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Reagan and the Tea Party
Find a Conversation
|Tue, 04-05-2011 - 9:51pm
The presidential administration of Ronald Reagan revised the tax code and supported increasing taxes on corporations and wealthy Americans. The Tea Party, who purports Reagan to be one of their predecessors, actually supports the opposite: that is, cutting taxes on the wealthy and corporations. In some sense, then, Tea Partiers might be said to be even further to the right of President Reagan.
How do you suppose Tea Party members might reconcile this difference? And what do you think about taxes on corporations and the wealthy?
|Sun, 04-24-2011 - 6:41pm
The Reagan platform was one where people prospered in a unified manner moreso than with other Republicans of that era's clique.
|Wed, 04-13-2011 - 1:21pm
*** Just as no one can force you to put your body in harm's way, the same goes for forcing women to undergo a pregnancy against her wishes. The fact of the matter is that pregnancy is a risky proposition for women and they either choose to risk their body and health to carry a child to term or they don't.
|Wed, 04-13-2011 - 1:07pm
|Wed, 04-13-2011 - 12:51pm
Actually, by my logic you wouldn't be...hence my explanation that you wouldn't be.
|Tue, 04-12-2011 - 8:56pm
You aren't proactively killing someone else when you refuse to donate a kidney.
|Tue, 04-12-2011 - 7:06pm


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Rosenwald Schools Initiative
The National Trust for Historic Preservation along with a team of local partners are proud to present the 2015 National Rosenwald Schools Conference: Sharing the Past→Shaping the Future in Durham, North Carolina. Once home to the largest number of Rosenwald Schools, North Carolina is rich with Rosenwald School restoration and rehabilitation activities. Durham and the surrounding area will serve as a living laboratory through field tours to the many Rosenwald Schools and historic sites in the area, classroom sessions, oral history archiving, documentaries, hands-on preservation workshops, and informative local tours and activities that will foster documentation and preservation of Rosenwald Schools, and help shape a vision for their future.
The Durham Convention Center and the historic Carolina Theater serve as the center for conference activities, with events at the Durham Armory, Museum of Durham History, and the B.N. Duke Auditorium at North Carolina Central University. A Rosenwald Resource room for poster sessions, exhibitors, networking with others, and a book store will serve as a central gathering place between sessions and host book signings with authors of Rosenwald publications.
Local partnering organizations include Preservation Durham, the Durham Convention and Visitors Bureau, the North Carolina Department of Cultural Resources, the Conservation Trust for North Carolina and the North Carolina Rosenwald Schools Coalition.
Call for Session Proposals
Do you have a cutting edge idea or concept? Are you involved with a first-rate Rosenwald School project? Do you share a vision for the future of these valuable historical resources? If so, consider submitting a proposal for the conference. We seek proposals that explore critical issues or present cutting-edge strategies and models that support the theme Sharing the Past→Shaping the Future. Submit your proposal today. Deadline for submissions is October 1, 2014.
Sign up for email updates here! We will send periodic updates directly to your inbox.
Questions? Contact the National Trust for Historic Preservation at 843-722-8552 or email email@example.com.
Travel to Durham is convenient from most parts of the country via the Raleigh/Durham airport (RDU), by car, bus or train. Visit the Durham Convention and Visitors Bureau website for travel information and things to see and do in Durham.
Rosenwald Schools, A National Treasure
In 1912, Booker T. Washington approached philanthropist Julius Rosenwald about his concept to build rural schools desperately needed for African American children across the segregated south. That partnership sparked an initiative that eventually created more than 5300 schools, vocational shops and teacher's homes across 15 states in the South and Southwest from 1912-1932.
These schools now are 80-100 years old, and many suffer from abandonment, neglect, or lack of resources for continued use by the communities they once served. In 2002 the National Trust placed Rosenwald Schools on the 11 Most Endangered Historic Places list and created a special initiative to help raise awareness, find new uses, provide resources, and assist in the preservation and rehabilitation of the aging school buildings.
In 2011, the National Trust began focusing the work of the entire organization around saving a portfolio of nationally significant, threatened historic places that we call National Treasures—and Rosenwald Schools were awarded National Treasure status. Our mission to save Rosenwald Schools remains the same but our strategy is more focused and powerful.
Visit SavingPlaces.org for more frequent updates on Rosenwald Schools and to view the complete portfolio of National Treasures we are striving to save.
National Treasures are a growing portfolio of irreplaceable places that epitomize the American story, but face distinct threats. The entire National Trust for Historic Preservation is working to save them.
Download the Preserving Rosenwald Schools Booklet
Learn about the history and legacy of Rosenwald Schools, read case studies of successful rehabilitation projects, find ideas for reusing the schools, and get helpful tips and suggestions for rehabilitating Rosenwald Schools in the Grassroots Guide to Preserving Rosenwald Schools. Download your own copy of Preserving Rosenwald Schools here. To receive a bound copy of the 24-page booklet, email firstname.lastname@example.com.
Find a Rosenwald School: Fisk University's Digital Card Files
Fisk University's Franklin Library is home to the Julius Rosenwald Fund archives, containing the largest single collection of papers from the Rosenwald School building program. One portion of that collection is a set of 5,000 fragile index cards containing information on almost every Rosenwald school constructed. Search this digital database if you are seeking information on a specific Rosenwald School or trying to determine if a school in your county is a Rosenwald School. Learn more.


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Hardware news tagged 10nm
Wednesday, November 21, 2012
TSMC Rumoured to Build Semiconductor Manufacturing Facility in the U.S.
TSMC May Build Large Fab in the U.S. to Compete for Fabless Clients like Apple
Tuesday, November 6, 2012
TDK's New Embedded SSD Controller Supports 10nm-Class NAND Flash, 1TB Drives.
TDK Develops New Controller for Embedded SSDs
Thursday, October 25, 2012
TSMC: 450mm Fabs and EUV Lithography Critically Important for 10nm, 7nm Nodes.
TSMC to Build Center to Research and Develop 7nm Process Technology, 450mm Manufacturing
Monday, October 22, 2012
TSMC Lays Process Technology Roadmap Out.
TSMC's Roadmap Points to 16nm in 2014, 10nm in 2016
Tuesday, October 2, 2012
IBM and Globalfoundries to Use High-Productivity Combinatorial Tech for Development of Next-Gen Nodes.
IBM and Globalfoundries Team Up with Intermolecular for Next-Gen Nodes
Tuesday, September 11, 2012
Samsung Starts to Build 10nm NAND Flash Manufacturing Complex in China.
Samsung Breaks Ground for $2.3 Billion NAND Flash Facility in Xi'an, China
Wednesday, September 5, 2012
TSMC to Start 450mm Production in 2018 - Company.
TSMC and 450mm Manufacturing: Six Years to Go
Monday, June 25, 2012
Seagate to Develop Consumer and Enterprise Solid-State Drives with DensBits.
Seagate to Design SSDs with 10nm-Class TLC, MLC NAND Flash Memory
Wednesday, May 2, 2012
As Latest SSD Prices Hit $0.65 per Gigabyte, OCZ Forecasts Further Drop of Costs.
OCZ: New SSD Products Hit $0.65 per Gigabyte, More Cost-Cutting Options Available
Tuesday, April 3, 2012
Samsung Set to Manufacture 10nm-Class NAND Flash, Other Chips in China.
Samsung to Invest $7 Billion into Chinese Memory Plants over Next Several Years
Wednesday, October 5, 2011
Transition to 450mm Semiconductor Wafers Finaly Gains Traction - Analysts.
Future Horizons: 450mm Semiconductor Fabs Will Become Inevitable Elements of Industry
Tuesday, September 27, 2011
Leading Semiconductor Companies to Invest $4.4 Billion in Nanotechnology R&D in New York.
Intel, IBM, Globalfoundries, TSMC and Samsung to Research New Process Technologies, 450mm Manufacturing on New York, USA
Tuesday, July 26, 2011
Intel Readies Skylake Micro-Architecture: Post-Haswell Era Begins to Shape.
Intel's Skylake, Skymont to Arrive in 2016 and 2017 at 14nm and 10nm Nodes


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Gonzaga's online or on-campus M.A. in Communication and Leadership Studies (COML) curriculum encourages students to push boundaries, think critically, and develop a personal sense of leadership. Our program helps students become more effective communicators in their communities and organizations. While rooted in communication research, the COML curriculum is practical and students develop skills that are immediately applicable to their career and life.
36 semester credits are required to complete M.A. in Communication and Leadership Studies:
- 21 credits in Theory & Practice Core Courses
- 6 credits in Research & Thesis/Project Core Courses
- 6 credits in Communication Electives
- 3 credits in Leadership Electives
- Sub-specializations listed below


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Currently you can buy Paula's Choice products directly from this site and a few top-rated products from other brands are available via links to affiliate websites. We review and recommend products from other brands because we are dedicated to helping you find the best products for your skin, whether they're from Paula's Choice or other lines.
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First things first: this pressed powder is not anti-aging in the least and it absolutely does not give skin a "visible lift". It is also not "age-reversing"'; no product is, but that claim would be better qualified if this fragrance-free powder at least contained a sunscreen, which it doesn't.
Although this powder has a smooth, creamy texture, the talc-free formula requires deft blending to avoid looking heavy and a bit chalky on skin. Its satin finish is best for normal to dry skin, but beware that the finish can magnify dry areas if they are not sufficiently prepped with a moisturizer (or moisturizing foundation).
A good anti-aging pressed powder wouldn't settle into lines around the eyes yet this one does, unless you apply a very sheer layer with a brush. Unfortunately, a sheer layer isn't enough to tone down shine and set makeup, which is the main purpose of pressed powder.
Turning to the shades, the range goes from Fair to Deep, but all of the colors go on lighter than they appear, so the Deep shade is really best for medium to slightly tan skin tones.
The 5 anti-aging ingredients mentioned in the description for this powder likely refer to the vitamins and minerals this contains but none of these ingredients will remain stable in a product like this because they're exposed to light and air each time you open the compact to apply.
