text:
Alexander Calder
This article's introduction section may not adequately summarize its contents. (November 2013) |
Alexander "Sandy" Calder | |
Alexander Calder, by Carl Van Vechten, 1947
Born | Lawnton, Pennsylvania, US |
July 22, 1898
Died | November 11, 1976 New York City |
(aged 78)
Nationality | United States |
Field | Sculpture |
Training | Stevens Institute of Technology, Art Students League of New York |
Movement | Kinetic art |
Awards | Presidential Medal of Freedom[1] |
Alexander Calder (July 22, 1898 – November 11, 1976) was an American sculptor best known as the originator of the mobile, a type of kinetic sculpture made with delicately balanced or suspended components which move in response to motor power or air currents. By contrast, Calder's stationary sculptures are called stabiles. He also produced numerous wire figures, notably for a miniature circus.
Early life[edit]
Alexander "Sandy" Calder was born in Lawnton, Pennsylvania on July 22, 1898. His father, Stirling Calder, was a well-known sculptor who created many public installations, a majority of them in nearby Philadelphia.
Sandy Calder's grandfather, sculptor Alexander Milne Calder, was born in Scotland, immigrated to Philadelphia in 1868, and is best known for the colossal statue of William Penn on top of Philadelphia City Hall's tower. Sandy Calder's mother, Nanette (née Lederer), was a professional portrait artist, who had studied at the Académie Julian and the Sorbonne in Paris from around 1888 until 1893. She moved to Philadelphia where she met Stirling Calder while studying at the Pennsylvania Academy of the Fine Arts. Sandy Calder's parents married on February 22, 1895; his sister, Mrs. Margaret Calder Hayes, is considered instrumental in the development of the UC Berkeley Art Museum.[2]
In 1902, Sandy Calder posed nude for his father's sculpture The Man Cub, which is now located in the Metropolitan Museum of Art in New York City. That same year he also completed his earliest sculpture, a clay elephant.[3] Three years later, Stirling Calder contracted tuberculosis, and Calder's parents moved to a ranch in Oracle, Arizona, leaving the children in the care of family friends for a year.[4] The children were reunited with their parents in late March 1906 and stayed at the ranch in Arizona until fall of the same year.[5]
After Arizona, the Calder family moved to Pasadena, California. The windowed cellar of the family home became Calder's first studio and he received his first set of tools. He used scraps of copper wire that he found in the streets to make jewelry and beads for his sister's dolls. On January 1, 1907, Nanette Calder took her son to the Tournament of Roses Parade in Pasadena, where he observed a four-horse-chariot race. This style of event later became the finale of Calder's wire circus shows.[6] (Thomas Wolfe mocks the performances in his novel You Can't Go Home Again, in which Calder appears as a character named "Piggy Logan.")[7]
In the fall of 1909, the Calder family moved back to Philadelphia, where Sandy briefly attended Germantown Academy, then moved to Croton-on-Hudson, New York.[8] That Christmas, he sculpted a dog and a duck out of sheet brass as gifts for his parents. The sculptures were three-dimensional and the duck was kinetic because it rocked when gently tapped.[9] In Croton, during his early high school years, Calder was befriended by painter Everett Shinn with whom he built a gravity powered system of mechanical trains. Calder described it, "We ran the train on wooden rails held by spikes; a chunk of iron racing down the incline speeded [sic] the cars. We even lit up some cars with candle lights".[10] After Croton, the Calders moved to Spuyten Duyvil to be closer to the Tenth Street Studio Building in New York City, where Stirling Calder rented a studio. While living in Spuyten Duyvil, Sandy Calder attended high school in nearby Yonkers. In 1912, Stirling Calder was appointed acting chief of the Department of Sculpture of the Panama–Pacific International Exposition in San Francisco, California.,[11] and began work on sculptures for the exposition that was held in 1915.
During Sandy Calder's high school years (1912–1915), the family moved back and forth between New York and California. In each new location, Calder's parents reserved cellar space as a studio for their son. Toward the end of this period, Calder stayed with friends in California while his parents moved back to New York, so that he could graduate from Lowell High School in San Francisco. Calder graduated with the class of 1915.[citation needed]
Life and career[edit]
In 1915, Calder decided to study mechanical engineering, and enrolled at the Stevens Institute of Technology in Hoboken, New Jersey.[12] He was a member of the Delta Tau Delta fraternity and excelled in mathematics.[13]
In the summer of 1916, Calder spent five weeks training at the Plattsburg Civilian Military Training Camp. In 1918, he joined the Student's Army Training Corps, Naval Section, at Stevens and was made guide of the battalion.[14]
Calder received a degree from Stevens in 1919.[12] For the next several years, he held a variety of engineering jobs, including working as a hydraulic engineer and a draughtsman for the New York Edison Company. In June 1922, Calder found work as a mechanic on the passenger ship H. F. Alexander. While the ship sailed from San Francisco to New York City, Calder worked on deck off the Guatemalan Coast and witnessed both the sun rising and the moon setting on opposite horizons. He described in his autobiography, "It was early one morning on a calm sea, off Guatemala, when over my couch—a coil of rope—I saw the beginning of a fiery red sunrise on one side and the moon looking like a silver coin on the other."[15]
The H.F. Alexander docked in San Francisco and Calder traveled up to Aberdeen, Washington, where his sister lived with her husband, Kenneth Hayes. Calder took a job as a timekeeper at a logging camp. The mountain scenery inspired him to write home to request paints and brushes. Shortly after this, Calder decided to move back to New York to pursue a career as an artist.
Calder moved to New York and enrolled at the Art Students' League, studying briefly with Thomas Hart Benton, George Luks, Kenneth Hayes Miller, and John Sloan.[16] While a student, he worked for the National Police Gazette where, in 1925, one of his assignments was sketching the Ringling Brothers and Barnum and Bailey Circus. Calder became fascinated with the circus, a theme that would reappear in his later work.
In 1926, Calder moved to Paris, visited the Académie de la Grande Chaumière and he established a studio at 22 rue Daguerre in the Montparnasse Quarter. In June 1929, while traveling by boat from Paris to New York, Calder met his future wife, Louisa James (1905-1996), grandniece of author Henry James and philosopher William James. They married in 1931. While in Paris, Calder met and became friends with a number of avant-garde artists, including Joan Miró, Jean Arp, and Marcel Duchamp. Calder and Louisa returned to America in 1933 to settle in a farmhouse they purchased in Roxbury, Connecticut, where they raised a family (first daughter, Sandra born 1935, second daughter, Mary, in 1939). In 1955 Alexander and Louisa Calder travelled around in India for three months, where Calder produced nine sculptures as well as some jewelry.[17]
In 1962, Calder settled into his new workshop Carroi, which was of a futuristic design and overlooked the valley of the Lower Chevrière to Saché in Indre-et-Loire (France). He did not hesitate to offer his gouaches and small mobiles to his friends in the country, he even donated to the town a stabile trônant, which since 1974 is situated front of the church: an anti-sculpture free from gravity. Throughout his artistic career, Calder named many of his works in French, regardless of where they were destined for eventual display.
In 1966, Calder published his Autobiography with Pictures with the help of his son-in-law, Jean Davidson.
Calder died unexpectedly on November 11, 1976, shortly after opening a major retrospective show at the Whitney Museum in New York.
Artistic work[edit]
In 1926, at the suggestion of a Serbian toy merchant in Paris, Calder began to make toys. At the urging of fellow sculptor Jose de Creeft, he submitted them to the Salon des Humoristes. Later that fall, Calder began to create his Cirque Calder, a miniature circus fashioned from wire, string, rubber, cloth, and other found objects. Designed to fit into suitcases (it eventually grew to fill five), the circus was portable, and allowed Calder to hold performances on both sides of the Atlantic. He gave improvised shows, recreating the performance of a real circus. Soon, his Cirque Calder[18] (usually on view at the Whitney Museum of American Art at present) became popular with the Parisian avant-garde.
In 1927, Calder returned to the United States. He designed several kinetic wooden push and pull toys for children, which were mass-produced by the Gould Manufacturing Company, in Oshkosh, Wisconsin. His originals, as well as playable replicas, are on display in the Berkshire Museum in Pittsfield, Massachusetts. Throughout the 1930s, Calder continued to give Cirque Calder performances, but he also worked with choreographer Martha Graham, designing stage sets for her ballets and created a moving stage construction to accompany Eric Satie's Socrate in 1936.
The Cirque Calder can be seen as the start of Calder's interest in both wire sculpture and kinetic art. He maintained a sharp eye with respect to the engineering balance of the sculptures and utilized these to develop the kinetic sculptures Marcel Duchamp would ultimately dub as "mobiles", a French pun meaning both "mobile" and "motive." He designed some of the characters in the circus to perform suspended from a thread. For other sculptures, such as Policeman (1928), Calder transforms the graphic, all-black wire into an elegant series of loops and twists to create an animated figure.[19]
In 1929, Calder had his first solo show of wire sculpture, in Paris at Galerie Billiet. The painter Jules Pascin, a friend of Calder's from the cafes of Montparnasse, wrote the preface to the catalog. A visit to Piet Mondrian's studio in 1930 "shocked" him into embracing abstract art.[20]
It was the mixture of his experiments to develop purely abstract sculpture following his visit with Mondrian that led to his first truly kinetic sculptures, manipulated by means of cranks and pulleys, that would become his signature artworks. Calder's kinetic sculptures are regarded as being amongst the earliest manifestations of an art that consciously departed from the traditional notion of the art work as a static object and integrated the ideas of motion and change as aesthetic factors.[21]
