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Meet Keighley from Liberty's Design Studio
Ever wanted to learn how to make your very own clothing, but found the thought of following a dress pattern more daunting than Everest? Print aficionado, Keighley is here to put you at ease. We caught up with Liberty's loveliest print designer to pick up some dress making tips, and pry into the world of the Liberty Design Studio and what it's like to work there. We also got a glimpse of Keighley's collection of handmade garments – flirty floral frocks, retro A-line minis and a host of snug fleece sweatshirts – all enough to make you green with wardrobe envy.
How long have you been a print designer at Liberty, and how did you end up working in the Liberty print design team?
I've been at Liberty for about two and a half years. I studied fashion print at Central St. Martins and was on a sandwich course so I could spend a year in the industry before my final year, most of which I spent at Liberty. I loved it and was offered a job for when I finished my degree which was really exciting.
What part of the print design process do you love and find the most exciting?
I love the actual designing part the most; drawing, painting or lino printing the design. But getting the brief and the research part, when I've got lots of ideas buzzing around my head, is pretty exciting too. Once the design has been approved the colouring stage is really interesting. When the design starts to be coloured it really comes to life and it always amazes me how colour can transform the design.
You sometimes go on field trips to get inspiration for the seasonal fabric designs. What has been the most memorable trip you've taken with the team?
The most memorable trip was Florence. One of the other designers and I went at the end of last year and it was just incredible. There is so much beauty packed into such a small city. We went for three days and managed to see so many inspiring things, I can't go into too much detail as it was research for Autumn/ Winter 2015 – which is still very top secret!
Working so many seasons in advance, how do you ensure designs will remain relevant and current?
It's great working so far in advance because it allows us to almost set the trends and create designs that will go on to inspire others who will use the fabrics in their collections. Our briefs are always so inspiring and within our collections we try to create gorgeous designs and beautiful colours that will appeal to a variety of customers. We also have an innovation team who search for great new base fabrics to put our designs on to. We have recently launched denim and fleece, which are both amazing and so wearable (I think I have five Liberty fleece jumpers now!).
What is your favourite Liberty print, and what does it mean to you?
Oh that's quite a hard question! I'm going to have to mention a few. I'm quite attached to all of my designs as I work on them for so long, then we can name them after someone and that makes you feel even more attached! I named my very first design 'Jacqueline Helena' after my mum; I designed it at St. Martins when we did a collaboration competition with Liberty in our second year. My first design as a designer here was inspired by sound and was named after my brother, 'Joshua Graham'. I also love 'Kevin' (my dad!), a design from Autumn/ Winter 2014 which was inspired by star constellations. From Spring/ Summer 2014, I think my favourites are 'Sheree' which was inspired by the Liberty Bath House and named after my auntie, and 'Jess and Jean' which was inspired by the furnishing room. I've just seen that Sessùn have used it for a dress which I'm really excited to buy. I haven't even mentioned the designs I love that I haven't designed! I must just mention 'Alice's Garden', a design from Autumn/ Winter 2013. This is 'Anna's garden' (also a beautiful print which was inspired by a scarf print from the archive) made really tiny and put onto fleece, it's just gorgeous. 'Wild Flowers' from Autumn/ Winter 2014 was created from a paper cut sculpture of a botanical book, it was also printed on fleece, so I made a gorgeous jumper and also recently upholstered my wooden desk chair cushion with it, which looks lovely.
Is it true there is a print named after you? Have you made anything from the design?
Yes! 'Keighley' was designed in Spring/ Summer 2012, I absolutely love it and have brought metres of it. I can't decide what to make, it has to be something special. Luckily, Paige Denim used 'Keighley' and made a really cute pair of denim shorts which I obviously bought.
You make many of your own items using Liberty print, what has been your favourite project so far?
When I was interning I collected lots of different scraps and made a quilt which is on my bed so I love waking up to that. But making clothes is fun; being able to see something I like then try and re-create it is great. I went through a phase of making lots of fleece jumpers, but at the moment I seem to be making lots of A-line mini skirts out of the denim and also material from our new Furnishing Fabrics collection. I also really enjoy making presents, it's lovely to give someone something you've made, even if it's something little.
Many people feel daunted by the prospect of making clothing, what advice or encouragement do you have for those first timers?
Don't be daunted! It really is quite easy if you start with something simple, like an elasticated skirt, for example, or a T-shirt style dress. The best way to start is to get hold of a garment that you like the shape of and that you can ideally cut up to create a pattern. It's a really good way of seeing how garments are put together and the more you practice the more you will get used to knowing what the patterns need to look like to be able to fit the body. Trial and error is the best way to learn if you haven't had any training in it.
Finally, will you be making anything from the new season 'Gallery of Prints' collection? If so, which print will you be using?
As we design so far ahead I've had the Spring/ Summer '14 fabric around for a while, so I've made a smock dress from 'Jonathan', some boxer shorts and an iPad case out of 'Sheree' and lots of cushions out of 'Jess and Jean', which look lovely. Also, a little rag doll for my niece's first birthday with a patchwork dress of 'Sheree', 'Jess and Jean', 'Jennie and Steve' and few other designs from other seasons. I went to have a look at the collection on the shop floor the other day and was reminded of how much I love 'Isle of Wight', so I really want to make something out of that… I'm not sure what yet.
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'Spy Hunter'
Warner Bros. Interactive
PS Vita (Nintendo 3DS)
ESRB rating: Everyone
Review rating: 3.0 stars
"Spy Hunter" was one of the first video games that I played over and over again, but the 2001 remake was a huge disappointment. Now that Midway is no more, Warner Bros. has taken the reigns for a second attempt at a remake. Although the new "Spy Hunter" is true to its roots and fun to play, low production values and mediocre visuals make it difficult to ... err ... handle for modern gamers.
No storyline was present in the original 1983 version, and the only goal was to destroy enemies before being destroyed. While the goal hasn't changed much, the new version casts players as a nameless spy testing out a prototype high-caliber vehicle called the Interceptor that's armed to the grill. During the test drive, an evil crew with inferior vehicles crashes the party and carnage ensues!
It comes as no surprise that the G-6155 Interceptor is the epitome of vehicles. The ability to transform into a boat and carve through water combined with mounted weapons like machine guns, missiles, and flamethrowers gives it a huge advantage over "ordinary" spy cars. I really like the ability to have four weapons active at the same time because it adds even more destruction and increases the already blistering pace.
Another cool feature is the health system that relies on the same miniature reactor cores that power the Interceptor. Six reactor cores are active at the beginning of each level, and they regenerate 'armor' when not in combat. However, reactor cores are disabled when they are destroyed, so paying attention to the 'health' of the Interceptor is required.
While the control scheme is user-friendly, I found myself fishtailing too easily when making minor turns. In addition, the visuals look archaic for a high-definition handheld device, which can be detrimental in such a fast-paced game.
Old-school gamers will appreciate the nostalgia of "Spy Hunter," but I doubt if the game will attract new fans to the series.