Isononyl Isononanoate, Boron Nitride, Copernica Cerifera Cera/Carnauba Wax/Cire De Carnauba, Kaolin, Caprylyl Glycol, Ethylhexylglycerin, Tocopherol, Ascorbyl Glucoside, Calcium Gluconate, Manganese Gluconate, Magnesium Gluconate, Copper PCA, Aloe Barbadensis/Aloe Barbadensis Leaf Juice. May Contain: Bismuth Oxychloride, Mica, Titanium Dioxide, Iron Oxides
Just like its sister company Lancome, L'Oreal doesn't have its act together when it comes to skin-care products. For all their talk of advanced formulas, fancy double-page ads in fashion magazines, and impressive-sounding quotes from scientists at their research and development facilities, most of what L'Oreal offers for skin care is a whole lot of nothing—or at least nothing tremendously helpful for helping skin look and feel its best.
An ongoing issue with L'Oreal (at least in the United States) is the lack of sufficient UVA-protecting ingredients in their daytime moisturizers with sunscreen. Very few of them contain the actives that provide as much UVA protection as you can get from a sunscreen. Yet this major oversight (and it's not just with the older products—several newer sunscreens launched with this deficiency) didn't stop L'Oreal from heralding the FDA's approval of their patented ecamsule (Mexoryl SX) sunscreen for use in the United States. (Mexoryl SX has been approved for years in Europe, and L'Oreal routinely uses it in the sunscreens they sell there.) The attention-getting headline was that Mexoryl SX provides "the best" and "most stable" UVA protection, but that's not entirely true; there are other options. Why didn't anyone in the media point out to L'Oreal that while Mexoryl SX may be great, that doesn't explain why the majority of their other sunscreens leave the consumers who use them vulnerable to UVA damage… Sigh… Inadequate UVA protection is not only unhealthy for your skin, it severely damages L'Oreal's credibility as an international skin-care authority.
Aside from the sunscreen frustrations, L'Oreal's moisturizers are a yawn-inducing, fairly repetitive bunch. A cursory review of their formulas demonstrates that L'Oreal is simply not keeping pace with the competition, just as Lancome isn't at the department-store level. When it comes to moisturizers or serums, just about anything from Dove, Olay, Neutrogena, or Aveeno is preferred. L'Oreal does well with most of their cleansers, along with scrubs and self-tanning products, but given the widespread availability and financial resources of this line they could be doing so much more. (You have to wonder if they're more interested in advertising and public relations than in advancing skin-care expertise.) The makeup has made major strides and now ranks as the best overall color collection at the drugstore—imagine the results if their skin care followed suit!
Note: Unless mentioned otherwise, all L'Oreal skin-care products contain fragrance.
For more information about L'Oreal, call (800) 322-2036 or visit www.loreal.com or www.lorealparisusa.com.
L'Oreal Paris Makeup
L'Oreal's extensive makeup collection retains its stature as the overall best at the drugstore, though they have stiff competition from Revlon and, in some cases, sister company Maybelline New York. In recent years L'Oreal has made significant strides with foundation shades, powder textures, concealers, and, of course, superlative mascaras that rarely fail to impress. Their lipsticks are excellent and you will find many L'Oreal makeup products have a Lancome counterpart, and that the differences are minor, if they exist at all.
L'Oreal's displays in many drugstores have been updated to reflect better-organized products and shade categories (though testers are still scarce). Given the number of lipsticks they sell, it only makes sense to put them in color families so consumers have a better shopping experience. Their True Match products are also sensibly laid out, but the rest of the foundations aren't as organized, likely due to the smaller selection of shades. Speaking of foundations, L'Oreal has made further strides by offering more that provide sufficient UVA protection. Revlon still has the edge for consistently launching impressive foundations with sunscreen, but at least L'Oreal is (finally) catching up. The bottom line is that every category of L'Oreal's makeup has some winning (and in some cases, benchmark-setting) products. They fall short with their powder eyeshadows, but not enough to warrant avoiding them, especially if you prefer sheer eye makeup. Still, with only minor tweaking and consistent adherence to the importance of UVA protection in their cosmetic products with sunscreen, L'Oreal could pull ahead to be the hands-down winner when it comes to shopping for makeup at the drugstore.
I love this product. I am 50 years old and have extremely oily skin. It's difficult to find products that pass the test for me. This product does. I don't find it settling into wrinkles the way the review says it does. I like that I can wear this alone, which is one of the few powders I have tried that I actually can do this with. I don't need this to have a sunscreen in it as my day lotion has a 50 spf in it. If you you are over 50 and have oily skin, I would recommend a try.
Paula Begoun is the best-selling author of 20 books on skin care and makeup. She is known worldwide as the Cosmetics Cop and creator of Paula's Choice. Paula's expertise has led to hundreds of appearances on national and international television including:
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Willard DOOLITTLE b. 1904 Detroit, Wayne County, MI
m. Vera LORD b. 1904 Detroit, Wayne County, MI
Vera's parents were George and Agnes R LORD. Goerge was the Tax Commisioner in Detroit and helped in setting up the Savings & Loans.
I am looking for info on any them or their descendants.
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Question regarding PHP setup in Ubuntu 6.06 LAMP install Howto
I've been using your howto to set up a LAMP server for testing purposes and learning the ropes.
In the step outlining the PHP 5 setup you tell the admin to:
apt-get install autoconf automake1.4 autotools-dev libapache2-mod-php5 php5 php5-common php5-curl php5-dev php5-gd php-pear php5-ldap php5-mhash php5-mysql php5-mysqli php5-snmp php5-sqlite php5-xmlrpc php5-xsl php5-imap php5-mcrypt php5-pspell
apt-get install binutils cpp cpp-4.0 fetchmail flex gcc gcc-4.0 libarchive-zip-perl libc6-dev libcompress-zlib-perl libdb4.3-dev libpcre3 libpopt-dev linux-kernel-headers lynx m4 make ncftp nmap openssl perl perl-modules unzip zip zlib1g-dev autoconf automake1.9 libtool bison autotools-dev g++
If so, why automake 1.4 after installing 1.9 at first?
I'm curious, as I'd like to be able to explain why I'm following your howto to interested parties.
Thank you.
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Cars > taylermckee's Garage
About taylermckee's Garage
About me and my passion for cars
Well, before I got my truck Smitty I could really care less about cars but after I got one I love them. Trucks are the best, but certain cars/SUV's are cool too. My favorite trucks are Chevy's that are from the 90's & also Fords that are from the 90's. Smitty was the first vehichle I ever had. I love him to death & I'm planning on keeping him forever. I'm gonna try to keep him running & I have lots of plans for him. Now I have a newer one that I drive everyday thats a 2001 Chevy Silverado. I think I'm hooked on trucks :)
My first car
My first car was a 1991 Chevy Stepside, which is what I still have.
Car I wish I still had
I still have the only 2 vehicles I've ever had.
My dream car
2010 Dodge Ram Power Wagon :)
- Type of racing: Street Racing
- Driving song: Asphalt Cowboy
— Profile last updated: Apr 22, 2011
taylermckee's Groups 1 – 3 of 5
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taylermckee's Garage Comments 1 of 1
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Read comments on taylermckee's garage (1)
- Apr 8, 2009 at 4:35 pm
- awesome garage...............................geno
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- New Truck
- Filed under 2001 Chevrolet Silverado 1500 (Bud)
- Photos: 16
- Ol' Willie
- Filed under 1945 Willys-Overland Military Jeep (Ol' Willie)
- Photos: 9
taylermckee's Car Garage Blog 1 – 2 of 2
The All New Smitty!
Dec 25, 2008
Filed under: 1991 Chevrolet Stepside (Smitty)
On Christmas Eve we picked Smitty up from the paint shop, & I almost didn't recognize him! I was so amazed! The guy who painted him also fixed all the dents in him & added spray-in bed liner.
New bed for Smitty!
Dec 8, 2008
I was looking for a new bed or fender panel for Smitty because there was a chunk missing out of the fender & we finally found one! It's a whole bed thats in better shape than Smitty's bed. It's also black so it'll match until I'm able to get Smitty painted....
Cars > taylermckee's Garage


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Definitions for 165
This page provides all possible meanings and translations of the word 165
Princeton's WordNet
one hundred sixty-five, 165, clxv(adj)
being five more than one hundred sixty
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2012 Domingo Molina Hermanos Torrontes
"It has a superb bouquet of peach skin, pear and a hint of lime flower that has a Riesling-like personality. The palate is medium-bodied with crisp tannins and a precise, mineral-rich finish that shows what Torrontes…
Read more »
Reviewed by: The Wine Advocate - 92pts
Available - Check All Stores »
2013 Colome Torrontes
"Very pale bright yellow. Pure, delicate, high-pitched perfume of rose petal and dusty brown spices. Brisk, tactile and quite dry but with an essentially supple texture--even a slightly glyceral character--to the flavors of grapefruit pith, lemon,…
Read more »
Reviewed by: International Wine Cellar - 91pts
Limited Please Call - Check All Stores »


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2014 Holiday Ordering Deadlines
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Do we really put our children first? Separation for parents can be amongst the toughest experiences in life; the hurt, anger, pain and insecurity can be unbearable, and in those moments of feeling utter rejection you are meant to act responsibly on behalf of the children so that they are put first?
We are seeing a growing tide of women of this sort who are being divorced by their younger husbands as soon as they reach middle age. In fact, cases of this nature are up just over a third in the course of the last three years.
It appears that the baby boomers have decided to shake up old age and are now opting for married life again rather than a blue rinse or a pair of slippers. According to latest figures from the Office for National Statistics marriage rates have risen for people in their sixties.
Divorces over here amongst highflyers have never been so acute. This in turn has led to many counsellors actively advising women to try to dumb themselves down in their relationships because men are finding women who are more intelligent and earning more than them entirely threatened to their psyche and male ego.