By the end of 1931, he moved on to more delicate sculptures which derived their motion from the air currents in the room, using cutout shapes reminiscent of natural forms (birds, fish, falling leaves).[22] Dating from 1932, Calder's first hanging sculptures of discrete movable parts powered by the wind were christened "mobiles" by Marcel Duchamp.[23] They were followed from 1934 by pieces which were set in motion by air currents.[24] At the same time, Calder was also experimenting with self-supporting, static, abstract sculptures, dubbed "stabiles" by Jean Arp in 1932 to differentiate them from mobiles. In 1935-1936 he produced a number of works made largely of carved wood. At Exposition Internationale des Arts et Techniques dans la Vie Moderne (1937) the Spanish pavilion included Alexander Calder's sculpture Mercury Fountain.
During World War II, Calder attempted to join the Marines as a camofleur, but was rejected. Instead, he continued to sculpt, but a scarcity of metal led to him again to produce work in carved wood. Calder set about creating new works such as Seven Horizontal Discs (1946), which he was able to dismantle and send by mail despite the stringent size restrictions imposed by the postal service at the time.[25]
Once the war was over, Calder began to cut shapes from sheet metal into evocative forms and would hand-paint them in his characteristically pure hues of black, red, blue, and white.[26] Calder created a small group of works from around this period with a hanging base-plate, for example Lily of Force (1945), Baby Flat Top (1946), and Red is Dominant (1947). Largely comprising a range of hanging and standing Mobiles, his 1946 show at the Galerie Louis Carré in Paris made a huge impact, as did the essays for the catalogue which was especially written, at the artist's invitation, by French philosopher Jean-Paul Sartre and curator James Johnson Sweeney.[27] By the late 1950s, Calder produced mobiles almost exclusively for close friends and family.[28]
In 1951, Calder devised a new kind of mobile/stabile combination, related structurally to his constellations. These "towers," affixed to the wall with a nail, consist of wire struts and beams that jut out from the wall, with moving objects suspended from their armatures.[29] After 1965, an intermediate maquette, usually about one-fifth the final size, was often fabricated to test the wind resistance and to refine the structure.[30]
Theatrical productions[edit]
As a renowned artist, part of Calder's repertoire includes pivotal stage sets for more than a dozen theatrical productions. Out of this numerous productions, his noted favorites were: Nuclea, Panorama, Horizon, Socrate, Work in progress.[31] Calder would describe some of his stage sets as dancers performing a choreography due to their rhythmic movement.[31] The production of the Socrate set in 1936 became a decisive moment in Calder's artistic development. Calder described it in these terms: «it serves as an indication of a good deal of my subsequent work».[32] It helped him move from small indoor mobiles to monumental outdoor forms he had just begun experimenting with. He also abandoned motorization for freely moving mobiles.[33]
Monumental works[edit]
In the 1930s, the Berkshire Museum in Pittsfield, Massachusetts gave Calder his first public commission, a pair of mobiles designed for the Museum's new theater.[34] In the 1950s, Calder increasingly concentrated his efforts on producing monumental sculptures (his self-described period of "agrandissements").[35] Notable examples are .125 for JFK Airport in 1957, La Spirale for UNESCO in Paris 1958 and Man (L'Homme), commissioned for Expo 67 in Montreal, Canada. Calder's largest sculpture until that time, 20.5 meters high, was El Sol Rojo, constructed outside the Aztec Stadium for the 1968 Summer Olympics "Cultural Olympiad" events in Mexico City.
In 1934, Calder made his first outdoor works in his Roxbury, Connecticut studio, using the same techniques and materials as his smaller works. Exhibited outside, Calder's initial standing mobiles moved elegantly in the breeze, bobbing and swirling in natural, spontaneous rhythms. In fact, the first few outdoor works were too delicate for strong winds, which forced Calder to rethink his fabrication process.
In 1936, he responded to the problem, changing his working methods. He began to create smaller scale maquettes that he then enlarged to monumental size. The small metal maquette, the first step in the production of a monumental sculpture, was already for Calder a sculpture in its own right. The larger works were made under his direction, using the classic enlargement techniques used in different ways by traditional sculptors, including his father and grandfather. Calder began to draw his designs on brown craft paper, which he enlarged using a grid. His large-scale works were created according to his exact specifications, while also allowing him the liberty to adjust or correct a shape or line if necessary.[36]
He made most of his monumental stabiles and mobiles during this time[when?] at Etablissements Biémont in Tours, France. Calder would create a model of his work, the research department (headed by M. Porcheron, with Alain Roy, François Lopez, Michel Juigner ...) would scale it up to final size, and then experienced boilermakers would complete the actual metalwork — all under Calder's watchful eye. Stabiles were made in carbon steel sheet metal, then painted in black or in primary colors. Some lightweight mobiles were made of aluminum or duralumin alloy. An exception was Man (L'homme), stainless steel 24 meters tall, which was commissioned by International Nickel Company of Canada (Inco).
In 1958, Calder collaborated with Jean Prouvé to construct the steel base of La Spirale, a monumental mobile for the UNESCO site in Paris. (Calder later gave Prouvé two mobiles—as well as a gouache with a dedication.)[37] In June 1969, Calder attended the dedication of his monumental stabile La Grande Vitesse in Grand Rapids, Michigan. This sculpture is notable for being the first civic sculpture in the United States to be receive funding from the National Endowment for the Arts.[38]
Calder created a sculpture called WTC Stabile (also known as Bent Propeller), which in 1971 was installed at the entrance of the World Trade Center's North Tower in New York City. When Battery Park City opened, the sculpture was moved to Vesey and Church Streets.[39] The sculpture stood in front of 7 World Trade Center until it was destroyed on September 11, 2001.[40]
In 1974 Calder unveiled to the public two sculptures, Flamingo at Federal Plaza and Universe at Sears Tower,[41] in Chicago, Illinois. The exhibition Alexander Calder: A Retrospective Exhibition at the Museum of Contemporary Art, Chicago, opened simultaneously with the unveiling of the sculptures.[42] Originally meant to be constructed in 1979 for the Hart Senate Office Building, Mountains and Clouds was not built until 1985 due to government budget cuts. The massive project, constructed of sheet steel and weighing 35 tons, spans the entire nine-story height of the building's atrium in Washington DC. Calder designed the maquette in the last year of his life for the US Senate, and designated his assistant Carmen Segretario to construct the massive stabile.[43]
Painting and printmaking[edit]
In addition to sculptures, Calder painted throughout his career, beginning in the early 1920s. He picked up his study of printmaking after moving to Paris in 1926, and continued to produce illustrations for books and journals.[44] His many projects from this period include pen-and-ink line drawings of animals for a 1931 publication of Aesop's fables. As Calder's sculpture moved into the realm of pure abstraction in the mid-1930s, so did his prints. The thin lines used to define figures in the earlier prints and drawings began delineating groups of geometric shapes, often in motion. Calder also used prints for advocacy, as in poster prints from 1967 and 1969 protesting the Vietnam War.[45]
As Calder's professional reputation expanded in the late 1940s and 1950s, so did his production of prints. Masses of lithographs based on his gouache paintings hit the market, and deluxe editions of plays, poems, and short stories illustrated with fine art prints by Calder became available for sale.[44]
Painted vehicles[edit]
In 1973, Braniff International Airways commissioned him to paint a full-size DC-8-62 as a "flying canvas." In 1975, Calder completed a second airplane, this time a Boeing 727–291, as a tribute to the US Bicentennial. Mr. Calder was working on a third Boeing 727 design for Braniff when he died in November, 1976. The design was painted on several models for Braniff to select from, and a dedication ceremony was conducted in 1977 for a "Flying Colors of Mexico" aircraft that included his wife Louisa in attendance. The design was never applied to a Braniff aircraft for some unknown reason.[46]
In 1975, Calder was commissioned to paint a BMW 3.0 CSL, which would be the first vehicle in the BMW Art Car Project.
Calder created 1,800 pieces of jewelry over the course of his career, many of them as gifts for friends and relatives. Several pieces reflect Calder's fascination with art from Africa and other continents.[47] They were mostly made of brass and steel, with bits of ceramic, wood and glass. Calder rarely used solder; when he needed to join strips of metal, he linked them with loops, bound them with snippets of wire or fashioned rivets.[48] Calder created his first pieces in 1906 at the age of eight for his sister's dolls using scraps of metal he found in the street.[47]
For his lifelong friend Joan Miró, he set a shard of a broken porcelain vessel in a brass ring. Peggy Guggenheim received enormous silver mobile earrings and later commissioned a hammered silver headboard that shimmered with dangling fish.[49] In 1942, Guggenheim wore one Calder earring and one by Yves Tanguy to the opening of her New York gallery, The Art of This Century, to demonstrate her equal loyalty to Surrealist and abstract art, examples of which she displayed in separate galleries.[50] Others who were presented with Calder's pieces were the artist's close friend, Georgia O'Keeffe; Alexina Duchamp, wife of Marcel Duchamp; Jeanne Rucar, wife of the filmmaker Luis Buñuel; and Bella Rosenfeld, wife of Marc Chagall.[51]
After being given a Masaya hammock in 1972, Calder commissioned 100 Nicaraguan weavers to make a host of new ones following eight of his own designs, along with a range of wall hangings. A collection of 14 further hand-woven wool tapestries in limited editions then followed.[52]
Calder's first solo exhibition came in 1927, at the Gallery of Jacques Seligmann in Paris.[53] In 1928, his first solo show in a US commercial gallery was at the Weyhe Gallery in New York City. In 1933, he exhibited with the Abstraction-Création group in Paris.
In 1935, he had his first solo museum exhibition in the United States at The Renaissance Society at the University of Chicago. In New York, he was championed from the early 1930s by the Museum of Modern Art, and was one of three Americans to be included in Alfred H. Barr Jr.'s 1936 exhibition Cubism and Abstract Art.[54]
