, or himself, and to clear space for something new. But his efforts to identify sources or methods remain partial at best. Missing amidst
the many fits and starts of explanation is any sustained search for critical context. The writing that follows represents the first steps of just such a search. It is an "essaie" in the French sense of that word: an unabashedly personal effort to reconsider just what Chihuly's rather maverick art entails and to evaluate his paradoxical position vis-à-vis the contemporary art world in which he works.
That Chihuly's art is deeply rooted in traditions of the decorative is obvious, though for all his commitment to glass, his craft has little to do with the "truth to materials" of either European or American Arts and Crafts. His aesthetic debt to Art Nouveau is far greater. We sometimes forget that the traversing of media so central to twentieth-century art really begins with this European turn-of-the-century celebration of the decorated environment. In the all-encompassing aestheticism of such artists as Henry van de Velde, C.R. Mackintosh, Adolf Loos or Antonio Gaudi, to name only some of its more celebrated practitioners, Art Nouveau manifests itself as an eccentrically organic style, which, when joined to an obsessive "will to decorate" urbane spaces, works to break down barriers between "applied" and "fine" arts and between nature and culture. All of this can be said of Chihuly's enterprise. But Chihuly carries the decorative impulses of Art Nouveau aesthetics even further into the realm of non-functional art. For one thing, his insistently collaborative working methods make him at once less and more an auteur or signature craftsman than, say, a Louis Comfort Tiffany or an Emile Gallé. For another, he relies, in ways that have yet to be explored, on conceptual and presentational strategies directly identified with the post-war art world.
Chihuly has sometimes compared his engagement of the glass-blowing process to film making. Curiously, he does not use the analogy to describe his role as a "director" of the action but to liken his use of a given concept to a director's use of a script—and the analogy seems an obviously apt one with which to explain what takes place while he orchestrates the glass blowing.6 But the comparison does not accurately account for the outcome of these sessions: Chihuly's glass forms, even in their most dramatic installations or reproduction, lack any semblance of narrative or of the linear, frame-by-frame, space-time movement inherent to the medium of film.
A more consistent parallel, given his training in architecture and interior design, might be drawn between Chihuly's use of a particular image-concept and the architect's "parti"—a powerful form-idea used to generate a scheme for a structure or a site. Unlike a working drawing or design, a "parti" need not have a fixed form, and it can be returned to repeatedly as the architect attempts to specify the precise contours, dimensions and plans of a building. The analogy can be extended to the relationship between a given Chihuly concept and the forms it inspires in that, as with the more functionally specific architectural plans, which follow from a "parti," the actual glass objects, which Chihuly's team fashions during a given blowing session are conditioned not only by the concept but by technical, material and functional considerations. And to some extent, the viewer's kinesthetic and space-bound experience of the finished glass forms, especially in Chihuly's site-specific installations, is closer to the experience of an architectural space than to that of a scripted film.
But this may just be quibbling. If Chihuly's cinematic working process results in something other than narrative form or content, the architectural/design analogy is only marginally more satisfying.7 Both reflect a broad-brush stab at explanation. What these analogies do throw into relief, however, is the type of control Chihuly exerts over both his creative project and its perception. By continually finding ways to dominate not just the conditions of production but the contexts for reception that he creates for his artistic output, without ever specifying any didactic content, Chihuly has managed to deflect and resist art world categorization, even as he exploits a number of conceptual strategies that owe directly to the contemporary art world within which he works. But ironically, it is through his success at decontextualizing his oeuvre, exempting himself, as it were, from the usual lines of art criticism and historical analysis, that Chihuly has prevented his art from gaining a certain level of recognition.
Consider the wealth of writing addressed to Chihuly's work. Clearly, his glass invites description: The eccentricity and extremity of its beauty alone challenge verbal response. And Chihuly further encourages writing by continually inviting authors to address specific series or aspects of his work. Yet there is a curious absence of any serious probing for context. Virtually all the discussions of Chihuly's art are limited to only two modes of writing: description (of form or process) and chronological account (of the evolution of a particular series or working method). Random biographical facts and anecdotes are often spliced into the mix. Chihuly seems to relish these largely descriptive stabs at literary recapitulation and formal explication. He routinely sifts through the writings addressing his work and gathers the most piquant verbalizations into mosaics of text, an activity that echoes his use of his "chromes" or extensive collection of slides, photos and transparencies, which, as I alluded to above, extend the life of the forms that inspired them and fuel the creative "loop" that is Chihuly's art.8
These habits of documentation, then, become as much a part of the work as the collaboration and installation, which Chihuly more openly acknowledges as central. His 1993 book Chihuly: Form from Fire for example, is composed almost entirely of just such a collaging of descriptive quotations from earlier reviews and texts joined with the now familiar procession of spectacular photos of individual glass groupings, details and installation shots and prefaced by two eloquent introductory essays, each of which [re]tells a story of the evolution of Chihuly and his glass.
The directness and lack of pretense in these accounts, especially Chihuly's own, can be refreshing. Chihuly's insistence on the role of intuition and fortuitous accident—not just for himself but for those who work with and for him—and his delight in the continual "surprise" of the processes he engenders, all seem ingenuous enough, especially on first reading. Eventually, though, the writing and re-writing of "The Chihuly Story" results in a type of mythologizing, or conflation of biography and artistic evolution, which is all the more mythic for its self-referentiality and autonomy. The fastidiousness with which Chihuly seeks to record his endeavors begins to read as an obsessive need to hunt down his own [larger] purpose. Perhaps this is why even a self-proclaimed formalist critic, such as Bannard, allows that he "finds himself' writing about Chihuly as much as about his glass."9
... and driven with such an obsessive desire to mount the sky he soon proved himself to be a true pilot.
Bannard is hardly alone in coming up against the inextricability of Chihuly and his art. This is a truth so inescapable as to have become a truism. His presence is manifest in every aspect of his work: as inspiration and director; through images and voice; in the prominence of signature and signature style, even in pieces blown by others. But it is also true that in spite of an almost unanimous acknowledgment of Chihuly's presence in his work, almost none of the writing addressed to his work can be said to analyze that presence at the level of psychology, or even to probe the relationship between his art and persona.
If these circumventions at first appear to be successfully subsumed by Chihuly's untiring passion for, and exploitation of, glass as medium—which should make his art an ideal subject for formalist analysis—Bannard's admission would seem to underscore how much more Chihuly's forms are asked to carry than the message of medium alone. When I began planning this essay, I thought I would address just this problem—that is, the way Chihuly's art both attracts and resists formalist criticism—by using Chihuly to confound Clement Greenberg's infamous opposition of "Avant-garde" and
"Kirsch." Chihuly, I planned to argue, managed to fashion forms that were both. I have not entirely abandoned that thinking, but responding to Bannard's observation has led me to a different point.
Chihuly's glass forms, while seeming to manifest perfectly a number of Greenberg's criteria for successful, abstract, "avant-garde" art—most obviously, "a turning
in upon the medium of his craft"—are ultimately "impure." Rather, it is Chihuly himself, or his presentation of himself and his project, who demands to be treated as valid solely on his own terms. And in this sense, Greenberg's aesthetic, media-based formalism fails to adequately account for the art. Instead, what Greenberg (in the same essay) claimed to be impossible—the creation of "forms given, increate, independent of meanings, similars or originals... [and of] content dissolved so completely into form that the work of art cannot be reduced in whole or in part to anything but itself"—becomes a near-perfect description of the kind of direct expression Chihuly seems to be after.11 Moreover, by controlling the presentation of his art as completely as he does, he leads us to assume that the eccentricity of his work makes any historicizing or contextualizing of it seem somewhat beside the point. Even when he acknowledges the role of certain non-glass sources in giving definition to a given series—"natural" forms such as the marine life that gave added meaning to his Sea Forms, "cultural" forms such as the baskets or an Italian chandelier, the architectural parameters of a given installation space—Chihuly somehow manages to ignore his engagement with the art or art history of his time.12 Yet one could probably learn a great deal about Chihuly's projected presence in his art and ways he enlarges the impact of his medium-bound craft by examining more closely his relation to his contemporaries and not-so-distant predecessors.
