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Rocket Golden Hybrid Snapdragon Seeds
Wonderful cinnamon-spice fragrance!
This tall variety is best in the back of the border, the bed, or the cutting garden. It combines well with other spring and fall annuals, adding plenty of vertical color. The blooms open from the bottom up on these long spikes, so the lower blooms are in full flower when the tip of the spike is still tighlty budded. A beloved favorite of gardeners across the country for its spectacular color and robust garden performance, Rocket is the Snap you want for dramatic blooms and plenty of them!
If you have never "snapped" a Snapdragon, here is how to do it: You'll notice that the blooms form two separate cupped clusters that meet in the middle, like jaws. Gently squeeze the sides of the jaws, and the two clusters will separate, just like a mouth opening. The space is just the right size for a child's finger to poke into the dragon's mouth. Release the bloom and the jaws "snap" closed!
Seeds may be direct-sown or started indoors for earlier blooms. Snaps are cool-season annuals that bloom in spring and fall in warm areas, summer in colder climates. In very warm locations they may winter over if mulched. They do best in full sun to light shade. Pkt is 100 seeds.
|Rocket Golden Hybrid
|Item Form
|(P) Pkt of 100 seeds
|Bloom Start to End
|Early Summer - Early Fall
|Seeds Per Pack
|Plant Height
|2 ft 6 in - 3 ft
|Additional Characteristics
|Cool Season, Direct Sow, Flower, Fragrance
|Bloom Color
|Light Requirements
|Full Sun
|Moisture Requirements
|Moist, well-drained
|Soil Tolerance
|Normal, loamy
|Cut Flowers, Ornamental, Outdoor
Antirrhinum Germination Information
How to Sow Antirrhinum:
- Best sown indoors, 6-8 weeks before planting out, at a temperature of 68-70°; with no cover as light aids in germination
- Expect germination in 10-12 days
- Seeds can also be sown outdoors after all danger of frost is past and when the soil is warm
- When sowing seed outdoors, we recommend a maximum planting depth of 4X the width of the seed
How to Grow Antirrhinum:
Spacing: Space 6-8 inches apart in full sun
Temperature: In Zones 7 and warmer, plant out in the fall for a spring flower display. In colder zones, plant out after all danger of frost is past in the spring
Soil: Site in a light, sandy, rich, well-drained soil. Keep moderately moist and feed monthly
Greenhouse growing: For forcing in the greenhouse: keep cool, site in full sun, and allow to dry out between waterings
Appearance and Use:
This showy annual is useful tucked into borders and when planted in mass as a bedding plant. The flowers cut well for fresh use. It grows 1/2 -3 feet tall by 1/2- 2 feet wide and in cool climates it flowers from summer to fall; in Zones 7 and warmer, expect a display only in the spring. Flowers are 1-2 inch, two-lipped curiosities that resemble what can best be imagined as a "dragon's jaw." They come in a wide range of colors (excluding blue and green) and are either solid or bicolored
About Antirrhinum:
Pronunciation: an-ti-ri'num ma'jus
Lifecycle: Annual
Origination: Scrophulariaceae, native to Europe and the Mediterranean
Common Name: Snapdragon
Superior Germination Through Superior SciencePark Seed offers some of the highest-quality vegetable and flower seeds available in the industry, and there are a number of reasons for this.
First of all, we have humidity- and temperature-controlled storage, and we never treat any of our seeds with chemicals or pesticides. Nor do we ever sell GMO's (genetically modified seeds), so you always know the products you're buying from us are natural as well as safe for you and the environment.
Superior Standards - University InspectedTo make sure we are providing the best seed product possible and that our customers will get the highest number of seedlings from every packet, we conduct our own germination testing and have quality-control measures in every stage of our seed-handling operation. We hold ourselves to standards that are at or above federal and state standards, including testing specific crops more frequently than recommended by federal guidelines. And in order to maintain our organic certification, we welcome Clemson University to inspect us annually to make sure our organic seeds, which are stored and processed separately, are being handled properly.