'Marriages in which wives have the educational advantage were once more likely to dissolve, but this association has disappeared in more recent marriage cohorts'... is the only reason that educated women are staying married longer because men are becoming more emotionally intelligent?
I never neglected my babies, they knew they were loved and they always had everything they needed but I certainly wasn't hands on. I did a great deal of remote control parenting. You know the kind of parenting I mean right? When you're too tired to move from your position on the couch so you shout instructions from there and generally say yes to anything your offspring request just to make it easier on yourself.
Having parental responsibility means that you both can make decisions with regards to the upbringing of the child, his/her education and general wellbeing but surely that is a good thing right? For the child I mean, not you.
Family Arbitration can rescue a mediated divorce from crumbling into a nasty expensive court battle, so should more mediators be paying attention to it as a resource for their clients?
If you believe in the importance of open dialogue with your child and want to show your support for children who have no one to talk to then upload the most awkward conversation you've ever had with your child on the hub today or click on the share buttons on the Awkward Conversations hub to take part.
Are you in your 20's or 30's and loads of your friends are getting married or planning to get married? Do you fear you will never be a bride or groom? Then fear not. Get married later in life and your chances of divorce are lowered.
Her revealing comment punctuates the most relevant part of the story. Behind the whirl of glamorous and rather chilling facts of this case that makes something as personal and emotional as divorce an easy headline, it stands out how his wife was with him from the beginning of his rise from a student at university in Perm in the forbidding Ural Mountains and married 23 years ago in Cyprus.
In a situation where a person finds themselves 'dumped' the chances are they are unlikely to be of sane enough mind to walk down the street without collapsing in a crumpled heap, much less, select a suitable aromatherapy treatment. They will feel rage, they will feel fury, they will feel a burning resentment and bitterness for every man walking the planet.
If you are in the middle of divorce, you can get pretty low. Let's face it, the whole divorce process is exhausting, there is so much new info to take on board, with advice from your lawyer, financial advisor, friends and colleagues. Plus you are carving a new pathway for yourself and your family and learning to live a new life.
I remember everything from conversations I've had, to outfits I've worn, to meals I've eaten. And I remember the things people have said to me. It's not that I harbour grudges. I don't. But like the saying goes, I never forget the way someone has made me feel.
I was chatting with a friend recently and mentioned that since I moved back to Calgary, I've started a monthly "Family Night." He said that sounded like a great idea and mentioned that his family only gets together at funerals now, and that they keep saying they should meet up in between but "it never happens. Maybe soon."
The Office of National Statistics has revealed that the number of stepfamilies in the UK dropped from 631,000 in 2001 to 544,000 in 2011, a slump of 14% in just a decade. The drop has been interpreted as a reflection of the difficulties of assimilating children from different families into a new relationship, so if you are planning on doing a Brady Bunch, here's ten things you need to know...


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Current Time
see + do
Scotland see + do
One building is 19th-century, the other modern, but a link between these neighboring museums makes it possible to walk from the past to the present. The Royal...moresee the Edinburgh guide
The Scottish National Gallery of Modern Art's collection includes more than 5,000 pieces from the 19th century to the present. Sculptures by Tony Cragg, Barbara...moresee the Edinburgh guide
Opened in June 2011, Riverside Museum is a zinc and glass temple to transport designed by Zaha Hadid. It has over 3,000 objects and 150 interactive displays,...moresee the Glasgow guide
Mountain biking is hugely popular in Scotland, and the jewel in the Highlands crown is the vast number of trails available around Fort William. Casual cyclists...moresee the Scottish Highlands guide
Depending on which way you swing, Scotland is either the spiritual home of golf or guilty of its creation. However you feel, it's one of Scotland's defining...moresee the Scottish Highlands guide
Scotland is famous for its salmon fishing, and the Spey, pictured, and Dee rivers offer the most prestigious, not to mention expensive, beats in the Highlands....moresee the Scottish Highlands guide
Edinburgh becomes an altogether different, wilder animal during the festivalwell, festivals, to be precise. The edgy Fringe (comedy, contemporary music,...moresee the Edinburgh guide
Even if poking around old castles isn't your thing, come for the views from its perch on an extinct volcano. For the history buffs, there are the former royal...moresee the Edinburgh guide
While they vary greatly in taste, the essential processes of making Scotch whisky don't differ from one distillery to the next. Each malt whisky producer may...moresee the Scottish Highlands guide
One of the pioneers of the Modern movement, architect and celebrated local son Charles Rennie Mackintosh (1868–1928) is as essential to Glasgow's fabric...moresee the Glasgow guide


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How many triangles can you count in this picture? There are more hidden in there than you'd think! Give your child this fun activity to get him excited about geometry. He'll need to use his visual-perceptual skills to find all the different triangles within the design. There are small ones, big ones, and even bigger ones! Is he up to the challenge?
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Whats occuring there? Cant see anything on FB or Cwmdown website, is the normal uplift DH still operating or is the new DH being uplifted instead?
Bike Forum
Cwm Carn DH new trail / Cwmdown ?
I think the opening of the new DH has been postponed until the weather / conditions improve..
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We'd love to hear from you with any questions, suggestions or really good drinking stories.. We will respond as soon as possible. Cheers!
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American poet Emily Dickinson was born December 10, 1830 in Amherst, MA. During her lifetime, she only published only seven poems, but after her death, her sister Lavinia Dickinson discovered more than a thousand poems, many of them hand bound into little books. In the 1890's Lavinia had the poems edited and published in three editions. Emily Dickinson's fame grew considerably in the twentieth century, however, when Thomas H. Johnson published an unedited collection of all 1775 of her poems in a single edition in 1960.
Dickinson Electronic Archives5 stars
This scholarly Emily Dickinson archive challenges common misconceptions about her, including the"fact" that she was isolated, morbid, or did not have a sense of humor. Start by studying the correspondence between Emily and her sister-in-law Susan Dickinson (Emily Dickinson Writing a Poem) as Emily edits the poem "Safe in their Alabaster Chambers." Next, peruse Letter-Poem and ask yourself where the poem ends and the personal correspondence begins. Teachers will not want to miss Teaching with the Archives, which includes resources from a variety of external websites.
Modern American Poetry4 stars
Visit Modern American Poetry for two Dickinson biographies and twenty articles of literary commentary submitted by users. "Dickinson's poetry is remarkable for its emotional and intellectual energy as well as its extreme distillation. In form, everything about it is tightly condensed. Words and phrases are set off by dashes, stanzas are brief, and the longest poem occupies less than two printed pages."
Poetry of Emily Dickinson Read By Laura Lee Parrotti4 stars
At WiredforBooks.org, Laura Lee Parrotti reads 184 Emily Dickinson poems. Each audio clip is available in RealAudio format for online or offline listening. I wish they were in MP3 format (it would make it easier to play them offline) and that the written versions were available alongside the audio. You can, however, find the Series 1 poems at Bartleby.com and all three Series at Online-Literature.com.
Poets.org: Emily Dickinson4 stars
Poets.org has a Dickinson biography and a dozen poems, but the best clicks are hidden away under the Related Pages sub-heading in the left-hand column. There you will find the Emily Dickinson Reading Guide, which includes an introduction to the poet, an analytic look at "I Cannot Live With You", and eight discussion questions. The whole thing is also available in PDF for easy printing and distribution.
Brainy Quote: Emily Dickinson
Emily Dickinson: Links, Bibliographies and Information
Quotations Page: Emily Dickinson Quotes
Voices and Visions Spotlight: Emily Dickinson
Feldman, Barbara. "Emily Dickinson." Surfnetkids. Feldman Publishing. 13 Dec. 2006. Web. 4 Dec. 2014. <http://www.surfnetkids.com/resources/emily-dickinson/ >.
By Barbara J. Feldman. Originally published December 13, 2006. Last modified March 13, 2014.
Honorable Mentions
The following links are either new discoveries or sites that didn't make it into my newspaper column because of space constraints. Enjoy!
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Join Now
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I'm back!
You probably guessed I have not been in the UK, but I did not want to spell out when and for how long as I am not keen on announcing my house is empty on the Internet.
Anyway, been gone for 28 days. 9 nights in Japan, 13 in Australia and 2 in Hong Kong (+ 4 nights spent on planes). Now I am back I can try to get a grip on what I have missed and start wading through the 4000+ shots I took, properly!
Starting with Japan, a return to the night shots I took at Shibuya junction.
Comp is off as I did not want to crop and lose the sign on the floor just to get the girl on thirds, and she is not quite as stationary as I would have liked, but I still liked the movement and colours.
As always, comments welcome and thanks for looking.
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|Buildings, Junction, Landscape / travel, Light, Movement, Night, People, Photo journalism, Portraits / people, Scene, Shibuya, Street, Street photography, Tokyo, Twilight
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Well spotted, and she's stationary enough - perfect with the sign on the street! LOL
Nominating Constructive Critique
Top notch image. Well seen and captured. This is really cool. I like this one alot. Very well done
Nominating Constructive Critique
Nominating Constructive Critique
This is amazing! I will have to try this sometime. Congrats on a well deserved HC and you have some work to do on those 4000! I hope we see some. Did you get the one in front to stand still? That makes the shot.
Nominating Constructive Critique
Welcome home Neil and this is one really fantastic image, great movement. Love it Neil, happy sifting through your 4000 photos.
Nominating Constructive Critique
Nominating Constructive Critique
Thanks for the comments.
It works out as less than 200 a day Dave, nearer to 100 when you factor in the large number shot at the sumo and of the surfers on Bells Beach - I was being quite restrained really
Camera needs a service though, coming up to 20,000 shots taken in the last 10 months.
Patrick, it was a chance shot. I was hoping some one would stand still but the comp was dictated by where I set up to fit the surrounding buildings in and keeping out of the main routes of pedestrian traffic.
The shot I upload from here while in Japan is better comp, but not as crisp as this one, may need to revisit it...
Thanks again.
Nominating Constructive Critique
Amazing shot, and amazing number of shots in under a year, I am thinking what the record number is and if there are others who shoot as many as you, any idea? that is a lot Neil.