subset: commoncrawl


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Luo Brothers
Luo Brothers
Luo Brothers
consist of Luo Weidong, Luo Weiguo, and Luo Weibing (Chinese, b.1963; b.1964; b.1972). The brothers hail from the Guangxi Autonomous Region of China, and began working together in 1996, while living in Beijing. They are a part of the Political Pop movement in China, and depict
contemporary branding
and pop culture imagery in their art. These images are blended with Chinese folk elements into colorful compositions that resonate with the social values and
current political environment
of contemporary China. There is a juxtaposition of contemporary and traditional subjects in their art, as well as an allusion to the past through the use of very traditional Chinese media: ink on paper and
lacquer paint
The Luo Brothers are known for their paintings and sculptures, which have been described as both "Gaudy Art" and kitschy; their artistic style draws from that which was used during the Cultural Revolution for propaganda purposes. Global consumer culture is an important theme for the Luo Brothers, as they were born around the time of the Cultural Revolution, and have witnessed the economic development of China, as well as an increased emphasis on material possessions. The Luo Brothers leave their work intentionally ambiguous in tone, and so their art can be interpreted as either a celebration of China's current consumerist culture or a mockery of it. While working across a variety of media, they have maintained a remarkable standard of craftsmanship, and have been exhibited internationally in both solo and group exhibitions.
Find Luo Brothers artworks for sale worldwide, artworks that sold at auction, a detailed biography, and more information on the artist below.
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Luo Brothers
Welcome Welcome
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Luo Brothers
Welcome Welcome! - Mao Express
Yang Gallery
Luo Brothers
Welcome Welcome! - Coke
Yang Gallery
Luo Brothers
World's Most Famous Brands Series (baby boy holding pepsi can w/ammunition vest)
Jacques Dupres Collection in collaboration with Olyvia Fine Art
Luo Brothers
Welcome to the World's Famous Brands
Lisa Sette Gallery
Luo Brothers
Untitled A (Yellow Horse)
Ethan Cohen Fine Arts
Luo Brothers
Untitled B (Fish Babies)
Ethan Cohen Fine Arts
Luo Brothers
ArtChina Gallery
Luo Brothers
A cup for your toy
F.G. Conzen
Past auction results
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Luo Brothers
Welcome to the world's most famous brand (Mao swimming Yangtze River)
, 2006
lacquer and paint on wood
View Details
Luo Brothers
Welcome to the World's Famous Brands (32)
, 1997
lacquer and paint on wood
View Details
Luo Brothers
Welcome to the World's Famous Brands (34)
, 1997
lacquer and paint on wood
View Details
Luo Brothers Biography
Luo Wei Dong, born in Guangxi Autonomous Region, China
Luo Wei Guo, born in Guangxi Autonomous Region, China
Luo Wei Bing, born in Guangxi Autonomous Region, China
Luo Wei Dong graduated from Guanxi Art College, China
Luo Wei Guo graduated from Guanzhou Academy of Fine Arts, China
New York State Council On The Arts, Experimental Television Center
The three Luo Brothers begin to collaborate, live and work in Beijing, China
Luo Weibing graduated from the College of Art and Design in Beijing, China
Experimental Television Center
New York State Council On The Arts
New York State Council On The Arts, Experimental Television Center
Macdowel Fellowship
CEC International Traveling Exhibition Fellowship
John Simon Guggenheim Memorial Fellowship
Selected Exhibitions
Asia Week at Pace Prints, Pace Prints Gallery, New York
"Welcome Welcome!" Yang Gallery, Beijing, China (solo)
"Expressions: Group Show" Chinese Contemporary, Beijing, China
"Chasing Flames" Eli Klein Fine Art, New York
"New Works From China" Augen Gallery, NW Davis, Portland, Oregon
Welcome, Welcome, Xin Dong Cheng Gallery, Beijing, China (solo)
More Yum Cha, Ray Hughes Gallery, Sydney Australia
Face EAst, Robinson Gallery, Denver Colorado
Red Hot Bright, The Recent Works of the Luo Brothers, Dolored de Sierra Gallery, Madrid Spain (solo)
Red Hot! Asian Art from the Chaney Family Collection, Houston Museum of Fine Arts, Houston, Texas
The Year of the Golden Pig - Contemporary Chinese Art from the Sigg Collection, Lewis Glucksman Gallery, Cork, UK
Under the Radar: Chinese Contemporary Art, Robischon Gallery, Denver, Colorado
Hallelujah Anyway No. 2, Elizabeth Leach Gallery, Portland, Oregon
Room Tone, Sara Meltzer Gallery, New York, NY
Stitching Noorderzon, Noorderzon Festival, Groningen, Netherlands
Welcome Home, Sara Meltzer Gallery, New York, NY
Into Black: Works in light, projected video, photography, drawing and painting, Western Bridge, Seattle, WA
New Works, Sara Meltzer Gallery, New York, (solo)
Video Lounge, Art Basel Miami Beach 2005, selected by Christopher Eamon
Solitude and Focus, Aldrich Contemporary Art Museum, Ridgefield, Conneticut
19 Rainstorms, Western Bridge, Seattle, Washington
Neil Goldberg: Single Channel Work, Northwest Film Forum, Seattle, Washington
How to Fix Reality, Impakt, Utrecht, Netherlands
World famous brand, Changing Role Gallery, Napoli, Italy
Happiness, Art Beatus Exchange Square, Hong Kong
ARCO, International Contemporary Art, Madrid, Spain
New Works by the Luo Brothers, Courtyard Gallery, Beijing, China
A Grid of One, Berkeley Art Museum, Berkeley, CA
Multiplex, Curated by Eve Sussman, Smack Mellon, Brooklyn, NY
7th Street Shadow, YYZ Artists' Outlet, Toronto, Canada
Synapses, Florence Lynch Gallery, New York, NY (catalogue)
Invisibilities, DUMBO Film and Video Festival, Brooklyn, NY
Around Narrative, One Take Festival, Zagreb, Croatia
Second International Biennial Of Video Art, Tel Aviv, Israel
Video Projections, Curated by Sally Berger and Barbara London, Museum of Modern Art, Queens, NY
Portrait, Kunstlerhaus Mousonturm, Frankfurt, Germany
The Inquiring Camera: Experimental Documentaries, Pacific Film Archive, Berkeley, CA
Just Stand There, MIT List Visual Arts Center, Cambridge, MA
25 Hours, Poliesportiu El Raval, Barcelona, Spain
Urban Lights, VideoEx, Zurich, Switzerland
New York Jewish Film Festival, Lincoln Center, New York, NY
Korea International Art Fair 2003, Korea
ARCO, International Contemporary Art, Madrid, Spain
Highlights of the Chengdu Biennale, The Courtyard Gallery, Beijing, China
Zebra Poetry Award, Interfilm, UFA Kino, Berlin, Germany
Gimme Shelter, Museo Tamayo Arte Contempor‡neo, Mexico City, Mexico
Pek Festival, Het Haags Filmhuis, The Hague, Netherlands
14th Annual Onion City Experimental Film And Video Festival, Chicago, IL (Jury Award)
New York Video Festival, Lincoln Center, New York, NY
New York Video Festival, Lincoln Center, New York, NY
Time Share, Sara Meltzer Gallery, New York, NY
CEC International Screening Series, ProArte Institute, St. Petersburg, Russia (traveling exhibition)
Luo Brothers, Sydney, Australia, (solo)
Luo Brothers`Fine Arts lndividual Exhibition, Paris, France, (solo)
The Asia new art exhibition, Loet galerie, Paris, France
Un art populaire, Fondation Cartier, Paris
New Face of China, Melbourne, Australia
New Face of China, Sydney, Australia
Sydney Art Biennale, Sydney, Australia
New York Times Millenium Exhibition, New York, NY
Fukuoka Art Museum Collection Exhibition, Fukuoka, Japan
Ooh, La, La Kitsch! TEDA Contemporary Art Museum, Tianjin, China
San Francisco Modern Art Museum Collection Exhibition, San Francisco, California
The 24th Sao Paulo International Art Biennale, Section "Navigation Line Brazil"
Personal Touch, TEDA Contemporary Art Museum, Tianjin, China
Gaudy-ism Upsurge
Injury of Ostentation, Beijing, China
Public Collections and Museums
Fukuoka Art Museum Collection Exhibition, Fukuoka, Japan
TEDA Contemporary Art Museum, Tianjin, China
San Francisco Modern Art Museum Collection Exhibition, U S A
Sigg Collection, Swiss
Aldrich Contemporary Art Museum, Ridgefield, USA
Berkeley Art Museum, Berkeley, Canada


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Orientation For International Students
Discover the UC experience first-hand
Orientation is a great way to start your academic journey at Utica College.
> Details about International Student Orientation
UC Apparel
Show your spirit from the start with our great line of Utica College apparel.
> Click here to shop the UC collection
Take the next step.
> Discover more about UC
> Learn how to apply
> Explore financial aid options
> Apply Now
Meet our Staff
Dorothy (Dottie) Milligan Lewis, Ed.D.
Interim Dean of International Education
Daniel O'Toole, M.S.
Director of International Programs
Lisa M. Tehan, B.S.
International Specialist
Can (John) Erdogmus, M.B.A.
International Student Recruiter


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Nursing Is On The Cutting Edge
The new, state-of-the-art Nursing Building is a welcome addition to the North Carolina Central University campus. The 25,000-square-foot building provides ample space and advanced learning technologies to help students develop into nursing professionals for the 21st century.
Please take a moment to explore the many naming opportunities this beautiful facility has to offer in support the nursing program at NCCU. Help us cultivate future leaders in this health care field and beyond.
Nursing Building — $5 Million
Level one
Click to view floor planThe Lobby — $500,000
Room 108
The Lobby is the heart of the new Nursing Building. This high-traffic area will house the reception desk and waiting areas for students, faculty and visitors.
Auditorium — $250,000
Room 1110
The auditorium will be home to many learning events and presentations. This space has 203 stadium-style seats, each equipped with power outlets for laptops and other electronic devices. The auditorium has a fully integrated audio and visual system for professional presentations and events.
Medium Lecture — $100,000
Room 1101
The medium lecture rooms have 74 seats to accommodate smaller audiences and lecture-style classes.
Medium Lecture — $100,000
Room 1106
The medium lecture rooms have 74 seats to accommodate smaller audiences and lecture-style classes.
Waiting area — $100,000
Room 1302
This is another high-traffic area where students, faculty and staff will congregate. Students waiting for advising sessions with academic counselors will be the most frequent users of this space.
Student Lounge — $100,000
Room 1303
Students can wait for their next class or meeting to begin in this lounge area.
Level two
Wing of the building — $250,000
Multi-Focus Training — $100,000
Room 2122
Room 2315
These three training rooms are state-of-the-art clinical labs where students practice the skills they have learned in the classroom. There are multiple hospital bays equipped with anatomically correct human patient simulators, functioning medical gas lines and medical supplies. These lab spaces provide hands-on learning experiences to prepare students for direct patient care.
Maternal/Child health training — $100,000
Medium classroom — $100,000
Room 2315
This is a technologically-advanced space that brings faculty and students to the cutting edge of health science education.
Level three
Click to view floor planComputer research lab — $100,000
Room 3114
This space houses multiple computers for students to use for their research endeavors.
Corridor 3321 — $100,000
The corridor is another high-traffic area on the third floor of the nursing building.
Office suite — $100,000
The suite houses the office of the Nursing Department chair. This office space has a conference room, waiting room and office for administrative staff members.
Other naming opportunities
Level one
Click to view floor planGrab and Go, Room 1305 — $75,000
Computer lab — $50,000
Level two
Click to view floor planCorridors (multiple to choose from) — $75,000
Grad Lounge Room 2301 — $25,000
Level three
Click to view floor planPhlebotomy lab — $75,000
Faculty Lounge Room 3120 — $75,000
Boardroom, Room 3208 — $75,000
Various administrative offices — $25,000 to $50,000
For additional information, please contact
Randal Childs,Assistant Vice Chancellor