Hand Packed By Experienced TechniciansPark Seed has been handling and packing vegetable and flower seeds for 145 years, a history that has given us a great understanding of how each variety should be cared for and maintained throughout every step of theprocess, from collection to shipping.
When packing our seeds, the majority are actually done by hand (with extreme care!), and we often over-pack them, so you're receiving more than the stated quantity.
The Park Seed Gold StandardAnd many of our seeds are packed in our exclusive Fresh-Pak gold foil packets, which are lined to keep moisture out, so the seeds stay fresher for longer. We carefully pack very tiny or fragile seeds in crush-proof vials to ensure safe delivery to your home. Some of the small seeds are also offered as "pellets" (have a clay coating) to make sowing and growing easier. When it comes to the kinds of seeds we offer, we are constantly seeking something new and provide many unique and hard-to-find varieties from all around the world. Our on-staff horticulturists are ready and available to share their expertise to help you with the success of these seeds, so you can grow a beautiful and productive garden!
Does Park sell GMO's or treated seeds? It is important for our customers to know that Park Seed does not sell GMO or treated seed. We do buy a small amount of traditional hybrid seed from Seminis, a division of Monsanto Co., but that is all we purchase from them.
What are the differences between organic, heirloom, and hybrid seed?
Basically, organic seeds are seeds that are produced without the use and exposure to artificial/chemical fertilizers, insecticides, fungicides, herbicides, and other chemicals. They have to be grown, harvested, stored, and handled under very strict organic rules and procedures. All of our organic seeds are USDA 100% certified organic through Clemson University and the certificate has to be renewed yearly.
Heirloom Seeds are open-pollinated -- they are not hybrids. You can gather and save heirloom seed from year to year and they will grow true to type every year, so they can be passed down through generations. To be considered an heirloom, a variety would have to be at least from the 1940's and 3 generations old (many varieties are much older -- some 100 years or more!).
Hybrid seed are the product of cross-pollination between 2 different parent plants, resulting in a new plant/seed that is different from the parents. Unlike Heirloom seed, hybrid seed need to be re-purchased new every year (and not saved). They usually will not grow true to type if you save them, but will revert to one of the parents they were crossed with and most likely look/taste different in some way.
What are pelleted seeds? Why do you use them? How do I handle/sow them? Extremely small seed such as Petunias and Pentas are shipped as pelleted seed to make them easier to handle and sow. Pelleted seed are coated, usually with clay, to make them larger in size. After sowing, the coating will dissolve when wet and the seed will germinate. Pelleted seeds are shipped in vials placed inside seed packets, which protects them from being crushed. When sowing, be certain to use thoroughly moistened soil, to be sure that the clay coating absorbs enough moisture to dissolve. For sowing pelleted Petunia seeds, place the seeds directly on the soil surface and do not cover with soil, as light aids in the germination.
What is ideal temperature to germinate most seeds?
The ideal temperature to germinate most seeds is approximately 70 degrees F; give or take 1-2 degrees either way. This would be a good germination temperature for most flower and vegetable seeds and would be the most practical and feasible temperatures achieved for gardeners starting seeds in the home. You will notice for some seeds that it is recommended to use alternating day (warmer), night (cooler), temperatures, which is fine if one can provide such conditions. But most people are unable to provide those temperatures in a home setting, so just use the overall 70 degree F recommendation and the seeds should germinate well.
How long should grow lights be kept on per day and how close to the plants should the light be kept?
For germination and seedling/plant growth, you want to simulate the natural day-night cycles, and as a general rule, grow lights should be on 8-12 hours per day and off at night. You can vary this timing, as some seeds such as tomato, pepper, petunia, impatiens, and others, benefit from 14-17 hours of light per day (and the remainder of the 24 hour period in darkness). The most common grow lights used are fluorescent; using cool white, warm white, and wide-spectrum fluorescent tubes. These lights work well for germination and for growing plants up to a transplantable size. Fluorescent lights should be kept close though, 3-6 inches above the soil or the growing plants, adjusting the height as the plants grow.
How long will seeds keep in storage?