Has anyone honestly come close...Chen.
Nominating Constructive Critique
that a great moment in time shot
Nominating Constructive Critique
Nominating Constructive Critique
Congratulations on your HC plus 50 up....
Nominating Constructive Critique
Nominating Constructive Critique
Nominating Constructive Critique
Like this shot a lot, you got this just right with the girl stood still, I've worked in Tokyo in the past and I'm expecting there will be some good shots from you as there are so many photo opportunity's, look forward to whatevers next.
Nominating Constructive Critique
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Captain FeatherswordComments67
this wiki
|Ahoy there me Hearties!
— Captain Feathersword's Way of saying Hello.
|Captain Feathersword
Captain Feathersword
Played by
Red and White
Favorite Song
"Captain Feathersword" is often called "The Friendly Pirate". He owns a ship named The S.S Feathersword. He was portrayed by Anthony Field, and as well originally "played" by Anthony along with his 2 other brothers (all honoured and great people). Then in 1996, Paul Paddick became the voice of Captain, and he still has done the voice of him ever since. He also has a crew, the Friendly Pirate Crew, all of which idolize and have the same bright and cheerful personality as their captain. According to the Series 2 episode, "Family", Captain's father and mother, showing poor parenting and inappropriate child-raising practices, left him (basically abandoning him, though the Captain remains optimistic about this matter) so they could sail the Seven Seas.
- Captain Feathersword's original pirate crew is him, Imran, Penelope, and Raj, who were all featured in Stories and Songs: The Adventures of Captain Feathersword the Friendly Pirate.
- Before Paul Paddick, Captain Feathersword was first played by Anthony Field. His brothers, John William Field and Paul Field followed in "Yummy Yummy" and "Big Red Car".
- Paul Paddick is the first Non-Field Brother to play Captain Feathersword. He has had that role since "Wake Up Jeff!" in 1996
- Captain has blue trousers with black lines from 1993 to 1997. From 1998 ownards, he now has black trousers with gold lines because they're the same ones as The Wiggles' black trousers.
- Captain also tickles people including The Wiggles and his friends.
- In some songs, Anthony isn't seen as a Wiggle because he is playing Captain Feathersword. But in Big Red Car, he isn't played by Anthony except for Nicky Nacky Nocky Noo and Our Boat is Rocking on the Sea. In the Big Red Car song, Captain doesn't appear at all.
- Captain Feathersword was created because Anthony understood that kids liked pirates.
- He was given a feathersword so that he would be a non-violent pirate.
- Since 1997, Captain spends time with The Wiggles more than Dorothy does.
- From 1998 to 2012, Captain looked after any other three Wiggles when they're in most TV clips while one of them is away.
- He has had several songs after him. Some like Captain Feathersword and Quack Quack.
- One of Captain's favorite dances is the reindeer dance according to Here Come the Reindeer.
- Captain Feathersword was played by Lachy Gillespie and Brad Carroll while Paul Paddick was in understudy.
- Since 2010, Captain has served as a guitarist at concerts when needed. He has also been doing this in the videos since 2013.
- Captain is the only human Wiggly Friend.


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Artist Bob Gregson demonstrates how Spin Cycle works. Bob Gregson, Spin Cycle, 2014, Acrylic on Trupan, 55 x 55 in., Courtesy of the artist
NEW/NOW: Bob Gregson
July 26–Oct. 26, 2014
Opening Reception
2-3:30 p.m., Sunday, July 27, 2014
Artist Remarks at 2:30 p.m.
In our world of Twitter, iPhones, Facebook, and other forms of social media, many people live removed from the physical world. Bob Gregson's work counteracts this lack of intimate involvement and creates situations that constantly shift the rules and allow for new encounters.
There is a reason why Bob Gregson's work is fun. His exhibition Space to Maneuver harnesses humor to gently draw people into the work and provide
opportunities for participation: rolling on your back, turning panels or rearranging objects, alone or with others who may be total strangers.
Space to Maneuver is at once a playful and thought-provoking exhibition that questions the relationship between the viewer and the art object. As Gregson explains, "The basic message may be that art is serious but not sacred…I also enjoy the idea that the work is never actually completed but continually reinterpreted and refreshed through those who encounter it." His work adds a new twist to a long line of art movements that have challenged the definition of art, including Dada, Fluxus, Happenings, Conceptual art as well as Minimalism.
Bob Gregson received a BFA from Hartford Art School and an MFA from the Art Institute of Chicago.
He has been the artistic director for hundreds of public events, which he calls "situations"—mixing community participation with large scale inflatable sculptures, scaffolding, mazes, and theatrical lighting. He has taught art classes at numerous museums and universities. He has authored and illustrated many books about art and participation and lectures widely on the subject. He is a Silvermine Guild Artist and is the creative director of the Connecticut Office of Tourism.
Available Video:
Bob Gregson "New Britain Exhibition"
The NEW/NOW Series is made possible by the generous support of Marzena and Greg Silpe.
Glass Today: 21st-Century Innovations
June 21–Sept. 21, 2014
Opening Reception
2-3:30 p.m., Sunday, June 22, 2014
A sequel to the NBMAA's popular 2008 glass exhibition, Glass Today: 21st-Century Innovations, celebrates glass as a material for contemporary art—sculpture, installation, video and even painting and printmaking.
This group exhibition, curated by Assistant Curator Anna Rogulina, brings together over 80 works by 66 artists united by their ability to manipulate the properties and potentialities of the medium. Three themes—Nature & Landscape; Form & Color; and Narrative & Symbol—serve as loose connective tissue between the sheer diversity of techniques, aesthetics and conceptual goals achieved by each of the exhibiting artists.
We invite you to take advantage of the many exciting programs happening in conjunction with this exhibition. Please consult our website nbmaa.org, calendar and program listings in this newsletter for more information about lectures, trips, and studio classes offered this summer!
Special funding has been provided by the Art Alliance for Contemporary Glass, the Bailey Family Fund for Special Exhibitions, and the Kathryn Cox Endowment Fund for Special Exhibitions with additional support from the Connecticut Department of Economics and Community Development Office of the Arts through the New Britain Commission on the Arts.
Participating Artists
Giles Bettison, Mary Beth Bliss and Peter Vanderlaan, Martin Blank, Peter Bremers, Latchezar Boyadjiev, Nancy Callan, Sydney Cash, José Chardiet, Nicole Chesney, Dale Chihuly, Daniel Clayman, Amber Cowan, Dan Dailey, Steffen Dam, Andrew Erdos, Josepha Gasch-Muche, Peter Greenwood, Mundy Hepburn, Eric Hilton, Richard Hornby, David Huchthausen, Sidney Hutter, Anja Isphording, Luke Jerram, Richard Jolley, John Kiley, Vladimira Klumpar, Stephen Knapp, Jon Kuhn, Thérèse Lahaie, Karen LaMonte, Shayna Leib, K. William LeQuier, Beth Lipman, Marvin Lipofsky, Carmen Lozar, Linda MacNeil, Dante Marioni, Richard Marquis, Benjamin Moore, Debora Moore, Sibylle Peretti, Stephen Rolfe Powell, James Randolph, Mark Reigelman II, Jill Reynolds, Christopher Ries, Martin Rosol, Richard Royal, Brian Russell, Toland Sand, Judith Schaechter, Thomas Scoon, Josh Simpson, Raven Skyriver, Carmen Spera, Dan Spitzer, Ivana Šrámková, Ethan Stern, Preston Singletary, Lino Tagliapietra, Bertil Vallien, Norwood Viviano, David Walters, Steven Weinberg, and Toots Zynsky
Online Interactive
Click here for the online interactive and downloadable brochure
Details of paintings (from upper left): Joanne Greenbaum, Untitled, 2012; Lisa Beck, Channel, 2013; Andrew Masullo, 5358, 2011–12; Keith Mayerson, Iconscape 4, 2012; Adam Henry, #5, 2012; Joshua Abelow, Running Man, 2013
This One's Optimistic: Pincushion
Curated by Cary Smith
June 7-Sept. 14, 2014
Opening Reception
2-3:30 p.m., Saturday, June 7, 2014
Curator Remarks at 3 p.m.
This One's Optimistic: Pincushion is a densely hung, salon style exhibition that includes paintings and drawings by 38 contemporary artists, all of whom are known for their excellence in making work that leans heavily towards abstraction. Their styles are vastly different and will, in close proximity, create a wide-ranging visual experience, which can be seen as a current reflection of a slice of what is going on within the art community. A unifying theme among all the artwork is that of an intuitive, positive, human force—one that is authentic, smart, original, and inventive—and always with a warm beating heart.
Smith believes there is a heightened collective awareness that we share due to the immediate exchange of digital information among us. As Smith finds himself often sitting in front of his computer looking, watching, listening—and posting images of his own work along with the work of other artists he admires—he finds that in short bits of time he can view art from all over the globe. This exhibition is a snippet of that world for all to view in real time, in real space where the heart of the artist is ever present.
Participating artists
John Phillip Abbott, Joshua Abelow, Lisa Beck, Trudy Benson, Timothy Bergstrom, Michael Berryhill, Ross Bleckner, Todd Chilton, Steve DiBenedetto, Amy Feldman, Michelle Grabner, Joanne Greenbaum, Clare Grill, Adam Henry, Daniel Hesidence, Xylor Jane, Bill Komoski, Joshua Marsh, Chris Martin, Andrew Masullo, Keith Mayerson, Douglas Melini, Tom Nozkowski, Carl Ostendarp, Ann Pibal, Josh Podoll, Lisa Sanditz, James Siena, Jennifer Wynne Reeves, Alexander Ross, Julie Ryan, Jackie Saccoccio, Russell Tyler, Dan Walsh, Chuck Webster, Garth Weiser, Stanley Whitney, Michael Williams, B. Wurtz, Tamara Zahaykevich
Cary Smith is an artist who lives in Farmington, CT.