One could argue, for example, that Chihuly's mode of artistic expression has direct roots in American Abstract Expressionism. Certainly his intuitive grasp of the power residing in such functional totems as the Native American baskets he glimpsed at the Washington State Historical Museum reveals a rather profound understanding of one Abstract Expressionist quest, namely the search for a universal language of "significant form." (Here, Adolph Gottlieb's intellectualized appropriation of Northwest Native American pictographs offers a rather close precedent to Chihuly's use of the original historic baskets in the fashioning of his own Basket series.) But beyond any temperamental parallels that might be drawn between Chihuly's and Gottlieb's or Pollock's expressive urges, there is no artist working today who has more fully absorbed Hans Namuth's contribution to Pollock's popularization—that is, the idea of the creative act as a "kinesthetic spectacle," an effect achieved not by the work alone but by the recording of the "action" of its making.13
At the same time, both Chihuly's sophisticated exploitation of his medium—his experimental amalgamations of both traditional and high-tech glass-making processes—and his obsession with documentation and reception point to the period during which he came of age as an artist. Chihuly's earliest mature work dates from the transitional years between the late sixties and early seventies in which a Minimalist commitment to industrial processes in the fabrication of original structures evolves into a pervasive Post-Minimalist preoccupation with documentation, mediated actions and a general approach that treats form as a record of something other than itself. What distinguishes Chihuly's engagement of these Post-Minimalist strategies, however, is the fact that the objects he displays and deploys are both a record of a prior action—the collaborative "happening" of the glass-blowing session in which they get made—and unique, precious objects in their own right.
For if Chihuly's intuition for expressive and symbolic form link him to the search for a totemic form-language that motivated such first-generation Abstract Expressionist artists as Gottlieb or Pollock, his working habits could not be more different. Though he has managed to retain the status of the independent artist, Chihuly's insistence on collaboration blows the Romantic myth of the artist as alienated, tragic figure. Moreover, by fashioning his totemic forms in such a way that they also exhibit a Minimalist self-consciousness about materials and process and a Post-Minimalist fascination with entropy, the collapse of structure and chaos, Chihuly "problematizes" his aesthetic and contaminates the pure or direct symbolic humanism associated with Abstract Expressionist painting.
For example, in ways that both foreshadow and overtake the Duchampian post-modern tactics of such contemporary artists as Tony Cragg or Haim Steinbach, he delights in subverting the intended "use-value" of a given form, in "making the functional dysfunctional" without ever entirely abandoning the reference to function.14 But Chihuly's thinking along these lines is closer to his glass-making contemporary Erwin Eisch, by whom he may have been directly inspired (or to, say, Richard Artschwager), than it is to Cragg or Steinbach, in that the forms he showcases are made and not found. On the other hand, they lack any of the "funk" aspect of these artists' intentionally humorous objects. What Chihuly offers is something at once more sustaining and less ironic than the recycled industrial objects of a Steinbach or even the punning forms of an Eisch or Artschwager, yet more unsettling than the elegantly tragic canvases of Gottlieb. By blurring the boundaries between object and image, appropriated and
invented form, abstraction and reference, material presence and conceptual form-idea, above all, between nature and artifice, Chihuly in some ways has managed to go the contemporary art world one better—to have his artistic cake and eat it, too.
Perhaps the part of Chihuly's artistic enterprise that most resists description is the dynamic of the actual blowing sessions. Chihuly himself often fixes on the
Of course, the magic of the making is also conveyed in the individual pieces that remain as residues of the action and in the placements with which Chihuly reinvents both action and form. My point is simply that Chihuly's installations add to the lure of his individual vessels or groupings, not as installations per se, but because they function as a type of inverse non-site—references not to an absent artwork but to an absent activity—to the time, place and action that went into their making. When they are successful, they also refer to the sense of wonder that accompanies the moment of transformation—of molten mass into solid form—that is the magic of glass-as-craft and glass-as-art.
You don't paint the way someone, by observing your life, thinks you have to paint, you paint the way you have to in order to give, and someone will look and say it is the product of knowing, but it has nothing to do with knowing, it has to do with giving.
Franz Kline 18
At the moment, Chihuly's oeuvre seems to be developing in two distinct modes, both of which draw on long-standing preoccupations: the erotically anthropomorphic and atavistic power of the vessel and treatment of architecture as environment. As Jamie Carpenter, Chihuly's earliest collaborator, astutely observed some years ago, these two formal modes are really extensions of each other:
Dale's real forte is in sensing the value of an idea and executing it in all its permutations. He has a very good interior sense of things, so that, intuitively, in setting up an idea for a form, he develops an idea for its space as well .... Ultimately, [his work reveals] his understanding and continued respect for the vessel, not as a container, but as an incredible sort of environment.19
Consider an installation of Chihuly's recent Basket series at the Charles Cowles Gallery in New York. The invitation for this show featured a spectacular image: a huge canary-yellow chandelier hanging nonchalantly in all its ridiculous splendor from the low ceiling of Chihuly's Seattle studio, the Boathouse, the overgrown rotelli-shaped projectiles of glass competing with a subtle fogged-in vista of bridge-over-water behind a stretch of window and wood. Beneath the chandelier, lined up on the floor along the window-wall, a series of German, paper, carnival masks compounded the poignancy of the image.
This degree of juxtaposition—in which Chihuly manages to make the absurd beautiful and the beautiful sublime—is, I think, an accurate reflection of the way he visualizes "form and its space," the way he thinks and invents. This is why so much of the effect of Chihuly's work depends on reading his glass objects as part of a dazzling, dramatic process, as traces of time stopped or action frozen. This is why, too, so much depends on our ability to reinsert individual forms into the continuum from
In the case of this New York installation, something curious happened: Two truly spectacular objects—a bright blue and a chartreuse chandelier much like that featured
The problem was not with the chandeliers themselves—witness the sensational installation of the 1994 Cobalt Blue Chandelier at Tacoma's Union Station—but with their seeming homelessness here. A radically different experience was provided by Chihuly's tremendously moving presentation of his new Baskets in the other rooms of the gallery. The contrast serves to point up the profound differences between Chihuly's various series and between objects that require carefully orchestrated, dramatic installations to heighten their associative power and those in which the context, as it were, is inherent to the form itself.
In the main room of the gallery, a very dramatic procession of out-sized nested Baskets, all in an impossibly pure, transparent cadmium red, sat imposingly atop a number of simple black steel stands. One's first impression here was of a gathering of light and glow, so that in searching for a way to read "basket," one could only come up with "container" of breath and of color and of light. As with the Sea Forms, these are objects that both celebrate and dematerialize the stuff of their making. They manifest another kind of Chihuly magic, one that does indeed rely on his exploitation of the material properties of glass. These are forms that truly make us wonder: whether the glass gathers the light or the light gathers as form.
But this material magic can also read as a blurring of object and illusion. The actual lighting of each group was highly controlled: It appeared as self-conscious as the forms appeared inevitable. The combined effect of the orange and red shadows projected by the various groupings and the deep gray darkness of the surrounding space so closely resembled Chihuly's photographs of his work—those with black backgrounds and doubling reflections—that it worked to collapse the sense of real space and volume entirely. One could as easily have been looking at transparencies, at images rather than objects. But if one looked into these groupings of Baskets rather than at them, new worlds opened up and one could lose oneself to the seduction of forms within forms within forms.
It was only in the last and smallest room that one stumbled upon an entirely different aura and a different quality of object and space. The sense here was of objects found, tiny worlds, intimate. Chihuly continues to affirm the power of the vessel—a form he often describes as one that "wants to leave a hole"—and it is in his smallest groupings and occasional isolated baskets that the full force of this richly associative form is best captured. It is here too that one feels most the presence of the artist, or rather, that private presence of the artist that we often conjure in front of a still life painting, and where we imagine ourselves feeling what the artist felt
And of all the series that Chihuly has pursued, it is in the Basket series—both early and late—that this sensation of private discovery and of unspecified
There are also numerous transitional or hybrid Baskets that play surface pattern against this exploitation of translucence, such as one whose rich amber border—replete with the appearance of darker glass "stitches" and a continuous thread of teal-green—appears to disintegrate into nothing as if it were suspended magically on a bowl of air. And there is a luminous, colorless, milky white Baskets from 1979 that stands apart. Here, untypically, since most of Chihuly's "Baskets" exhibit the slumped asymmetry with which he sought to emulate the collapsing fiber originals, Chihuly offers a nearly symmetrical form, with an unusually even lip in the same translucent white of the vessel and only a pale brown wisp of diagonally trailing thread to throw off the near-perfect balance. Like the newer, larger, more vibrant groupings of cadmium-red Baskets at Cowles, however, this Basket edges toward the formal effects which Chihuly chose to isolate and pursue independently in his Sea Form series—the impossible thinness and liquid translucence of glass, the allusion to living rather than made form, the unabashed and unsullied beauty that only glass, and only glass handled this well, can carry.
