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By Kevin Blake
Chicago Imagism represents something more complex than a published manifesto, an aesthetic engagement, or a theoretician's aim at creating an avant-garde. One might argue that Chicago Imagism, an internationally recognized movement with roots in the late 1960's and early 1970's, is still alive and well in the second city. On his 90th birthday on January 26, 2014, Richard Loving explained to a rapt audience at the Hyde Park Art Center, that his work–like the work of other "Imagistsâ€â€"were simply about making the work that they wanted to make.
In their current exhibit, Inside the Outside at the Hyde Park Art Center curated by Aaron Ott, Richard Loving and Eleanor Spiess-Ferris's works on display span two careers that aptly describe the very complicated historicity of the Chicago Imagist movement. Inside the Outside is a critical investigation of the ambiguous framework of Chicago Imagism and how these two very different artists bound geographically but also aesthetically chose to utilize its tenets to spur their artistic visions.
The works are hung chronologically–a relatable choreography that adequately stresses the aesthetic distances traveled and the hard earned merits of two lives of artistic engagement. In relation to the Imagists' aesthetic–high key color strategies, figuration, symbology, and text to name a few–these works can fit the bill. However, the distinction as Imagist work may also deprive them of the singular translation they so deserve.
Spiess-Ferris and Loving's works are clearly about themselves. Throughout the show, there is an overwhelming sense of self discovery or exhibitionism that develops into a confident vernacular that is uniquely their own. In Loving's case, this idea takes the shape of a materials quest, that over decades evolves from small enamel works that become large format abstractions and matriculate to color drenched dreamscapes that embody the entire narrative. They are Loving's accumulated wealth of knowledge with his materials, and a pointed emulsion of his interests. Loving's work "Fire and Smoke†is one such amalgamation.
Hovering above the very unnatural bands of lush color is a curved horizon that encloses the space of the painting and alludes to an inevitable ending–a forced punctuation. This curvilinear maneuver has become a staple in Loving's later works and allow for the landscapes to remain in the netherworld of abstraction while maintaining the graphic qualities central to the Imagist aesthetic. Loving's narratives are not forthcoming, but they reveal enough of itself to spend time with their mysteries. The paintings can operate as storyteller or simply as an object of contemplation, and therein lies their success.
On the surface, the narrative elements seem to be more readily available in such works as Spiess-Ferris's "Resignation,†where the viewer is immediately immersed into a parallel universe that is completely her own. The cast of characters is the entry point–as there is a familiarity that grows from one piece to the next. Everything in Speiss-Ferris's paintings is as familiar as the paint itself, yet there are no answers to her riddles either. The paintings allow you to meander through them, but never actually be a part of the place–it is her singular experience of a world in which the viewer has no role. It is in the moments of expectations unmeant that the viewer can understand their exclusion. "Resignation,†exudes Speiss-Ferris's anguished charm while allowing for self discovery through her range of emblematic totems that find their way into her imagined worlds.
The show also presents some of Speiss-Ferris's drawings where one can see the artist looking at her creations from without, while also participating in the ironies and chagrin of human awareness. In "Acquisition†the sketched portions of the drawing remain as portals into her studio–a nod to herself and remnant of her hand.
This elusiveness and earnest approach to her materials has kept Spiess-Ferris on the periphery of Imagism. Her work is an acidly good-natured view of human follies, largely concerned with the roles and relations between women and nature. She presents the human comedy through her imagined places that are often absurd, charming, hostile, seductive, and ridiculous. Charged with strong doses of painfully comic self-discovery, her host of symbols, images, and characters all play theatrical roles in the ongoing comedy that is a perpetual remix of itself.
The affinity to nature, the paint handling, geography, and the parallel working timeline are enough to link these two artists, but the strength in this show comes from both artist's unflinching dedication to their practices. Decades in the making, their works have evolved and remained on the edges of a discussion that Chicago painters cannot seem to avoid. Imagism is the staple, the running joke, the license, and liberator for Chicago painters. It is the all-encompassing genre most aptly described by Richard Loving as "just making what we wanted to make.â€
To pair these two artists in a conversation about the reaches of Imagism was to operate on the periphery–to think outside the proverbial box. As the Hyde Park Art Center enters into its 75th anniversary year, a show to kick off the celebration that commemorates a pivotal moment in the center's history as well as the history of Chicago image making was a grandiose gesture, most welcome.
Smart Painting: An Interview with Josh Reames
October 31, 2013 · Print This Article
By Kevin Blake
Josh Reames makes smart paintings. Whether he is deliberately utilizing painting tropes, such as the dripping brushstroke, or deploying obvious geometric abstraction, Reames' work acknowledges his awareness of the painting vocabulary while creating his own grammar from canvas to canvas. Reames aligns his understanding of painterly tradition with his interpretation of contemporary experience that speaks directly to the viewer through text, emoji, palm trees, and anything that seems fitting in the moment of creation. As Reames carves out his own space in the painting world, he wittingly nods his head to a history he  knows well.
Kevin Blake: You have an interest in the escapist ideal, and while those ideals are more overtly addressed in your multimedia constructions, I think your paintings, at times, depart from those ideas and allow for a more eclectic read. Can you talk about your modes of production and how those different methodologies have different relationships to your conceptual framework?
Josh Reames: Sure, I think the paintings lend themselves to an eclectic read, but only as a group. I try to keep individual paintings focused on specific ideas. I think all of the work addresses escapism, just in varied ways. The tropical imagery and psychedelic drug references are just as involved with escapism as the act of painting is. The eclectic read is a product of my scattered focus, which is probably a product of internet culture. My conceptual framework is pretty broad; if I had to describe my intentions with painting it would be to use painting as some sort of filtration device for cultural bi-product. I mean, I'm super into the idea of relativity (cultural, moral, etc.), and painting has this ability to literally flatten images and references into a rectangle. By pushing images together and composing them into a painting, you can flatten the references and remove the hierarchy of importance. So Abstraction, palm trees, emoji, drippy brushstrokes, dollar signs, cigarettes, and the Sphinx can all be flattened to the same level – composition. Either nothing is really dumb anymore, or all of it is, it's getting hard to tell.
KB: You make pictures that perpetuate your grasp of the canon of abstract painting, and I wonder if there is any escape from those parameters. When you are making paintings, how do you filter your knowledge of abstraction (historical and contemporary) to maintain something that is your own? Can artists escape the initiated forms they supersede? Can painting ever escape from itself?
JR: Maybe I'm wrong, but it seems like the need for iconoclasm is outdated. I think the idea of superseding or escaping abstraction comes from some need for a linear narrative of "this became that, then that became something else" which I think has been a legit way of understanding a progression of artists, at least for the past few hundred years. But now I think it's a little different; sampling, re-sampling, homage, and straight plagiarism are all viable forms of historical awareness in art. The drippy brushstroke has historically been an abstract tool, meant to express the presence of the artist – a remnant of the physical self. But over time, that becomes a trope, a symbol separated from it's original context. I think this is liberating in a way. It's sort of like Tarantino using the tropes of old kung-fu films like Zatoichi and Lady Snowblood; he takes an outdated thing and makes it fresh. In that sense, Robert Motherwell or Franz Kline didn't have the internet, so I have a fresh set of tools to play with.