Calder's first retrospective was held in 1938 at George Walter Vincent Smith Gallery in Springfield, Massachusetts. In 1943, the Museum of Modern Art hosted a well-received Calder retrospective, curated by James Johnson Sweeney and Marcel Duchamp; the show had to be extended due to the sheer number of visitors.[55] Calder was one of 250 sculptors who exhibited in the 3rd Sculpture International held at the Philadelphia Museum of Art in the summer of 1949. His mobile, International Mobile was the centerpiece of the exhibition. Calder also participated in documentas I (1955), II (1959), III (1964).
Since Calder's death, his work has now been the subject of numerous museum exhibitions, including Alexander Calder, Louisiana Museum of Modern Art, Humlebaek, Denmark, 1995 (traveled to: Moderna Museet, Stockholm; Musée d'art moderne, Paris, in 1996); Alexander Calder: 1898-1976, National Gallery of Art, Washington, D.C., 1998 (traveled to the San Francisco Museum of Modern Art); Calder: Gravity and Grace, Guggenheim Museum, Bilbao, 2003 (traveled to Reina Sofia, Madrid); The Surreal Calder, Menil Collection, Houston, 2005-2006 (traveled to San Francisco Museum of Modern Art; Minneapolis Institute of Arts); Calder Jewelry, Norton Museum of Art, West Palm Beach, 2008 (traveled to Philadelphia Museum of Art; Metropolitan Museum, New York; Irish Museum of Modern Art; San Diego Museum of Art; Grand Rapids Art Museum); Alexander Calder: The Paris Years, 1926-1933, Whitney Museum of American Art, New York, 2008 (traveled to the Centre Pompidou, Paris; Art Gallery of Ontario, Toronto); Calder, Palazzo delle Esposizioni, Rome, 2009–2010; and Alexander Calder: A Balancing Act, Seattle Art Museum, 2009–2010.[56] From February 11 through May 28, 2012 the Gemeentemuseum in The Hague has an exhibition about Calder, including his relationship with Piet Mondrian.
Calder's work is in many permanent collections across the world. The Whitney Museum of American Art, New York, has the largest body of work by Alexander Calder in any museum.[57] Other important museum collections include the Museum of Modern Art, New York; the Centre Georges Pompidou, Paris; the Museo Nacional Centro de Arte Reina Sofía, Madrid; and the National Gallery of Art, Washington, D.C.[56]
The Philadelphia Museum of Art offers a view of works by three generations of Alexander Calders. From the second floor window on the east side of the Great Stair Hall (on the opposite side from the armor collection) there is behind the viewer the Ghost mobile from the 3rd generation (DOB 1898),[58] ahead on the street is the Swann Memorial Fountain by the 2nd generation (DOB 1870), and beyond that the statue of William Penn atop City Hall from the 1st generation (DOB 1846).
In 1952, Calder represented the United States at the Venice Biennale and was awarded the main prize for sculpture. He also won the First Prize for Sculpture at the 1958 Pittsburgh International.[24]
Art market[edit]
In the late 1930s and early 1940s, even as Calder's international acclaim was growing, his works were still not highly sought after, and when they sold, it was often for relatively little money. A copy of a Pierre Matisse sales ledger in the foundation's files shows that only a few pieces in the 1941 show found buyers, one of whom, Solomon R. Guggenheim, paid all of $233.34 — or about $3,500 in today's money — for a work. (The Museum of Modern Art had bought its first Calder in 1934 for $60, after talking Calder down from $100.)[59] In 2010, his metal mobile Untitled (Autumn Leaves), sold at Sotheby's New York for $3.7 million. Another mobile, titled Red Curlicue (1973), brought $6.35 million at Christie's later that year.[60] Also at Christie's, a standing mobile called Lily of Force (1945), which was estimated to sell for $8 million to $12 million, was bought for $18.5 million in 2012.[61]
Galerie Maeght in Paris became Calder's exclusive Parisian dealer in 1950. His association with Galerie Maeght lasted twenty-six years, until his death. After his New York dealer Curt Valentin died unexpectedly in 1954, Calder selected the Perls Gallery in New York as his new American dealer, and this alliance also lasted until the end of his life.[62]
From 1966 through the present, winners of the National Magazine Awards are awarded an "Ellie", a copper-colored stabile resembling an elephant, which was designed by Calder. Two months after his death, the artist was posthumously awarded the Presidential Medal of Freedom, the United States' highest civilian honor, by President Gerald Ford. However, representatives of the Calder family boycotted the January 10, 1977 ceremony "to make a statement favoring amnesty for Vietnam War draft resisters."
In 1998, the US Postal Service issued a 32 cent stamp honoring Calder.[63]
Calder Foundation[edit]
In 1987, the Calder Foundation was established by Calder's family. The foundation "is dedicated to collecting, exhibiting, preserving, and interpreting the art and archives of Alexander Calder and is charged with an unmatched collection of his works."[64] The foundation has large holdings, with some works owned by family members and others by foundation supporters. The art includes more than 600 sculptures (including mobiles, stabiles, standing mobiles, and wire sculptures), and 22 monumental outdoor works, as well as thousands of oil paintings, works on paper, toys, pieces of jewelry, and household objects.[65] The US copyright representative for the Calder Foundation is the Artists Rights Society.[66]
In 2012, the foundation decided to forgo a catalogue raisonné in favor of an online guide to Calder's development and history, featuring 4,000 to 6,000 works, roughly one-quarter of the artist's total output.[67] After having worked mainly on cataloging Calder's works, the Calder Foundation is now focusing on organizing global exhibitions for the artist.[68]
Authenticity issues[edit]
The Calder Foundation does not authenticate artworks; rather, owners can submit their works for registration in the Foundation's archive and for examination.[67] The committee that performs examinations includes dealers, scholars, museum curators and members of the Calder family.[69] The Calder Foundation's website provides details on the current policies and guidelines governing examination procedures.[70]
In 1993, the owners of Rio Nero (1959), a sheet-metal and steel-wire mobile ostensibly by Calder, went to the United States District Court for the District of Columbia claiming that it was not by Alexander Calder, as the dealer they had bought it from had said.[71] That same year, a federal judge ruled that Rio Nero was authentic, and had just been assembled incorrectly. Despite the decision, the owners of the mobile could not sell it because the recognized expert, Klaus Perls, had declared it a copy. The judge recognized the problem at the time, noting that Perls' pronouncement would make Rio Nero unsellable. In 1994, the Calder Foundation declined to include the mobile in the catalogue raisonné on the artist.[72]
Referring to the Rio Nero case, the Appellate Division of the New York Supreme Court in 2009 rejected the appeal of an art collector who wished to sell a couple of stage sets that Calder had designed but did not live to see completed, which he had unsuccessfully tried to get the Calder Foundation to authenticate.[73] The court found that it did not have the power to declare the purported Calder work authentic nor to order the Calder Foundation to include it in the catalogue raisonné.
Plans for a Calder Museum[edit]
After similar ideas were developed for New York in 1998,[65] plans for a museum devoted to Calder in Philadelphia were announced in 2000. The proposed 35,000-square-foot Calder museum, designed by Japanese architect Tadao Ando, was to be located on a two-acre lot. The facility, which was slated for a 2008 opening, would have cost an estimated $70 million.[74] In 2005, the plans were abandoned amid stalled negotiations with the late sculptor's heirs over the terms of lending his works.[75]
This section is a candidate to be copied to Wikiquote using the Transwiki process. |
"How can art be realized?
Out of volumes, motion, spaces bounded by the great space, the universe.
Out of different masses, tight, heavy, middling—indicated by variations of size or color—directional line—vectors which represent speeds, velocities, accelerations, forces, etc. . . .—these directions making between them meaningful angles, and senses, together defining one big conclusion or many.
Spaces, volumes, suggested by the smallest means in contrast to their mass, or even including them, juxtaposed, pierced by vectors, crossed by speeds.
Nothing at all of this is fixed.
Each element able to move, to stir, to oscillate, to come and go in its relationships with the other elements in its universe.
It must not be just a fleeting moment but a physical bond between the varying events in life.
Not extractions,
But abstractions
Abstractions that are like nothing in life except in their manner of reacting."[76]
- – From Abstraction-Création, Art Non Figuratif, no. 1, 1932.
L'empennage (The Empennage) (1953), Scottish National Gallery of Modern Art
Nubes flotantes (Floating clouds) (1953),
Aula Magna, Universidad Central de Venezuela, Caracas, Venezuela -
The Four Elements (1961), Moderna Museet, installation in front of the museum entrance
De tre vingarna (The Three Wings) (1967), Blå Stället, Angered, Gothenburg, Sweden.
Untitled (1968), Centro Cultural de Belém, Lisbon, Portugal
Bobine (Bobbin) (1970), National Gallery of Australia, Canberra, Australia
Le hallebardier (The Halberdier) (1971), Sprengel Museum, Hannover, Germany
Crinkly avec disque rouge (Crinkly with Red Disk) (1973), Schlossplatz in Stuttgart, Germany
Feuille d'arbre (Tree leaf) (1974),
Tel Aviv, Israel
Selected works[edit]
- Dog (1909), folded brass sheet; this was made as a present for Calder's parents
- The Flying Trapeze (1925), oil on canvas, 36 x 42 in.
- Elephant (c. 1928), wire and wood, 11½ x 5¾ x 29.2 in.
- Two Acrobats (ca. 1928), Brass wire, painted wood base, Honolulu Museum of Art
- Aztec Josephine Baker (c. 1929), wire, 53" x 10" x 9". A representation of Josephine Baker, the exuberant lead dancer from La revue nègre at the Folies Bergère.
- Untitled (1931), wire, wood and motor; one of the first kinetic mobiles.
- Feathers (1931), wire, wood and paint; first true mobile, although designed to stand on a desktop
- Cône d'ébène (Ebony cone), 1933), ebony, metal bar and wire; early suspended mobile (first was made in 1932).
- Form Against Yellow (1936), sheet metal, wire, plywood, string and paint; wall-supported mobile.
- Object with Yellow Background (1936), Painted wood, metal, string, Honolulu Museum of Art
- Mercury Fountain (1937), sheet metal and liquid mercury metal
- Devil Fish (1937), sheet metal, bolts and paint; first piece made from a model.
- 1939 New York World's Fair (maquette) (1938), sheet metal, wire, wood, string and paint
- Necklace (c. 1938), brass wire, glass and mirror
- Sphere Pierced by Cylinders (1939), wire and paint; the first of many floor standing, life size stabiles (predating Anthony Caro's plinthless sculptures by two decades)