More information about him can be found at:
David Borawski, God Save Your Mad Parade, 2014, Digital Image, Courtesy of the artist
New Media: David Borawski
Apr. 26–Aug. 31, 2014
Closing Reception
2-3 p.m, reception, 2:30 p.m., artist remarks
Sunday, August 31
Opening Reception
5:30-8 p.m., Friday, May 2, 2014
Hartford-based multi-media installation artist David Borawski likes to take the viewer on a visual and conceptual ride, leading you down a path then leaving you to find your way home. Unleashing ideas, images and ready made materials that the viewer may not normally consider as art supplies, Borawski's work draws upon social and political events that have influenced major shifts in our collective consciousness, positioning them as eerie precursors to present-day circumstances.
God Save Your Mad Parade is an installation that addresses anarchy and the proliferation of crime and lawlessness at both ends of the wealth and class spectrum, through video, sound and sculpture. Borawski assembles video clips of ceiling fans and projects them onto the gallery floor. At the same time, the viewer is subjected to a digitally manipulated soundtrack of surveillance and helicopter noise. Other elements will include plastic chain, fabric bandanas and corrugated cardboard. Borawski explains, "chains suggest restraint and control. That is the function of law and authority, chains stop someone from doing something." As the Sex Pistols lyrics conclude, "no future for me, no future for you."
More information on the artist can be found at www.rot8tor.org and http://artwalk.hplct.org/history/david_borawski.shtml
Joe Fig, Petah Coyne: May 9, 2013, 2014, Mixed media, 17 3/4" x 21 1/4" x 21 1/4". Courtesy of Tierney Gardarin Gallery
NEW/NOW: Joe Fig
Apr. 19–July 20, 2014
Opening Reception
3:30-5 p.m., Sunday, Apr. 27, 2014
Artist's remarks at 4 p.m.
followed by book signing
When walking through a museum it is easy to forget that the perfectly hung paintings and well-lit sculptures are products of a long and arduous process. They are the end results of many moments of creative inspiration, but also a myriad of physical and logistical details. It is these details—aspects of an artist's daily routine—that motivated the artist Joe Fig to embark on a life-long exploration of the working lives of his fellow professional artists. This exhibition, entitled NEW/NOW: JOE FIG, presents a series of sculptures and paintings representing the studios of some of today's leading contemporary artists, including Petah Coyne, Tara Donovan and Ursula Von Rydingsvard. All of the artists represented are women working in the New York area, and each portrait reflects the intimacies and subtleties of who they are as people and what they do as artists.
Fig visits and interviews each artist in order to fully and accurately document their process. This allows for a rare look into the self-made universe of the artist's studio. The resulting artworks are both a celebration of the wonders of the creative process and a revelation regarding the rather mundane tasks involved in making art. Fig's process of documentation and translation gradually evolves into a portrait of the artist and her creative process.
Joe Fig's studio is in Collinsville, Connecticut. His work has been exhibited extensively throughout the United States and his sculptures, paintings and photographs can be found in numerous museums, including the Parrish Art Museum, the Norton Museum and the Fogg Art Museum. His acclaimed book Inside the Painter's Studio explores the day-to-day practicalities of 24 leading contemporary artists and is currently in its sixth printing. He received both his BFA and MFA from the School of Visual Arts and is represented by Tierney Gardarin Gallery in New York.
James Prosek (b. 1975), Blue Marlin, 2011, Watercolor, graphite, gouache, and mica powder on tea-stained paper, 60 x 180 in., New Britain Museum of American Art, Grant from the Richard P. Garmany Fund at the Hartford Foundation for Public Giving, 2012.07
James Prosek: Wondrous Strange
Feb. 22–June 8, 2014
Opening Reception
2-3:30 p.m., Saturday, Feb. 22
Artist remarks at 2:30 p.m.
James Prosek: Wondrous Strange is the first exhibition to bring together the multi-faceted, multi-media works of James Prosek—painting, sculpture and installation.
James Prosek's work takes its inspiration from the long tradition of natural history painting; from animal depictions on cave walls to the works of Albrecht Dürer, William Blake, and John James Audubon. His contemporary influences are wide-ranging, from Lee Bontecou and Mark Dion to Martin Puryear and Eero Saarinen. In particular, Prosek's work is conceptually focused on how we name and order nature, including the limitations of language in describing biological diversity. His art challenges us to reflect on how our culture, our priorities, and our values are manifested in systems we use to classify and harness nature.
The paintings, monumental watercolors, and sculptures in the exhibition range from realistic to fanciful, though all are rendered with meticulous precision and detail. Many are the result of extensive travel, collecting trips and biological expeditions to places as distant
and diverse as Suriname and Kyrgyzstan. Ultimately, it's the realms that science cannot quantify or solve and the power of personal experience that are Prosek's fertile ground.
A native of Easton, Connecticut, Prosek graduated from Yale University and is a writer and naturalist in addition to being an artist. His work has recently been exhibited at the Addison Gallery of American Art, the Philadelphia Museum of Art, Virginia Museum of Fine Arts, the National Academy of Sciences, among many other institutions. His documentary film The Mystery of Eels debuted on PBS in 2013.
This exhibition is made possible by a grant from the Richard P. Garmany Fund at the Hartford Foundation for Public Giving
Click! Clack! Ding!
The American Typewriter
Mar. 8–June 1, 2014
Opening Reception
5:30-7:30 p.m., Thursday, Mar. 13, 2014
This exhibition will include over 20 machines and wartime badges that span nearly 100 years, dating from 1873 to 1966. All the typewriters are American made, with a focus on models built in Connecticut. One of the highlights to be displayed is a Sholes and Glidden dated 1876, three years after the first commercially successful typewriter was produced. There were 3,000 decorated models that were originally made by Remington at their sewing machine factory in Ilion, NY. Roughly 200 of these rare and extremely desirable machines have been found as of today.
A typewriter is not only an object of precision and design, but a tool used to communicate ideas. During the Industrial Revolution, as more and more of the population became educated, the need to communicate to an increasingly educated population made the typewriter an indispensable tool to produce text more quickly. When typewriters were first introduced, design was an important element; they were expensive so they needed to be attractive as objects.
Collector Greg Fudacz looks for attractive, well-built and well-designed machines that are hard to come by. What he finds most thrilling about collecting, is the hunt. He confesses "Letting them go is hard, if I have three or four of anything, I want more."
Expect to fall in love with these once common household and workplace machines all over again.
Floral Expressions Exhibit, 2013
12th Biennial Floral Expressions Placement Show
May 8–12, 2012
Opening Reception
5:30-7 p.m., Thursday, May 8, 2014
Floral Expressions will return this Mother's Day weekend in conjunction with a bevy of events called Bubbles & Blooms that culminates with our special Mother's Day event Brunch on the Park. Join us at the opening reception for remarks by Mary Gould, member and past President of the New Britain Garden Club.
Twenty floral arrangements inspired by select pieces in the Museum's permanent collection will be on display, created by members of the Garden Club and National Council accredited judges from The Federated Garden Clubs of Connecticut. See the Front Desk for a self-guided tour that will walk visitors through the exhibition and give insight into the arrangements and the art they represent.
The New Britain Garden Club has been a member of The Federated Garden Clubs of Connecticut since 1941. The Museum and the Garden Club have had a working relationship for much of that history: many members of the Garden Club have lent their talents to the Museum as docents and volunteers. One of the Museum's gardens has been named for The New Britain Garden Club in recognition of their long service and support.
Check out Bubbles & Blooms' workshops, lectures, and more!
The artist's concept sketch for The Fallen Sky Chronicles: You and What Army? in the NBMAA's New Media nook
New Media: Ivan Toth Depeña
Dec. 14, 2013–Apr. 20, 2014
Ivan Toth Depeña has created a multi-sensory installation using custom software to abstract a group of images mined from the Internet. These images were randomly selected by Google-searching the key words "rainbow" and "spectrum." The software loads the images, examines their color information, "unwraps" them pixel by pixel and finally rearranges them into gradients of color. These pixel gradients are then displayed sequentially in the order that the images are loaded and played at a predetermined rate.
In addition to examining the idea of chance, this project also explores the concept and experience of "synesthesia." Synesthesia can be defined as "a neurological condition in which stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway." In this case, the color information from each of the "rainbow" images is used to directly affect audio, creating a surreal collision of sound and image. Judy Garland's Over the Rainbow is sped up, slowed down and scrambled according to the hue and saturation of the colors being displayed on the screen. The title deals with our inherent compulsion to understand and often recreate the undefinable aspects of our realities, natural phenomena, and universe.
Based out of Brooklyn, Depeña studied art, architecture and graphic design at Pratt Institute and the University of Miami. He earned his M.Arch. from Harvard University's Graduate School of Design. His recent projects include a number of exciting public art commissions in Florida and Colorado. His work has been shown throughout the U.S., including at the Frost Museum of Art, Miami; School of Visual Arts in New York City; Museum of Art Fort Lauderdale; and the Miami Art Museum.
Joseph Nawahi, View of Hilo Bay, Hawaii, detail, ca 1868–70, Oil on canvas, 20 x 36 in., Collection of Melinda and Paul Sullivan.
Aloha: Hawaiian Art and Artifacts from the Sullivan Collection
Nov. 30, 2013–Mar. 2, 2014
Low Illustration Gallery ends April 27, 2014
Opening Reception
2 p.m., Sunday, Dec. 8, 2013
Remarks at 2:30 p.m.
Traveling nearly 5,000 miles from Hawaii to the New Britain Museum of American Art, the Sullivan Collection will present a cross section of the culture, beauty, and history of the Islands of Aloha. Despite the geographical distance between Connecticut and Hawaii, the two states' histories intertwined beginning in the 1820s, when many Connecticut missionary families such as the Lymans, Coans, Cookes, Wilcoxes, and Baldwins came to the Islands.
Longtime Museum benefactors Melinda and Paul Sullivan have carefully collected works from a wide range of artists, mediums, and contexts over the years. Selections from their extensive holdings of historical and contemporary works include paintings, works on paper, furniture, and crafts spanning over two centuries of Hawaii's vibrant history.