KB: Is sampling, re-sampling, homage, and straight plagiarism unavoidable at this point?
JR:Â I mean, all the best artists have stolen, it's just easier now. When you are completely inundated with images on a daily basis there becomes this subliminal pool of imagery and information that seeps into the studio. I don't think it's completely unavoidable, but if you are like most artists with access to the internet, it is pretty difficult to avoid. That being said, I don't think there is anything wrong with it.
KB: Your paintings reference artists like Charline Von Heyl and Christopher Wool among others and I am curious as to how you think you arrived at those influences? What I am trying to understand from your perspective, is how you feel about so many artists drawing from the same well. The internet provides an infinite range of source material, yet the pool of imagery that seeps into your studio, seems to be oozing into everyone else's simultaneously. Fortunately, you are distilling it all in an interesting way. It is a pattern in art history for contemporary artists to be in dialogue with one another. How do you negotiate those terms and demands?
JR: I love Wool and Von Heyl, I think they are some of the most important living painters. I relate to how Wool handles abstraction, especially with the screen prints, in an almost hands-off kind of way. He takes abstraction, historically an emotionally charged way of painting, and filters it through a Warhol-ian process that removes the hand. I think there is a lot of humor there, super dry though. So good! There are only so many ways to make paintings; different combinations of styles, tropes, paint handling, tools, etc. Eventually it's not difficult to take a step back and see artists doing similar things. I'm not sure it matters though, as long as the thing being made is interesting and has some connection to the artist. After that it's all personal taste.
KB:Shifting gears a bit, I was hoping to talk to you about text in your paintings. Often times, text is integrated into the image and sometimes the text appears to be squeezed out of the tube on top of an abstract composition–your paintings "YYY" and "Land Grab" come to mind. How does text operate for you in your paintings?
JR:Text is a way to guide the viewer, to give some sort of context to an otherwise abstract painting. I always integrate the text so that the letters or symbols double as marks, either sprayed or squeezed in the same way any other mark would be made on the canvas.
KB:I'm interested in your word choices and how, if at all, you see them as a personification of yourself. Or are the words derived from language you see fitting into your escapist trajectory?
JR:I keep a running list of text ideas in my sketchbook and on my iPhone. The word combinations that get used are usually really open ended, allowing for specific/individualized reads, but also have a specific connection to me. Sometimes it fits the escapist trajectory, but others will be references to books I'm reading or words that I came across that stuck with me.
KB: Can you talk about how the array of non-traditional painting materials have made their way into your painting practice? Spray paint, airbrush, and fluorescents, to name a few, seem to be the rage. Are these materials and/or high key palettes coincidence or do you think they reflect something more concrete?
JR:In a broad sense I think non-traditional painting materials, usually applied to abstraction, are a way to make abstraction relatable. Matias Cuevas' poured paintings on carpet, or Andrew Greene's glass abstractions are good examples; they bridge the gap between a messy abstraction which really just exists as a historical trope, and everyday materials, which pulls the trope into something new. I don't think my work really fits in this category,  I think using airbrush and fluorescents aren't that uncommon; I started using the airbrush because I have no patience with paintbrushes. I'm a pretty shitty painter if you put a brush in my hand, I can never make it do what I want it to do! The airbrush is different, it's way more versatile, and quick. As far as the high-key color palette's go, I'm sure there's some coincidence there, maybe trends – personally I just like shiny things…
KB:I think you are right, these techniques are becoming more and more common in contemporary painting practices. Maybe it relates to a culture of instant gratification, immediacy, and even escapism. Does the pace of everyday life influence your material applications and the speed at which you make your work?
JR:I agree, I think people (artists included) generally have a short attention span and as a result, a lot of impatience. I know I do. I am always able to look at a painting that took months to complete and think "wow, that took a lot of time". But I don't think the amount of time something takes makes it any better than if it was quick. Again, my use of the airbrush is entirely about speed and impatience. I want the paintings to look meticulous, with slick surfaces and plenty of precision – but I want to make a lot of paintings, so speed is key! The pace of everyday life probably has an indirect influence on that.
KB:Speaking of the pace of everyday life, how do things look in your studio right now as you prepare for your solo exhibition at Luis De Jesus in Los Angeles this January? What do you plan to show?
JR:It's crazy in here, I just got back from an 11 day trip to NYC where I saw some pretty rad shows (Josh Smith, John McCracken, Joshua Abelow, etc.). It's great to be back in the studio working on some new paintings. I think I'm going to make a handful of emoji paintings and text paintings with text-message shorthand. The working title is THE INTERNETS. Time is such a luxury though, I've been considering hiring a studio assistant so I don't have deal with those pesky tasks like stretching and priming canvases… we'll see!
Kevin Blake is an artist and writer working in Chicago.
Ghosts, Mythology, and Painting: A Chat With Carl Baratta
October 8, 2013 · Print This Article
Guest Post by  Kevin Blake
As his upcoming show at Sidecar Gallery in Hammond, Indiana approaches, Carl Baratta is poised for a timely event that will delve into the world of ghosts and mythology–subjects in which he is well versed. From his home base, Baratta builds on a legend of narrative-based painting in Chicago, and lends insight as to how that structure is the driving force of his work.
Kevin Blake: I'd like to start by asking about your upcoming exhibition "Ghosts Don't Burn.â€Â You are showing with another artist, Zack Wirsum, and the two of you seem to have some interesting parallels in your work. Can you talk about the title of the exhibition and how it reflects the works that will be on display?
Carl Baratta: 'Ghosts Don't Burn' is curated by Lucas Bucholtz and in addition to Zach Wirsum, the artists Lauren Ball, Mindy Rose Schwartz, Nathan Carder, Mariano Chavez, Karolina Gnatowski, Michael Kaysen, and Pedro Munoz will have work on the second floor.
Originally, the show centered around Gustav Flaubert's 'The Temptation of St. Anthony' and Ivan Albright's painting of the same name and myth. Since then a lot of the themes have evolved for us and the Temptation of St. Anthony is more of a departure point for the actual show.
We chose the title for the show because it's open to interpretation. Since this show is a collaboration between Luca, Zach and myself, we all agree it makes us think of how ghosts are emotionally tied to the things that they love and how one deals with this burden. Also the title is a fact. Ghosts don't burn. Try it. It's impossible.
Both Zach and I use narrative as an organizing structure in our work and we both seem to pick haunting moments with an unsettling relationship between shifting sometimes nightmarish landscapes and figures in duress. We both draw a lot of inspiration from different mythical/ art historical sources as well. For me, this is about caring for what you love the most, which is the art making version of being haunted.
KB:Â Do you see a direct correlation between the evolution of the show's undercurrents and the fact that you are using the narrative form as the 'organizing structure' in your work? Does that structure require flexibility and a willingness to change gears, so to speak?