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Your Weekend Forecast
La Trinidad, Philippines
Mostly cloudy. Temperature of 84°F. Winds ENE 17mph. Humidity will be 61% with a dewpoint of 69° and feels-like temperature of 87°F.
Partly cloudy. Temperature of 66°F. Winds ENE 19mph. Humidity will be 82% with a dewpoint of 60° and feels-like temperature of 66°F.
Partly cloudy. Temperature of 85°F. Winds ENE 13mph. Humidity will be 57% with a dewpoint of 68° and feels-like temperature of 88°F.
Mostly cloudy. Temperature of 67°F. Winds ENE 18mph. Humidity will be 83% with a dewpoint of 62° and feels-like temperature of 67°F.
Mostly cloudy. Temperature of 80°F. Winds ENE 21mph. Humidity will be 60% with a dewpoint of 65° and feels-like temperature of 82°F.
Partly cloudy. Temperature of 67°F. Winds ENE 26mph. Humidity will be 78% with a dewpoint of 60° and feels-like temperature of 67°F.
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High Falls Restaurant Closing Down
The Triphammer Grill in Rochester's High Falls neighborhood is closing down after 16 years.
The Triphammer is the latest in a long line of restaurants that have left the High Falls area. It is the area's last remaining full-service restaurant, and will shut its doors on November 30. WXXI's Peter Iglinski reports tonight during All Things Considered.


text:
Resurrection of Age-Graders Helps Belmont to Title |
Sevens - Club Sevens | |||
Jack Tracy and Eric Duechle both represented the United States in 2008, Tracy at the Junior World Championships in Wales with the U20s and Duechle as an All American from Air Force. Not since then has either gotten close to another National Team camp or call up. "I am glad to see Jack back playing," added High School All Americans Head Coach Salty Thompson, who coached Tracy with the USA U20s, and whose wife, Beth, was one Tracy confided in during his troubles. "He is not a flashy player, but he has so much strength. You could say strength is his strength; he challenges defenses to stop him." |


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Swarm-Bots: Child Stealing Robots (Seriously)
Every wonder what it would look like if a bunch of little robots ganged up on a kid and dragged it across the floor? This.
The video is 3:00 long, so just let it load and then skip towards the end for the full effect.
Thanks Michael, you wanna come over and help me install casters on the kids' PJs?
When running from a robot, you only have to run faster than your children. Which should be easy because you tied their laces together, right? If you answered, "I would never!", then it's been nice knowing you, but you're robot fodder. Anyway, remember the post a while back a... / Continue →
The iCub is an iStupidly named robot-child created by the RobotCub Consortium in Italy (not to be confused with Opus Dei). He was designed to have the movement and learning capabilities of a three-year old child and a face only a mother could love. A really loving mother. A ... / Continue →
This is a robot girl named Repliee R-1. She's an android built by Osaka University and based on an actual 5-year old girl. And I think I speak for everyone when I say they chose their model pretty freaking poorly. Liveleak Thanks to Firuz, Tytus, Jake, and Justin, who all a... / Continue →


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recipe reviews for:
"This marinade is delicious - even my daughter (who hates lamb) loves this dish! Use on cutlets chops or BBQ whole lamb fillets then slice and add to salad. YUM!"
Cooking Level: Expert
My Profile | Cooks I Like Reviews | Photos | Recipes | Menus | Blog
Cooking Level: Intermediate
Everything you need to party like a leprechaun.
New for spring! Good-for-you food you'll love to eat.
Delicious recipes, party ideas, and helpful cooking tips! Get a year of Allrecipes magazine for just $9.99!
Grilled marinated lamb dressed with a minted honey and sherry vinaigrette.
The secret's out! Here's the recipe for our classic barbeque sauce—revealed!
See how to make peaches grilled on the 'que.


text: Current 7 almonds Tallest Almond Tower Embed <iframe width="560" height="345" src="http://recordsetter.com/embedvideo/5449" frameborder="0" allowfullscreen></iframe> Loading... Sign up for RecordSetter Sign up Your name: Your e-mail address: Choose a password: I am 14 or older By clicking "create account", you agree that you've read and understand the Terms of Use Already a member? × Why not? We think only a record holder can know what you go through to set a record, so we only let people that have already set world records downvote other people's records. What can I do? Go set a record! If you can think of it, you can set a new world record for it. × points Follow Record Unfollow Record Break This Record Rate it: Legendary Funny Cute Creative Gross Impressive Tags: balancing, tower, tallest, stacking, Food and Drink, nut, almond Post Comment Post to Facebook Follow replies All Comments for this Record Category response to previous attempt Dillon Oag Tue, 28 Dec 2010 13:48:14 GMT WOW how did you do that can u tell me LIKE (1) · REPLY Under review comments Tallest Almond Tower You can press ESC to close this dialog or click close. Related Records Most Half Peanuts Swallowed In One Minute 20 half peanuts Fastest Time To Unload 20 Heads Of Broccoli From A Prius, Place Them In A Fridge And Say, "You Know, I Could Go For Nachos You?" 00:37.25 min/sec Most Slices Of Swiss Cheese Applied To One's Face In A Prius 24 slices Farthest Distance To Throw A Bag Filled With Turkey Bones 640 inches Fastest Consumption Of 1.2 Pounds Of Food With Chopsticks 13:00.0 min/sec Fastest Consumption Of A 24-Ounce Bottle Of Breakfast Syrup 00:11.24 min/sec Fastest Consumption Of A Big Momma's Cinnamon Roll 19:52.32 min/sec Fastest Pronounciation Of The Word "Fresh" While Holding A Watermelon 00:00.12 min/sec Fastest Time For Four People To Eat Four Slices Of Pizza 02:19.55 min/sec Fastest Time To Cover Hood Of A Toyota Prius With Waffles 01:16.88 min/sec Most Betel Nuts Eaten In One Minute 12 betel nuts Farthest Distance To Throw A Pack Of Little Bites 798 inches Fastest Consumption Of Six Cupcakes 00:59.20 min/sec Most Almonds Hoovered Into A Cup In 30 Seconds 21 almonds Farthest Distance To Throw A Banana 2,460 inches


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Blue Danube
Szenen Informationen
Blue Danube : Eric Kovac, Denis Jung
- Aktualisiert : 2010-07-01 |
- Länge : 57:42 min |
- Grösse : 625 MB |
- Images : 3 |
- Mal angesehen : 1276 |
Eric Kovac, Denis Jung
Rating : 10 out of 10
Denis Jung and Eric Kovac are working out in a dance studio. As they begin their warm-up, their pulses begin to race, building to an inferno of primal desire. Sucking and fucking with no-holds barred, these two young studs take each other near the limit, each time getting closer and closer to the final climax that blasts with the energy of an earthquake.
Recommended Scenes
The Other Side Of Aspen I : Al Parker, Dick Fisk, Casey Donovan, Chad Benson
Aktualisiert am: 08-01-2001


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Hurricane Sandy will likely cause financial headaches for US airlines that cancelled more than 7,000 flights to and from the Northeast corridor on Sunday.Hotels in the region were busy handling cancellations for guests who could not get to destinations in the Northeast, extending stays for those who could not leave town, and booking rooms for people who left their homes.Airlines started cancelling flights in the US Northeast region on Sunday evening as cities from Washington DC to Boston braced for floods and high winds from the hurricane, which was expected to make landfall in the next few days.According to Flightaware, more than 7,100 flights had been cancelled by 9 pm on Sunday due to Sandy. Airlines waived fees for people who have to change travel plans because of the grounded flights.In New York City, the timing of flight cancellations was determined by the city's decision to start shutting down its mass transit systems at 7 pm as passengers would have no way to get to and from the airport.US Airways said it would likely have to cancel close to 2,000 flights because of the storm, starting at 7 pm Sunday. The airline said it expects to resume flights on Tuesday, but noted that flooding and the storm's duration could cause additional delays.The airline also said it would move planes from the hurricane zone to try to avoid damage. Repositioning those planes after the weather clears could cause additional delays.Transportation consultant George Hamlin estimated that Sandy could cost the industry hundreds of millions of dollars."It's a disruption in terms of extra costs," Hamlin said.On top of lost flight revenue, airlines will likely have to pay their crew extra if they are stranded away from their home base."If you cancel a day or two's flights, it may take some people days to get to where they want to go," he said.American Airlines said it would stop its Northeast flights at 9 pm Sunday night. This involved 140 cancellations on Sunday and pre-cancellation of another 1,431 flights from Monday to Wednesday.JetBlue Airways said it cancelled more than a 1,000 flights until Wednesday morning. Delta said it cancelled 180 flights on Sunday and that it expects cancelled flights on Monday to be in the hundreds.Meanwhile the reservation desks at Starwood, which operates hotels such as Westin, Sheraton and Marriott hotel groups said they had a busy day."I've had a lot of calls about New York properties today, a lot of people who are cancelling, a lot of people who come here because we have generators," a Starwood reservations employee said."People are really just frightened of the storm... they're frightened of water levels and they're frightened of losing power and they want to be somewhere where they're safe," the employee said.A reservations worker for Marriott said her work day had been "really crazy" with all the calls for cancellations and last-minute reservations, including calls from corporations booking blocks of rooms for their employees. Source: Reuters
Gravity always wins!