Park Seed stores seed in a special temperature- and humidity-controlled storage facility, which keeps seeds in excellent condition. Our seeds should be good for at least 1-2 years on average. Seed viability and storage time will vary depending on the seed item; some will keep a shorter time and some will keep longer. Seeds should be stored in a cool, dark, dry place. A basement will do (if not too humid), or a cool, dark room or closet. We recommend the best way to extend seed storage life is to store them in something air tight, such as a plastic zipper storage bag or canning jar, and place it in the refrigerator. This will extend the life of seeds for many years.
What is the best way to store seeds over a longer time period?
We recommend the best way to extend seed storage life is to store seeds in something air tight, such as a plastic zipper storage bag or canning jar, and place it in the refrigerator. This will extend the life of seeds for many years.
What depth should I sow various seeds?
When sowing seed outdoors, we recommend a maximum planting depth of 4X the width of the seed. When sowing seed indoors, the planting depth can be less, depending on the seed being sown, so it is always best to check specific directions. Here are some general guidelines concerning planting depth in relation to seed size: Tiny, dust-like seeds need to be sown on the surface of the growing medium or soil, uncovered, as they need light to germinate. The planting depth for small seed can be anywhere from barely covering, to 1/8-inch deep, to possibly 1/4-inch deep, depending on the recommendation. Medium seed should be planted at 1/4- to 1/2-inch deep, depending on the recommendation. Larger seeds can be planted 1-inch or deeper, depending on the recommendation.


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We had the perfect day of weather for Dana & Ben's session. Dana had flown in from Houston, Texas for the weekend, so I was keeping my fingers crossed that the weather would hold up! We had a great time getting to know both Dana & Ben...we're thrilled about their wedding this May and can't wait to share it with them! Tweet this!
Monday, October 3, 2011
Engaged! Dana & Ben
We had the perfect day of weather for Dana & Ben's session. Dana had flown in from Houston, Texas for the weekend, so I was keeping my fingers crossed that the weather would hold up! We had a great time getting to know both Dana & Ben...we're thrilled about their wedding this May and can't wait to share it with them! Tweet this!
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25 years ago, in 1989, the Foster & Adoptive Care Coalition was founded… amidst the glory and glam of 80's fashion. In celebration of the Coalition's 25th Anniversary, REFRESH is going 80's! Purchase an outfit with up to 5 items and get everything for $19.89! Maximum price of outfit cannot exceed $60. Promotion goes through October 29, 2014.
It's back to school time! Visit REFRESH to get all of your favorite styles to make sure you're looking your best first hour.


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The lightest performance New Balance tennis shoe to date, the 851 is extremely mobile offering an exceptionally light weight feel. A low to the ground ride and flexible response make this shoe very performance oriented. The synthetic and mesh upper combine for good breathability, support and light weight. The player looking for speed and comfort will revel in this offering as the weight combined with court gripping traction help provide an ultra-fast feel around the court. The 851 also offers the New Balance NDurance durability guarantee.
- Fit: Length fits true to size. This is the D medium width shoe. Arch support is slightly lower than medium height. No break-in required.