CB: In this case yes! Not always though. Depending on how the myth is used it can be pretty strict in terms of what imagery/ spacial configuration goes in and what stays out. Since this particular story is about hallucinating and being tempted by everything it's much more flexible and allows for the evolution of ideas.
It's a similar flexibility Bosch was drawn to when depicting a Christian Hell or Heaven. Basically it's an arena or stage where anything can happen under a very broad header. So really obvious imagery that everyone understands symbolically is limited but stream of conscious imagery can get a free pass, but just because stream of consciousness gets to be fancy free doesn't mean it's a good idea.
Another important aspect to understand about organizing imagery through myths is deciding on which moments are being depicted. For Bosch, it's an eternal moment during somewhere in the middle of all the action narratively speaking. Everything is going on at the same time and fixed. So as a viewer you can look at everything at your leisure.
But you can pick before or after as well. A good example is Goya's 'Witches Sabbath' for depicting after. Whatever the goat headed guy just said scared the crowd but as a viewer you come in right after he spoke. What did he say that would scare everyone so much? We'll never know.
Instead of depicting during an action where you can leisurely look and see everything happening, depicting afterward, in this case, lends some drama to the moment because as a viewer you will never know what you missed. As an artist, understanding which moment is best depicted for what you want to do, gives a bunch of freedom to the most stringent of narratives.
KB: So, as an artist using myths as a departure point, when do you depart? At what point does the paint dictate the outcome? It seems to me that your paintings are as much in dialogue with the painting language as they are with the language of mythology. Your work, at times, reminds me of David Hockney's landscapes of the early 90's in your mark-making strategies and it seems that you allow yourself enough intuitive moments to keep the paintings fresh and unaffected by a rigid narrative structure.
CB: Sometimes IÂ will set up vignettes and each area has literally big spaces between events that I leave open so it stays responsive when I get into color. Other times I'll take several images of paintings and want different aspects of each and in order to do so I have to have intermediary mark making that is totally different than what I'm drawing inspiration from.
I really love the colored mark making of David Hockney's landscapes in the 90's actually. To be honest, when I first saw them back then I didn't really get those crazy vibrating color paintings. Luckily I got to see a Van Gogh retrospect of his black and white landscape drawings. That was one of the missing pieces to the puzzle and helped put Hockney's color landscapes in perspective. The light and temperature of as well as Hockney's mark making was too much to see first. I guess seeing landscapes stripped down to bare bones helped me wrap my mind around the Hockney stuff.
It wasn't until I saw how Moghul painters used pattern and how Fauvist painters used color as light that I could even attempt to use it though. But for some reason those fit into place for me. I want them otherworldly but not so alien that it stops a viewer from entering them and getting lost.
KB: A couple of your paintings seemed to me to operate at the edge of abstraction. To be clear, in some of the paintings, the landscape and the figures within it are not as concrete or traditionally composed (a painting like 'Double's Double 2' comes to mind), and it is in these moments that the narrative seems secondary to paint, and for me, that is exciting. Can you talk about how you make that assessment–what sort of limits exist for the viewer's ability to digest your work? Is abstraction/representation the difference for the viewer? Is abstraction the ghost in the room for you?
CB: I was trained initially as an abstract artist. It's kind of weird because traditionally an art student gets trained in figurative stuff and then they are allowed to meander into other modes of painting. In undergrad, I had a bunch of former students of NYC AbEx painters as my professors (students of Al Held for example). The figurative painters I did end up taking taught me how to find and extrapolate forms from what was around me. So basically literal abstraction.
The work I'm doing now is me backing out of pure abstraction and color field painting into something more figurative. Navigating between these two things is a major theme in my studio. Paint is always first to me even when I'm trying to figure out the shape of a nose or a chicken, so it naturally is always first and foremost in my mind. I can't help it, I was brought up that way.
To answer the alien question directly though, if I'm painting a landscape and no ocular rules are followed at all, the piece becomes ungrounded. Things like temperature, weight, light, near and far, or flatness help ground a viewer. They can relate to a painting as a window into another space because they walk around a world that obeys those rules. Like good fiction, an author must suspend the readers disbelief so I guess the ghost in the room is the balancing act.
KB: One really learns by following one's curiosities and in that sense your approach to investigating those things that make you tick is enthusiastic. Can you talk about your curiosities outside the studio, and how those interests inevitably find a way into your paintings? Through your Facebook posts, I would assume film, particularly bad film, is one of these interests.
CB: Yes B-movies for sure. Although I mean it in the truest sense of the term. Not A-movies. I like lesser known stars, sad little budgets, and this feeling of wonky duct tape freedom. I mean yes I could say I love the fragility of them in the same way I appreciate a river-hobo-canoe made almost entirely out of Bondo, but honestly, the ones I love are the most apeshit, and the most apeshit are the ones that make me laugh the hardest. And I get bummed out so easily that watching them keeps me out of opium dens. So thank you B-movies.
I also love Shaw Brothers kung-fu movies. Actual ground fighting, that is to say visceral ass beating, will never be replaced by slow motion crying to piano music! Plus all the computer generated fighting in newer Chinese kung fu flicks? Come on. I make fists at them and throw my arms in the air! You suck!
Anyway, I try to mix all that up with art history stuff. I mean, all these movies come from retellings of history so might as well bring it back around. I also love comics, sci-fi novels, Skaldic poetry, trashy disco….. The list is as long as it is insane. Basically I will use anything I can get my hands on and if I can get the color and composition to hum and blush to my liking I will probably try and use it.
Kevin Blake is a Chicago based artist and writer.
The Moving Surface : An Interview with Andreas Fischer
October 3, 2013 · Print This Article
This summer I visited slow gallerys' group show, Rehearsal Attire. It was an exhibit about painting and something about what slow's Director Paul Hopkin said has stuck to my ribs. Hopkin talked about how many Chicago painters created flat canvases, with a picture plane that stands parallel to the viewer, suggesting this predisposition might have something to do with our immediate landscape — the way we live in a flatland, on urban streets crowded with buildings. By comparison  Southwestern painters are prone to pictures with expansive skies and topographical landscapes  stretching indefinitely out. Hopkin admitted that conversations like that — about horizon lines and abstraction — led Fischer and Hopkin to organize Rehearsal Attire together. In this case, however, landscapes were not expressly present, nor limitless topographies. Rather, Fisher's abstract paintings hung alongside Meg Duguid, Mindy Rose Schwartz and Charles Fogarty. Duguid disassembled a wall in the gallery and packed it in a suitcase. Fogarty removed a wall from his studio, on which he had painted a gingham cloth and re-situated it inside slow, beside a pile of campaign-like baseball hats that read "LUNCH". Mindy Rose Schwartz sculpted a figure out of plaster cast with an unprimed, and partially stitched canvas face; in another work a delicate series of hoops reach off the wall at variant angles. Between the hoops' bounds, flowers and thread weave in abstract, figurative compositions. I was drawn into these works with many questions — questions about limits, deconstruction, assembly and abstraction, questions that brought me to Andreas Fischer's studio, where we discussed his approach to painting, and how Rehearsal Attire came about.