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Current and Upcoming Events at Bimini Sands Win a Trip to Bimini and Guided Fishing Adventure with George Poveromo May 5-12: Formula Boats—Photo and Commercial Shoot. May 11: Mother's Day—Bimini Sands will host Mother's Day Luncheon to celebrate the special day. May 22-27: Memorial Day Weekend Bash—One of our Biggest weekends of the year, Join us for the fun! May 24: Bimini Nature Trail Grand Opening—Don't miss the grand opening of this one of a kind attraction. June 15: Father's Day—Bring your dad to our Father's Day Luncheon |
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Former York City 'keeper dies (From York Press)
Get in touch: send your photos, videos, news & views by texting YORK to 80360 or send an email»
Former York City 'keeper Harold Searson dies
10:57am Tuesday 8th January 2013 in News
FORMER York City 'keeper Harold Searson has died at the age of 88.
Searson, who had been suffering from cancer, played 63 games between the sticks for the Minstermen between 1952 and 1954.
He joined City from Leeds United, where he made more than 100 appearances and played a key role in the club's run to the 1949 FA Cup quarter-finals.
After returning from wartime service in India, the Mansfield-born shot- stopper turned professional with Sheffield Wednesday.
He also played for his home-town club after moving on from the Owls and left Bootham Crescent for Corby.
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Availability: Mercure Nice Promenade Des Anglais
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4-star hotel in Nice (Nice City Centre) near Promenade des Anglais
Located in the heart of Nice, this hotel is near the beach and within walking distance of Casino Ruhl, Promenade des Anglais, and Albert 1st Gardens. Also nearby are Place Massena and Nice Etoile Shopping Center.
Hotel Features
In addition to complimentary wireless Internet access, Mercure Nice Promenade Des Anglais provides dry cleaning/laundry services, an Internet point, and a 24-hour front desk.
Room Amenities
Flat-screen televisions come with satellite channels. Guestrooms also feature complimentary wireless Internet access, air conditioning, and laptop-compatible safes.
Information missing or incorrect? Tell us!Mercure Nice Promenade Des Anglais Amenities
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Mercure Nice Promenade Des Anglais features tour/ticket assistance, multilingual staff, and complimentary newspapers in the lobby. An Internet point is located on site and high-speed wireless Internet access is complimentary. This business-friendly hotel also offers dry cleaning/laundry services and an elevator (lift).
Mercure Nice Promenade Des Anglais is a smoke-free property.
- 24-hour front desk
- Total number of rooms - 124
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- Number of floors - 3
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The recreational activities listed below are available either on site or nearby; fees may apply.
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To make requests for specific accessibility needs, complete the "Special or Accessibility Requests" section of "Trip Preferences" when you book your hotel.
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Mercure Nice Promenade Des Anglais Policies & Fees
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Special requests are subject to availability upon check-in and may incur additional charges. Special requests cannot be guaranteed.
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- Unless otherwise indicated, the charges below are not included in the overall room price. If not included in the overall room price, they will be charged by the property at check-in or check-out. Charges can vary, for example, based on length of stay or the room you book. This property told us they will charge you for the following:
- A tax is imposed by the city: EUR 1.50 per person, per night
We have included all charges provided to us by the property. However, charges can vary, for example, based on length of stay or the room you book.The following fees and deposits are charged by the property at time of service, check-in, or check-out.- Breakfast fee: EUR 18.9 per person (approximately)
The above list may not be comprehensive. Fees and deposits may not include tax and are subject to change.
- Additional Details
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This hotel has received its official star rating from the French Tourism Development Agency, ATOUT France.