Eighteenth-century engravings by John Webber (1751–1793) depict the islands as they appeared when English explorer Captain James Cook reached Hawaii in 1778. Other pieces also capture the Western impression of the Islands, but most celebrate the state's natural beauty through the eyes of native artists.
One of the highlights of the Collection is a nineteenth-century oil painting by artist, politician, scholar and activist Joseph N¯awahi (1842–1896). Although he received no formal art training, N¯awahi became the first Hawaiian-born artist to paint in a naturalistic "Western" style.
Other treasures such as quilts made in the traditional Hawaiian style, furniture crafted of native Koa wood and shell necklaces from the remote island of Niihau will also be on display. Visitors will have the opportunity to travel through more than 200 years of history, as well as become acquainted with artists living and working in the Aloha State today.
Selections from the Sullivan Collection offer a rare glimpse into the art and history of the Islands of Aloha.
Stephanie Lampert (b. 1983), York, 2007, C-print mounted on Sintra, Paul W. Zimmerman Purchase Fund, 2011.33
NEW/NOW: Stephanie Lempert
Jan. 11–Apr. 13, 2014
Opening Reception
2-3:30 p.m., Sunday, Jan. 12, 2014
In her Language of Space series, Lempert is an anonymous listener who tunes into dialogues exchanged across various New York neighborhoods, transportation hubs, and bridges. She documents each chosen site first by photographing it and then by infusing the surface of the image with transcriptions of the overheard conversations. As in the Language of Space series, the Memory Lines series also combines photography and language to capture not only the expressions of the sitters but also the stories of their lives. Written in the subjects' own handwriting, aspects of their biographies are hidden in their facial lines and wrinkles.
In Reconstructed Reliquaries, hand-written childhood memories are interwoven to produce actual objects with the aid of 3D printing. NEW/NOW: Stephanie Lempert will survey these bodies of work, as well as debut her video project and three new Language of Space photographs.
Based in Brooklyn, New York, Lempert is a graduate of the Rhode Island School of Design. Her work has been exhibited at Socrates Sculpture Park, The Armory Show, Art Basel Miami, the Moscow World Fine Art Fair, the 2006 New York Video Festival and many other venues in the U.S. and abroad.
Maurice Sendak, Wild Thing & Max, late 60's early 1970's, Ink & watercolor on paper, 20 1/2 x 16 1/2 in., original illustration Private collection, Edward T. Long Circa
Maurice Sendak
Nov. 9, 2013–Feb. 9, 2014
Opening Reception
5:30-7:00 p.m., Saturday, Nov. 9, 2013
Maurice Sendak will be comprised of 65 works, culled to commemorate the 50th anniversary of Sendak's beloved Where the Wild Things Are. It will explore the creative genius of a man who gave form, in words and images, to the fierce power of children's imagination. Original works will be complemented by quotes from 50 prominent individuals such as Tom Hanks, President Barak Obama and Theodor Geisel (Dr. Seuss). Also in the gallery will be a film, documentaries, a reading table for children and families, and an interactive art-making area.
The exhibition will be grouped in four themes and will examine:
Where the Wild Things Are: From Pages to Stages and Screens: Original book illustrations, limited-edition lithographs, and sculpture; opera set design drawings; movie concept sketches
"A book is a book is a book": Illustrations for The Sign at Rosie's Door, Pierre, In the Night Kitchen, Little Bear, and more
Cover to Cover; Wall to Wall: Magazine covers, original posters, prints and more (Including art for The Rolling Stone, American Ballet, the Brooklyn Children's Museum and Children's Book Week)
Lisa Hoke, The Gravity of Color, New Britain, 2008, installation, Stephen B. Lawrence Fund and the Edwin Austin Abbey Mural Fund of the National Academy of Design
Lisa Hoke, The Gravity of Color, New Britain (detail)
Hoke is a 2008 recipient of a fellowship sponsored by the Edwin Austin Abbey Endowment at the National Academy Museum and School of Fine Arts. More than 50 artists from throughout the U.S. submitted proposals for the project, coordinated in conjunction with NBMAA Director Douglas Hyland. A panel of six judges reviewed applications for the project, including three Museum representatives -- Hyland, NBMAA Chairman Timothy McLaughlin and Trustee Linda Cheverton-Wick.
Hoke's work will replace The Eye, an installation created by Stephen Hendee in 2006 for the opening of the Chase Family Building.
Hoke is known for the innovative use of "found" materials in her work. Her NBMAA installation will be created with clear plastic cups coated with vibrantly colored paints, as well as new and vintage opaque paper cups found through a variety of sources.
Each of thousands of cups will be attached to Museum walls with a grommet, or glued, creating a breathtaking, jewel-like visual impact with swirls of color and texture. During her installation, Hoke will work with several assistants to choreograph the work from the wall at the top of the staircase, around the windows and up the inner wall next to the staircase as it extends to the second floor.
Hoke's installation, like Stephen Hendee's work The Eye, is a temporary piece which will be replaced in two to five years by another commissioned work of art. Hoke has created similar installations for other U.S. museums.
Fern Berman, Architecture 101, detail, 1999, C-Print on Somerset Velvet 330 gsm paper, 30 x 20 in., New Britain Museum of American Art
Fern Berman (b. 1958), Man in the Moon, 2011, C-print on Somerset Velvet 330 gsm paper, 42 x 28 in., Collection of the artist
NEW/NOW: Fern Berman
Sept. 21, 2013–Jan. 5, 2014
Opening Reception
2-3:30 p.m., Sunday, Sept. 22, 2013
Remarks at 2:30 p.m.
Brilliant color, almost meditative compositions and illusory textures reveal a photographer who "paints" with her camera. Connecticut-based photographer Fern Berman finds beauty in unexpected places: a swatch of flaking paint, a splash of Venetian red, words of faded graffiti or an ancient weathered rooftop. Approximately twenty of her photographs, whose emotive color owes a "great debt" to painters such as Franz Marc, Mark Rothko, Vasily Kandinsky, and Paul Klee, will be on view in NEW/NOW: Fern Berman.
Berman's interest in abstraction, color relationships and expression through de-materialization and decay rests on patient observation and extended contemplation of her chosen subject. Whether viewed as a group or individually at close range, her photographs pose the question: does Berman imbue the subject with mystery and emotion through her distinctive vision, or is she simply revealing the layers of what is already there? As Tracey O'Shaughnessy of Republican-American has observed, "Perhaps that's [her] way of reminding us how each of us lays a thin layer of ourselves which ultimately erodes to reveal something earlier and more atavistic. Or perhaps it's a reminder that corrosion itself is a kind of beauty. More than likely, though, it is the photographer's gentle nudge to encourage us to look a little closer to see radiance in the neglected, moldering architecture that defines our lives."
Born in Brooklyn, New York, in 1958, Berman studied photography at the Art Institute of Boston and the School of Visual Arts in New York City. In addition to the New Britain Museum of American Art, her work is represented in the collections of Wesleyan University, the Buhl Foundation, WNPR New Haven, and numerous other private collections.
Holiday Decorations
Dec. 4, 2013-Jan. 5, 2014
The Museum's halls will be decked with creatively themed trees, the centerpiece being a Hawaiian Christmas Tree in the lobby to complement and celebrate the exhibition Aloha: Hawaiian Art and Artifacts from the Sullivan Collection. The ArtLab will host a Kwanzaa Tree by artist and docent Loretta Eason. A Paint Brush Tree in the Impressionism Gallery will celebrate the Impressionist's love of paint and color. In the Benton Gallery an interpretive tree will help bring the murals to life. And, in homage to our contemporary artists, visitors will find a pink Martin Kline-inspired tree in the Contemporary Gallery. Not to leave out the culinary arts, the Café on the Park will feature a Recipe Swap Tree. Yes, leave one of your favorite recipes and take a new one to try.
Also on view, the Moser Library will be dressed in traditional Victorian Christmas splendor thanks to artist Ken Adams, and the Beth El Temple of West Hartford will put up a Hanukkah Display in the Stanley Works Center.
Thanks go to the Holiday Decorating Committee Ken Adams, Manon-Lu Christ, Lydia Dyson, Ellen Fisher, Wendy Kirkland, and Carol Shimelman.
STAGECRAFT: 50 Years of Design at Hartford Stage
Oct. 2–Dec. 15, 2013
Opening Reception
5:30-8 p.m., Friday, Nov. 1, 2013
Remarks at 6 p.m.
In celebration of Hartford Stage's 50th Anniversary Season, STAGECRAFT consists of a selection of costumes, props and scenic elements from the company's extensive collection. A hallmark of the theatre's work is the quality of the work that appears on stage, all of which is built here in Hartford. Scores of locally based artists, craftspeople, and technicians created these pieces to animate the visions of some of the world's most prominent theatrical designers.
Hartford Stage has earned many of the nation's most distinguished awards, including a Tony Award for Outstanding Regional Theatre, the Margo Jones Award for Development of New Works, OBIE awards, and two New York Critics Circle Awards, and has produced nationally renowned titles, including the New York transfers of Enchanted April, The Gershwin's Fascinating Rhythm, The Carpetbagger's Children, The Orphans' Home Cycle, Tea at Five and Resurrection (Through the Night).
"We are thrilled to partner with Hartford Stage to celebrate 50 years of great theater and community service," said Douglas Hyland, Director of New Britain Museum. "And to offer this treasure to the public makes this project a stunning example of a collaborative effort between two of Hartford areas anchor institutions.
Jason Huff, The Road Not Taken by Robert Frost, Google Search Suggestions, 2010–13, Book cover, 9 x 7 in.
New Media: Jason Huff
July 27–Dec. 8, 2013
Opening Reception
5:30-8 p.m., Friday, Sept. 6, 2013
Remarks at 6 p.m.
Jason Huff's the road not taken highlights the hidden systems and processes that underlie our routine use of the web and other digital tools.