- Lobster Trap and Fish Tail (1939), sheet metal, wire and paint (suspended mobile); design for the stairwell of the Museum of Modern Art, New York
- Black Beast (1940), sheet metal, bolts and paint (freestanding plinthless stabile)
- S-Shaped Vine (1946), sheet metal, wire and paint (suspended mobile)
- Sword Plant (1947) sheet metal, wire and paint (standing mobile)
- Snow Flurry (1948), sheet metal, wire and paint (suspended mobile)
- Stillman House Mural (1952), (pool mural) http://www.aaa.si.edu/collections/images/detail/stillman-house-i-881
- .125 (1957), steel plate, rods and paint
- La spirale (1958), steel plate, rod and paint, 360" high; public monumental mobile for Maison de l'UNESCO, Paris
- Guillotine pour huit (Guillotine for eight), (1962), at the LaM, Villeneuve d'Ascq, France
- Teodelapio (1962), steel plate and paint, monumental stabile, Spoleto, Italy
- La Grande Voile (The Big Sail) (1966), a 33-ton metal sculpture composed of five intersecting forms, four planes, and one curve. It stands 40 feet tall, on the campus of the Massachusetts Institute of Technology in Cambridge, Massachusetts.
- Man (1967) stainless steel plate, bolts and paint, 65' x 83' x 53', monumental stabile, Montreal Canada
- Gwenfritz (1968) National Museum of American History
- La grande vitesse (The great speed), (1969), steel plate, bolts and paint, 43' x 55' x 25', Grand Rapids, Michigan
- Peau Rouge Indiana (Red Skin Indiana) (1970), steel plate, bolts and paint, 40' x 32' x 33', Bloomington, Indiana
- Reims, Croix du Sud (Reims, Cross of the South) (1970), at the LaM, Villeneuve d'Ascq, France
- Eagle (1971), steel plate, bolts and paint, 38'9" x 32'8" x 32'8", Olympic Sculpture Park, Seattle, Washington
- White and Red Boomerang (1971), Painted metal, wire, Honolulu Museum of Art
- Stegosaurus (1973), steel plate, bolts and paint, 50' tall, Wadsworth Atheneum, Hartford, Connecticut
- Cheval Rouge (Red Horse) (1974), red painted sheet metal, at the National Gallery, Washington, D.C.
- Flamingo (1974), red painted steel, at the Federal Plaza, Chicago, Illinois
- The Red Feather (1975), black and red painted steel, 11' x 6'3" x 11'2", The Kentucky Center
- Untitled (1976), aluminum honeycomb, tubing and paint, 358½ x 912", National Gallery of Art Washington, D.C.
- L'Araignée Rouge (The Red Spider) (1976), 15m tall, monumental sculpture, Paris La Défense France
- Mountains and Clouds (1976), painted aluminum and steel, 612 inches x 900 inches, Hart Senate Office Building
- ^ Award won by Alexander Calder http://m.thelmagazine.com/TheMeasure/archives/2011/02/15/jasper-johns-gets-his-presidential-medal-of-freedom-tonight
- ^ Hayes, Margaret Calder. Three Alexander Calders: A Family Memoir. Middlebury, VT: Paul S. Eriksson, 1977.
- ^ Calder 1966, p. 13.
- ^ Calder 1966, p. 15.
- ^ "Calder Foundation". Calder.org. Archived from the original on July 24, 2011. Retrieved July 21, 2011.
- ^ Calder 1966, pp. 21–22.
- ^ http://www.nytimes.com/2008/10/12/arts/design/12shat.html?pagewanted=all
- ^ Calder 1966, pp. 28–29.
- ^ Hayes, Margaret Calder, Three Alexander Calders: A Family Memoir. Middlebury, VT: Paul S. Eriksson, 1977, p. 41.
- ^ Calder 1966, p. 31
- ^ "Panama Pacific International Exposition". calder.org.
- ^ a b Petroski, Henry (September–October 2012). "Portrait of the Artist as a Young Engineer". In Schoonmaker, David. American Scientist (New Haven, Connecticut: Sigma Xi) 100 (5): 368–373. ISSN 0003-0996. OCLC 645082957.
- ^ Calder 1966, p. 47.
- ^ "Calder Biography". Calder Foundation. Archived from the original on 25 July 2011. Retrieved July 31, 2011.
- ^ Calder 1966, pp. 54–55.
- ^ Calder Guggenheim Collection.
- ^ Calder in India, 31 May – 3 August 2012 Ordovas, London.
- ^ http://ubu.artmob.ca/video/Calder-Alexander_Le-cirque.avi
- ^ Alexander Calder, Policeman (1928) Christie's Post-War & Contemporary Art Evening Sale, 14 November 2012, New York.
- ^ "Alexander Calder: The Great Discovery". Gemeentemuseum den Haag. Gemeentemuseum den Haag. Retrieved 2012-04-08.
- ^ Alexander Calder Fondation Beyeler, Riehen.
- ^ Alexander Calder, Ghost (1964) Philadelphia Museum of Art.
- ^ Alexander Calder, Romulus and Remus (1928) Guggenheim Collection.
- ^ a b Alexander Calder Tate Collection.
- ^ Alexander Calder, Seven Horizontal Discs (1946) Christie's Post-War and Contemporary Evening Sale, 8 November 2011, New York.
- ^ Alexander Calder, Untitled (1948) Christie's Post-War and Contemporary Evening Sale, 10 November 2010, New York.
- ^ Alexander Calder, Lily of Force (1945) Christie's Post-War and Contemporary Evening Sale, 8 May 2012, New York.
- ^ Alexander Calder, Untitled (1958) Christie's Post-War & Contemporary Art Evening Sale, 14 November 2012, New York.
- ^ Calder. Gravity and Grace, March 18, 2003 - October 07, 2003 Guggenheim Museum Bilbao.
- ^ Alexander Calder National Gallery of Art, Washington, D.C.
- ^ a b Calder's Universe P.172
- ^ "Mobiles" by Alexander Calder, in The Painter's Object, edited by Myfanwy Evans (London: Gerold Howe, 1937), 62–67.
- ^ Ruth Wolf testimonial
- ^ Alexander Calder: An Artist at Play Berkshire Museum, Pittsfield.
- ^ Alexander Calder, Le Rouge de Saché (1954) Christie's Post-War and Contemporary Evening Sale, 8 May 2012, New York.
- ^ Alexander Calder, Red Curlicue (1973) Christie's Post-War and Contemporary Evening Sale, 10 November 2010, New York.
- ^ Calder, Prouvé, June 8 - November 2, 2013 Gagosian Gallery, Paris.
- ^ "Initial Public Art Project Becomes a Landmark". 40th Anniversary Highlights. National Endowment for the Arts. Retrieved 20 June 2013.
- ^ Wenegrat, Saul (February 28, 2002). "Public Art at the World Trade Center". International Foundation for Art Research. Archived from the original on September 28, 2007. Retrieved July 27, 2007.
- ^ Lives and Treasures Taken, The Library of Congress Retrieved 27 July 2007.
- ^ Cynthia Dizikes (October 04, 2010), Lawsuit: Sears wants Willis Tower artwork back Chicago Tribune.
- ^ "History of the MCA". Museum of Contemporary Art, Chicago. Archived from the original on 25 July 2011. Retrieved August 7, 2011.
- ^ Alexander Calder, Mountains and Clouds (1985) Christie's Post-War & Contemporary Art Evening Sale, 14 November 2012, New York.
- ^ a b Alexander Calder: Printmaker, October 30, 2009 - January 31, 2010 Bruce Museum, Greenwich, CT.
- ^ Bejamin Genocchio (December 18, 2009) Beyond the Mobiles New York Times.
- ^ Nance, John J (1984). Splash of Colors The Self Destruction of Braniff International. New York: William and Morrow Company. p. 79. ISBN 0-688-03586-8.
- ^ a b Cheryl Lu-Lien Tan (December 11, 2008), The Intimate Side of Alexander Calder Wall Street Journal.
- ^ Karen Rosenberg (December 11, 2008), Calder's Precious Metals: Who Needs Diamonds? New York Times.
- ^ Carol Kino (December 2, 2007), Precious Metals New York Times.
- ^ Roberta Smith (May 13, 2010), Shedding New Light on Old Friends New York Times.
- ^ Calder Jewelry The San Diego Museum of Art, San Diego.
- ^ Amelia Walsh (September 28, 2012), Hand-made in Guatemala, custom-made in France Financial Times.
- ^ Alexander Calder L&M Arts, New York/Los Angeles.
- ^ Roberta Smith (March 27, 1998) All Calder, High and Low New York Times.
- ^ Alexander Calder, Seven Horizontal Discs (1946) Christie's Post-War and Contemporary Evening Sale, 8 November 2011, New York.
- ^ a b Alexander Calder, February 8 - March 26, 2011 Gagosian Gallery, London.
- ^ Alexander Calder: The Paris Years, 1926–1933, October 16, 2008 – February 15, 2009 Whitney Museum of American Art, New York.
- ^ "Ghost". Philadelphia Museum of Art. Retrieved February 7, 2012.
- ^ Randy Kennedy (October 18, 2011), A Year in the Work of Calder New York Times.
- ^ Souren Melikian (November 11, 2010), At Christie's, Mockery Brings in Millions New York Times.
- ^ Carol Vogel (May 8, 2012), Record Sales for a Rothko and Other Art at Christie's New York Times.
- ^ Alexander Calder - Biography Calder Foundation.
- ^ "Stamp Series". United States Postal Service. Retrieved Sep 2, 2013.
- ^ "Calder Foundation website: Trustees page". Calder.org. Archived from the original on 25 July 2011. Retrieved July 21, 2011.
- ^ a b Carol Vogel (October 2, 1998) Calder Works On the Move New York Times.
- ^ "Calder Foundation website: Copyright and Disclaimers page". Calder.org. Archived from the original on 25 July 2011. Retrieved July 21, 2011.
- ^ a b Patricia Cohen (June 19, 2012), In Art, Freedom of Expression Doesn't Extend to 'Is It Real?', New York Times.
- ^ Jacob Hale Russell (July 29, 2006), Look Who's Selling --- Once-quiet artists' foundations are becoming power players, The Wall Street Journal.
- ^ Daniel Grant (September 29, 1996), The tricky art of authentication Baltimore Sun.
- ^ http://www.calder.org/contact/registration-and-examination
- ^ Stuart Jeffries (March 13, 2003), Cover up The Guardian.
- ^ Barbara Mathes Gallery records pertaining to "Rio Nero" lawsuit, 1989-1995 Archives of American Art, Washington, D.C.
- ^ Patricia Cohen (August 5, 2012), Ruling on Artistic Authenticity: The Market vs. the Law, New York Times.
- ^ Scott Timberg (September 15, 2005), Impasse apparently scuttles Philadelphia's Calder project Los Angeles Times.
- ^ Joann Loviglio (2005), Philadelphia Calder Museum Plans Cancelled ARTINFO.
- ^ Alexander Calder, "Comment réaliser l'art?" from Abstraction-Création, Art Non Figuratif, no. 1, 1932
- Baal-Teshuva, Jacob. Alexander Calder 1898–1976. Taschen, Cologne 2002, ISBN 3-8228-7915-0.
- Calder, Alexander. An Autobiography With Pictures. Pantheon Books, 1966, ISBN 978-0-394-42142-1
- Calder Hayes, Margaret. Three Alexander Calders: A Family Memoir. Paul S. Eriksson, 1977, ISBN 0-8397-8017-6.
- Guerrero, Pedro E. Calder at Home. The Joyous Environment of Alexander Calder. Stewart, Tabori & Chang, New York, 1998, ISBN 978-1-55670-655-4
- Prather, Marla. Alexander Calder 1898–1976. National Gallery of Art, Washington D.C., 1998, ISBN 978-0-89468-228-5, ISBN 978-0-300-07518-2
- Rosenthal, Mark, and Alexander S. C. Rower. The Surreal Calder. The Menil Collection, Houston, 2005, ISBN 978-0-939594-60-3
- Rower, Alexander S. C. Calder Sculpture. Universe Publishing, 1998, ISBN 978-0-7893-0134-5
- Barbara Zabel, Calder's Portraits 'A New Language' (Washington, Smithsonian Institution Scholarly Press, 2012).
- Thalacker, Donald W. "The Place of Art in the World of Architecture." Chelsea House Publishers, New York, 1980.
External links[edit]
Wikimedia Commons has media related to Alexander Calder. |
- Calder Foundation website
- Atelier Calder website
- The Pace Gallery
- National Gallery of Art – Alexander Calder mobile
- Alexander Calder at the Museum of Modern Art
- Smithsonian holdings of artworks by Alexander Calder
- Guggenheim collection Alexander Calder bio.
- Alexander Calder toys at the Berkshire Museum in Pittsfield, MA
- Alexander Calder papers online at the Smithsonian Archives of American Art
- Guide to the Calder-Hayes Family Papers at The Bancroft Library
- Calder and Braniff Airways
- Braniff Flying Colors Historical Page