Because of these traits, the Sea Forms remain at once Chihuly's most popular series and the one for which critics hold him most to task. It is as if they are too elegant, too beautiful, too pure. And yet, what most of Chihuly's more "sophisticated" critics (those who read "ugly" as more serious than "pretty") fail to acknowledge is that it was in the Sea Forms that Chihuly first summoned a natural source, first seized on the anthropomorphic aspects of his vessels, first really exploited that Surrealist predilection for "gossamer." Where the Baskets summon a people and a culture, the Sea Forms invoke nature—as the medium for living form—directly.
But it is still the Baskets, with their powerful cultural allusion and their grasp of an abstract, expressive formal language, which resonate most symbolically in and of themselves within Chihuly's oeuvre. As isolated objects, only his Baskets succeed in convincingly transferring Chihuly's own love of marvel and discovery, his own intuition for forms that bespeak something mysterious and resistant to verbal explanation.20 Chihuly's peripatetic nature and insatiable visual hunger—he continues to sniff out forms as disparate as the stones of the Ring of Bodger and an eccentric Italian Art Deco chandelier—seem to nourish him personally and to fuel the development of his own formal lexicon. If he senses in such objects the power of a relic to summon a history, what he takes from them is a form-idea capable of generating new forms.
The intimate quality so evident in many of Chihuly's early Baskets and Sea Forms has been somewhat eclipsed of late by a number of huge projects he has undertaken and by his current preoccupation with scale and the limits of scale in the glass itself. Such mind-bogglingly complex installations as the one he devised for the Honolulu Academy of Arts, or Tacoma's Union Station, unleash a very different set of associations than do the more individually differentiated vessels that make up most of the Baskets series. Or, rather, whereas early on Chihuly seemed to respond to the physical and associative properties of individual baskets he had seen or collected—such as the way a fiber basket responds to the elements and to gravity over time—now he is more likely to respond to "not
The recent Union Station installation, for example, with its reprise of so many different moments of Chihuly's oeuvre (the Ikebana, Macchia, Chandeliers) and its emphasis on color and dramatic effect, borders
Chihuly's unabashed celebration of artifice has itself been heralded of late by a number of critics less ready to praise his seemingly more conventional vessel forms. Justin Spring, for example, writing in the magazine "Artforum" quite brilliantly describes what he saw as Chihuly's recent achievement: "It's this tension," Spring wrote, "between the fantasy world of high artifice and the natural world of high artifice and the natural world in its infinite mystery and variety, that gives these most recent works a greater significance.23 More difficult to celebrate, perhaps, is what Carpenter so profoundly observed early on—that the vessel itself is really an incredible kind of environment and one whose power Chihuly continues to appropriate and re-invent. But what may be most difficult for us post-modern skeptics to accept in Chihuly's work is the presence of new form, invented form, things unfamiliar that nevertheless delight.
There is a passage in one of the early writings of William Morris—a nineteenth-century polymath not unlike a more ideologically motivated Chihuly—that invokes just this sensation of strange delight in the indirect associative power and many lives of form. Morris is describing a dream:
...it is now two hundred years since that church vanished from the face of the earth,— it was destroyed utterly no fragment of it was left;... No one knows now even where it stood, only in this very autumn-tide, if you knew the place, you would see the heaps made by the earth-covered ruins heaving the yellow corn into glorious waves, so that the place where my church used to be is as beautiful now as when it stood in all its splendour....24
Like Morris' "glorious waves of yellow corn", Chihuly's fields of form bespeak something prior, undisclosed and transformed. But unlike the metamorphosis Morris so poignantly describes, for Chihuly it is as if metamorphosis has come face-to-face with mutation. That the most potent of Chihuly's sources are "of nature"—or "of cultures" deeply allied to nature—only intensifies the desire to make the strange new forms he "breeds" familiar. Chihuly's rather impressive achievement in this twentieth-century, fin-de-siècle moment is to show us that mutation is but another mode of metamorphosis and that to celebrate form in all its myriad incarnations is to celebrate life.
Published in Chihuly: Baskets , Portland Press, 1994.
Also by Linda Norden:
Introduction , Chihuly: Glass, 1982.
Dale Chihuly: Shell Forms , Arts Magazine, June 1981.


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subset: commoncrawl


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The Deauville Beach Resort is the perfect location for your upcoming Bar or Bat Mitzvah in Miami Beach. Our team of event managers have extensive experience with the traditional Jewish Customs and Kosher Standards and will work closely with you from beginning to end. Our accommodations are perfectly suited for specific ceremonies such as the Shabbat prayer service or the reading of the Torah blessing. You can be sure that our event and catering managers will ensure that this important celebration is tailored to your needs.
A child coming of age is an important life achievement as well as a proud moment for parents. It's an event in which family and friends celebrate a beautiful childhood full of happiness and joy and look towards an even more glorious future.
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Hi Guys,
I am not sure about the deleting of the topics. I confess it may have been me when I was going through trying to get rid of a load of spam. I may have done it by accident. If I did I apologise. I don't recall doing it.
We have appointed an out of hours moderator now so, hopefully, this will help cut down on the crap on the board.
Sorry again if I did something in error.
Who"s deleting my "Topic Titles!"
Started by hiphopmama, Feb 23 2007 01:12 PM
10 replies to this topic
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Travis Johnson out as Olympic Heights football coachby Matt Porter
After one season on the job, Olympic Heights and head coach Travis Johnson have parted ways.
The Lions went 3-7 under Johnson this season. Their wins came against Palm Beach Lakes, Forest Hill and Okeechobee, three teams with a combined 4-26 record.
Olympic Heights Athletic Director Carla Blefary said Johnson's staff was also dismissed. She said a coaching search would begin immediately and hoped to name a replacement by holiday break.
"The Administration would like to thank Coach Johnson and his staff for their efforts, but at this time we have decided to go in a different direction in regard to the football program," Blefary said in an email to the Post.
Johnson, 39, was previously a defensive coordinator at Pope John Paul II and assistant at Hialeah High and Jacksonville University. He did not immediately return a phone call requesting comment.


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In its first contest, Sparks scored in each inning of the mercy-rule shortened contest. After scoring one run in the first and three in the second , the Railroaders posted five runs in the third to take a decisive 9-1 lead.
Sparks then scored another run in the fourth and before tallying three more in the fifth to force the mercy-rule final of 13-3.
In the afternoon contest, Sparks was edged by Dayton 10-9 as the Dust Devils scored three in the bottom of the final inning to earn the win.
Sparks had 12 hits in the game, but four Railroader errors aided Dayton to the victory.
Sparks (4-2) host North Tahoe in a Division I-A doubleheader Saturday. The first contest is set for 11 a.m.


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Keep updated on our monthly members-only screenings. Free with your current Milwaukee Film Membership!
One of the most popular benefits of membership is FREE monthly members-only screenings of films like you'd see in the Milwaukee Film Festival. It's like a teeny tiny film festival each month so you don't miss the fest so much.
All screenings are at the Landmark Oriental Theatre on Milwaukee's East Side at 7:00p. We also like to gather for Happy Hour at The Hotel Foster nearby from 5:30-6:30p, and it would be great to see you there.
Sound like fun? Join Milwaukee Film as a member today.
Upcoming Screening dates:
Japan / 2013 / 121 min. / dir. Kore-eda Hirokazu
Japanese director Kore-eda Hirokazu (Nobody Knows) has been garnering festival prizes around the world for his touching family drama, Like Father, Like Son, winning the Jury Prize at the 2013 Cannes Film Festival and the Audience Award at both the 2013 San Sebastian and Vancouver Film Festival.
The film explores the complicated meaning of parenthood and the debate of 'nature' versus 'nurture' in child rearing. Hard-working and successful Ryota is forced to make a life-changing decision when he learns that his 6-year-old child was switched with another family at birth.
"5 Stars. A tender poem about the ebb and flow of paternal love." - The Telegraph
The screening takes place on Wednesday, April 30th at 7 PM at the Landmark Oriental Theatre. The film has a running time of 121 minutes.