Caroline Picard:Â How do you think about horizon lines in paintings? Can you have multiple limits operating at once in the same piece?
Andreas Fischer: Things like horizon lines and spatial boundaries come from  conventions embedded in the images I have been using.  The starting points for all of my recent work are what I would call conventional everyday image types -the kinds of images that are so present that they often get taken for granted or ignored.  At the same time, though, they have a problematic status because they are completely  contested territory even though they might look stable.
On  one hand I am using various aspects of the conventional states of these images, which are socially determined. On the other hand I am  materializing a reaction by trying to reconstruct these images, which I see as an example of how any individual might react. So, yes there are definitely multiple limits and they are directed by moving changing negotiations that I see as a kind of intersection of one idea of what is social and another idea of what is individual. Painting in this sense is a kind of materialization of reception or reaction — action painting in a sense, but not as a statement — maybe more like the way an electronic instrument might monitor a changing environment.
CP: Wait — that's exciting. How is a painting like an electronic instrument? Is it responding to you or the viewer?
AF: Well, I think of painting as decidedly not static and that is a big reason I am interested in it. I do think that so called fixed images are different from what we more clearly accept to be in motion. Paintings are moving perhaps more slowly and can be understood as attempts to visualize actions in a heightened way. Literally and chemically paint is  moving and changing over time from the moment pigment is ground, through the gesture of applying paint, to the drying; shrinking; aging and cracking that paint undergoes over time.
More importantly, though, a painting is an  action or gesture that begins to happen under certain circumstances and changes as the context around it changes. Our perceptions and interpretations of paintings change as the changing chemical compounds intersect with worlds that are always trying to figure themselves out. In this sense painting is like an electronic instrument in that it is a kind of sensor and feedback system that outputs interpretable data as the world moves — the meaning of the painting (or its output) changes as the stuff around it changes.
I am interested in the act of painting as a way of thinking, sorting or  diagnosing. Both painting and electronic instruments come into being in a sense because of what they need to be able to do with their environments. Electronic instruments are programmed to track, calculate, and relay data based on socially developed criteria or perceived need. Maybe we do a version of this too as individuals  and if so I think painting is likely a materialization of this kind of reflection of a larger social environment.
CP:Â Â How do you think about the logic of a single composition?Â
AF: The operating functions for composition and formal relationships for me are negotiation and process. In a sense each work is compositionally and formally its own activity. The kinds of reactions and procedures that an image seems to provoke on a given day especially as these bounce off of different patterns of thought and expectation floating around in the world vary quite a bit. This part of the operation  is not a logical progression — it is more preformative, maybe a bit like the way a player responds to the action in many kinds of sports.
CP: But in that case are you playing against yourself? Like a soccer player bouncing a ball against a concrete wall with static, physical and predictable qualities? Or do you feel like the canvas/paint/medium brush are less predictable and somehow capable of responding to you, like — say — another player on the field?
AF: I definitely experience it as the latter.  What I was thinking about was the way a body navigates and responds to various barriers and desired outcomes in real time — the spontaneous interaction of it all is so much like the act of painting for me.  Maybe the ingredients of painting are not quite like another player, but more like the entire context of the game. So yes, the medium is not predictable for me. If I could control it I wouldn't paint.  Furthermore,  I suspect that I am deciding or acting and reacting coextensively with social interactions I have had or might anticipate having in the future.  I think this is where the distinction between  what is social and what is individual falls  apart in an interesting way because each of these determine the other and maybe there is not really even a distinction in the end.  Maybe we are really post-individual.
CP:Â How did your recent show "Rehearsal Attire" come together?
AF: Paul Hopkin and I have been talking about doing something for a while and when we started to think seriously about what a project might look like we started trying think of way to  acknowledge conversation as a generative tool. I was making work that was in many was the product of specific conversations I was having with a few people and was very interested in a group show as a way to extend that dialogue.  I think Paul had been on that page for a while before we started working on the project.
Much of art history is really the act of watching very particular materialized conversations between a surprisingly small group of people. One could argue that the real content of much art is the function of conversation or relatively intimate social interaction. I wanted to start acknowledging my work as a set of  indexes of  lines of conversation.  I wanted to take that system  into a gallery and mix it with a different group of people  having different conversations so that one conversational context would bounce off of a few others to see how they would co-mingle and resisted each other.  There are so many amazing ways that groups or specific conversations out in the world intersect with other groups.  There is something fundamentally fascinating about a semi closed circle bumping into another semi closed circle.   That vibration, that negotiation is incredibly exciting to me and has been a huge motivator for my work over the last several years.
CP:Â How do you see that fitting into the more general dialogue of painting at the moment?
AF: I see a great deal of coolness of one kind or another in painting right now. I might be interacting with that characterization in the sense that, even though I kind of love much of the work I would characterize this way, I am much more interested in a state of being thoroughly tangled in the messiness of thought, struggle, material, and process.  I am probably not anything like cool in my interaction with painting. I think I embrace a kind of sloppy affirmational complexity that has more of a diving-into-the-muck quality to it.
CP:Â How do you think about deconstructing frames? Is that something of interest to you in painting?
AF: I love deconstruction and the expectation that it will yield different layers of meaning. But I don't think of my work in those terms right now. I think the negotiations that I see the work enacting are more like a struggle to bring things together. There is the familiar idea about early modernism that at a certain point painting became more opaque, more interested in its own materialism as a way of enacting skepticism toward unified illusion and its ability to function as a vehicle for certain idealisms, perhaps dangerously so. This is a way of seeing materially oriented painting as engaged in negation, criticism or the act of taking apart to an extent. Now that the idea of a unified illusionistic painting is historical and the more usual way for painting to function is through assertions of materialism over illusion, I think materially active painting has executed one critical task that maybe does not need to be rehearsed as insistently anymore meaning that materialism is a kind of free floating signifier that can attach itself to a much wider range of potential functions.  The range of possibilities for material activity has opened  up.
One of the possibilities can be a link between opacity and the act or struggle to form an image or to produce rather than take apart. Painting can be expected to  create a narrative construction relative to images we know to exist or not. For me the act that is most important is the act of framing in a sense, or getting an image to grow and take shape inside a frame, on a surface, or within a field.  In that case when we watch a painting we are watching something grow.
CP: One of the things I often struggle with in abstract painting is how to understand the meaning, or what is at stake in a given work. Taking what you said into account, I wonder if this idea of emergent order (is that an accurate paraphrase for "getting an image to grow and take shape inside a frame") is at the heart of the matter. Namely, whether or not a painting succeeds and/or fails at that — whether it makes the pursuit of that order interesting, and — if you'll allow a sentimental tone — heartbreaking (again, because it succeeds, or almost succeeds)?
AF:Â I totally agree with what you are suggesting at least in terms of how I would like my work to live or die. Â Heartbreak could very well be a part of it all.