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Spelling: Changes Before an Added Ending
Application 2 |
Click on the "sentence" button next to each number and a sentence will pop up with a verb in ALL CAPS. Change the tense of the verb as indicated in each section. Some consonants will double and some won't.
Change the first five sentences to present progressive tense (use are with the -ing form of the main verb). Change the next five sentences to simple past tense (these are regular verbs, which will end in -ed).
Example: My cousins WANT me to apply for summer work splitting logs. |

subset: commoncrawl


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Video Categories
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The Health Videos are for information only. The contents of the Health Videos, such as graphics, images, text, quoted information and all other materials ("Content") are provided for reference only, do not claim to be complete or exhaustive or to be applicable to any particular individual's medical condition. Users should always consult with a qualified and licensed physician or other medical c...
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Matt Savage Plays Jazz Piano - Giggles Theater
Matt Savage "A Jazz Musician" – Matt has jammed with many of the greatest jazz icons of our century starting when he was only 8 years old.
Join us for more than 30 minutes of pure entertainment as Matt Savage strikes up the keys on the piano entirely from memory and takes the piece through many beautiful twists and turns. Savage is an excellent budding pianist and though young in age, shows great promise for future shows!


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- Northern New York Newspapers
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Fri., Mar. 7
Jeremiah Maxon, who is helping organize a debate between congressional hopefuls Matt Doheny and Kellie Greene, said Tuesday that the only matter that hasn't been resolved to make the debate a reality is a location.
Many of the civic organizations are booked with weddings on Saturday, Mr. Maxon said. Earlier today, he was waiting to hear back from Jefferson Community College.
The candidates and a panel of journalists, including yours truly, have agreed to participate.


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Representing the best in American craftsmanship, All-Clad's d5 Stainless Steel line incorporates five-layer bonded construction as well as functional advances. This fry pan quickly cooks and browns vegetables and meats and has sloping sides that simplify stirring and flipping.
This item is shipped from our warehouse by UPS to arrive within five business days of our receiving your order.
The shipping rate varies depending on your order total and shipping destination.View Shipping Options and Charges.
For an additional charge of $15 per address, we can rush delivery to most destinations. This service is not available for some oversize items, items shipped directly from the supplier (including perishable and custom-manufactured items), out-of-stock items and items to be shipped outside the contiguous 48 states.
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H.S. Gymnastics: Ramapo's Kayla Yosif wins all-around at North 1 meet
RIDGEWOOD — Despite a two-week layoff from competitive competition, Ramapo showed no signs of rust and continued its season-long dominance Saturday at the North 1 gymnastics meet.
With a roster filled with club gymnasts, coach Jen Levirne said the inconvenience superstorm Sandy caused for most teams around North Jersey didn't have much of an impact on the Raiders' preparation, as they captured their second consecutive sectional crown in relatively easy fashion.
And though the rest of the state won't find out Ramapo's overall team score until Friday, once all other sectional meets have been completed, it's no secret that the Raiders will be major contenders for a state championship.
"We know what we have to work on, but [Saturday] was good," said Levirne, whose team has captured division, Bergen County and sectional championships in back-to-back seasons.
"I'm glad with where the girls are at right now. … If you don't have it by now, you're not ever going to get it."
In individual competition, Kayla Yosif finally got over the hump with her first major all-around title of the season after finishing second in the county and division meets. Her sectional title creates a logjam regarding the Gymnast of the Year race, joining teammate Sahara Gipson (Bergen County champ) and Ridgewood's Yurina Harada (NJGL A Division champ) as one of three gymnasts with major hardware.
Perhaps things will get settled this week at the state individual and team competitions.
"This was the last meet for us before [the state championships] and I really wanted to do well," said Yosif, who'll be making her fourth consecutive appearance in the individual tournament.
"I was motivated after [the county tournament]and league, but I don't really worry about the scores too much. I just go out there and try to hit my routines."
Gipson placed third overall, despite finishing first in three events (vault, bars, floor). Her fall on beam — her third event — ended her chance at a sectional title.


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Looking for a few good programmers
LeakyHello all! Leaky is looking for some help in the programming department. If you'd like to build your portfolio with work on a major web site, and especially if you have experience with or would like to learn Ruby on Rails, please contact us at firstname.lastname@example.com. Thank you very much!