RSVP HERE to reserve your spot for the screening. Space is limited and tickets are available on a first-come, first-served basis. Reservations close at NOON on Tuesday, April 29th. No RSVPs will be taken after this time. If you do not receive a reply to your RSVP within 48 hours, please call me at 414-755-1965 x204. If you have any questions, feel free to drop me a line firstname.lastname@example.com.
"Hey, Kristopher! What if I'm NOT a member, but I want to come to this and all subsequent screenings, and I want to get lots of great deals on festival tickets and merchandise, and--" Whoa! Slow down, friend! I have just the solution. BECOME A MEMBER THIS VERY MINUTE and all your movie-related dreams will come true!
March 26, 7:00 PM
Ireland/ 2013/ 102min. / dir. Steph Green
Oscar-nominated director Steph Green directs this life-affirming tale of a troubled Irish family who finds comfort in friendship, love, and a neuropsychology research grant.
Vanetia struggles to keep her family together in the wake of tragedy that has left her husband mentally disabled. A research grant from an American doctor, Ted Fielding (brilliantly portrayed by Nebraska and Saturday Night Live star Will Forte), interested in documenting the family's recovery process, allows them to get by. Though Vanetia initially resents living under the doctor's microscope, she soon finds comfort in his calming presence, while Ted responds to Vanetia's dynamic, unpredictable personality. As the two explore their bond within their unique situation, a new family begins to emerge.
"Captures the beauty of an obviously flawed family with remarkable warmth and immediacy." - Variety
February 26, 7:00 PM
Laos-Australia/ 2013/ 96min. / dir. Kim Mordaunt
Set in lush, rural Laos, this spirited drama tells the story of a scrappy ten-year-old who yearns to break free from his ill-fated destiny. With the help of a spunky orphan and her uncle Purple (a James Brown enthusiast), he builds a giant rocket to compete in the dangerous Rocket Festival. Director Kim Mordaunt has created an uplifting and thrilling story full of bold characters and inspired performances from child actors.
January 29, 7:00 PM
Egypt-USA/ 2013/ 95min. / dir. Jehane Noujaim
Director Jehane Noujaim (Control Room, Startup.com) has created an impressively immersive documentary that takes us through the heart of the Egyptian Revolution following the intense emotional drama of young people on the streets of Cairo. As two governments topple, the personal stories of the freedom fighters unfold in an inspiring tribute to the power of citizenship.
The film has had a brilliant run, winning the audience awards at Sundance and the Toronto International Film Festival, as well as appearing on the Oscar shortlist for Best Documentary.
"As thrilling and urgent as a film can be, this documentary crackles with the velocity of history as it happens." - Wall Street Journal
December 18, 7:00 PM
ITALY/ 2013/ 142min. / dir. Paolo Sorrentino
Director Paolo Sorrentino has recently been called the new Fellini, and his film, The Great Beauty, is holding up well to that high praise. Being nominated for five European Film Awards and winning Best International Film at this year's Independent Spirit Awards, Sorrentino's film is a favorite with critics and audiences alike.
The film follows Jep, one of the literary and social elite of Rome, through the lavishness and excess of the city's nightlife. Until a "shock from the past" forces Jep - on his 65th birthday - to take a new look at the overwhelming landscape and exquisite beauty of Rome.
"A radiant work on the meaning of life ... THE GREAT BEAUTY is drop-dead gorgeous, a film that is luxuriously, seductively, stunningly cinematic. But more than intoxicating imagery is on director Paolo Sorrentino's mind, a lot more."
—The Los Angeles Times
November 20, 7:00 PM
USA/ 2013/ 82min. / dir. Zachary Heinzerling
Your November members screening film is... Cutie and the Boxer.
In 1969, Ushio's desire for international artistic recognition led him away from Toyko and on to New York City. When Noriko moved to NYC to study art, she fell for the young, rowdy alcoholic Ushio and ultimately abandoned her education to be his wife and assistant. Over the course of their long marriage, their roles have shifted. Noriko is gaining acclaim for her work—drawings she calls "Cutie and Bullie," which illustrate the challenges she's faced with Ushio. And Ushio, now 80, is making certain he leaves behind a legacy of his own.
A reflection on love, sacrifice, and the creative spirit, Zachary Heinzerling's award-winning and critically-acclaimed Cutie and the Boxer explores this chaotic forty-year marriage and the intertwined, artistic journey it created.
October 2, 7:00 PM
It's that very special time of year again, folks. Time for our annual SUPER SECRET MEMBERS SCREENING -- the most mysterious of all the Members-Only screenings! Neither you nor I (seriously, they won't tell me) knows what the film will be until you're all sitting in the seats minutes before. And it's worth the wait. Both of our past Super Secret films have gone on to win Oscars - Undefeated (MFF 2011) and Silver Linings Playbook (MFF 2012).
Members, CLICK HERE to RSVP. Please note: no guest tickets can be used for the Super Secret Members Screening.
September 11, 7:00 PM
USA/ 2013/ 86min. / dir. Reuben Atlas
Not only is this film a sneak peak festival film - coming from our amazing Sound Vision program of music documentaries - but it's also a sneak peak at our hotly-anticipated Opening Night Party at Discovery World on September 26th (tickets on sale Sept. 11th for our members). Yep, the subjects of this film, Hypnotic Brass Ensemble, will be headlining the party this year - and you can be sure they're going to blow the roof off.
Now, back to the film...
For the eight young men that comprise the joyful and bombastic Hypnotic Brass Ensemble, brotherhood is literal: they're all sons of anti-establishment jazz legend Phil Cohran. Raised on a steady diet of jazz and funk crossed with Black Consciousness on Chicago's South Side, this jazz cooperative has moved from busking on the streets to collaborating with Mos Def and opening for Prince. This coming of age doc is filled with their unremittingly unique brand of music, and showcases their struggle to maintain the values they were raised on when confronted with the promise of record deals and musical stardom.
August 21, 7:00 PM
USA/ 2013/ 83min. / dir. Chad Hartigan
One of the great discoveries of the 2013 Sundance Film Festival, This Is Martin Bonner is a warm and perceptive meditation on friendship, human connection and getting a second chance at life. Fifty-something Martin Bonner (Paul Eenhorn) leaves his old life behind and relocates to Reno, where he finds work helping released prisoners transition to life on the outside, while trying his hand at speed dating and passing time as a soccer referee on weekends. Meanwhile, Travis Holloway (Richmond Arquette) has just been released from prison after serving 12 years. Surprising both of them, Travis and Martin form an unlikely friendship that offers them reciprocal support and understanding.
"[Writer/Director, Chad] Hartigan transforms the potentially maudlin premise into a luminous reach for grace. As the spare, sharp dialogue and tensely searching performances elicit lives filled with pain and loss, Hartigan's images capture a serene spiritual bounty that shines through the daily grit and grind." – Richard Brody, The New Yorker
July 24, 7:00 PM
USA/ 2013/ 82min. / dir. Patrick Creadon
If You Build It takes us through a year in the life of one of America's most innovative classrooms. The film follows Emily Pilloton and Matt Miller as they teach the fundamentals of design, architecture and construction to a class of high school juniors in rural North Carolina. Faced with rising unemployment rates, a struggling educational system and simmering racial tension, the people of Bertie County North Carolina treceive transformative help from Pilloton, Miller and their students.
Director Patrick Creadon (Worldplay and I.O.U.S.A.), packs into his film's 82 minutes nuanced discussions of education reform, the plight of rural America and its people, and, ultimately, design's power to be an engine of civic transformation.
"If You Build It might be a design story at its core, but stand back a bit and you find something grander: A document of America at its most vulnerable." - Architectural Record
June 26, 7:00 PM
FRANCE/ 2013/ 105min. / dir. Francois Ozon
Winner of the grand prize (The Golden Shell) at the San Sebastian International Film Festival (as well as several others), In The House is a clever, comedic and thrilling story of the lines that blur between life and literature.
The latest film by acclaimed French director, Francois Ozon (Potiche)-- our first Members Screening director to return!-- is the story of a teenage boy who insinuates himself into the house of a fellow student from his literature class and writes about it in essays for his French teacher. Faced with this gifted and unusual pupil, the teacher rediscovers his enthusiasm for his work, but the boy's intrusion will unleash a series of uncontrollable events.
May 29, 7:00 PM
USA/ 2013/ 87min. / dir. Morgan Neville
Selected for this year's opening night at Sundance, this film brings music fans the moving stories of a string of talented backup vocalists, as well as the famous faces they've shared the stage with, including Carole King, Mick Jagger, Lynyrd Skynyrd, Sting and Michael Jackson.