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- Weight: 12.3 ounces (size 10.5)
- Color: White / Navy
|New Balance D Width Men's Shoes


text: Jennifer Aniston The Homewrecker? Category Archive At the age of 42, could this be Jen's soulmate? We will see how long Justin and Jen last! (Photo by Mike Coppola/Getty Images) Will Jen be tied down now and marry Justin Theroux? Jen has said to friends that she loves Justin's "edgey" attitude and style. (Photo by Andreas Rentz/Getty Images) The movie "Wanderlust" comes out this October. Here is Jen with "Just Go With It" co-star and friend Adam Sandler (Photo by Andreas Rentz/Getty Images) Jen and Justin are a couple..but, the ex of Justin was blindsided about this! Heidi is said to have been leaning on friends, but she was blindsided about the relationship of her ex Justin and Jen. She knew they were friends and even let them do dinners together when they were filming the movie, but Heidi believed it was ONLY a friendship (Photo by Alberto E. Rodriguez/Getty Images) Jen's rep and Justin's rep aren't returning phone calls On Page Six of the NY Post today..the story is there that Jen homewrecked Justin and Heidi's 14 year relationship (Photo by Alberto E. Rodriguez/Getty Images) Jen and Justin are together 24/7 Justin was in a 14 year relationship and living with ex girlfriend Heidi Bivens who JUST moved out of their home together last weekend (Photo by Gareth Cattermole/Getty Images) Jen seems to always get involved with her co-stars.. Justin and Jen are inseparable, but Justin's ex is devastated. (Photo by Andreas Rentz/Getty Images) Jen and costar (from Bounty Hunter) Gerard Butler Rumors swirled about them when they filmed this movie together (Photo by Carlos Alvarez/Getty Images) Her and Justin were friends first on the set of their movie Just like Jen called Angelina Jolie "uncool" for her falling in love with Brad Pitt on their movie set Mr. & Mrs. Smith, it looks like Jen did the same thing. Angelina and Brad denied an affair on the set (Photo by Kevin Winter/Getty Images) Jennifer is in a new relationship with her "Wanderlust" co-star Her movie "Wanderlust" comes out this October and her co-star and now boyfriend is actor Justin Theroux (Photo by Kevin Winter/Getty Images) Next Gallery: The Hollywood Dirt: Charlie Sheen Back On TV, And The Kardashians Take A Dive View Comments


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Ringling College of Art and Design presents our Annual Student Scholarship Fundraiser
An Evening at the Avant-Garde: Comic Capers
Saturday, March 21, 2015
6:30 p.m. to midnight
Ringling College of Art + Design Campus
Don your best grumpy Garfield or goofy Marmaduke. Find your Linus blanket. Climb into your Buck Rogers space suit and join us for an evening of fun at Ringling College of Art and Design's annual costumed fundraiser!
Share the laughs with our deserving Ringling College students, students like our intrepid art student, Tyrell Waiters, whose story is told on the invitation. These students are the recipients of scholarships made possible by your generous contributions.
RSVP by Monday, March 9, 2015
Seating is limited: Make your reservation now by contacting the Ringling College Special Events team at 941-309-0118 or firstname.lastname@example.com
If you would like to purchase tickets please click here.
If you cannot attend, please consider making a donation or bidding on an auction item! For online auction preview and bidding click here.
All proceeds benefit the Ringling College Student Scholarship Fund.
Peggy and Ken Abt
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For more information, contact Ringling College Special Events 941-309-0118 or firstname.lastname@example.com


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Wine Theme Save the Date Cards Great deal, quality was great - perfect save the dates.


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working now
Help, Suggestions, Future of The D-Word
Difficulties with The D-Word? If you can't find the right answers on our Help page, please post in this topic. Ideas for future D-Word releases or projects can be posted here as well.
Great, now post away, Mark.
What do D-Worders and hosts think about starting a "Social Media" separate topic thread to cover issues using Facebook, Twitter,etc. & whatever new forms will arise? Social media may span different topics (marketing, distribution, fundraising, etc.), but I know some D-Worders are starting to use social media with varying results.
Hmmm, interesting idea, Rhonda...
We could give it a try.
I'm up for it...
Let the tweeting begin.
plus, anything that takes your mind of your healing-arm pain gets my support...
OK, Rhonda, we're giving it a try. Here's the new Social Media Topic for Members of The D-Word.
We are but your humble servants.
In reply to Ben Kempas's post on Sat 30 May 2009 :
After reflection, we've decided to rename the new topic to Social Networking for Filmmakers
aka Social Networking so as not to confuse with films that campaign for social change
Sean Flynn should post about his use of Twitter. He has some good tips.
Yes, and there now is a topic for this, Rhonda: Social Networking !
Yup, calling all twits...
I'm having an iPhone glitch when trying to post on D-word. If I hit the back/delete button, it erases either the whole word, the whole sentence or the whole post. It only happens (so far) on D-word. Any suggestions?
Same thing here...