Brooklyn-based artist, writer and designer Jason Huff is intensely interested in how our interactions with new media technologies shape our daily experiences and affect the creative process. Huff's multi-media installations critically examine the validity and usefulness of innovations in digital publishing and other mainstay Internet features, weighing the ability of new digital tools to effectively replace "old media."
The Road Not Taken playfully explores the effects of the Internet on literature and art. The project takes Robert Frost's seminal 1916 poem, The Road Not Taken, and re-envisions it five times by feeding it through Google's auto-complete search function. Of the work, Huff says the following: "As technology automates suggestions and routes data algorithmically, our decisions about the information we navigate to become increasingly important." On view will be a traditionally bound and printed collection of Huff's iterations of Frost's poem as well as an audio recording of Huff's tongue-in-cheek poetry being recited.
Max Ginsberg, The Friends, New Britain Museum of American Art
Imagine That! Children's and Young Adult Illustrations from the Sanford B.D. Low Illustration Collection
Begins June 24, 2013
Imagine That! Children's and Young Adult Illustrations from the Sanford B.D. Low Illustration Collection spans 120 years of American illustration, focusing on original art created for children's and young adult books, periodicals and newspapers as well as science fiction and graphic art for young readers. It draws from the Museum's rich holdings and includes acrylics, watercolors, gouaches, oils, pen and ink drawings, and photography.
Visitors can unravel Walter Wick's photograph for I Spy: Treasure Hunt: A Picture Book of Riddles, see early Disney technology in an animation cel from Pinocchio, and immerse themselves in the adventure of N.C. Wyeth's painting for Treasure Island. Also featured is the work of Nicholas Napoletano, a recent graduate of the Illustration Program at the Hartford Art School who illustrated a children's story written by the Museum's Director Douglas Hyland. Look for The Mystery of West Rock on the bookshelves of the Museum Shop later this year.
Barbara Bosworth (b. 1953), Bill above Millers River. detail, Inkjet print, 24 x 60 in. Gift of the artist courtesy of the National Park Service, 2013.30
To Be at the Farther Edge: Photographs Along the New England Trail: Barbara Bosworth
Opening Reception
5:30 p.m. Friday, Oct. 5
First Friday fee applied
Jacob Collins, Overcast Fire Island, detail, 2012, Oil on panel, 13 x 24 in., Collection of the artist and Adelson Galleries
Jacob Collins: Recent Work
Aug. 24–Nov. 24, 2013
Opening Reception
2-3:30 p.m., Sunday, Aug. 25, 2013
Remarks at 2:30 p.m.
The works of Jacob Collins form that rarest of unions where classic beauty and striking originality meet as harmonious equals.
The Museum is thrilled to present Jacob Collins: Recent Work as part of a continued effort to make prominently visible the work of contemporary representational painters. The exhibition will feature the studiously crafted portraits, landscapes, and still lifes in oil and graphite by Collins, a leading figure in the revival of classical style of academic painting. Celebrated for his careful draftsmanship and finely-tuned eye, Collins invites viewers to appreciate meticulously recorded moments and details of daily life: the texture of hair, the softly rumpled bed sheet, the hardness of stone, the reflective nature of polished wood.
Collins studied painting at the New York Studio School, the New York Academy of Art, and the Art Students League. He has been commissioned to paint many luminaries, including J. Paul Getty, Jr. and President George H.W. Bush, and to paint the Forbes family properties in Normandy, France. He lives and works in New York City where he has founded the Water Street Atelier, The Grand Central Academy of Art, and the Hudson River Fellowship, all aimed toward classically training artists through rigorously painting from life, as well as studying technical perspective, anatomy, figure structure, painting methods and materials, and art history. As an artist, teacher and role model, Collins stands to preserve and advance the kind of painting that—while set in the present—exudes a sense of timelessness.
Funding provided by John and Jasie Britton.
Meet Lexi Lee Sullivan, Assistant Curator at the deCordova Sculpture Park and Museum in Lincoln, Massachusetts, who will be the juror of this year's Members Exhibition.
Members Exhibition
Oct. 12–27, 2013
Reception and Awards Ceremony at NBMAA
1-2:30 p.m., Sunday Oct. 13, 2013
The list is in for the 44th Annual Juried Members Exhibition! Congratulations to the winners and accepted artists! Click here to view the list.
Important Dates:
Open to NBMAA members 18 years and older, this year's exhibition will be juried by Lexi Lee Sullivan, Assistant Curator at the deCordova Sculpture Park and Museum in Lincoln, MA. The Annual Juried Members Exhibition is a prime opportunity for the Museum to highlight the exceptional work of emerging artists in all media and expose contemporary visual arts to a wide audience.
PRIZES: First Prize: $1,000, Second Prize: $500, Third Prize: $250, Juror's Award: Upgraded NBMAA
Membership and NBMAA Blog interview; Visitors' Choice: NBMAA Blog interview and write-up on
the website.
Over the years, this longstanding NBMAA tradition has seen an increase in the quality of submissions, earning a slot in the Museum's McKernan Gallery for changing exhibitions. "With this year's improvements, we seek to elevate the exhibition even further, making it a prominent showcase in the Northeast region, attracting a greater number of artists from further afield and opening it up to cutting edge media and genre," commented Director Douglas Hyland. "Our long-term goal is to endow the Members Exhibition prize pool. Toward that end, if you value the artists in our midst and want to encourage their advancement, and the NBMAA as a hub for this artistic output, please consider making a tax-deductible donation to the Members Exhibition Advancement Fund, see Front Desk for details or contact Jenna."
Louis Comfort Tiffany, Port of Piraeus, Greece, detail, n.d., Oil on canvas, 8 x 14 in., Nassau County Museum of Art.
Louis Comfort Tiffany, Silver-Mounted Favrile Glass Vase, ca. 1900, Sterling silver, gold, favrile glass, 7 3/4 in x 3 1/2 in. (diameter), Tiffany & Co. Archives, B2011.27
The Brilliance of Louis Comfort Tiffany: Painter and Craftsman
May 24–Sept. 29, 2013
Opening Reception
5:30-7 p.m., Thursday, May 30, 2013
Remarks at 6 p.m.
The Brilliance of Louis Comfort Tiffany: Painter and Craftsman is a major exploration of the paintings of Louis C. Tiffany (1848–1933) within the wider context of his creative genius. A celebrated glass and jewelry designer, Tiffany was first and always a painter, studying under George Inness and Samuel Colman at the start of his career. While Tiffany's paintings are not widely known, they reveal a profound sensitivity to light and color. Ultimately, these interests drove Tiffany's refinement of glass, a medium in which he concentrated so much of his creative energies. Furthermore, the subjects of Tiffany's painting, particularly the Orientalist scenes captured during the artist's travels in North Africa and the Middle East, informed his design aesthetic, which was known not only for its nature-inspired forms but also its exotic motifs from Morocco, India, Turkey and the Far East.
At the core of the exhibition are approximately 100 highlights from the Nassau County Museum's collection of Louis Comfort Tiffany paintings, the best and largest of its kind. To demonstrate the indubitable link between Tiffany's painting and design, the paintings will be thematically grouped alongside a treasure-trove of approximately 40 examples of large stained glass windows, furniture, lamps, vases and other decorative art objects. These objects come from the extensive holdings of the Mark Twain House & Museum, whose interior was designed by Tiffany's firm, Associated Artists, as well as from private collections. Examples of exquisite jewelry designed or co-designed by Louis Comfort Tiffany are on loan from the premier holdings of Tiffany & Co. Archives.
Funding comes from The David T. Langrock Foundation, The Edward C. & Ann T. Roberts Foundation, the New Britain legislative delegation and the Department of Economic and Community Development, Office of the Arts.
Opening Reception Dinner
Plated dinner in Stanley Works Center.
Prosciutto & melon carpaccio, basil mascarpone cream, basil aioli
Pecan crusted atlantic salmon, mandarin orange & pomegranate glaze, haricot vert w/ mint & lemon, basmati rice w/ caramelized onions & lentils
Vegetarian Option
Open lasagna with summer vegetables and roasted red pepper coulis
Tiffany Blue Cup Cake
Soft drinks will be available and cash wine and beer bar. $50 per person. Dinner seats at 7 p.m., reservations required, contact the Front Desk at (860) 229-0257, ext. 0.
Skylar Hughes, Hem and Leaf and Branch and Bone, Oil on canvas, 14 x 14 in., 2012, Collection of the artist
Skylar Hughes, Untitled Collage (1), Collage on postcard, 3H x 5H in., 2012, Collection of the artist
NEW/NOW: Skylar Hughes One Big Gust of Wind
June 15–Sept. 15, 2013
3-4:30 p.m., Sunday, June 16, 2013
Remarks at 3:30 p.m.
Skylar Hughes investigates relationships, associations, and the artistic process in the paintings and collages on display in One Big Gust of Wind. The works hover on the edge between abstraction and representation, the familiar and the unrecognizable, and conscious and unconscious painterly gesture.
Rooted in the exploration of the artistic process, Hughes' works also search for understanding of oneself and of the passage of time. As Hughes explains, "I've always considered my work as a kind of placeholder for a period of time in my life, something to put down not just to show for, but in order to understand and move on from." Skylar Hughes is a Connecticut-born artist living and working in Los Angeles, California. He earned a B.F.A. from the Hartford Art School in 2009. One Big Gust of Wind is his first solo exhibition.
Jane Bunker, Illumination, detail, 2012, Oil on canvas, 72 x 60 in., Collection of the artist.
Jane Bunker: Illumination
June 8–Aug. 18, 2013
Opening Reception
3-4:30 p.m., Saturday, June 15, 2013
Remarks at 3:30 p.m.
Because of undiagnosed childhood myopia, Jane Bunker saw the world as blurry and light-filled for many years and had no idea that others perceived it differently. Although her vision was eventually diagnosed and corrected, she uses this blurred perspective to investigate meaning. As she explains, "Beneath the appearance of apparent separate objects lies a deeper truth of interconnectedness—a oneness that is at the heart of all we perceive of as real. The lack of sharp boundaries between trees, flowers, sky and grass in my paintings is my way of attempting to paint that deeper truth."