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DENVER CENTER FOR THE PERFORMING ARTS Hearing on seat tax revenues delayed. RMN Ap 16, 1981 p.4 Two Denver Center Theater Company employees resign - Sarah Lawless and Sharon Griggins. RM Ap 19, 1981 p.18 Proposes return of seat tax to ticket buyers. RMN My 1, 1981 p.1,12 Violation of seat tax law alleged in DCPA offer to charter subscribers. RM My 12, 1981 p.4 Asks district court to reverse city order to turn over $100,000.00 in seat tax money. RMN1618, 1981 p.16
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Posts tagged 'non-profit'
This Is (Part of) America
This Is Not America: Protest, Resistance, Poetics, on view now at the ASU Art Museum, gives a startlingly fresh look at the intersection of art and social change through allowing works to converse with one another. Curated by Julio César Morales, with assistance from ASU College of Liberal Arts and Sciences graduate student Indira Garcia, the three-part exhibition pairs works from the museum's collection with those of emerging and established artists in a sort of "question and answer" format.
Part 1, on view now through Nov. 9, 2013, marries a painting by Cuban collective Los Carpinteros with an animated video by contemporary Seattle-based artist Paul Rucker, in an effort to "explore the power dynamics and political implications of oppression," according to Morales.
"The exhibition title takes a cue from Alfredo Jaar's seminal 1987 public art video intervention at Times Square in New York City, A Logo for America, a three-part video animation that plays off the notions of 'America' and its relationship to citizenship, homeland and borders," says Morales.
On the east wall of the gallery hangs Dominar Bestias/How to Dominate Beasts, the watercolor painting by Los Carpinteros, whose name "derives from the historical term for skilled slave laborers," according to Morales. Within the painting we are shown a number of household objects, such as dressers and chairs, shackled to a fence that corrals them, as though they were animals in a paddock. It is unclear whether they are being chained to the fence so that they do not escape, or whether it is the fence that is tied down to these material goods. One begins to wonder who or what is being dominated, and, beyond that, who or what the beasts are.
Across the darkened gallery is Paul Rucker's video piece Proliferation, projected on the wall opposite the painting. Rucker was inspired to create the piece while at a "prison issues" residency at the Blue Mountain Center in the Adirondacks, when he discovered a series of maps created by researcher Rose Heyer that showed the growth of the United States prison system over time. Rucker, a musician as well as visual artist, created the durational piece from the maps and also composed the original score.
"A word that can refer to healing of a wound through rapid growth of new cells, Proliferation explores the evolution of prisons in the United States through an animated series of colored dots indicating location and number of prisons from 1778-2005," says Morales. "The incarcerated are a relatively invisible aspect of American society… [but] the United States leads the world in the number of people behind bars."
To Rucker's score, each new prison appears on the projection as a dot of color, starting first as green specks and escalating in intensity into brilliant red and orange flashes. While viewing "Proliferation," one is struck by how quickly the outline of the United States is formed, beginning first with New England, but quickly springing across the map to the West Coast. The colored dots, illuminated against a black background, echo other, similar maps, such as those illustrating light pollution from major cities, or urban sprawl.
As the piece goes on, the green dots begin to merge, turning yellow, and the music takes on a more ominous tone. The dots appear in faster succession, sprawling across the map, until there is no one section that is free of color. They evolve from isolated flashes of yellow into orange and then red masses, joining together with sharp, jolting regularity, like explosions. One feels like a cat, mesmerized, watching a laser dart around a wall. But with this feeling of not being able to look away, to stop chasing the flashes of light, the music suggest something darker, a sinking feeling in the pit of one's stomach. This is not a game. This is serious.
The two pieces, poised opposite each other in the Americas Gallery on the second floor of the museum, both face off against one another and speak to each other. Their conversation occurs in the space between, where the viewer is invited to sit, to pace and to contemplate.
–Juno Schaser , Public Relations Intern
Part 1 of This Is Not America will close on Nov. 9, 2013, with Part 2 on view Nov. 16 2013 – March 15, 2014, and Part 3, co-curated with ASU MFA students, up from March 22 – June 6, 2014.
Artists include Facundo Arganaraz, Sandow Birk, Los Carpinteros, Juan Capristan, Enrique Chagoya, Binh Danh, Kota Ezawa, Eamon Ore-Giron, George Grosz, Ana Teresa Fernandez, Jon Haddock, Alfredo Jaar, Michael Lucero, Carrie Marill, Sanaz Mazinani, Ranu Mukherjee, Georgia O'Keeffe, Gina Osterloh, Raymond Pettibon, Michele Pred, Ken Price, Jerome Reyes, Paul Rucker, Rene Francisco Rodriguez, Fernando Rodriguez, Lorna Simpson and Adriana Varejão.
Self-described "printmaking nerd" finds paradise and a perspective shift at the ASU Art Museum
ASU School of Art senior Emma Ringness, who will graduate this December with a degree in printmaking, worked with ASU Art Museum curator Jean Makin to put together the exhibition Plate • Silk • Stone: Impressions by Women Artists from the ASU Art Museum Print Collection, which is on view at the Museum through Dec. 8.
In these figurative prints selected from the permanent collection, women artists take on social and domestic issues, as well as themes of history, culture and identity. For more information about the show, click here.
Here's a post from Emma about her experience working on Plate • Silk • Stone:
For printmaking nerds like myself, there is no denying the thrill of sitting down to work next to a famous print by the French satirical printmaker Honoré Daumier, or viewing Roy Lichtenstein's interpretation of the Oval Office on a daily basis.
But enough with the nerdiness: Last year I had the pleasure of serving as a research intern in the ASU Art Museum's Jules Heller Print Study Room under its director, Jean Makin. This glorious place is home to the museum's print collection (including that Daumier and Lichtenstein), and is heaven for print nerds and art appreciators alike.
As part of my internship, my job was to curate an exhibition of prints by women artists in the collection. This meant going through the many drawers and cabinets in which the collection is stored and getting hands-on with prints from the 16th century to today. It was a humbling experience, and for the first time made me feel connected to something bigger than myself as an artist: both to a long line of female printmakers, and to a cultural discourse in which I am a participant.
Through the process of handling the work, selecting pieces for the show, researching and writing about the artists, I was also given a perspective other than that of the creator — of someone who maintains artwork for future generations. I now fully understand the long-term care and storage required by the print medium, as well as the amount of time and energy invested by museum professionals and art historians to research and share with the public the history and social relevance of work created through the print processes. This perspective shift has, in turn, altered my approach as a creator. The beauty of having an institution like the ASU Art Museum is that this unique learning experience was available to me on campus, and during my undergraduate education — rather than during graduate school or beyond.
I am so grateful to Jean Makin for giving me this opportunity, and to the many people who make the museum's collection available to the public on a regular basis.
–Emma Ringness
Let there be light — and dark: "Turn off the Sun" at the ASU Art Museum
Each piece in the exhibition Turn off the Sun, on view at the ASU Art Museum through Sept. 7, packs tremendous heat, power and impact. Drawn from La Colección Jumex in Mexico City, an incredible private contemporary art collection of about 2,600 works, Turn off the Sun displays two dozen of these searingly honest and beautiful pieces. This is only the second time that any of the Jumex collection has been shown in the United States.
The exhibition title did not come about from a concentrated brainstorm though, but rather from joking about the weather. During Jumex director Patrick Charpenel and curator Michel Blancsubé's site visit to the ASU Art Museum in the summer of 2012, the two started an ongoing joke about how someone needs to "turn off the sun." When curator Julio César Morales joined the staff in the fall and heard it, he pointed out how that's not necessarily a joke—that's a great name.
"When I heard this phrase, I thought it was a brilliant title, and the more it was discussed by myself and Heather Sealy Lineberry, the more we thought the title really connected with artworks in the exhibition and addressed ideas of site, adaptability and physical displacement," Morales said.
ASU Art Museum senior curator and associate director Heather Sealy Lineberry said the museum staff became interested in the social and political implications of brining the contemporary art collection from Mexico to Arizona and how the content of the work would shift just by the very nature of having it here.
The artworks address several types of issues between Mexico and the United States, among them borders, landscape, lines, labor, politics, economics, faith and awareness.
One example is "Cuando La Fe Mueve Montañas" ("When Faith Moves Mountains") by Francis Alÿs, a conceptual performance artist. In the multimedia installation, the artist has a group of people move a mountain with shovels to create a line, like a curious border. Another is "Security Fence" by Liza Lou, which explores dark psychological spaces of violence and confinement. Santiago Sierra's artwork "3000 holes of 180 x 50 x 50 cm each" is a triptych of three photographs and a performance piece that he created while in southern Spain, looking across to North Africa where many immigrants come into Spain. On video Sierra highlights matters of struggle and immigration by showing the 3,000 shoveled holes, mostly dug by Senegalese and Moroccan day workers over the course of a month with a Spanish foreman overseeing the labor.
"These three pieces pulled at our imagination and were tremendous anchors for what we wanted to do with the exhibition," Lineberry said.
In an interview with San Francisco Arts Quarterly, Blancsubé also explained, "I generally don't choose a theme and then look for artworks to sustain or feed it… I am seduced by artworks and imagine funny games between them. The theme or the discourse comes after or during the construction, and in a way it is suggested by the artworks themselves."
Along with the choosing of the exhibition title, another unexpected aspect of Turn off the Sun is that there are no labels next to the pieces. Instead, there is printed material at the entrance of every gallery space that includes technical information, biographies and further text about the artistic process of all the artworks. This allows people who want to make their own relationships with the work to have that possibility. With each exhibition, the museum experiments with how to provide information for the visitor, and different kinds of exhibitions warrant different information systems.
Blancsubé said the information related to the artworks is accessible for curious visitors, "but not having plaques plugged on the wall near the artworks allows visitors to have a first approach of the artworks on their own without receiving from the beginning glasses that oriented their viewing."
"We thought the design and artworks look so clean and beautifully installed that labels would interrupt the artwork itself," Morales said. "I was more interested in the audience having a visceral experience of the work and engaging with it without any other materials to distract from that experience."
Though some visitors are more comfortable with text panels, many are pleasantly surprised and enjoy the practice of making their own connections with the works.
Lineberry said she sees people relating to the artworks and broadening their thoughts about the border: "I think a lot of people are coming away with a pretty amazing experience of the works individually and the process of piecing them together as a narrative in their minds."
–Mary Grace Richardson
Images, from top: "Overpass," by Jeff Wall; "Cuando La Fe Mueve Montañas" ("When Faith Moves Mountains"), by Francis Alÿs; "Security Fence," by Liza Lou, and "3000 holes of 180 x 50 x 50 cm each," by Santiago Sierra. All photos by Craig Smith.
Recent NY Times article recognizes social practice art – something we know a thing or two about!
Last week in The New York Times, Randy Kennedy, arts writer, took a look at something the ASU Art Museum has been thinking about for many years: socially engaged practice.
In an article entitled "Outside the Citadel, Social Practice Art Is Intended to Nurture," Kennedy examines the history and current exploration of social practice, whose "practitioners freely blur the lines among object making, performance, political activism, community organizing, environmentalism and investigative journalism, creating a deeply participatory art that often flourishes outside the gallery and museum system."
"Leading museums have largely ignored it," Kennedy writes, "But many smaller art institutions see it as a new frontier for a movement whose roots stretch back to the 1960s but has picked up fervor through Occupy Wall Street and the rise of social activism among young artists." He highlighted museums such as the Hammer Museum, the Walker Art Center, and the Queens Museum of Art, all of which are working to extend their reach in the socially engaged practice sphere.
ASU Art Museum has been focused on socially engaged practice for more than 5 years, with the launch of our Social Studies initiative in 2007, which provides opportunities for artists working in various media to interact creatively and collaboratively with students, other artists, and faculty and community members. The social interaction of the museum-as-artist's-studio setting encourages participants to explore new avenues of creativity and ultimately enhance their understanding of their world and each other.
The museum has hosted several social practice artists to date as part of the Social Studies initiative, including Jarbas Lopes, Anila Rubiku, Jillian MacDonald, Gregory Sale, Jennifer Nelson and Julianne Swartz, among others. In 2012, the museum launched a new social practice speaker series as part of the Socially Engaged Practice Initiative at the Herberger Institute for Design and the Arts, and welcomed artist and dancer Elizabeth Johnson as the new Coordinator for Socially Engaged Practice for the Herberger Institute for Design and the Arts. Johnson is building a socially engaged practice certificate/focus at HIDA, and is housed at the ASU Art Museum because of the museum's work in this area.
If you're curious about the history of the museum's dedication to socially-engaged practice, take a look back at some of our blog posts showcasing the art and artists we've had the pleasure of working with: http://asuartmuseum.wordpress.com/category/social-studies-collaborative-projects/
For Kennedy's full New York Times piece, visit: http://www.nytimes.com/2013/03/24/arts/design/outside-the-citadel-social-practice-art-is-intended-to-nurture.html
–Juno Schaser, PR Intern
Artist-in-Residence Christine Lee encourages artistic and sustainable consciousness
Christine Lee takes in the disregarded, salvages the thrown away and harbors the excess. For this wood-based artist, the original intention of a material is only a hint of a much more meaningful possibility, making Lee's artwork a process-driven venture and a thorough material investigation.
Lee's work crosses back and forth between sculpture, furniture, woodworking and installation. As part of the ASU Art Museum's Crafting a Continuum series, Lee has given public lectures, taught classes and installed her own work at Combine Studio in downtown Phoenix.
The Crafting a Continuum series is sponsored by a Windgate Charitable Foundation grant, which has enabled the museum to attract and support craft-based visiting artists, such as Lee, who incorporate new ideas and technologies into their artwork.
"I think they were interested that I was working with a range of composite material and creating functional and sculptural work," Lee said. "I feel like they both can happen in the same studio space."
Lee's work stretches the standard associations and intended functions of ordinary materials. According to Lee, people now are looking at the material and how it is being used, but not in a way to determine which medium is better than another: "It's not so much about the end result of what you make but how you take that material and transform it. It's the process and where it goes."
In this sense, public perception of what is craft art and what is fine art is changing. Lee says she believes the line between the two will either significantly blur or be completely nonexistent in the future. "People realize it's not so much about categorizing everything," she said. "It's more about seeing what can happen when you start weaving things together."