Is this a recent thing or has it been like this all along? Can other iPhone users confirm?
(Note to self: Start a separate fund-raising drive for a mobile version.)
suggest you join the rest of us plebs sitting calmly behind their computers interacting on the d-word.
Well, The D-Word was never designed for mobile phones. But it runs fine on mine (Nokia E90). However, we could do a poll and see how many people want a streamlined version with less data load for their phones.
The data load is fine. Actually, D-word is one of the faster loads at home on my slow connection. It's just the typing deal that is the problem.
I used to have that problem, but I'm not aware of it any more. Have you done a iPhone software update Mikal? That might help.
Huh, no, but I've only had it a couple months and they updated it when I bought it. I think the new software is available. I'll check on that...
Latest iPhone upgrade seems to have fixed it.
Just wondering if the category "Video Essay" has any traction? Not 'documentary' in the purist sense. I'd call the docu-drama sections of the video I'm working on "documentation of the future".
This topic is for questions about The D-Word, David- but FWIW, "Video Essay" is fine – although it might not ring everyone's bell.
Join this discussion now. You need to log in or register if you want to post.


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*All Nissan Offers: Up to 20% savings off MRSP available on 2014 & 2015 Nissan models. 2 or more available at this discount. Can include Nissan Customer Cash and NMAC Cash. Final negotiated prices excludes tax, tags, freight and $549 dealer processing fee. Dealer installed options at normal prices. See dealer for details. The Buy Happy Price 1) includes all applicable rebates & incentives. 2) includes the college grad incentive of $600 (requires proof of recent graduation & financing through NMAC for the Altima, Altima Coupe, Rogue, Sentra, Versa Hatchback, Versa Sedan (excludes S trim), Juke, Xterra, Frontier & Cube. 3) includes Active/Reserve Military Nissan Business Associate Incentive of $600 (requires proof of military affiliation). 4). includes NMAC financing cash for select models, NMAC cash values are: Versa Note 2014- 2015 $500, Versa Sedan 2015 $250 (excluding Sedan with PLUS package), Sentra 2014 $500, Altima 2014-2015 $1000, Maxima 2014 $500, Rogue 2014-2015 $500, Murano 2014 $500, Pathfinder and Pathfinder HEV 2014 $500, Frontier 2014 $500, Leaf 2014-2015 $3500. Bonus cash from NMAC included in pricing, 2014-2015 Versa Sedan S only $500, Sentra 2014 $500, Altima 2014-2015 $500, Titan 2014 $1500. Additional freight charges are: (Versa $810, Versa Note $810, Sentra $810, Altima $810, Maxima $825, Cube $810, Rogue Select $810, Rogue $885, Juke $810, Murano $860, Pathfinder $860, Xterra $860, Armada $995, Frontier $885, Titan $995, Quest $860, Z Coupe $810, Z Roadster $810, GTR $1595). All financing incentives/NMAC cash require applicant to qualify with NMAC. See representative for details. Vehicle availability subject to prior sale. Expires 3/31/15.
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Eagle F1 GSD3
Customer Comments
Great tyres, tread pattern helpful in the snow too!24/06/2014
Got these Goodyear eagles as a substitute for my usual rainsport 2's and have been blown away just how good they are ! StIck like that stuff to a blanket and are so quiet too which is an unexpected bonus ! Can't recommend these enough !17/02/2013
Great tyre. Had on MX5 for 2 years and the rears still had plenty of tread when I had to change all 4 for more ice friendly tyres.Can't fault the dry grip, so much better then the standard tyre and wet being almost as good which is impressive. It managed on snow with these tyres to but was a little sketchy. Overall great tyre, amazing tyre wear, great grip and look good!26/01/2012
Great tyres!23/12/2011
195/50-15 discontinued. Was best wet weather and all around tyre for MX-5 but ice performance was scary to point you parked and walked. Will be missed but onto Conti Contact Sport 2 as best performance tyre in this size.03/10/2011
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by ForzaItaliaPgh » 13 Oct 2010, 21:43
by johnnyonthespot » 13 Oct 2010, 21:48
ForzaItaliaPgh wrote:Anyone else annoyed by this or am I alone here?