May 29, 7:00 PM
USA/ 2013/ 93min. / dir. Jordan Vogt-Roberts
Another Sundance premiere, this MFF Alum crowbars the typical coming-of-age movie wide open with this refreshingly irreverent film, which sees three boys decamp from their homes and families to build a house in the woods.
April 24, 7:00 PM
USA/ 2013/ 96min. / dir. Shane Carruth
Hailed as "heart-stoppingly beautiful, quite literally overwhelming," by The AV Club's Sam Adams, Upstream Color presents a stunning examination of human connections. This much-anticipated sophomore feature from director Shane Carruth (Primer, 2004) follows Kris (Amy Seimetz) as she struggles to piece her life back together after being drugged and robbed by a mysterious thief. As Kris begins her new life, she uncovers significant connections to other victims, as well as the natural world around her. With meticulous sound design and pristine cinematography (not to mention beautifully edited by MFF 2011 alum David Lowery, Pioneer), Carruth creates an immersive experience that will surely stick with you.
Remember in November when we told you Holy Motors would be a film unlike any you've seen before? Upstream Color tops that. Join us for this screening of what is already one of the most talked about films of the year, coming to you exclusively as a Milwaukee Film Member.
March 27, 7:00 PM
ITALY/ 2012/ 76min. / dir. Paolo and Vittorio Taviani
Neither documentary, nor fictional drama, Caesar Must Die is a brilliant mélange of the two by the renowned Taviani Brothers. The film was shot entirely in the maximum security block of Rome's Rebibbia prison, home to men serving long sentences for murder, drug-trafficking, and Mafia-related activities. Theater director Fabio Cavalli works with (and, at times, polices) the inmates to produce Shakespeare's Julius Caesar, a play steeped in murder, conspiracy, and revenge. This Golden Bear winner at the 2012 Berlin Film Festival is a fascinating and provocative look at the real-life consequences of lies and betrayals among men who value power above all else.
"How can anyone not adore Paolo and Vittorio Taviani's CAESAR MUST DIE? In a scant hour and a quarter it enlarges your notion of what theater and cinema, what art itself, can do—it dissolves every boundary it meets. --David Edelstein, New York Magazine
February 27, 7:00 PM
FRANCE/ 2012/ 96min. / dir. Stephane Robelin
Stéphane Robelin's latest film focuses on five aging friends who opt out of retiring at a senior home to try a youthful experiment of moving in together into a spacious house, owned by their friends Annie (Geraldine Chaplin) and Jean (Guy Bedos). Joining them is the borderline womanizer Claude (Claude Rich) as well as the bon vivant Albert (Pierre Richard) and his wife Jeanne (Jane Fonda), a philosophy professor. This is Fonda's first French-language role since Jean-Luc Godard's Tout Va Bien in 1972.
"Writer-director Stéphane Robelin treats aging with humor and grace...[and] the film's central performances reflect both its celebration of age and a sense of wistfulness." – NPR
January 30, 7:00 PM
USA/ 2012 / 108min. / dir. Eugene Jarecki
Filmed in more than twenty states, award-winning filmmaker Eugene Jarecki's The House I Live In captures heart-wrenching stories from individuals at all levels of America's War on Drugs. From the dealer to the grieving mother, the narcotics officer to the senator, the inmate to the federal judge, the film offers a penetrating look inside America's longest war, offering a definitive portrait and revealing its profound human rights implications.
"2012′s BEST DOCUMENTARY! The House I Live In should be seen by everybody." - The New York Times
December 19, 7:00 PM
USA/ 2012 / 97min. / dir. Travis Fine
Travis Fine's moving film has garnered an impressive number of Audience Awards from festivals across the country - Tribeca, Chicago and Seattle, to name a few - including awards for what is being hailed as the best performance of Alan Cummings' career.
Inspired by a true story from the late 1970s and touching on legal and social issues that are as relevant today as they were 35 years ago, Any Day Now is a powerful tale of love, acceptance and family. When a teenager with Down syndrome (Isaac Leyva) is abandoned by his mother, a gay couple (Alan Cumming and Garret Dillahunt) takes him in and becomes the loving family he's never had. But when their unconventional living arrangement is discovered by authorities, the men are forced to fight a biased legal system to save the life of the child they have come to love as their own.
November 28, 7:00 PM
FRANCE / 2012 / 115min. / dir. Leos Carax
Hailed as "beautiful madness" byIndiewire and garnering extensive critical acclaim, Holy Motors marks the wildly entertaining return of award-winning filmmaker Leos Carax (The Lovers on the Bridge; Pola X).
Join Monsieur Oscar on his rollicking, soulful journey by limousine through the streets of Paris as he transforms into multiple characters for a series of mysterious "appointments." Melding film noir, romantic drama, musical, crime thriller, and anime, Carax's mirthful, mind-bending masterwork is a ravishing fever dream of becoming, unraveling and starting all over again. Praised by Manohla Darghis as "an episodic work of great visual innovation,"Holy Motors is certain to be unlike any film you've seen.
October 3, 7:00 PM
USA/ 2012 / 122min. / dir. David O. Russell
The SUPER SECRET SCREENING for the 2012 Milwaukee Film Festival, Silver Linings Playbook walks the line between endearing family drama and sharp-witted comedy. After a stint in a mental institution, former teacher Pat Solitano (Bradley Cooper) moves back in with his parents (Robert De Niro and Jacki Weaver) and tries to reconcile with his ex-wife. Things get more challenging when Pat meets Tiffany (Jennifer Lawrence), a mysterious girl with problems of her own.
David O. Russell's newest film has gone on to receive award after award, not to mention 8 Oscar nominations and one win for Jennifer Lawrence.
September 12, 7:00 PM
DENMARK / 2011/ 93min. / dir. Mads Brügger
In this unbelievable act of gonzo journalism, Sundance Grand Prize winner Mads Brügger (The Red Chapel, MFF 2010) sneaks hidden cameras into the Central African Republic's underworld of political corruption. By adopting the persona of an international businessman - complete with power suit and sunglasses - he tracks diamond smugglers through a dangerous maze of murders and bribery schemes, jabbing even the scariest characters with his absurdly funny barbs.
August 22, 7:00 PM
USA/ 2012/ 100min. / dir. Nicholas Jarecki
Richard Gere, in an "Oscar caliber" (Rolling Stone) performance, portrays a troubled hedge fund magnate desperate to complete the sale of his trading empire in this acclaimed, gripping thriller from the 2012 Sundance Film Festival. Building on the chemistry and charisma of an outstanding cast, including Susan Sarandon, Brit Marling, Tim Roth, and Nate Parker, director Nicholas Jarecki's auspicious debut leads us through a suspenseful tale of love, loyalty, and Arbitrage — buying low and selling high.
July 18, 7:00 PM
USA/ 2012/ 91min. / dir. Behn Zeitlin
Hushpuppy, an intrepid six-year-old girl, lives with her father, Wink, in "the Bathtub", a southern Delta community at the edge of the world. Wink's tough love prepares her for the unraveling of the universe. When Wink contracts a mysterious illness, nature flies out of whack -temperatures rise, and the ice caps melt, unleashing an army of prehistoric creatures called aurochs. With the waters rising, the aurochs coming, and Wink's health fading, Hushpuppy goes in search of her lost mother.
June 27, 7:00 PM
RUSSIA/ 2011/ 109min. / dir. Andrei Zvyagintsev
Winner of Cannes' Un Certain Regard Special Jury Prize in 2011, Elena is a gripping, modern twist on the classic noir thriller. Sixty-ish spouses Vladimir and Elena uneasily share his palatial Moscow apartment—he's a still-virile, wealthy businessman; she's his dowdy former nurse who has clearly "married up." But a sudden illness and an unexpected reunion threaten the dutiful housewife's potential inheritance, she must hatch a desperate plan… Masterfully crafted by award-winning Russian filmmaker Andrey Zvyagintsev (Golden Globe nominee, The Return) and featuring evocative, Hitchcockian music by Philip Glass, Elena is a subtly stylish exploration of crime, punishment and human nature.
May 30, 7:00 PM
USA/ 2011/ 94min. / dir. Lisanne Pajot & James Swirsky
Premiering at Sundance and ultimately winning the festival's World Cinema Documentary Editing Award, Indie Game: The Movie has collected an impressive amount of positive reviews. The film follows four indie video game developers who put everything they have into launching their own games. This documentary speaks to the incredible self-discipline and creativity that this new breed of interactive artists must employ in order to compete with major game development companies.