Last month Lee put together Piece by Piece, an exhibition at the ASU International Artist Residency facility at Combine Studios, in downtown Phoenix, for which she stacked slender individual pieces of wood to fan out over an entire wall. No glue, no nails — just balance. This wasn't her first endeavor for a project like this, however. In other galleries she has created similar works on walls, spanning up to 26 by 12 feet.
With her own art, Lee strives to create substantive art that is both useful and aesthetic. She added, "It seems these days there's more exciting work out there that straddle those areas."
Lee finds potential in material that people casually throw out, a trait she attributes to her family's concern about not wasting and appreciating the value of things."We would reuse things like aluminum foil and we wouldn't throw it away unless we absolutely knew we couldn't use it," she said. "And that stayed with me. I'm always very conscious about what I use and if someone throws away a scrap, I'm like, 'That's perfectly usable.'"
As part of her residency Lee taught a class for the Fall 2012 semester — ART 494/598, Sustainable Wood Art, an upper division seminar in the wood program of the Herberger Institute for Design and the Arts — which she is teaching the Spring 2013 semester as well. Lee's students use composite boards formed by collecting sawdust and fibers and putting the raw materials into processing chambers. Prototypical, a show on view in December and January in Wrigley Hall, home to ASU's Global Institute of Sustainability and School of Sustainability, highlighted work Lee's students made using a patent-pending interior composite panel developed by Lee and research engineer John F. Hunt of the USDA Forest Service, Forest Products Laboratory. The panels are naturally bonded without an adhesive binder such as urea or phenol formaldehyde and are biodegradable.
What Lee enjoys most about teaching is watching her students as they grow to understand the process and connect with what they make. "Teaching for me is really exciting because I like the dynamics between interacting with people who are very excited about learning something new, and I also like watching them kind of see that transformation of material happen," she said.
By encouraging recycling and reuse, her students have initiated a sustainable practice in their work. Peter Held, the curator of ceramics at the museum, said the students' work has evolved as they applied the lessons they learned in Lee's clas: " [She] is not only a talented and innovative artist but is exploring the intersections of art, craft, design and application of new materials in her artistic practice. This interdisciplinary approach to the arts is an important initiative for the museum. When Lee taught the wood class, she brought fresh ideas and techniques to the students."
Maren Romney, a senior sculpture major and former student of Lee, explained she more consciously considers the materials she uses when making art after taking Lee's class. "[Her] class… helped me to understand what I can do on an individual level," Romney said. "She really did a great job of creating discussions about the importance of sustainable design and living and brought up points from multiple points of view, which I really appreciate."
Romney added she feels privileged to have taken a class under Lee's direction, and she hopes Lee makes Arizona a permanent home.
During her time in Phoenix and Tempe, Lee has found a wealth of possibilities.
"I feel like there is so much to tap in here," Lee said. "I just felt it was very serendipitous that I could be here working on this."
–Mary Grace Richardson
To see more images of Christine Lee's show at Combine, visit the ASU Art Museum International Artists Residency at Combine Studios Facebook page.
ASU Art Museum receives NEA grant to support program with visiting international artists
One of 832 Art Works grants totalling $23.3 million in funding nationwide
Nov 29, 2012
Rocco Landesman, chairman of the National Endowment for the Arts (NEA), announced that the ASU Art Museum in the Herberger Institute for Design and the Arts is one of 832 non-profit organizations nationwide to receive an NEA Art Works grant. The ASU Art Museum is recommended for a $45,000 grant to support its International Artist Residency Program at Combine Studios in downtown Phoenix.
"We're immensely honored that the NEA recognizes and supports the work of the ASU Art Museum to serve as a catalyst for social change through the innovative vision and work of international artists," said Gordon Knox, Director of the ASU Art Museum. "Art is a way of knowing and investigating the world and this grant allows us to build more collaborations and reach new audiences."
The NEA funds will support the ASU Art Museum International Artist Residency Program at Combine Studios which brings accomplished professional artists from around the world to develop new work in partnership with the intellectual resources of Arizona State University and the diverse communities within Arizona. Through the program, artists develop work in collaboration with scientists, technologists, social agencies and community organizations that investigate the pressing issues of our time.
Greg Esser, director of the International Artist Residency program and the Desert Initiative, plans to bring four international artists to Arizona to develop new work. "This program represents an incredible opportunity for Arizona residents to engage with international artists and to deepen the impact of research and learning at ASU," said Esser.
In March 2012, the NEA received 1,509 eligible applications for Art Works grants requesting more than $74 million in funding. Those recommended for grants span 13 artistic disciplines and fields and focus primarily on the creation of work and presentation of both new and existing works for the benefit of American audiences. Applications were reviewed by panels of outside experts convened by NEA staff and each project was judged on its artistic excellence and artistic merit.
For a complete listing of projects recommended for Art Works grant support, please visit the NEA website at arts.gov.
Combine Studios is located at 821 N. Third St. connecting the ASU campus to the Roosevelt Row Arts District. The building, owned by Phoenix artists Matthew Moore and Carrie Marill, includes six residential units for visiting artists, a common kitchen area, resource library and a storefront gallery and event space. For more information about the international residency program, visit the Desert Initiative website.
Media Contact:
Deborah Sussman Susser
ASU Art Museum
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Tales From A Distant, Not-So-Distant World
Click. A photo of desert scenery. Click. Another photo of the desert. Is that the same one? Click. Oh, another! Have I seen this one already? Click. And another? This one's probably different. Click. Is it? It is. Click.
The slide projector spins the wheel of slides. Each of the 50 some-odd photos are shots of the desert, a part of Miguel Palma's latest exhibition, "Trajectory."
The photos are projected onto a white wall by an old-fashioned slide projector set on a timer. The photos roll around, each a different photo of Arizona's desert scenery.
On the other side of the wall, there is an orange astronaut suit with one noticeable addition: several dozen small, black computer fans attached to the outside of the suit. Palma wore this suit as he traversed the desert, taking photos of the sights and scenery. The black computer fans were used to keep him cool during his expedition.
Click. Drip. Suddenly, I notice a new sound in the exhibit. Drip. Drip. Click. I realize that the sound of the projector isn't alone. The sound is coming from a piece called "Bypass."
"Bypass" is a device that Palma created. It takes water from a bucket, runs it up tubing into a chunk of wood, and then drips the water back down into the bucket. The natural and organic element of the wood and the water contrasts with the metal and silicone. There is a pump inside the bucket of water that looks like it was put there to bring water to the tree, but then the tubing and the metal cause the water to bypass the tree and return to the bucket. The manmade apparatus of tubing and silicone is depriving the tree of the water that it needs. The hunk of wood is supported in the air by metal and a hydraulic lift. The manmade system isn't only depriving the tree of water, but it also supports the tree and holds it up. This brings up a question: is this what we're doing to the desert? Are we trying our best to uphold it and support it, yet ultimately just depriving it of what it needs to survive? I arrive at more questions than I have answers. I have to move on.
Along the northern and eastern wall, there is an absolute cascade of poster paper full of art and ideas. Each poster contains ideas about the desert and the culture of the people who live in it. Palma uses collages, images, drawings and commentary of our culture to show these ideas. As I walk and read each poster, I see themes connect and I begin to understand the corollaries between them. For example, Palma wrote about swimming pool shapes, and the purpose of each shape. He wrote about L-shaped pools. "The L-shape fits easily into a corner or around a house projection." I see that phrase written multiple times around swimming pools and even around old desert photos where, presumably, a pool would eventually go. There are stories about the destruction of the desert, and how manmade tools changed the scenery into what we call Phoenix.
I notice one piece called "War Games." It shows photos of the desert, with yellow dots painted over it. Each dot has a line pointing at a construction truck, many with Xs drawn over them. Palma seems to be trying to show that people are at war with the desert; our weapons are the tools we used to put ourselves into the desert with, like tools of construction, transportation and infrastructure. I have never thought of it like that. Are we at war with the desert?
Palma was a visitor to our desert, but it took me a while to connect the dots. He wasn't just an explorer of the desert; he is implying that he is like an astronaut exploring unknown worlds with his space suit and his rover vehicle. It all became clear to me. His art is a tale of his exploration of the unknown territory, the Arizona desert. He charted our destruction of the desert as well; we have been using our war tools to build our L-shaped pools and destroy the beauty of the desert around us. Palma researched our history and recorded lives, not just our lives, but also the life of the desert itself.
But what does that make me, a desert-dweller observing Palma's observations? I suppose I'm the Martian who lives on this strange planet of rock and cacti. I suppose we should all take a better look at the world outside our cities. It's beautiful.
"Miguel Palma: Trajectory" is on display at the ASU Art Museum until February 9, 2013
–Colton Robertson
ASU Art Museum Intern
Thanks to Sean Deckert and the Desert Initiative for use of their photographs.
Notes From Underground: Fall Season Opening
Guest blogger and ASU student Veronica Rascona writes about the ASU Art Museum's Fall 2012 Season Opening Reception:
At 6:30 on the evening of September 28, the ASU Art Museum launched its 2012 season. People gathered in the darkness at the front of the building to talk, eat and watch a performance by the mixed parkour, martial arts, dance and acrobatics group Movement Connections. The group, dressed in white, took advantage of the museum's unique structure as they silently crawled, leapt and ran all over the walls and stairs of the Art Museum's entrance.
In a touching moment, a little girl got caught up in the mix and one of the performers invited her to perform a stunt with him—a simple handstand, nothing dangerous. After performing a few more acrobatics on their own, eventually the performers climbed up onto the cement pillars in the front of the Museum. They performed a few stunts and then began pointing toward the façade of the museum upon which a video was being projected. It appeared to have been filmed from the window of a car and depicted an expanse of desert landscape rushing by.
The video continued to play as Movement Connections wrapped up their performance. People then began to shuffle down the stairs, waiting for the next sequence in the evening's activities. Some ventured into the Museum to look at the current exhibits on display, while others, like myself, sat just outside the doors, taking in the array of lights that filled the underground courtyard—part of the "55: Music and Dance in Concrete" performance that would start at 7:30 p.m.
I sat to one side of the courtyard and began to notice other elements—a video of an eye opening and closing and rolling around in its socket was projected onto the back of the pillars that outlined the courtyard. Above and below the eye was the phrase, "Don't touch me!!" projected backwards. It was somewhat disturbing,and I did not know what to expect from the performance after seeing these images. Just before the performance began, the audience was instructed as to where to stand in order to best view the performance, but were also told that the performers would be moving throughout the space alternately providing various vantage points a better view.
The crowd gathered, and from my vantage point I witnessed three of the visiting dancers, each dressed in red, black and white, slowly fill the empty space between us and the Museum. I could not see what was happening on the other half of the courtyard as it was blocked by cement pillars and benches, but this was how the show was meant to be viewed: people seeing different parts of the show, each person having a unique viewing experience. The three girls on my side slowly moved into position.
The lights changed from bright white lines filling the space to a strange speckled effect, and music composed of electronic sounds, "from 55 improvised and 55 composed pieces" started to play. The dancers began to move. Their dancing was rapid; they moved convulsively, throwing themselves at the cement walls and against the floor as the lights continued to change and pulse. The effect was alarming and intriguing. As the dancers moved throughout the space, the crowd adjusted to watch each new scene; at one point the only male dancer shut himself behind a gate while a video of him stuck in what seemed like a jail cell played on the wall behind the bars. The video cut from scenes of him in the cell, to the real dancer performing similar movements in the real, jail-like space.
The music and lights continued to change as the dancers set and reset their stage, from one side of the courtyard to the other, to behind the bars, to on top of the cement benches, to at one point taking the elevator in the middle of the space up to the second floor where we lost sight of them for a moment. The performance, meant to engage the audience in sight, sound and movement, felt like a piece about escape; the dancers' jerking movements gave the impression that they were almost trying to break out of their own skin.
What was most beautiful about the whole event, however, was not only the performances, but the interaction between the performers and their audience. I looked over the faces in the audience and everyone's eyes were on the performers, completely captivated. The decision by both performance groups to use the space around their audience created an atmosphere in which we were all connected. Not only did everyone get to watch a fun and intricate performance, but they were encouraged to feel like they were a part of it all.
Thanks to Sean Deckert and Veronica Rascona for the use of their photographs.
55: Music and Dance in Concrete premiered at Fort Worden as part of Centrum's Reverberations series, in addition to premiering at the ASU Art Museum. The project received initial funding from the MAP Fund and the Doris Duke Charitable Foundation, as well as support from Arizona State University, and RBMA. The project is supported by the Japan Foundation through the PerformingArtsJAPAN program. The Centrum Artist Residency program is made possible by support from the Washington State Arts Commission and the Washington State Parks and Recreation Commission. Additional support was provided by 4Culture Site Specific.
Miguel Palma's Trajectory is supported in part by the FUNd at ASU Art Museum, the ASU Art Museum Advisory Board and Friends and Margarita and Willie Joffroy.
Want a sneak peek of the Fall 2012 Season Opening?
The ASU Art Museum's Season Opening is this weekend — Friday and Saturday night, from 6:30-9 p.m. — at both the Museum and the Ceramics Research Center.
The events are free and open to the public, and there's something for everyone, from the premiere of a video/dance piece in the Nymphaeum to a parkour team using the building as their canvas to food trucks in the parking lot.
The parkour group Movement Connections will perform from 6:30-7:30 p.m. Then, at 7:30 p.m., composer/musician Wayne Horvitz will premiere 55: Music and Dance in Concrete, his collaboration with choreographer/dancer Yukio Suzuki and video artist Yohei Saito.
You can get a taste of 55: Music and Dance in Concrete here: http://www.youtube.com/watch?feature=player_embedded&v=3x6OPYI6ZE4
Below are some shots by photographer Sean Deckert of Movement Connections in action, plus some photographs (also by Sean Deckert) from ISEA2012, in Albuquerque, where artist Miguel Palma presented his "Desert Initiative Remote Shuttle," which will be on display at the opening as part of Palma's show Trajectory.
Join us on Friday and/or Saturday night for the big show! So nice, you might just want to come by twice.
September 25, 2012 at 10:51 pm dsussmansusser Leave a comment