I like that you use the term emergent order as well. I understand that to be a bottom up kind of growth based on a kind of exchange and growth where no one entity is in charge, is designing or directing the process or even knows what is going on, but great innovation or development takes place anyway. I think social interaction that flows beyond individual intent or understanding (or maybe just determines it in the end), but operates none the less is totally fascinating and it might be that many kinds of paintings are symptomatic of this kind of function somehow because they happen through a group of impulses, gestures, thoughts, urges, curiosities that just move around an individual  kind of unknowingly. There is an argument about Cezanne, for example that his supposedly individualistic innovations in paint handling are really just marks that anyone could make, which means that Cezanne is not an old fashioned modernist genius, but a kind of repository of commonality and his brilliance is really in his assertion of a shared, common, everyday kind of simple mark that anyone could make.
In the end if all of these interactions somehow reflect something valuable  then they work. And as you suggest, maybe if this kind of thing is true then it establishes a different way for painting to function than relying on what we might have called meaning in the past.  Maybe it is not really about the question of where or even if it ends up, but a kind of empathetic struggle to move toward something.
Dominic from Luton goes to Reykjavik
August 9, 2013 · Print This Article
Guest post by Mark Sheerin
It is more than 1,000 miles from Luton, England, to Reykjavik, Iceland. But Dominic from the UK town appears to love a good caper. Why else would he put together a group show on very little money in one of the most far flung and expensive cities in Europe?
"It was done on a wing and a prayer,†he tells me on the phone from his Luton studio. "The art was just really, really ambitious considering we didn't have much money to play with. It's amazing what you can do with a cardboard tube and a delivery van.â€
Five artists took part. And the show has just run for a month at gallery Kling & Bang. Along with Dominic, the full bill included Gavin Turk, Mark Titchner, Laura White and Peter Lamb. The show went by the name London Utd. "It's kind of doing what it says on the tin,†says Dominic, whose eponymous town is just a twenty minute train ride from the UK capital.
Not that he is the first to cross the Atlantic to the artist led space. He tells me that Paul McCarthy and Jason Rhoades have also shown at the dynamic and co-operative venue. And Dominic takes the opportunity to recount the tale of Kling & Bang's legendary appearance at Frieze Art Fair.
"They did a Frieze Project in London in 2008 called Sirkus. It's an incredible story,†says the artist, telling me that Sirkus was the name of a Reykyavik bar: "This place was the hub, the heartbeat of the arts communityâ€. But after nine years of business, Sirkus closed down, leaving Kling & Bang free to turn the façade and fixtures into a temporary installation for the art fair.
Dominic warms to his tale: "They arrived at Heathrow in October 2008 and basically all their credit cards had been stopped because the [Icelandic] crash had suddenly happened overnight and so this bar, which was a mirror of good times and place to meet, became that again in London.†Word soon went round about the penniless Icelanders with the reconstructed bar.
Things are a bit better in Reykjavik now and in its way London Utd has become another bridge between the art scenes in both cities. Mark Titchner's piece was a piece of text in Icelandic, which read The World Isn't Working. (Perhaps the UK crash is yet to come.)
Gavin Turk meanwhile offered a twelve and a half metre diptych inspired by Andy Warhol's Death and Disaster series and featuring the four wheeled emblem of working class Britain the Ford Transit. Laura White produced no less than 54 drawings of photos of sculptures which she herself had made. And Peter Lamb translated the shifting detritus on his studio floor into two large abstract canvases.
Asked about one of his own works in the show, Dominic is ready with another yarn. "That photo was done as a tribute to Paul Young,†he tells me. Like the artist, the singer came from Luton. "He used to work at Vauxhall [car plant] in the early 80s and he told someone I know in the canteen once that he was going to be a global pop star and then literally 18 months later he was, with Everytime You Go Away.â€
The track resonates with many a Lutonian and inspired a Dominic from Luton performance at an event called Café Almanac organised by Bedford Creative Arts. This involved sourcing an 80s wig from Luton Indoor Market, posing for a portrait artist in the shopping centre and getting 5,000 badges made to cover a cheap suit. "I just stood up in front of about 50 people in this Working Men's Club on a Saturday afternoon and sung my heart out,†recalls the artist.
This took place under a net filled with 200 balloons in the colours of the local soccer team, intended for release in the final verse. However "The net got caught in all of my badges so I had 200 balloons attached to me and I panicked and – it wasn't scripted at all – I basically ended up having a fight with these balloons and stamping on them and stuff and it brought the house down actually.â€
But despite the hazardous stagecraft, Dominic's "biggest challenge†is a self-proclaimed inability to sing. So it comes as no surprise that the artist thinks most performance art is too earnest. "People would argue with this, but I think there's a duty to entertain,†he says, "That's just my take on it. That's my little mantra.†Even the anecdotes which relate to each of his gigs are compelling experiences.
As a final aside, it's worth pointing out that the artist formerly known as Dominic Allan comes from one of the most derided towns in the UK. His "from Luton†tag is a sticky piece of cultural baggage. Dominic tells me that the name just came about through being easy to remember when he ordered materials.
Now, he claims, "It's just a very glorious vehicle for the idea of the underdog and also to shove it back in people's faces now because Luton's one of those towns which people laugh about . . . The more I go on, the more I realise that it is serious, and it is seriousâ€.
So that's Dominic, from Luton, easy to laugh with, hard to laugh at. Prepare to be entertained if he ever comes to your town.
Mark Sheerin is an art writer from Brighton, UK. He can also be found on Culture24, Hyperallergic, Frame & Reference and his own blog criticismism.com


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- Instrument:
- Level:
World's Hottest Fiddlers
By Drew Beisswenger
Fiddle - Intermediate
Composed by Drew Beisswenger. Country. E-book. 56 pages. Published by Mel Bay Publications, Inc - Digital Sheet Music (M0.20281EB).
Item Number: M0.20281EB
All the fiddle tunes on the CD The World's Hottest Fiddlers (C.M.H. Productions 8651; 2002), except one, are transcribed in detail for this book. These fifteen cuts, which include seventeen tunes, incorporate old-time standards such as "Sally Ann" as played by Kenny Baker, bluegrass standards such as "Orange Blossom Special" as played by Steve Thomas, Texas swing tunes such as "Beaumont Rag" as played by Johnny Gimble, and song tunes such as "Blue Moon of Kentucky" as played by Benny Martin. Other highlights include the complete twin fiddling parts for Benny Martin and Buddy Spicher's "Down Yonder," and the twin fiddle parts for Johnny Gimble's "Black and White Rag." Eleven other tunes are featured by fiddlers Barbara Lamb, Mike Hartgrove, Glen Duncan, Sonny Mead, Ramona Jones, Paul Warren, and Fiddlin' Red Herron.
About Digital Downloads
Digital Downloads are downloadable sheet music files that can be viewed directly on your computer, tablet or mobile device. Once you download your digital sheet music, you can view and print it at home, school, or anywhere you want to make music, and you don't have to be connected to the internet. Just purchase, download and play!