April 25, 7:00 PM
Germany / 1929 / 110 min. / dir. G.W. Pabst
Milwaukee Film is excited to partner with UWM's Center for International Education's (CIE) conference entitled World Cinemas, Global Networks to host this screening of G.W. Pabst's silent film, Pandora's Box (1929), complete with live musical accompaniment by Swedish film score composer, Matti Bye.
Regarded as a classic Weimar film, Pandora's Box follows the life of Lulu, played by Silent Screen icon Louise Brooks, a hedonistic young woman who dances her way into the hearts of numerous men and then destroys them.
This unique event will showcase the tremendously talented Bye, who has performed live accompaniments at the Cinéma du Panthéon in Paris, France; the Kino Arsenal in Berlin, Germany; Lincoln Center and the Museum of Modern Art in New York, and many others. Bye is regarded as one of the most important Swedish film score composers, with credits that include the Ingmar Bergman documentary Images from the Playground (2009) and Everlasting Moments (MFF 2009).
April 4, 7:00 PM
USA / 2011 / 87 min. / dir. Lee Hirsch
Over 13 million American kids will be bullied this year, making it the most common form of violence experienced by young people in the nation. The new documentary film, Bully, directed by Sundance and Emmy-award winning filmmaker Lee Hirsch, brings human scale to this startling statistic, offering an intimate, unflinching look at how bullying has touched five kids and their families.
February 29, 7:00 PM
USA / 2011 / 80 min. / dir. Constance Marks, Philip Shane
Being Elmo brings you the incredible story of Kevin Clash who, as early as 10-years-old, began building and performing with puppets in the hopes of one day working with his idol, Jim Henson. Directed by Constance Marks, this film illustrates the perseverance, talent, and little bit of luck that it took for Clash to achieve his dream. Both uplifting and insightful, Being Elmois that special kind of documentary that makes you believe in the magic of childhood.
January 25, 7:00 PM
USA / 2011 / 100 min. / dir. Ti West
As an aging hotel prepares to close for good, its last two employees, Claire (Sara Paxton) and Luke (Pat Healy) are determined to prove the longstanding legend that the hotel is haunted. The final days of the hotel bring odd guests, and when the basement is the last place to check for paranormal activity, Claire and Luke may be too far into the hotel's sordid past to stop their investigation. Director Ti West (House of the Devil, MFF 2010) delivers a creepy, slow-burning ghost story that hearkens back to such classic horror films as The Haunting and House on Haunted Hill, while creating a contemporary niche of its own.
Award-winning director James Marsh (Man on Wire) takes the viewer on an emotional journey of the life of one very special chimp, Nim, who became the focus of a radical experiment in the 70's. Can an ape learn to communicate with language if raised and nurtured like a human child? Fascinating and heartbreaking all at once, this film explores the barrier between animal and human. And if that barrier can be broken, at what cost to all involved?
Most seaside vacations do not involve stealing cars, tricking doctors or outrunning angry politicians, but Vincent's not taking an ordinary road trip. The young Tourette's sufferer has escaped from a mental hospital with his obsessive-compulsive roommate and anorexic, pot-smoking dream girl. Whether speeding through the Alps or wheedling their way out of prison, the motley travelers take life by the horns, determined to see how far they can get despite the labels they wear. In addition to dominating the German box office, this crowd-pleasing dramedy nabbed the best picture prize at the country's 2011 film awards.
Rhoda Williams, a bright young woman recently accepted into MIT's astrophysics program, aspires to explore the cosmos. John Burroughs, a brilliant composer, has just reached the pinnacle of his profession, and is about to have a second child with his loving wife. On the eve of the discovery of a duplicate Earth, tragedy strikes, and the lives of these strangers become irrevocably intertwined. Estranged from the world and the selves they once knew, the two outsiders begin an unlikely love affair, which reawakens them to life. But when one of them is presented with the opportunity to travel to the other Earth and embrace an alternative reality, which new life will they choose? In this auspicious debut, director/co-writer Mike Cahill offers a taut, superbly conceived science-fiction romance that marks the emergence of the multitalented actor/co-writer Brit Marling. Marrying character with high concept, ANOTHER EARTH lures audiences to go where no one has gone before. –Sundance Film Festival
June 29, 7:00 PM
In the tradition of great fly-on-the-wall documentaries, the film deftly gains unprecedented access to the New York Times newsroom and the inner workings of the Media Desk. With the Internet surpassing print as our main news source and newspapers all over the country going bankrupt, Page One chronicles the transformation of the media industry at its time of greatest turmoil. Writers like Brian Stelter, Tim Arango and the salty but brilliant David Carr track print journalism's metamorphosis even as their own paper struggles to stay vital and solvent, while their editors and publishers grapple with up-to-the-minute issues like controversial new sources and the implications of an online pay-wall. Meanwhile, rigorous journalism is thriving—Page One gives us an up-close look at the vibrant cross-cubicle debates and collaborations, tenacious jockeying for on-record quotes, and skillful page-one pitching that brings the most venerable newspaper in America to fruition each and every day.
May 25, 7:00 PM
This award-winning, touching tragic-comedy follows the HR manager of Israel's largest bakery who finds himself the unlikely chaperone of the body of a young Russian woman as he sets out to save the reputation of his business. Eran Riklis, the acclaimed director of The Lemon Tree (MFF 2009) and The Syrian Bride, brings a poignant and personal approach to a story that speaks to the ever-present threat of violence in Jerusalem. Winner of five Israeli Academy Awards, including Best Picture, and the Audience Award at the Locarno International Film Festival.
April 27, 7:00 PM
Set in 1977 in a provincial French town, POTICHE is a free adaptation of the 1970s eponymous hit comic play. Catherine Deneuve is Suzanne Pujol, a submissive, housebound 'trophy housewife' (or "potiche,") who steps in to manage the umbrella factory run by her wealthy and tyrannical husband (Fabrice Luchini) after the workers go on strike and take him hostage. To everyone's surprise, Suzanne proves herself a competent and assertive woman of action. But when her husband returns from a restful cruise in top form, things get complicated. Gérard Depardieu plays a former union leader and Suzanne's ex-beau who still holds a flame for her. Acclaimed writer-director François Ozon ("Swimming Pool," "Under the Sand," "Time to Leave,") who had previously directed Ms. Deneuve in the international hit "8 Women", twists the original play on its head to create his own satirical and hilarious take on the war between the sexes and classes.
March 30, 7:00 PM
1981, the height of the cold war. Pierre Froment (Guillaume Canet, "Tell No One"), an ordinary French engineer based in Moscow meets with KGB Colonel Grigoriev (Palme d'Or and Golden Bear winner Emir Kusturica, "Underground" ) is thrust into the biggest theft of Soviet information in history. Ronald Reagan called it "one of the most important espionage cases of the 20th century." Based on the astonishing true story. Directed by Christian Carion, the Academy Award® nominated filmmaker of "Joyeux Noël" (Merry Christmas).
February 23, 7:00 PM
From the early 1970s until his capture in 1994, Carlos the Jackal was the world's most notorious and deadly celebrity terrorist. French filmmaker Olivier Assayas ("Summer Hours"; "Irma Vep" ) mounts a fast-paced, epic, three-part dramatic biography, starring Edgar Ramirez as the sophisticated, intelligent and egotistical assassin.


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Sheffield's 2004 All-Star selection, which came as a result of being chosen by his peers on the player ballot, is his eighth career appearance at the Midsummer Classic. While many players have gone to the All-Star Game more times than Sheffield, no one has ever gone for more teams than the 35-year-old.
Sheffield has represented the San Diego Padres (1992), the Florida Marlins (1993, '96), the Los Angeles Dodgers (1998-2000), the Atlanta Braves (2003) and now the Yankees (2004).
In fact, the only franchise with which he played and did not make the All-Star team was the Milwaukee Brewers, who he came up with and played for from 1988-91.
"It's quite an honor doing it as a Yankee," Sheffield said. "It's easy to do it on expansion teams, when you're the only name on the team and they have to pick somebody. To do it on this team, that's an accomplishment."
Manager Joe Torre, who will be at the helm of the AL team in Houston, broke the good news to Sheffield before Sunday's game against the Mets.
"Sheffield was thrilled," Torre said.