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Royal DG200 Shipping Scale
Item #: 291467 |Model #: 39169U+ More details- Heavy duty shipping scale.
- 200 pound capacity.
- Weighs in pounds, ounces or kilograms.
- Great for mailrooms, mail order or internet resellers.
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For small parcels and letters, weight only electric postal scales are the best choice. These lightweight and portable postal scales will accommodate items up to twenty-five pounds and their small size and design make them very easy to use and to store.
For companies that do larger mailings or that ship large parcels, portable bench electric postal scales are probably a better option as these can weight items up to four hundred pounds. Even with the larger weight capacity, these postal scales are portable for use in larger spaces such as warehouses so you can easily take it to the items that need to be weighed. Both of these types of scales are extremely accurate, eliminating any risk of paying postage overages.
For use in smaller businesses or homes where there is not a large volume of mail, mechanical postage scales might be all you need. These more traditional looking scales will weigh items in increments of one half ounce and provide United States Postal Service rates for First Class, Express Mail, Priority Mail and Parcel Post so they are perfect for letters and lightweight parcels.
Whether you mail one letter a day or a thousand, Sam's Club has a wide variety of postal scales for you to choose from at great prices. It's well worth the small investment so you don't pay postage overages and eliminate the need for trips to the post office.


text:
Transcriptional Profiling Identifies the Metabolic Phenotype of Gonococcal Biofilms
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Title | Transcriptional Profiling Identifies the Metabolic Phenotype of Gonococcal Biofilms |
Author | Falsetta, Megan L.; Bair, Thomas B.; Ku, Shan Chi; Hoven, Rachel N. vanden; Steichen, Christopher T.; McEwan, Alastair G.; Jennings, Michael Paul; Apicella, Michael A. |
Year Published | 2009 |
Publisher | American Society for Microbiology |
Citation | Infection and Immunity, Vol. 77(9), pp. 3522-3532 |
Peer Reviewed | Yes |
Published | Yes |
Alternative URI | http://dx.doi.org/10.1128/IAI.00036-09 |
Research Centre | Institute for Glycomics |
Faculty | Faculty of Science, Environment, Engineering and Technology |
Publication Type | Journal Articles (Refereed Article) |
Please use this identifier to cite this record: http://hdl.handle.net/10072/33882
Griffith University copyright notice
Copyright in individual works within the repository belongs to their authors or publishers. You may make a print or digital copy of a work for your personal non-commercial use. All other rights are reserved, except for fair dealings or other user rights granted by the copyright laws of your country.


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Belgium and England - Fall 2011
International Field Study to Belgium and England - Brussels and London
January 2012
The International Marketing Field Study traveled to London and Brussels from January 2nd - 17th, 2012. Led by Prof. Martin Topol and Prof. Dennis Sandler, this course introduced students to marketing activities of US firms in the European Union. Students had a chance to study the effects of European integration on marketing activities in Europe and cultural values and norms in Belgium and England. The group had many great business site visits which included Coca-Cola, Microsoft, Landor, Palm Brewery, Peter Jones, and Tesco. They also visited with representatives from the EU Government and partner educational institution, European Business School.
Scholarships, for a total of $9,000 in funds awarded for this field study.
Manneken Pis, Brussels |
European Commission, Brussels
European Commission, Brussels |
Coca-Cola Visit, Antwerp, Belgium
The European Council Visit |
Big Ben, London |


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More In This CategoryAlpkit Mutant Boulder Mats Feb 2014
Mutant mats are unique exclusive design bouldering mats based on our best selling Phud, Mujo and Project models.�
[ full story ]
In this indepth review, we look at several top-of-the-range headtorches, some lightweight models, and some budget options. If you... [ full review ] DMM XSRE Carabiner Dec 2013
Whatever we do at DMM, we always make sure that we do it well. Even our XSRE accessory carabiner is a cut above the rest. Not... [ full story ]
Taiwan�based HANCHOR has launched a new kind of�chalkbag on Kickstarter. An internal chalkball�system promises to help climbers... [ full story ] Related UKC Forum discussionsI have my own thoughts on the pack, but since I'm a medical professional thought these may be slightly biased. I therefore took the pack to a mountain first aid course I was instructing, and asked for my students' views, both before and after the course. This review is a combination of my opinions and contributions from students. Contents of Lifesystems Mountain First Aid Kit
First impressions were that the pack appeared well organised. Sections are see-through and labelled 'medication', 'bleeding', 'breaks/sprains' and 'accessories'. Lifesystems obviously appreciate that in the heat of the moment and panic, it's all too easy to fumble about with a pack while your mate's in trouble, and I think the labelling is a good idea. Also inspired are the inclusion of gaffa tape, which we all know has a multitude of uses, and a lightstick. We discussed whether a mini headtorch would be more useful, and in the end agreed with Lifesystem's choice, since batteries can corrode or fail for a multitude of reasons and an emergency lightstick is pretty failsafe. So far so good � this pack seems designed by hillgoers for hillgoers. "So far so good � this pack seems designed by hillgoers for hillgoers..." However, I felt the designers of the pack had a few Jekyll and Hyde moments. For every genius brainwave idea, there seemed some pointless inclusions. The zip pulls are not big enough to be easily used in winter with big gloves and the zip itself could be sturdier. Given that people will be discouraged from carrying a first aid kit if it adds too much bulk and weight to their pack, I felt there didn't need to be both paramedic tuffcut shears and scissors included. I've happily trimmed toenails with my tuffcuts, and can't see the need to double up on cutting instruments. An info sheet is a good idea, but it's written in tiny font - not ideal for limited light and stressful emergency situations. Info on pre-trip vaccinations, insurance and sexually transmitted diseases doesn't seem relevant for this kind of first aid kit, and the directions for CPR don't correlate with those issued by the UK Resuscitation Council for non-professionals. I don't think the advice not to give food or drink to a casualty is appropriate in a remote setting with risk of hypothermia, and it contradicts Wilderness Medical Society practice guidelines. More useful would be a small set of cards in larger fonts with VERY simple algorithms for CPR, choking etc. I felt it was fine to include analgesia since this pack is NOT designed for leader use, but including the cardboard packets seemed to me to add unnecessary bulk. Of course they can't include everything, but as they've included paracetamol and Ibuprofen, I'd also have included aspirin (for chest pain), glucose tablets, and rehydration salt sachets. The omission of glucose and rehydration salts was picked up on by many of my students after completion of their course. If packaging is minimised, and other unnecessary items removed, no bulk or weight would be added and two more simple emergencies could be treated.
It's great that Compeed are included, since non mountain first aid kits would not include any. However, I would double or triple the amount, and add a few more sizes for a small group. I'd also add a large, folded sheet of cling film which could be effectively used to cover burns or large open abrasions. Cling film was another recommendation from at least half the students. Next, the accessories. Replacing tweezers with a tick removal tool would be a brilliant move. I think Tempadot thermometers are unreliable in the outdoors, since they are hard to read, mouth temperature in the cold does not reflect core temperature, and if used in the axilla, the casualty has to be repeatedly exposed to cold to apply and remove. On a wilderness medic course I've been advised to use fridge thermometers which have long leads to the sensor � the sensor can then be placed in the axilla and display kept outside the casualty's clothes, so the first aider can continuously monitor the temperature. These may cost a bit more but are so much more useful. Finally, the one thing that was highlighted as lacking was a small piece of waterproof paper and pencil. If this could be a casualty record card on one side, and blank paper on the other, all the better. This could act as an aide memoire for info to record (age, allergies, medical hx, medications given, basic obs etc) as well as giving the facility to note down any info needed at the time. SummaryThis may all seem very negative, but this kit is a massive improvement on many on the market, with visible, labelled contents, lightstick, gaffa tape etc. This is just a plea to Lifesystems � if you're going to go down the road of a kit for hillgoers, please, please stay on that road. Remember we improvise. Remember some of the most common hill emergencies are blisters, heat exhaustion, hypothermia, and hypoglycaemia and help us deal with them. Keep the mindset of the improvising mountaineer, and give us multi-use items that enable us to do just that! The kit is good, and with a few tweaks, could be brilliant.
Response From LifesystemsWe are always encouraged to see reviews of our products by people who use them in the field. Cara-Lyn is a very experienced professional and the reviews from knowledgeable people such as her are particularly welcome. We, at Lifesystems, pride ourselves on constant development of our products and to hear that Cara-Lyn really rates our product is great to hear. Product improvements were mentioned and we will look at all of the comments to see if we can adapt the product accordingly. Price, competition and size of pack are points we have to consider at all times, but any feedback is always considered. To take some particular points in turn:
Finally, we understand that the outdoor enthusiast first aider is very improvisational and we hope that our kits do provide plenty of options to repair, mend or ease pain. However, although some improvisations are very valid and we would certainly use them ourselves, by putting them in a kit, we are stating that they are medically suitable, which can put us on dangerous ground. Putting cling film or fridge thermometers into a pack would practically be very useful, but would cause issues in terms of sterility and accuracy. On these things, we have to leave it to our customers to �add� products to their kits. We hope our reply helps readers understand why we do what we do, but we are always willing to listen and adapt. We cannot always do everything, and sometimes cannot do anything, but as our kits are made in the UK and we will always strive to make the best kits for outdoor enthusiasts, we pride ourselves on being able to adapt pretty quickly. Happy climbing!Lifesystems � Surviving Adventure About Cara-Lyn
UKC Articles and Gear Reviews by Cara-Lyn Reynolds:


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This beautiful Tahitian cultured pearl pendant hangs from a delicate cable chain. Each eco-friendly pearl has a rich bright luster, and shimmers with a spectrum of iridescent overtones. These stunning organic gemstones originate from a progressive pearl farm in French Polynesia that adheres to an innovative philosophy of sustainability.
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Only posts tagged with: Fr. John Riccardo | Display all
Nov. 2, 2012, at 2:01am
Last week, we considered the uses and abuses of spontaneity. But what about the opposite extreme?
According to legend, my grandfather was once discovered to have penned the reminder "Kiss Thelma" on his to-do list.
Thelma was his wife.
This is as good an illustration as any that Grandpa Lenny was not a spontaneous man.
Now, it's true, as Jacques Philippe points out, that steady, proven faithfulness, year in and year out, is a far more convincing proof of love than sporadic bursts of passionate affection alternating with stretches of neglect. But what to make of such, well, extremely steady steadiness as my grandfather's?
Did he love his wife? Yes, of course he did. They stayed …
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Steven Hoffman on GMO labeling and consumer transparency
by Its Your Gavel liberal talk in Politics Progressive
Tags: GMO labeling consumer transparency Steve Hoffman Compass Natural Marketing Genetically Engineered Food Labeling Act
Steven Hoffman will be my guest tomorrow. Please join the conversation at 347-884-9261
This 60-second video, produced by Boulder-based Whizzbang Studios and Compass Natural Marketing, made its debut at Natural Products Expo West, the world's largest natural and organic products trade exhibition, at a GMO labeling seminar and press conference held on March 7, 2013.
With GMO labeling and consumer transparency a key issue at this year's trade show, the seminar, moderated by Compass Natural Marketing Managing Director Steve Hoffman, was standing room only. Featured speakers included public health attorney Michele Simon; Ken Cook, president of Environmental Working Group; Lori Lively, Washington State I-522 campaign executive committee member and education director for Marlene's Market and Deli; Gary Hirhberg, Chair of Stonyfield Farm and founder of Just Label It; Jessica Lundberg of Lundberg Family Farms; and David Bronner, CEO of Dr. Bronne'rs and I-522 campaign executive committee member.
For more information on the Washington State I-522 People's Right to Know Genetically Engineered Food Labeling Act, visit www.labelitwa.org.
Jeffrey Smith Talks About The Future of GMO Labeling!
by The Organic View in Food
Tags: Jeffrey Smith GMO gmo labeling Institute for Responsible Technology Seeds of Deception
In lieu of the recent events in the state of CT, regarding HB 5117 which would have required the labeling of foods containing GMO's was downgraded ( removing a key provision requiring the labeling of all foods containing GMO's) it is clear that the battle for consumers to rightfully know whether or not food contains genetically modified ingredients is going to be intense. With biotech stocks remaining strong combined with all of the elaborate advertising promoting GMO's as "being able to feed the rapidly growing overpopulated world" the question still remains, why won't the biotech industry label something they are so proud of? If farmers can look forward to a lucrative and sustainable future, why are there so many law suits popping up against the biotech giants filed by farmers who won't fall in line? Has biotech monopolized agriculture in such a way that farmers have no choice but to succumb to the rules set by these corporations with deep pockets prohibiting the possibilities for a future in organic farming? Tune in to this segment of The Organic View Radio Show, as host, June Stoyer is joined by Jeffrey Smith to discuss this battle! Smith, who has been praised as, "the best science communicator alive today" is the leading consumer advocate promoting healthier non-GMO choices. His first nonfiction book, Seeds of Deception, quickly became the world's bestselling and #1 rated book on the subject. His second book, Genetic Roulette, demystifies the 65 health risks of GM foods with simple tables and sidebars. Jeffrey is the Executive Director of the Institute for Responsible Technology, a world leader in GMO education, and publisher of the Non-GMO Shopping Guide. Stay Tuned! -
Percy Schmeiser Talks About Why GMO Labeling Matters
by The Organic View in Food
Tags: Percy Schmeiser Why GMO Labeling Matters GMO food transparency food
Percy Schmeiser is well known activist that has been fighting hard to educate the public about GMO's and the issues that arise for farmers. He was the first farmer to win a law suit against Monsanto. The landmark case, which went before the Federal Court of Canada, attracted international attention because it demonstrated the power of the farmer. When it comes to our food in American, there are no laws that mandate labeling for GMO's. Consumers assume that the manufacturers are using
GMO Food Labeling: California's Proposition 37
by Andy Moreno in Education
Tags: Food safety food quality food gmo genetically modified organisms food pathogens
MO Food Labeling: California's Proposition 37 with Zack Kaldveer, Assistant Media Director, The Yes on Prop 37 Campaign. Zack Kaldveer is the Assistant Media Director for the Yes on Proposition 37 campaign. Zack formerly served as both the Communications Director for the Consumer Federation of California (CFC), a non-profit consumer rights and economic justice organization, and Editor of the California Progress Report, an independent online journal that covers a wide range of vital publ
The Non-GMO Show
by The NonXGMO Show in Health
Tags: non-gmo organic sustainable Guests food
The Non-GMO Show Hosts, Lynn Rabins and Rebecca Gretz speak with David Lurie CEO of Sun Cups. David has made the choice to be Verified Non-GMO over Certified Organic. We will find out why.
GMO Labeling Initiative in Washington State
by Real Food Empire in Elections
Tags: GMO's Politics Organic Food Washington State GMO Free Seafood
GMO Labeling initiatives are sweeping the US. This show features an interview with Elizabeth Larter of Washington State's Yes on 522 GMO labeling campaign. Hear how Washingtonians are working to get their food's labeled within their state http://yeson522.com/
Prop 37 GMO Labeling Initiator Pamm Larry Answers Questions
by Focus on Health in Health
Tags: genetically modified foods morgellons labeling pamm larry pam crane nancy lyme holistic organic farmers engineered gmo prop 37 initiative vote research hype undeground update global
PROP 37 ORIGIONAL Initiator Pamm Larry Is a grandmother, a former midwife, business owner and farmer who woke up in January of 2011 with the inspiration that it was her job from that day until Nov 6 2012, to do everything she could to get an initiative on the ballott ,that would require GMO foods to be labeled. In November 2011 America won,and the initiative was put on the ballot then won in November 2011 Pamm found others who caught the fire and we now have P
Percy Schmeiser -Why GMO Labeling Matters
by The Organic View in Environment
Tags: Percy Schmeiser gmo gmo labeling Right2Know March food labeling
Percy Schmeiser is well known activist that has been fighting hard to educate the public about GMO's and the issues that arise for farmers. He was the first farmer to win a law suit against Monsanto. The landmark case, which went before the Federal Court of Canada, attracted international attention because it demonstrated the power of the farmer.
When it comes to our food in American, there are no laws that mandate labeling for GMO's. Consumers assume that the manufacturers are using ingredients that are safe and will not affect their health. Unfortunately, 80% of the packaged foods in America contain Genetically Engineered ingredients that have not been proven safe and are not labeled!
The Right2KnowMarch.org which was organized to raise awareness for GMO-Labeling is a historic event that kicked off on October 1st and will continue to October 16 Marchers from across the country will be walking from New York City to the White House, demanding labeling of all Genetically Engineered Foods. This event seeks to raise national awareness and create pressure in the 2012 election cycle for politicians to take positions and enact legislation requiring Genetically Engineered foods to be labeled. In many ways this march is the beginning of a new broad-based movement for GMO labeling. Percy Schmeiser will be speaking at the event about his experience and also to educate the public about why GMO labeling matters!
In this segment of The Organic View Radio Show, host, June Stoyer talks to Percy Schmeiser about his advocacy about GMO's and why there needs to be clarity with our labels.
GMO Debate
by Fabulous Fabes Broadcast in Health
Tags: Zone GMO Barry sears Inflammation Omega-6
Most people are a walking genetic mutation and its not GMO that caused it. Tune in to find out what did.
Pesticide Action Network's Marcia Ishii-Eiteman GMO Labeling
by Virtually Speaking Science in Science
Tags: Marcia Ishii-Eiteman Pesticide Action Network Proposition 37 Food safety GMO
Marcia Ishii-Eiteman, Director of the Sustainable Food Systems Program and Senior Scientist for Pesticide Action Network briefed a group of writers on the science of genetically engineered foods and why California's historic Proposition 37 – and the labeling of these products - is critical to protecting human health and the environment. Before joining PAN in 1996, Marcia worked in Asia and Africa for 14 years. discuss developed farmer field schools in ecological
Labeling Genetically Modified Foods
by Wellness Smart Radio in Health
Tags: Monsanto Genetically Modified Foods Labeling
We are seeing that the battle on labeling Genetically modified organism foods are going into effect next week. The question is, is it right for us to have them labeled as a consumer? Monsanto is one of the biggest threats to humanity and it is a right to have them labeled.
In this show, we will be talking about what is happening at Washington, what is the new findings about individuals who consume genetically modified foods and what can you do in order to petition into labeling these foods.
Call in live at 347.324.5251 or join us online!
Also, don't forget to like us on Facebook at
Tags: GMO Health and Wellness Detoxification Whistleblower Human Rights
Cathy Harris is the author of 18 books. She is a Nationally Recognized Whistleblower and is part of the "American Whistleblower Tour." She is also an Empowerment and Motivational Speaker, Non-GMO Health and Wellness Expert, Community Organizer, Human Rights Activist and Business Owner.
She works with a national and international audience helping them connect to their highest potential to find deeper purpose and meaning in their lives. Cathy's life journey has empowered her to teach empowered, masterful living to others, so they can learn to rise from their paralyzing thoughts and beliefs and dream big, achieving their highest potential and living in joy, peace and abundance in life, love, career, and business.
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The price is awesome! The rooms are clean! The staff is friendly and professional. It's not fancy but it's a nice place to lay your head! We've been staying there for years. Never had a bad stay. :-) If you are looking for luxury think about it...it's a $50 hotel you get what you pay for people.
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Learning the basics of architectural security
Storming the Bastille
Security applications like antivirus protectors respond to events, rather than preventing them from happening, but the best security in Linux is architectural – that is, in its configuration.
Architectural security – security through system configuration – is often compromised by distributions for short-term convenience; it requires expert knowledge as well. That's where Bastille Linux comes in, helping you improve security while educating you about the basics.
Despite the name, Bastille is not a distribution but a hardening program. It was first written more than a decade ago by security expert Jay Beale, and now has a network of maintainers who keep it available for a number of Linux distributions and Unix-like operating systems, including Debian, Ubuntu, and Gentoo, as well as older releases of Red Hat, Fedora Core, and SUSE. Packages are available in some distribution's repositories, and the source code is also available.
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Tag Cloud
New TLS Attack Takes the S out of HTTPS
Vulnerability affects many Linux web servers
Munich Adopts Kolab
The Bavarian capital shuns Microsoft, Google, and other alternatives to implement an open source groupware solution.
Canonical Announces Ubuntu Smartphones
Phone vendor partnerships bring Mark Shuttleworth's dream of Ubuntu on a phone a step closer to reality.
Piviti Seeks Funding
Donors will get to vote on new features for the free video editor.
Debian Tech Committee Votes for systemd
Debian project puts init out to pasture and says no to Ubuntu's Upstart.
The Mask: Scary New Face of Internet Intrusion
Ultra-sophisticated attack tool might have originated from a state-sponsored intelligence service.
Epoch 1.0 Released
New alternative for init comes with a small footprint and minimal configuration.
Wayland 1.4 Challenges X11
X marks the target for the next-generation windowing system.
Red Hat Adopts CentOS
Super-clone CentOS Linux gets beamed up to the mother ship.
W3C Promotes Media Source Extensions
HTML technology will enable new video editing and playback options.