PLEASE NOTE: Your Digital Download will have a watermark at the bottom of each page that will include your name, purchase date and number of copies purchased. You are only authorized to print the number of copies that you have purchased. You may not digitally distribute or print more copies than purchased for use (i.e., you may not print or digitally distribute individual copies to friends or students).
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subset: commoncrawl


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|Jabrill Peppers
Kornacki: Unstoppable Peppers Worth the Hype
Kornacki: Unstoppable Peppers Worth the Hype
Kornacki: Peppers is Exceptional But Here's Why
Kornacki: Peppers is Exceptional But Here's Why
Kornacki: Peppers At Home in New Linebacker Role
Kornacki: Peppers At Home in New Linebacker Role
Peppers Tabbed Freshman All-American
Football's Peppers Tabbed Freshman All-American
Sporting News Tabs Butt, Peppers as All-Americans
Sporting News Tabs Butt, Peppers as Football All-Americans
Jabrill Peppers - Ironman of the Week
Jabrill Peppers - Media Day
• Tackles: 8 - Utah, 2015
• TFL: 2 - Utah, 2015
• Pass Breakups: 3 - Northwestern, 2015
• Receptions: 3- Indiana, 2015
• Yards: 35 - Michigan State, 2015
• Long: 28 - Michigan State, 2015
At Michigan
• One-year letterman
• Has appeared in 15 games at defensive back, making 13 starts; also contributes on offense and returns.
• Earned Big Ten co-freshman of the Week Honors (Oct. 12)
• Earned Big Ten Freshman of the Week Honors (Nov. 2)
• Named 2015 Big Ten Freshman of the Year
• Earned First Team All-Big Ten Defensive honors
• 2015 All-America second team honors (SI, Sporting News, CBS Sports)
• FWAA Freshman All-American
Sophomore (2015)
• Has appeared in 12 games at defensive back, making 12 starts; also contributing on offense and return game
• at Utah (Sept. 3): Made a career-high eight tackles, including two for loss
• Oregon State (Sept. 12): Tallied three tackles and a pass breakup
• BYU (Sept. 26): Recorded two tackles, including a TFL
• at Maryland (Oct. 3): Made two tackles and added a pass breakup
• Northwestern (Oct. 10): Tallied five tackles, including 1.5 for loss; Set a career best with three pass breakups
• Michigan State (Oct. 17): Tallied two tackles; Made his first career reception; Had a career-high 35 yards and two catches with a long of 28 yards
• at Minnesota: (Oct. 31): Ran 4 times for 19 yards and his first-career touchdown; Added three total tackles and two pass breakups
• Rutgers (Nov. 7): Contributed six tackles, including 1.0 TFL; rushed for an 18-yard touchdown
• at Indiana (Nov. 14): Recorded a career-best three catches for 16 yards; Tallied five tackles, three of which were solos
• at Penn State (Nov. 21): Made three tackles and broke up three passes; Rushed five times for 19 yards
• Ohio State (Nov. 28): Posted five solo tackles; Rushed for 30 yards on seven carries; Caught two passes for 25 yards
Freshman (2014)
• Appeared in three games, making one start
• Appalachian State (Aug. 30): Made first career start
• Miami (OH) (Sept. 13): Recorded career-high three tackles and returned one punt for six yards.
• Utah (Sept. 20): Matched career high with three tackles
• Four-time NJSIAA Group 4 state champion
• Attended Paramus Catholic High School (2014) for junior and senior seasons, coached by Chris Partridge
• Attended Don Bosco Preparatory High School in Ramsey, N.J. for freshman and sophomore seasons, coached by Greg Toal
• Played defensive back and running back
Key Statistics
• Totaled 134 tackles, seven interceptions, 5.0 tackles for loss and 2.0 sacks on defense and carried the ball 373 times for 3,059 yards and 43 touchdowns during career
• Also hauled in 57 receptions for 842 yards and 17 touchdowns
• Totaled 57 tackles and four interceptions as a senior
• Posted 77 tackles, three interceptions, 2.0 tackles for loss and one sack as a junior
• Named 2013 All-USA Defensive Player of the Year by USA TODAY as a senior
• First-team All-USA High School Football Team selection as a senior
• Participated in the 2014 Under Armour All-America Game
• Also named team captain for Team Nitro
Other Sports
• Also lettered in track and field
• Won the 100-meter dash and the 200-meter dash at the New Jersey Meet of Championships as a junior and senior, becoming the second male in meet history to win both events in consecutive years
• Broke the New Jersey state record in the 200-meter dash, recording a time of 20.79 seconds at the Big North Championships as a junior.
• Jabrill Peppers was born on October 4, 1995
• Enrolled in the College of Literature, Science and the Arts, major undeclared.
Family packs and individual game tickets now on sale for the 2016 Michigan football season..


text:
Max Factor Xperience Weightless Foundation
68 reviews
60% would repurchase
Package Quality: 3.3
Price: $$
Package Quality: 3.3
Price: $$
INGREDIENTSCyclopentasiloxane, Aqua, CucumislSativus (Cucumber) FruitiWater, Glycerin, Talc,lPEG-10 Dimenthicone Crosspolymer,lSodium Chloride, Niacinamide,lDiethylhexyl Carmonate, EthylhexyliMethoxycinnamate, PEG/PPG-18/18 Dimenthicone,iPropylene Glycol, SimmondsialChinensis (Jojoba) SeediCera, Dimenthicone, Cyclohexasiloxane,lMethicone, Dexpanthenol, BenzyliAlcohol, Tocopheryl Acetate,iPhenoxyethanol, Allantoin, Cyclotetrasiloxane,iSodium Benzoate, CitriclAcid, Hexyl Cinnamal,lHippophae Phamnoides (SeaiBuckthorn) Fruit Juice,lTridaceth-9, Rosa Caninal(Rose Hip) FruitiExtract, Parfum, Citronellol,lBisabolol, Potassium Sorbate,iSodium Benxoate, BenzyliBenzoate, Lactic Acid,lButylthenyl Methylpropional, Linalool,i. May contain:,iCI 77891, Cli77489, Cl 77491,iCl 77499.
on 9/17/2015 9:39:00 PM
Age: 19-24
Skin: Dry, Fair, Cool
Hair: Blond, Straight, Fine
Eyes: Hazel
i found this in a clearance bin at priceline and decided to give it a go. i have the shade 40 light ivory.
- liquid is a nice consistency, it's thinnish without being too runny; very easy to blend.
- dewy finish
- very comfortable to wear
- super inexpensive
- doesn't last too long
i like this foundation, but i wouldn't repurchase. i have other foundations i prefer.
on 3/9/2015 4:32:00 PM
Age: 18 & Under
Skin: Very Dry, Fair, Neutral
Hair: Red, Straight, Fine
Eyes: Hazel
I didn't quite like this foundation but it obviously was because I chose the wrong colour. It was too dark and you could easily see this and it looked horrible. It also gave my face a bit of a cake-look, so I decided to give the tube to my mother haha
The product stayed well on my skin and it didn't really react on it. I wouldn't buy a new one though, I like BB cream better. It was too cakey for me and I prefer something lighter, especially because I have a very clear skin.