Seven players have represented four teams as All-Stars during their careers, including Moises Alou (Expos, Marlins, Astros, Cubs) and Roger Clemens (Red Sox, Blue Jays, Yankees, Astros), who were both selected to this year's National League team.
The others to represent four teams during their careers are Roberto Alomar (Padres, Blue Jays, Orioles, Indians); Walker Cooper (Cardinals, Giants, Reds, Red Sox); Rich "Goose" Gossage (White Sox, Yankees, Pirates, Padres); George Kell (Tigers, Red Sox, White Sox, Orioles); and Lee Smith (Cubs, Cardinals, Orioles, Angels).
Sheffield has been playing with a sore shoulder, but he said Sunday that the injury shouldn't prevent him from playing in the All-Star Game.
"They have been doing this new tape job to stabilize it, not let me go as far as I want to go," Sheffield said. "I can swing the bat, and it's going to prevent me from going too far."
The only way he would skip the Midsummer Classic? If George Steinbrenner asked him to.
"That's up to the Boss," Sheffield said. "If he tells me to go on vacation, that's what I'm going to do. I'll honor his wishes."
Mark Feinsand is a reporter for MLB.com. This story was not subject to the approval of Major League Baseball or its clubs.
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MOUNT VERNON The third production of The Alcove Dinner Theater 2011-12 season of shows will be the critically acclaimed production of Moonlight and Magnolias, often billed as the comedy behind Gone With the Wind, written by Ron Hutchinson.
Its Hollywood, in 1939. Famed film producer David O. Selznick (Steve Stone) decides to stop the filming of Gone With the Wind three weeks into production because he wants a rewrite of the unwieldy script. He decides to hire prolific screenwriter Ben Hecht (Richard McKinley) to do the job. Only one problem: Hecht has never read the novel. Selznick has his secretary (Carrie Crouch) summon Hecht and flamboyant The Wizard of Oz director Victor Fleming (Bruce Jacklin) to his office and locks the door. Subsisting on a diet of bananas and peanuts, the three men spend five hilarious days crafting the screenplay for what will become one of the most successful films of all time. Based on a true story, Moonlight and Magnolias is a wildly funny farce and winning story that illuminates the behind-the-scenes business of movie-making and the larger-than-life egos during the Golden Age of Hollywood.
The production/design team for the production includes Bruce Jacklin (producer), Susan Moreland (director), Steve Herbst (scenic construction), Chris Aust (costume designer), Scott Swingle (lighting operator), Carrie Crouch (program design), Kate Redfield and Bonnie Pickett (stage managers) and Ian Ernsberger (lighting and sound design).
Performances begin April 19, with a unique Gone With the Wind party featuring a Southern-style social hour and a special Dixie Plantation dinner, followed by the full performance of Moonlight and Magnolias. Social hour will begin at 5:30 p.m., dinner is served at 6:30 p.m., followed by the performance.
The evening dinner theater performances April 20, 21, 27 and 28 will begin at the usual time of 6:30 p.m. cocktails, 7:30 p.m. dinner and then the performance following dinner. There will be show-only performances (no meal) Thursday, April 26, at 7:30 p.m. and Saturday afternoon, April 28, at 2.
Call The Alcove Restaurant for menu, prices and reservations at 740-392-3076. Ask for Faye Phillips.
Published on April 7, 2012


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The Global Governance Programme is Research turned into Action.
24 April
Register for "Discovering cooperation: A Contractual Approach to Institutional Change in
Regional International Organizations" by Tobias Lenz (Gothenburg and Hamburg University)
sovereignty of Israel and Palestine?
Read "Jewish/Palestinian self-determination and citizenship in Israel/Palestine" by Chaim Gans
Read "Theoretical debates on regional security governance" by Emil J. Kirchner
24 April
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AEC v1.0.4
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- 8 - 10 October 2014Comparing Regional Integration Institutions: America, Africa, And Asia
Europe 2020: Addressing Low Skill Labour Migration at times of Fragile Recovery
Anna Triandafyllidou and Sabrina Marchetti
Options for Reducing Logistics-related Emissions from Global Value Chains
Alan C. McKinnon
Theoretical Debates on Regional Security Governance
Emil J. Kirchner
Understanding Global Governance: Institutional Choice and the Dynamics of Participation
Neil Komesar, Miguel Poiares Maduro, Wendy Wagner, Gregory Shaffer and Antonina Bakardjieva-Engelbrekt
Interdisciplinary Perspectives on Producing, Using and Debating Corruption Indicators, Nehal Bhuta, Debora Valentina Malito, Gaby Umbach, 2014
Gender quotas : towards parity governance?
Eléonore Lépinard and Ruth Rubio-Marín
The Impact of Investment Treaties on Governance of Private Investment in Infrastructure, Lise Johnson


text:
Sarah, Just love your painting ,I don't have the courage to be so bold with white but I'm working at itHere is my lighthouse, Playing with color 11x14 w/c gesso and gel medium
Blue Ridge Mountains Art Center
Southern Appalachian Artists Guild
Hello Sam,
make another print and try using watercolours + egg.yolk and a little bit of water mixed together instead of all water.
Maybe the paper was too thin?
Hope this helps.
feel free to make constructive c/c...no digital alterations please
Thank you, Sarah. I will give that a try.
Fred, you certainly are playing with color. I like it and I like the textures created with the gel. Very cool
Sam/Sammy C & C Welcome
Visit my blog at www.artbysamh.blogspot.com
I just got out some of the Christmas stuff and I am amassing a small collection of Santa paintings. One has been hung on the wall and one on a table easel and one will be entered into a show tomorrow. Although some of you have seen this one last year, I'm posting it again because I am proud of how I handled these whites. Nothing like patting oneself on the back.
This is 14"x10" using pan pastels on Colorfix paper.
Sarah, You are so good at this. The snow and sky look wonderful and the tension in the cat as he is hunting is very well done. great example of the many colour reflections in white snow.
Sammy, did you use permanent ink? This should not run if you put water on it.
Just saw your Santa. You should be proud of him it is beautifully done.
Fred, I just love the bright colours you get with those gels. Nice happy painting.
Jen C & C's always welcome
Sam ~ I just want to bury my face in your Santa's beard! It looks so soft & thick. Beautiful portrait! Sorry about your Poinsettia problems. Copiers use water soluble ink, so anything wet is going to run. Once when I did a pen & ink which I wanted to hand color, I had to take it to a print shop and made sure they used permanent printing ink.
Sarah, your wild cat in the snow is wonderfully colored landscape. You show us how many colors are in white! Also the idea behind Sam's white challenge photos, very effective! Lately you'll find me most mornings gazing out the kitchen window, coffee cup in hand, noticing all the different shades and colors in the snow. Hubby thinks I sleep standing up!
Comments and critiques are welcome.
Fred, very bright colourful painting. Your lighthouse looks very good and standing front and center of the choppy seas. Do you purchase the gel coloured or do you add colour to it?
Sam, wonderful Santa. His beard looks so soft. Great work on the whites and his glasses.
Sam, sorry for the problems with the print on the poinsettia. I think if you could find someone with a laser printer it would not run like the inks do. Also, most copiers unless you are using a scan and copy method is laser. The coloured pencil turned out very well and gives you an idea of what it is like with colour.
Bonnie C & C most welcome / appreciated
Sarah, a beautiful oil painting of the snowy countryside with the wildcat. I admire your handling of the snowy wastes, the grasses, and the cat. You're very good at showing depth and distance, too, by having something in the foreground and middle distance.
Fred, you're not at all afraid of color, and your work with gesso and gel medium gives your land- and seascapes such wonderful texture. Glad to see a tiny bear in there, too!
Sam, your Santa is such a beautiful example of the subtleties and nuances of creating textures with whites. Lovely, lovely work.
This is my tiny stippling doodle of white holly leaves with gold berries (à la Sam, but not as delicately wrought) done while waiting for an appointment.
Comments and critiques are welcomed and appreciated.
I am never going to catch up with comments on other people's work...all I can say at the moment is that it is ALL looking so good (Fred's Lighthouse shines out as an all year round Beacon!) ...as if the Christmas spirit ihas inspired us to produce our best.
On with chores...no painting today!
Alex, White holly leaves with gold berries definitely has a wintery feel. The dark background makes the whites pop. I am wonder how you did the gold berries.