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NYC Parks Events Calendar
Get up, get out, and do something! Just about any day of the year, you can find something fun, informative, and healthy to enjoy at an area park. Feel free to browse the listings below, or use the search tools to find an event that matches your interests and location.
Viewing 1,621–1,630 out of 14,678 events
from October 11, 2012 (x) to January 30, 2016
Saturday, May 4, 2013
Conservatory Garden Tour
at Conservatory Garden (in Central Park), Manhattan
11:00 a.m.–12:30 p.m.
See thousands of blooming trees, shrubs, bulbs, and perennials with the Garden staff.
Category: Nature, Tours
Street Types: Turn of the Century Portraiture By Alice Austen
at Alice Austen House Museum (in Alice Austen Park), Staten Island
11:00 a.m.–5:00 p.m.
This show explores the portraits Alice Austen made on the streets of Manhattan at the turn of the last century.
Category: Arts & Crafts, Art
High Line Field Station
at Chelsea Market Passage (in The High Line), Manhattan
11:00 a.m.–7:00 p.m.
Stop by our mobile information cart to make the most of your next visit to the High Line.
Category: Education, Nature, Art
Learn to Ride: Matthew P. Sapolin Playground
at Playground 70 (in Matthew P. Sapolin Playground), Manhattan
11:00 a.m.–2:00 p.m.
Prepare your child to experience beautiful spring weather on a bicycle. NYC Parks and Bike New York present the Learn to Ride program, providing free bike riding classes for children.
Category: Kids, Bike Month NYC, Learn To Ride
Bryant Park Chess
at 40th Street Plaza (in Bryant Park), Manhattan
11:00 a.m.–8:00 p.m.
Game boards, including chess, checkers, and backgammon, are available fora small fee. Provided by the Marshall Chess Club.
Category: Games
Shape Up NYC: Zumba
at West Harlem Piers Park, Manhattan
11:00 a.m.–12:00 p.m.
Join Shape Up NYC for a free outdoor Zumba class each week at West Harlem Piers.
Category: Fitness, Waterfront, Outdoor Fitness
Country in the City
at Dyckman Farmhouse Museum (in Dyckman House Museum), Manhattan
11:00 a.m.–5:00 p.m.
Enjoy the arrival of warm weather by joining us for our annual Open House at Dyckman Farmhouse Museum.
Category: History
It's My Park Day at Hoover-Manton Playgrounds
at Manton Avenue & Main street (in Hoover - Manton Playgrounds), Queens
11:00 a.m.–3:00 p.m.
On It's My Park Day, join The Briarwood Action Network in cleaning, mulching, weeding and painting benches throughout the park and basketball poles and backboards.
Category: Arts & Crafts, Kids, Volunteer, It's My Park Day
Major League Baseball Pitch, Hit & Run
at Chelsea Field (in Chelsea Park), Manhattan
11:00 a.m.–2:30 p.m.
Major League Baseball Pitch, Hit & Run (PHR) is a Free, exciting skills event for boys and girls (7-14 years old). Where participants have the opportunity to compete in…
Category: Kids, Sports
Bryant Park: Le Carrousel
at Le Carrousel (in Bryant Park), Manhattan
11:00 a.m.–7:00 p.m.
Specially created to complement the park's French classical style, featuring brightly colored animals and French cabaret music. $2 per ride, or buy a discount card to enjoy 10…
Category: Kids
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- Get information on upcoming events directly in your inbox by signing up for our Email Newsletters.
- Know about an event that's not on the calendar? Send us a tip!
- Planning an event and considering hosting it in a park? Make sure to read our Planning an Event page.


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One of our greatest amphibian philosophers, Kermit the Frog, summed it up best when he recorded his hit song in 1983. It is, in fact, difficult, complicated, and sometimes inconvenient being green these days. In fact, it is hard getting people to agree to what being "green" actually means. For some people, being green means being new or inexperienced. For others, being green means getting ready to throw up. For most of us, it means behaving in a manner that is eco-sensitive. But eco-sensibility is not as easy as it sounds — until now. I have pondered this perplexing problem for some time and finally figured out how to make the earth greener through four easy steps.
Step 1 — When you go to the grocery store, you are inevitably asked if you want "plastic or paper" bags. Either choice affects the environment. Paper bags require the destruction of trees while plastic sacks are made from oil. The next time you go grocery shopping, tell the checkout clerk that you don't want any bags. You will just carry your purchases in your arms. This will accomplish two things. First, it will save trees and oil by not requiring a bag, and second, it will help you to lose weight. If you can eat only as much as you can carry, you will soon find that the pounds will start to drip off (making the sidewalk very slippery.)
Step 2 — If you mow your lawn with a gasoline-powered mower, you are polluting the air with engine emissions and polluting the silence of the neighborhood with the noise. I suggest that you sell your lawn mower and purchase goats. Goats are the green solution to your lawn-care problems because they will eat your grass, as well as any paper, tin cans, or miscellaneous litter that they find around the yard. Goats do not make much noise, and the droppings they leave can be used to fertilize your garden. A big plus to this plan is that when your goats die, you can eat them. It's what is known as a win-win situation.
Step 3 — Cars are a huge source of air pollution, and, with the current price of gasoline, they are a surefire budget buster. Sell your car and get yourself a nicely equipped two-wheel buggy. A buggy is easy to operate, simple to park, very quiet, and costs virtually nothing to operate because it will be powered by your goats. They can't work on the lawn full time so you might as well hook them up to the cart for a trip to the store.
Step 4 — Litter is an eyesore, and according to the most recent report from the Vatican, it is also a sin. People litter because they are lazy. If they don't see a trash receptacle right in front of their eyes, they will throw their litter on the ground and walk away. You can begin the anti-littering campaign by not littering yourself. Put your litter in your pocket until you get home and then just toss it in the yard for the goats.
If you see someone else littering, try to tactfully inform them of their transgression. I suggest something along the lines of "Hey, Pig-Boy! You just dropped your disgusting piggy trash on the street. So go pick it up before I kick your curly piggy tail!" Note: This technique should be used only on someone smaller than you who is not armed and/or dangerous.
With these small efforts, it can be a beautiful green world, and it is all up to you. If you have any questions, you can reach me at my new business, Dale's House of Goats. Come on down for a test drive today.
Dale Irvin is The Professional Summarizer; making meetings funnier since the Reagan era. Be sure to sign up for Dale's free Friday Funnies, a video recap of the week's news. Visit www.daleirvin.com and click on the link for The Friday Funnies.


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Mayo Clinic offers appointments in Arizona, Florida and Minnesota and at Mayo Clinic Health System locations.
Although a radioactive substance is used during a PET scan, the amount of radiation that you're exposed to is too low to affect the normal processes of your body.
However, this radioactive material might harm the fetus of a pregnant woman. You and your doctor can discuss risk to the fetus or infant versus the reasoning and benefit of having a PET scan performed.
Mayo Clinic is a not-for-profit organization. Proceeds from website advertising help support our mission. Mayo Clinic does not endorse non-Mayo products and services.
Advertising & Sponsorship
Check out these best-sellers and special offers on books and newsletters from Mayo Clinic.


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Stay up to date with Sully, Tony, Robbie and Shannon by signing up to The Awakening, the official newsletter for Godsmack. Regular updates will be sent straight to your inbox, giving you the latest on album releases, tour dates, ticket sales and more.
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On Tue, Jan 24, 2012 at 4:12 PM, wade(ctrl) said:
We will have VIP package info up tomorrow here! http://godsmack.com/events


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M.I.A stirred up some controversy at SuperBowl 46′s Half Time show by putting up her Middle Finger for not even a mini second during the performance with Madonna and Nicki Minaj. NBC & The NFL have issued apologies for the incident.
M.I.A SuperBowl Middle Finger:Video
Superbowl 46 The Final Play :Video
The final play of Superbowl 46
Eli Manning and the New York Giants beating the New England Patriots.