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Items that appear in our clearance section are items that are end of line and have been discontinued by the manufacturer or repaired by the manufacturer or returned to us by other customers because they have been incorrectly purchased. We don't sell returned items as brand new, so they are reduced and placed in this clearance section to be picked up by someone searching for a great value deal.End of line items should be as new and of course should be a real bargain. Clearance items can be identified by their code which will usually end in X. All clearance items are working and have been fully tested. Although every effort has been made to ensure that the returned items are supplied with their original accessories, some packages may not be 100% complete. But we are confident you will receive the essentials.
Some returned items may have some slight defects like inactive pixels on monitors, for example. Where they do, you can be assured these are minor, and are not regarded as faulty by the manufacturers. If we are aware of a defect that might deter from the usage of the item we will mention it! CCL Computers' clearance products represent excellent value for money and we hope that you enjoy browsing our bargains! Images are used for display purposes only.
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21st February
A Break from hardware reviews, Dave gives his thoughts on a replacement for his old Alienware backpack. (more)
20th February
Dan takes a look at the latest game in the Sonic series (more)
19th February
A bit overdue you might say, but better late than never (more)
18th February
We pit NVIDIA's new card agains the old stalwarts. (more)
17th February
Mark takes a look at the latest lego game. (more)


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Quick Facts
- NAME: Sara Jane Moore
- OCCUPATION: Assassin
- BIRTH DATE: February 15, 1930 (Age: 84)
- EDUCATION: Stonewall Jackson High School
- PLACE OF BIRTH: Charleston, West Virginia
- Originally: Sara Jane Kahn
- AKA: Sally Jane Kahn
- AKA: Sara Moore
- Full Name: Sara Jane Moore
- ZODIAC SIGN: Aquarius
Best Known For
Sara Jane Moore gained national notoriety in 1975, when she attempted to assassinate President Gerald Ford outside a San Francisco hotel.
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Born in West Virginia on February 15, 1930, Sara Jane Moore was heavily involved with radical leftists in the San Francisco Bay area when she attempted to assassinate President Gerald Ford in 1975. Moore was sentenced to life in prison, but was released on parole in 2007.
Early Life
Sara Jane Moore was born on February 15, 1930, and rose to infamy in 1975 for pointing a .38 caliber Smith & Wesson revolver at President Gerald Ford and pulling the trigger. Her attempt to assassinate the president failed, and Moore was sentenced to life in prison, leaving the nation to puzzle over how a seemingly mild-mannered bookkeeper could be capable of such an act.
Originally named Sara Jane Kahn, Moore grew up in Kanawha County, West Virginia, and was one of seven children born to Ruth and Olaf Kahn. She was said to be a quiet child who was fond of music. At Stonewall Jackson High School, she belonged to the drama club and starred in the school play.
Radical Left-wing Politics
After high school, Moore went through a series of failed marriages and wound up involved in radical leftist groups in the San Francisco Bay area. She worked as a volunteer bookkeeper at People in Need, a $2 million food-distribution program created by Randolph Hearst in an attempt to placate the Symbionese Liberation Army, which had abducted his daughter, Patty Hearst, in February 1974. During that time, Moore was also working as a paid informant for the FBI.
A Would-be Assassin
In 1975, she waited for over three hours outside the St. Francis Hotel in San Francisco, where President Gerald Ford was giving a speech to the World Affairs Council. As he was about to climb into his limousine, Moore fired a shot at the president, but the bullet flew over the president's head, ricocheted off a wall and wounded a cab driver. Moore was wrestled to the ground by an onlooker. The shooting came only 17 days after an attempt on Ford's life by Lynette Alice "Squeaky" Fromme—a member of the Manson family.
Moore said her attempt on Ford's life was made in hopes of triggering a revolution. "I finally understood and joined those who have only destruction and violence for a means of making change—and came to understand that violence can sometimes be constructive," she said at her sentencing in 1976.
A Life in Prison
In 1979 Moore escaped prison by climbing over a barbed-wire fence, but was captured several hours later.
She became eligible for parole in 1985, but it was routinely denied. Over the years, she worked as an accountant in the prison drapery factory and donated her needlework to charity. In 2006, when Gerald Ford died, Moore didn't see his funeral, since the television in the common room was always switched to movies or MTV. The following year, at age 77, she was released on parole.
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Wed 9 May
Presented by Matthew Wright who is joined by Josie d'Arby.
When I did cookery at school we mostly made unhealthy things like raspberry buns! If we want to reduce obesity in this country we should remember that food is an addiction and ban the promotion of fast food like McDonalds and the rest.
I think they should be combined in every event that doesn't rely on man's physical ability as an advantage
Let's not forget that cookery is an occupation too.
When I was at school we had to work out exactly how much each ingredient cost in the food we made. So there is a lot of applied mathematics in the subject. Also learned about nutrition and cleanliness.