Sam, you have been very inspiring by your beautiful poinsettia with Alex's holly and I have given Georgia O'Keefe's Lilies a try. This is done on a 5 x 7 110 lb sketch paper with Sharpie pen fine. The pens are limited in colour and I had to try and combine some colours to try and get close to the actual colours.
Alex, what a productive way to spend your waiting time. Time seems to go so fast when one is occupied with creating art. I love your white holly leaves and you did a fine job of stippling. The gold berries are a nice and creative touch.
Bonnie, who would have expected a stippled Georgia O'Keeffe. It is great and the colors that you mixed look terrific. I really like the multi-color look.
I'm very proud of both stippled pieces. Maybe we are starting a new trend.
Fred, nice lighthouse picture.
Sam, very nice Santa portrait.
Alex and Bonnie, I like your stippling works.
Charlie Gunn
C&C welcomed
Bonnie, your Georgia O'Keefe stippled lilies are beautiful and you did a lovely job on the colors despite the limitations of the pen colors - even capturing the subtle shadows. It's so much fun to create with dots!
For the gold holly berries I used a pentel gold pen designed for writing on holiday cards - the gold has a very pretty luminous look that doesn't show in the photo.
Sam and Charlie, thank you for your very kind comments on my white holly leaves.
Here is my attempt at the white daisy. This is an 8 x 10 black mat board done with colored pencil.
Christa, I am amazed that you got the whites so white on a black surface. That is difficult to do. I like your daisy. It is well drawn and looks good. My only suggestion would be to make the center brighter with a bit of shadow at it's base. When you make changes to a painting, you are welcome to post it again.
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text:
7375 Royalton Rd, Cleveland
The Scene Once inside this large nondescript structure amid the hills of North Royalton, you may feel as if you've traveled back to 1987. It's not just the lilting Muzak: there's…
13855 Ridge Rd., North Royalton
Karaoke on Tuesday nights Jan 2007 (possibly other nights I don't know about but definitely not Thursday). Small, but very friendly crowd, ready to strike up a conversation or let…
8684 Ridge Rd, Cleveland
typical neighborhood bar. came because fish dinner was highly recommended. ordered lake erie perch and was served ocean perch. I grew up in Avon Lake and KNOW lake erie perch, this…
7936 York Rd, North Royalton
13855 Ridge Rd, North Royalton
10009 W 130th St, North Royalton
12766 Royalton Rd, North Royalton
6824 Bunker Rd, North Royalton
5581 Wallings Rd, Cleveland
7936 York Rd, Cleveland


text:
Firmware 1.0.2, anySim hacked 102
Apparently the contacts for the SIM are not ouching correctly. I get a message in Itunes stayting to activate phone with a SIM...there is no SIM...already have a SIM connected.
I tried virginizing by SHIFT RESTORE 1.0.2 FIRMWARE (Never did the 1.1.1 so Im ok). Then PACAY again....and everuything works but I get no bars or NO Service....I really think it is a contact with the SIM.
The phone is brand new but the person I'm helping clicked twice on the anySIM icon..so I had to devirginize....it probably that also?
Any ideas?
Cheers from Mexico


text:
This carnival is going to be wild!
The Journey Begins 05:14
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Pedestrian Hit By Train in FargoFARGO - A 61-year-old pedestrian who walked past lowered crossing arms was struck by a train at Main Avenue and Broadway on Wednesday afternoon.
By: Forum Communications,
FARGO - A 61-year-old pedestrian who walked past lowered crossing arms was struck by a train at Main Avenue and Broadway on Wednesday afternoon.
The accident happened at 1:09 p.m., said Fargo Deputy Police Chief Pat Claus in a news release.
Claus identified the injured man as Dan Hassel of Fargo. His head and torso were injured and he was taken to Sanford Medical Center. His condition wasn't immediately known.
Investigators believe Hassel was struck by an eastbound train when he walked past the closed gate arms after a westbound train had passed, Claus said.
Sgt. Kevin Pallas said the train was traveling roughly 20 miles per hour.
Pallas said the man fell to the side of the tracks after being hit, and was not run over by the train.
Pallas declined to speculate on why the man walked past the crossing arms and in front of the train.
"At this time it's hard to determine what's going on," he said. "We'll continue to investigate this and hopefully interview this gentleman that was struck to find out exactly what may have transpired or led up to this."
Police urge pedestrians to obey all traffic signals on roadways and train tracks because they protect people from cars, trucks and trains they may not see, Claus said.
Tags: news, fargo, train, updates


text:
The computer vision group in Cambridge is interested in the following areas of research: image and video editing, advanced medical image analysis, object class recognition, real-time stereo vision, remote collaboration, and visual tracking.
Research Themes
Understanding images
Image understanding with tens of layers, millions of classes, billions of images.
Understanding Humans
So much of computer vision is ultimately for humans, images of humans are an important special case
Making images better
Pictures are an important part of our lives, and computer vision gives us the tools to enjoy better pictures.
Discrete optimization for vision
We are developing new discrete optimization methods for computer vision applications, such as segmentation, matching, etc. Most of the techniques relate to energy minimization in Markov Random Field (MRF) models.
Models for Video
One view of video is "all of the above, but faster". We also try to explore new representations of video and new modes of interaction
Where are we?
Localization problems occur everywhere, from augmented reality to medical imaging to 3D modelling.
Application areas
- Ben Glocker, Shahram Izadi, Jamie Shotton, and Antonio Criminisi, Real-Time RGB-D Camera Relocalization, in International Symposium on Mixed and Augmented Reality (ISMAR), IEEE, October 2013
- DongHye Ye, Darko Zikic, Ben Glocker, Antonio Criminisi, and Ender Konukoglu, Modality Propagation: Coherent Synthesis of Subject-Specific Scans with Data-Driven Regularization, in MICCAI 2013 - 16th International Conference on Medical Image Computing and Computer Assisted Intervention, Springer, September 2013
- Juan Eugenio Iglesias, Ender Konukoglu, Darko Zikic, Ben Glocker, Koen Van Leemput, and Bruce Fischl, Is Synthesizing MRI Contrast Useful for Inter-Modality Analysis?, in MICCAI 2013 - 16th International Conference on Medical Image Computing and Computer Assisted Intervention, Springer, September 2013
- Darko Zikic, Ben Glocker, and Antonio Criminisi, Atlas Encoding by Randomized Forests for Efficient Label Propagation, in MICCAI 2013 - 16th Intl Conf. on Medical Image Computing and Computer Assisted Intervention (MICCAI Young Scientist Award), Springer, September 2013
- Ben Glocker, Darko Zikic, Ender Konukoglu, David R. Haynor, and Antonio Criminisi, Vertebrae Localization in Pathological Spine CT via Dense Classification from Sparse Annotations, in MICCAI 2013 - 16th International Conference on Medical Image Computing and Computer Assisted Intervention, Springer, September 2013
- P. Kontschieder, P. Kohli, J. Shotton, and A. Criminisi, GeoF: Geodesic Forests for Learning Coupled Predictors, in Proc. Computer Vision and Pattern Recognition (CVPR), IEEE, June 2013
- Jamie Shotton, Ben Glocker, Christopher Zach, Shahram Izadi, Antonio Criminisi, and Andrew Fitzgibbon, Scene Coordinate Regression Forests for Camera Relocalization in RGB-D Images, in Proc. Computer Vision and Pattern Recognition (CVPR), IEEE, June 2013
- A. Criminisi and J. Shotton, Decision Forests for Computer Vision and Medical Image Analysis, Springer, February 2013
- J. Margeta, K. McLeod, A. Criminisi, and N. Ayache, Decision Forests for Segmentation of Left Atrium From 3D MRI, in MICCAI Workshop on Statistical Atlases and Computational Models of the Heart (STACOM), 2013
- Ender Konukoglu, Ben Glocker, Darko Zikic, and Antonio Criminisi, Neighbourhood Approximation using Randomized Forests, in Medical Image Analysis (Medical Image Analysis - MICCAI 2013 Best Paper Award), Elsevier, 2013
- Computer Vision at MSR Cambridge
- Press
- Publications
- People


text:
I have a 30-year old, Gerber, single-handle, tub/shower combo. The tub spout drips. I removed the cartridge and took it to the plumbing supply house and they gave me a replacement cartridge. I reassmbled the single handle combo, and the tub spout still drips (same as before).
Thanks for the reply. Plumbing Supply provided an OEM part. I put the old one back in, when I saw it leaked the same. Happy Friday.


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