Born in Boston and raised on Cape Cod, Bunker studied art as a child at the Farnsworth School of Art in North Truro and went on to earn her B.A. in Art at Stanford University. She ultimately changed course and spent the middle years of her life practicing psychology. In 1993, she returned to painting full time, though psychology and interconnectedness continue to inform her work. Her painting is also influenced by photography; in fact, each canvas begins from a landscape photograph or a close-up of a floral form taken by the artist in a moment of instant recognition and close connection to the subject.
Brown Gillespie, Milkyway, 2011, Wood, custom programmed LEDs, acrylic on canvas, 53 x 50 in., New Britain Museum of American Art,
Gift of Mary Gillespie
New Media: Brown Gillespie
Apr. 6–July 21, 2013
Opening Reception: 5:30-8 p.m.,
First Friday, April 5, 2013
Community's collective belongings. Photos by Collections Manager, John Urgo.
NEW/NOW: Michael Mahalchick: Here Today, Gone Tomorrow
Mar. 9–June 9, 2013
Opening Reception
Sunday, Mar. 10, 2013, 1-2:30 p.m.
Artists Remarks 1:30 p.m.
Michael Mahalchick to assemble a material portrait of the New Britain community with your help.
Michael Mahalchick moves seamlessly between the realms of sculpture/assemblage, installation, performance, music and dance, weaving chance, humor, brio and what he calls a "scavenging" aesthetic into his work. A graduate of the Tyler School of Art (BFA) and the California Institute of the Arts (MFA), he has exhibited nationally and internationally, including at PS1/MoMA, Queens, NY and the Sculpture Center, Long Island City, NY, and is currently on the visiting faculty at the Yale University School of Art.
As Mahalchick conceptualizes his installation in NEW/NOW, he invites your input and participation. Objects donated to the Museum will become the raw material for his work. Mahalchick will combine them in unexpected ways to present a cross-section of our community's collective belongings. The artist welcomes your trinkets, hand-made treasures, decorative items, manufactured goods, heirlooms with which you are ready to part, etc. If an object could conceivably be found at a garage sale and is of reasonable size, it likely fits the bill. Please be creative and think outside the box, and you may just find your former belonging reimagined, reused, reworked and on view in the Cheney Gallery from March 9 through June 9, 2013.
Romolo del Deo, The Beauty of Time, 2010, Bronze (unique), 19 x 9 x 6 in., Collection of Thomas and Kathryn Cox
A Joint Venture: The Collection of Thomas and Kathryn Cox
Jan. 25–June 2, 2013
Opening Reception
Sunday, Feb. 17, 2013, 2-3:30 p.m.
Married for the last 14 years, Thomas and Kathryn Cox joined their individual collections and passion for art and have been a force of American art collecting ever since.
Drawn to paintings that celebrate the beauty and awe-inspiring wonders of nature, the Coxes have shared an affinity for traditional landscapes of churning seas and drifting clouds. Among the many highlights are 19th-century seascapes by William Trost Richards, Stanley Woodward, and Frederick Waugh as well as landscapes by Alfred Bricher, Charles Davis, John Joseph Enneking, Walter Launt Palmer, and Nelson H. White.
Over the years, Tom and Kay's interests have also grown to include contemporary works in a variety of mediums. Today, their eclectic collection includes exquisite glass sculptures by Dale Chihuly, Dante Marioni, Lino Tagliapietra; one-of-a-kind vessels by master ceramicist Cliff Lee; still-lifes by contemporary realists including the late Stephen Brown, Jacob Collins, Graydon Parrish, Larry Preston, Michael Thiese, Dan Truth and others; a whimsical riff on history painting by Mary Dwyer; an expressive pastel portrait of a pig by Bryan Nash Gill; and a haunting and evocative sculpture by Romolo del Deo, which toured the country last year as part of The Tides of Provincetown exhibition.
Kay Cox was an outstanding Chairman of the Museum Board, providing inspired leadership and support. She and Tom have enjoyed collecting and in many ways their close connection to the Museum has helped shape the direction that their collection has taken over a decade. The Coxes are also longtime co-chairs of the American Art Circle and John Butler Talcott Society premier membership groups.
Art from the New Britain Public & Parochial Schools
May 23–June 2, 2013
Opening Reception
Thursday, May 23, 2013, 6:30-8 p.m.
For the 23rd year, the creative output of our youngest artists will be celebrated in Art from the New Britain Public & Parochial Schools. This popular exhibition will feature some 250 artists from kindergarten through high school. The artwork ranges in medium, and will include pastels, markers, collage, crayon, pencil, watercolor, oil paints, tempera, charcoal, clay, ink, and acrylics. A panel of NBMAA docents select the award winners.
Presented By:
Henri de Toulouse Lautrec, Divan Japonais, color lithograph, 1893, 808 x 608 mm, Herakleidon Museum, Athens Greece.
Henri de Toulouse Lautrec, Aristide Bruant dans son Cabaret (in his Cabaret), color lithograph, 1893, 1273 x 950 mm, Herakleidon Museum, Athens Greece.
Toulouse-Lautrec & His World
January 12–May 12, 2013
Opening Reception
Saturday, Jan. 12, 2013
3:30-5 p.m.
For the first time out of Europe, Toulouse-Lautrec & His World begins its U.S. tour here before moving on to Allentown Art Museum in Allentown, PA.
On view from January 12–May 12, 2013 in the McKernan Gallery, this traveling exhibition is on loan from the Herakleidon Museum, in Athens, Greece and is from the collection of Paul and Belinda Firos, the Connecticut collectors who also brought us M.C. Escher: Impossible Reality in 2010.
Toulouse-Lautrec & His World is from the collection of Herakleidon Museum, Athens, Greece, www.herakleidon.com
Tony de los Reyes, Cannibal, 2009, Red bister on paper, 59 1/2 x 44 1/2 x 2 in., Collection of Bryan and Maureen Stockton.
NEW/NOW: Tony de los Reyes: Chasing Moby-Dick
Dec. 1, 2012–Mar. 3, 2013
Opening Reception
Thursday, Dec. 13, 2012, 5:30-7 p.m.
Upcoming NEW/NOW artist Tony de los Reyes has spent the last decade visually interpreting and expanding on Herman Melville's Moby Dick. He infuses the classic genre and narrative tradition of "history painting" with modern aesthetics, drawing on minimalism, abstraction, and a wide variety of media not merely to illustrate, but to "reconstruct the epic in a transitional space between literature, political history, and contemporary art."
In constructing dramatic permutations of the text, de los Reyes creates a mythic vision of America and its enduring national obsessions, envisioning the same insatiable and self-destructive nature that defines Moby Dick's Captain Ahab. Raw linen stained with sumi ink, pure black and white pigments, and sanguine red bister visually enhance the aura of bloodlust and violence in de los Reyes evocative and allegorical work.
De los Reyes has held many exhibitions on the West Coast and throughout the country. Last year, he received a City of Los Angeles Individual Artist Fellowship Award and was named the Mid-Career Artist Fellow by California Community Foundation in recognition of his outstanding creative accomplishments.
Artist Eric Souther with screenshots of his YouTube video captured in the background. Art Marlon Portraits.
New Media: Eric Souther
Nov. 15, 2012–Mar. 31, 2013
Opening Reception
Thursday, Jan. 10, 2013, 5:30-7 p.m.
This November, the Museum presents Eric Souther as part of its New Media series. Known for building and utilizing his own software, Souther manipulates video and sound to explore how technology shapes experience and communication in our contemporary culture. His artwork also reveals how machines enrich the expressive means of artists. He "find[s] that creating experiences that lead to new understandings are more important than delving into the exact presentation of information," and his Search Engine Vision "Chair" does just that.
"Chair" is a compilation of the first 1,000 videos that appear under the keyword "chair" on YouTube. Using Max/MSP and Jitter computer programs, Souther wraps the visual catalogue around a 3D chair model and maneuvers cameras to imitate the process of sifting through information online. He places the viewer in an alternative dimension where the database can be experienced "all at once as a form, an aesthetic visualization of sensory knowledge and experience," expressing the "vastly broad potentialities of experiencing 'chair'" and capturing the visual language created by the online community.
Souther's aim as an artist is to question how we navigate today's "complex system" of information overload. He "creates individual artistic explorations" of the unseen network of the digital age in which we all engage—the sharing, compiling and encountering of information—to reveal the experiences of modern life "saturated with digital information."
Dine, Hockney and Summers: Contemporary Prints from the Paul and Teresa Kanev Collection opening reception.
Dine, Hockney and Summers: Contemporary Prints from the Paul and Teresa Kanev Collection
Oct. 19, 2012–Jan. 20, 2013
Opening Reception
Sunday, Oct. 21, 2012, 2-3:30 p.m.
Though its visibility has often been overshadowed by painting, performance and installation art, contemporary printmaking has been the focus of many artists working in the late 20th and 21st centuries. Debuting on October 19, Dine, Hockney and Summers: Contemporary Prints from the Paul and Teresa Kanev Collection aims to give greater attention to achievements in this medium. The exhibition, drawn from the collection of Dr. Paul and Mrs. Teresa Kanev, comprises approximately 20 impressive etchings, lithographs, woodblocks and cardboard reliefs by Jim Dine (b. 1935), David Hockney (b. 1937), and Carol Summers (b. 1925).
Highlights include some of Dine's famous hearts and robes, three examples from Hockney's The Weather Series, and Summers' colorful woodblock landscapes. Often producing works monumental in scale, these artists have helped revolutionize printmaking as an artistic practice. Dine has become one of today's most prolific, inventive and dedicated printmakers, with work in permanent collections worldwide. Hockney, called "Pop art's enfant terrible" by British art critic Jonathan Jones, possesses a mastery of color that
dominates his style regardless of the many mediums in which he works. Summers has reworked the ancient technique of woodblock printing, allowing for printing on a previously unprecedented scale and championing what is now known as the "Carol Summers technique."
© 2010 New Britain Museum of American Art.
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