To Read all 68 Reviews, Login or Join
on 7/25/2014 3:20:00 AM
Age: 18 & Under
Skin: Dry, Medium, Not Sure
Hair: Brunette, Wavy, Medium
Eyes: Blue
Light coverage foundation which stays on place for max. 4 hours. Smells nice and it didn't break me out plus does a nice satin finish.
on 6/28/2014 10:51:00 AM
Age: 19-24
Skin: Oily, Fair, Cool
Hair: Blond, Wavy, Fine
Eyes: Blue
Well, to start off with - I'M NOT ALLERGIC TO IT! It's completely safe for sensitive skin, and hasn't resulted in any breakouts thus far, which is prestigious for someone who's battled with acne her whole life. It has a smooth, non-oily and non-sticky texture that provides light, natural coverage - and they make it in Light Ivory, which is great for us vampires. It lasts all day on a normal complexion, but tends to wear away on oily areas a lot quicker. However, when they say "weightless", they mean it! It feels like you aren't wearing foundation at all. Unfortunately, it does oxidise a little - take a shade paler than your own skin just in case. On the plus side, it smells great, and has added rosehip oil for antioxidant power!
All in all, an impressive middle-of-the-range product. Thanks to the very rare pale colour (not an easy find in South Africa), I may well buy it again.
on 5/2/2014 8:34:00 AM
Age: 18 & Under
Skin: Acne-prone, Fair-Medium, Cool
Hair: Blond, Straight, Fine
Eyes: Blue
Bought two of these foundations at Target for $5 and decided I might as well try it on a whim. As someone who has fair skin, I really struggle to find foundations that don't eventually oxidize and turn orange. So when I tried this foundation, I was pleasantly surprised. I bought shade #45, which is Raw Silk. Of course I wear moisturiser underneath it, which evens out the colour, I find. It glides on, looks dewey and honestly makes your skin glow. I love it, and its my everyday foundation!
*Makes me breakout - I find that when using this foundation compared to my other, a few pimples pop up here and there.
*A little too thick, creating a caked look. Nothing that can't be smoothed out though.
Overall, there are only small problems with this foundation and I really love it. Would definitley recommend! :)
on 1/16/2014 1:08:00 PM
Age: 18 & Under
Skin: Combination, Fair, Not Sure
Hair: Brown, Other, Other
Eyes: Other
You pay for what you get. It's not expensive but you can tell. The colour is nice and coverage is light to medium but buildable but the packaging is messy and horrible. my biggest problem was lasting power. This foundation only lasted half a school day but I could re apply because of the mess the bottle causes in my bag. I look hideous when arriving home from school, i'm glad to be finished with this one.
on 5/13/2013 12:24:00 PM
Age: 18 & Under
Skin: Combination, Fair-Medium, Warm
Hair: Blond, Kinky, Medium
Eyes: Blue
This is the worst foundation I have EVER used.
First of all, it broke me out like crazy - and my skin very rarely breaks out as a reaction to product. I left the house with no spots, came back with spots almost everywhere that I put the foundation.
Secondly, it oxidises. I bought ivory, and after I put it on my face it went super orange almost immediately.
Last of all, it slipped off very quickly and left me looking patchy, oily and horrible. I really recommend that you DO NOT buy this foundation.
on 4/28/2013 2:49:00 PM
Age: 25-29
Skin: Dry, Fair, Not Sure
Hair: Brown, Other, Other
Eyes: Grey
Great for travel light but nice coverage amazing product so cheep nice shade range
on 4/7/2013 5:43:00 PM
Age: 18 & Under
Skin: Dry, Fair, Not Sure
Hair: Brunette, Other, Other
Eyes: Hazel
I love this foundation! I have dry skin, especially in winter - and this foundation glides over it like a dream.
I have tried many foundations, and this one is better than my 40 quid Laura Mercier one! I also have cool toned skin with a lot of redness. Max factor seem to love making pink toned foundations... So I'm afraid if you have a yellow undertone their shades may not work for you.
Coverage: sheer to medium. It is easily buildable but I tend to use my collection 2000 concealer to cover bad areas of redness.
Finish: satin. I sometimes set this foundation with powder but on most days I leave it as my skin HATES powder.
How long it lasts: around 4 hours. Not amazing but I don't mind re-applying some to problem areas.
I would say this foundation would work best for people with normal to dry skin. I doubt it would last very long on an oily skin and it would need setting with a powder.
Love this and will continue to buy!
on 3/5/2013 8:51:00 AM
Age: 30-35
Skin: Normal, Fair, Warm
Hair: Brunette, Straight, Fine
Eyes: Green
Sometimes, you get what you pay for. I bought this because I was away and had left my usual foundation at home. It was cheap, light enough and basically the only option in the town I was in. This is pretty much the only foundation I have ever had to wash of my face because I just couldn't go outside in it. The colour wasn't the problem, it was the fact that it got into my pores, caked like you wouldn't believe, and was just flakey and horrible.
I have found other foundations from this brand that are okay, but this was just horrible on me.
The fact that it is in a tube is good though, if you get along with it, you can carry it anywhere and it is hygienic.
Popular Liquid Foundations
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Throw Pillow
Finding Beautyby Biljana Kroll
10% Off + Free Shipping on Everything - Ends Tonight at Midnight PT!
Throw Pillow made from 100% spun polyester poplin fabric, a stylish statement that will liven up any room. Individually cut and sewn by hand, each pillow features a double-sided print and is finished with a concealed zipper for ease of care. Sold with or without faux down pillow insert.
Inspired by a quote by Van Gogh "If you truly love nature, you will find beauty everywhere." Print features vintage stamps and hand-drawn ballpoint pen illustrations of bird skulls.


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Digital Media Buying Coordinator
- Employer
- Cafe Mom
- Location
- New York
- Posted
- May 28, 2013
- Closes
- Jun 27, 2013
- Contact
- Lauren Cowans
- Category
- Digital Media, Social Media
- Duration
- Full Time
We are looking for an energetic, solutions-oriented team member that loves numbers and Excel! This person will be responsible for managing & optimizing numerous RTB/programmatic campaigns as well as identifying & testing new strategies to drive optimal media performance for clients. Position reports directly to Sr. Director of Audience Targeting.Responsibilities:-Help manage a variety of digital display campaigns via RTB/programmatic buying - implement campaigns into a DSP and QA through flight-Assist with optimizing campaigns for a variety of success metrics including CTR, CPC, and CPA - seek opportunities to improve campaign performance-Track, analyze, and update daily reports - help maintain a database of campaign performance and provide Account Managers with regular reportingRequirements:- Recent college grad or 1-2 years related experience-Strong interest in digital marketing and/or media buying-Basic/conceptual understanding of digital media buying (CPM, CTR, CPC) - Capable of learning new technologies/platforms quickly and efficiently -Strong knowledge of MS ExcelHow to Apply:Interested candidates should submit a resume and cover letter with salary requirements to email@example.com. The subject line of your email should read "Digital Media Buying Coordinator".We regret that we are unable to respond to each resume. Only those individuals selected for interviews will be contacted. CafeMom is an equal opportunity employer.