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Dow Jones industrial futures are up 9 points to 13,228. The broader S&P futures have added 1.1 points to 1,434.20. Nasdaq futures are up 5.5 points to 2,698.50.
National Association of Realtors releases its monthly report on previously occupied homes. Economists predict it will show that sales are hitting levels not seen in more than 2 1/2 years.
Homebuilders have been posting some impressive numbers, and KB Home became the latest to do so Thursday.
The Los Angeles builder easily beat Wall Street expectations. Potential future housing revenue in backlog climbed 35 percent. That signifies the company's best fourth quarter since 2007, when the housing crisis was beginning to unfold.


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Colorado Weeping
Aug 01, 2012 by Mark Young | 0 Comments
Like they had in the spring of 1999, Coloradans recently faced, once again, the awful news that unspeakable evil and unconscionable violence was unleashed on their friends, family members, colleagues, and fellow citizens. This time it happened at a movie theater in the city of Aurora. Twelve murdered. Fifty-eight others wounded. Several hospitalized in critical condition, some dealing with life-altering injuries.
Responses to the tragedy are complex and varied. Disbelief. Fear. Grief. Confusion. Anger. Thousands gathered for a community-wide memorial service and many continue to visit a makeshift memorial near the theater. Background checks for gun purchases in Colorado rose over forty percent after last week's massacre. The shooting has touched deep chords of vulnerability, forcing us to acknowledge the fragility of human life, and mocking our naïve and arrogant sense of control. Some seek comfort in shared grief with fellow sufferers; others seek it through a pistol grip in their hands.
So where do we go from here? Culturally, isn't it time that we addressed our abiding fascination with, and voyeuristic enjoyment of, violence? Politically, isn't it time that we had a genuinely productive conversation about the wisdom of open access to weaponry that was designed for one purpose—warfare? Socially, isn't it time that we explored how social isolation and the virtual world can be a toxic elixir of fantasies that blur our vision of reality and relationships, dull our moral sensibilities and dehumanize those around us? Unfortunately, I see no secular cultural institution with the moral foundation and authority to address our fascination with violence. I have little hope that our politicians have the courage to find common ground with their political opponents for the sake of the common good in order to create meaningful legislative approaches to the question of gun ownership. And I see little initiative to address the increasing alienation and isolation that immersion in the virtual world creates for many.
Answers to the questions above, even if we did have the wisdom and courage to address the issues they lay bare, can only take us so far in dealing with the grief, fear, confusion, and anger that we are experiencing in these days. As a grieving community struggles with tough questions and troubled hearts, we look to our God, whom Paul described as the "Father of mercies and God of all comfort" in 2 Corinthians 1:3. But how does our abiding faith in God provide comfort? What do we know about God that allows us to find comfort and hope when faced with evil and suffering?
Rooted deeply in the Old Testament and in rabbinic tradition, Paul's descriptive phrase, "the Father of mercies and God of all comfort," draws our attention first to God's compassion. The prophet Jeremiah, no stranger to violence and loss, lamented, "I remember my affliction and my wandering, the bitterness and the gall. I well remember them and my soul is downcast within me. Yet this I call to mind and therefore I have hope: Because of the Lord's great love we are not consumed, for his compassions never fail. They are new every morning: great is your faithfulness. I say to myself, 'The Lord is my portion; therefore I will wait for him.'" (Lamentations 3:19-24, NIV) In the midst of loss, grief, fear, and depression, Jeremiah found hope in God's great love and in the certainty of His mercy.
Speaking of God's great love and unending compassion in the throes of suffering and loss seems foolish. Was God's great love present in that theater when a murderer rained down death on seemingly random victims? If so, why didn't he stop the gunman, save twelve lives and prevent unbearable pain for dozens more? Like Habakkuk, we cry out, "How long, Lord, must I call out for help, but you do not listen? Or cry out to you, 'Violence!' but you do not save?" (Habakkuk 1:2) Although talented and insightful Christian thinkers have helped us think about these tough questions with well-reasoned arguments,* I suspect that for most of us the raw emotions of pain and loss remain. The crucible of faith is the willingness to keep believing that God's mercy never fails even when it seems foolish to do so. To say with Jeremiah, "I will wait for him," provides comfort because it demonstrates the conviction that suffering and loss isn't God's final answer to the devastating presence and consequences of evil.
For many, faith focused on God's mercy and compassion alone will not provide comfort in the face of evil. We must also trust in God's justice. God will judge evildoers; his righteousness demands it. Turning our attention to God's justice isn't natural for us. We're more comfortable thinking about God's love than God's justice. We are ready to embrace the God who loves but not eager to stand before the God who judges. Yet, without justice, God's love becomes benign sentiment that seems impotent in the face of evil.
The author of the book of Hebrews wrote unflinchingly about the justice and judgment of God. "If we deliberately keep on sinning after we have received the knowledge of the truth, no sacrifice for sins is left, but only a fearful expectation of judgment and of raging fire that will consume the enemies of God. . . . For we know him who said, 'It is mine to avenge; I will repay,' and again, 'The Lord will judge his people.' It is a dreadful thing to fall into the hands of the living God." (Hebrews 10:26-27, 30-31)
The certainty and equity of God's justice provides comfort for those who suffer loss at the hands of evildoers as it assuages our strong sense of need to seek vengeance on those who have harmed us or our loved ones. That deep urge to seek vengeance and the fear that the evildoer will escape without penalty generate a rage that leads to violence. History demonstrates that vengeance and retaliation can quickly devolve into cyclical violence, even genocide. Thus, Paul exhorts us, "Do not take revenge, my dear friends, but leave room for God's wrath, for it is written, 'It is mine to avenge; I will repay,' says the Lord." (Romans 12:19) There is no real comfort in vengeance because only a holy God can execute revenge without sin. There is, however, real comfort in the certainty and equity of God's justice.
Although God's compassion and God's justice seem intrinsically contradictory—one drawing us into the arms of a loving Father and the other laying bare our sin before a righteous Judge—one without the other cannot provide comfort. Trevin Wax, writing in Christianity Today, reminds us how the paradoxical truths of God's mercy and God's judgment focus our attention on the work of Christ.
God the Judge has promised to completely wipe out the evil of the world. And yet, he loves us. In his grace, he is the righteous judge and the gracious redeemer. His judgment against evil is poured out upon his only Son on the cross. Justice and mercy are not a war with one another. They meet at the cross. (Bold mine. Christianity Today, July/August 2012, p. 51)
And so, we weep. We question. We believe. And we do not lose heart.
*See Lee Strobel's reflection at http://www.chcc.org/sundays_lee_strobel_summer_2012.aspx and Doug Groothuis' excellent chapter, "The Problem of Evil: Dead Ends and the Christian Answer" in his book Christian Apologetics: A Comprehensive Case for Biblical Faith.
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EAST AURORA - No. 3 East Aurora proved to be too much for the No. 14 Fredonia Lady Hillbillies on Tuesday with a 4-1 victory in Section 6 Class C girls' high school soccer quarterfinal action.
Helen Magitti scored Fredonia's lone goal off a feed from Emily MacKinnon.
Bre Dahn was in net for the Lady Hillbillies and made eight saves.
Article Photos
Submitted Photo
Fredonia defender Ally Gugino marks up East Aurora's Corie Hughes (2) during Tuesday's Section 6 Class C girls' high school soccer quarterfinal game.
"It was a great season," Fredonia coach Cathy Cruver said. "I'm proud of the girls. I'm really looking forward to next season. This was an outstanding year for us, in my opinion, considering most of my team is 10th graders. We have great things ahead. I have a young team and they did a great job."


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BMW to supply Fisker with engines
BMW will be supplying the engines for Fisker's next car.
Fisker Automotive announced today that it's contracted with BMW to supply engines, and a few other components, for its "Project Nina" vehicle.
BMW has committed to build "up to 100,000" turbocharged four-cylinder engines for the car per year.
The yet-to-be-officially-named model is expected to begin selling in the U.S. in 2013, going into production at a former GM plant in Delaware in 2012.
"Project Nina" is the follow-up plug-in hybrid sedan to the company's Fisker Karma four-door plug-in hybrid … Read more