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The MLX91802Uni-ROM concept makes available Melexis' ready-to-use firmware. This means that any TPMS incorporating this device can be fully developed without the need for custom software engineering. By using simple configuration tools, operating behaviors can be set so that the MLX91802 can be deployed in a customized TPMS module without writing any code.
It provides a complete firmware solution for TPMS based on 6 modes: Storage, parking, driving, pressure alert, fault and test.
- Storage mode minimizes power consumption until sensor is installed and activated on a vehicle.
- Driving and parking are the main operational modes supporting transmission of the measured pressure, temperature and battery voltage to the vehicle computer via the RF channel with programmable periodicity.
- Pressure Alert mode ensures a quick response to a detected rapid pressure drop.
- Fault mode appears if any available sensor or is faulty.
- Test mode facilitates EOL module testing and diagnostics.
The Uni-ROM allows setting of the main parameters, defining the features of the different modes and the transitions between them. Configuration and customer data are stored in the internal EEPROM memory of the MLX91802. As well as shortening design time, utilizing Uni-ROM instead of a custom ROM permits ordering of low unit volumes.
As Melexis Product Manager Ivan Zagan notes "The need to simplify and accelerate the design in of TPMS functionality requires an approach that eliminates complex custom software engineering and development. The MLX91802 Uni-ROM is a complete solution through which engineers can leverage the experience and knowledge of Melexis in order to realize the high performance TPMS sensors their customers want in much shorter design cycles" he concludes.
Further Information
Pinnacle Marketing
Mike Green
Account Manager
Tel: +44 7970 728 442
Email: [javascript protected email address]


text:
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Don't get too bummed. This item is on the way and will be available for purchase as soon as it rolls into the warehouse.
Can't wait? Consider one of the other Complete Longboards we have in stock.View Similar Products
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Classic cruising.
Taking design inspiration from surfboards, the Arbor Timeless Bamboo Complete Longboard features a classic pintail shape and striking bamboo top ply. The longer wheelbase enhances stability at speed, with its pintail shape providing a surfy feel that loves to carve around town. Six-ply maple construction brings a mellow flex that's great for casually cruising down beach boardwalks and city streets alike. Rounding out its premium performance, the longboard's reverse kingpin Paris 50° trucks strike an ideal balance between agile turning and stability, 1/4-inch risers dampen vibration at speed, and Mosh Series 70mm wheels (78a) roll smoothly across urban environments.
- 6-ply maple construction with bamboo top ply
- Clear Lucid grip (made from crushed glass)
- Paris 50° 150mm trucks with 90a Divine bushings
- Outlook Series 70mm wheels (78a)
- ABEC 5 bearings
- 1/4-inch risers
- Item #ARB00BW


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Reacting to the arrest of six Philadelphia police narcotics officers on federal corruption charges, the Committee of Seventy on Thursday called for replacing the Police Advisory Commission with a more powerful and independent oversight body.
"Police misconduct has become an epidemic," said Ellen Mattleman Kaplan, interim president and chief executive officer of the nonpartisan watchdog group.
"Too many officers play by their own rules and are poisoning the integrity of the entire police force," she said. "It's not fair to the majority of officers who perform their jobs honorably. It has crushed the confidence of the citizens of Philadelphia."


text:
March 31, 2011
Contact: Maggie Kao, 202-675-2384
U.S. House Votes Against Protecting Water Sources from Pesticides
292-130 Vote Allows Unchecked Use of Chemical Pesticides in Water Sources
Washington, D.C. – Today the U.S. House of Representatives passed the "Reducing Regulatory Burdens Act" (H.R. 872) by a vote of 292-130. The bill, introduced by Rep. Bob Gibbs (R-OH), allows the use of chemical pesticides in water sources without any limits or protections – endangering the safety of Americans' drinking water.
Statement by Michael Brune, Executive Director of the Sierra Club:
"We are appalled and deeply disappointed by today's passage of the so-called 'Reducing Regulatory Burdens Act' in the House.
"Contrary to Rep. Gibbs' claims that limits on pesticide levels in water would place unfair burdens on American farmers, this bill will risk the drinking water sources and health of all Americans, including farmers.
"Right now, the U.S. Geological Survey shows pesticides in 92 percent
of streams around agricultural areas tested.
Another USGS study also found that 96 percent of all fish analyzed in
major rivers and streams contained one or more pesticide. That's fish that we eat and water that we
"The fact that this damaging and dangerous piece of legislation was able to pass with such a wide margin is alarming, and demonstrates the power of misinformation on Capitol Hill. The worst of it, however, is that Americans will have to pay the price."


text:
Tunica's Wilhite honored
In recognition of outstanding athletic achievement, Thelma Wilhite was honored by Southern University at a special ceremony on Sept. 27 in Baton Rouge, La. Wilhite was among inductees into the Athletic Hall of Fame.
Latest News
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Securities trades recently reported to the Securities and Exchange Commission by officers, directors and principal shareholders of corporations based or having sizable employment in the Philadelphia area. Titles are as reported to the SEC.
Dorman Products Inc.
Steven L. Berman, chief executive officer, sold 18,000 shares at $46.32 on July 15, and now directly holds 3,349,430 shares.
Epam Systems Inc.
Ilya Cantor, chief financial officer, sold 1,969 shares at $27.14 on July 8, and now directly holds 20,000 shares.


text:
Rakia Reynolds is too cute on this muggy afternoon in her vintage black linen jumpsuit and 3-inch-high nude wedges.
But it's the canary yellow crown with the every-which-way-but-loose feathers perched atop her fuzzy French twist that draws the most attention. Before we enter the Old City Starbucks, one man trips trying to get a second look at the sunshiny confection.
Another woman points and praises. She wants one.
"The royal wedding messed me up," Reynolds lamented as we chatted over coffee. (Espresso for her, decaf nonfat latte for me.) "I mean, I love that hats are all the rage now, but honestly, this is my look."


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Christophe De LangheHelp! -
Waiting for my new iMac for more than 7 weeks now ?!? Ordered it through an APR in Belgium on 4th december ... still not delivered ! Its driving me nuts !
4 comments
It's terrible how the APR's are treated... :-( They get an email when an order has shipped but have no clue how the order is progressing b4 then. I remember when I still worked for an APR I asked them to order me the (then new) Thunderbolt cable. After two weeks I got fed up and ordered online from Apple. The cable arrived from Apple nearly two weeks before the one I ordered from my then employer. The policy is exactly to make you more inclined to order direct from Apple then they make more profit on the order of course... I would say support your APR, but I feel it's a lost cause sadly :-(
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