by Squigy » 13 Oct 2010, 23:55
ForzaItaliaPgh wrote:Anybody know that there is an Italian American history month? And guess when it is... October. Odd how you'd never know from watching TV. Even the History Channel can't seem to be bothered to recognize it. Seems like some other official history months get a lot more attention. Oh well, what did someone from Italy ever do that was important here in America... it's not like an Italian discovered America or anything
Anyone else annoyed by this or am I alone here?
by ForzaItaliaPgh » 14 Oct 2010, 00:24
by Squigy » 14 Oct 2010, 00:53
ForzaItaliaPgh wrote:Thanks for the link Squigy. In addition to the steps mentioned in the article, I think offering the Italian language in high schools would be a nice step. I can understand Spanish, but I don't see why French and German seem to be offered everywhere, but Italian is totally unavailable.
by choprjohn » 14 Oct 2010, 01:53
by Squigy » 14 Oct 2010, 02:28
choprjohn wrote:Im over 60 & I never heard of it, but black history month gets crammed down our throats every year. My daughter whose now only 25 years old took Italian in high school, but when she went to a Catholic college she was told "we dont teach Italian, theres not enough demand for it,but we offer Spanish" (Insert swear words here). Needless I was less than happy to hear that. This is the world we now live in....Johnnie
by ForzaItaliaPgh » 14 Oct 2010, 02:52
by Squigy » 14 Oct 2010, 03:07
ForzaItaliaPgh wrote:So not only is Italian American History month ignored, but it is also shared with the Germans! A quick look online tells me that its also Hispanic History Month and Breast Cancer Awareness Month. I might be wrong, but I don't think February is anything other than Black History Month.Squigy wrote:choprjohn wrote:Im over 60 & I never heard of it, but black history month gets crammed down our throats every year. My daughter whose now only 25 years old took Italian in high school, but when she went to a Catholic college she was told "we dont teach Italian, theres not enough demand for it,but we offer Spanish" (Insert swear words here). Needless I was less than happy to hear that. This is the world we now live in....Johnnie
Of course, I'm sure you didn't know October is German Heritage Month, too. But, hey, they have Oktoberfest. Aside from that, Germans really aren't that interesting
As for the language course, I imagine larger schools have Italian courses, but a privately owned Catholic college probably just can't afford to pay Italian teachers if nobody takes the class.
Don't get me wrong, I'm all for anything that celebrates any history (once upon a time, I earned a BA in History) but it seems to me that the contributions of Italians here in America warrants more than a "hidden" month no one knows about.
by Squigy » 14 Oct 2010, 03:08
ForzaItaliaPgh wrote:But then again, we are all just a bunch of mobsters (apparently over 3/4 of teens think this...wow!)
by Biff83 » 14 Oct 2010, 12:32
by Squigy » 15 Oct 2010, 04:23
Biff83 wrote:Since it's Italian American History month, I thought members might find my previous 2007 post interesting.
"Often overlooked is the role that Italians played in the early days of jazz music. Nick LaRocca, Anthony Parenti, Frank Signorelli, Eddie Lang (Salvatore Massaro), Leon Roppolo, Adrian Rollini, Joe "Wingy" Manone, Phil Napoleon (Filippo Napoli), Jimmy Durante (yep, the great Schnozzola started out as a piano player), and the baddest jazz violin player of all time Joe Venuti. Here's a link to the Joe Venuti, Eddie Lang and Their All-Star Orchestra page on the Red Hot Jazz Archive where you can listen to a number of selections. Not too shabby a line up with Venuti on violin, Lang on guitar, Benny Goodman on clarinet and Jack Teagarden on trombone and vocals. Make sure you listen to "After You've Gone" for a really hot violin solo by Venuti, and "Beale Street Blues" featuring some wonderful ensemble work and Jack T's funky vocal. You can also access the pages of the other musicians mentioned above for bios and full version songs.
by choprjohn » 15 Oct 2010, 14:56
by Squigy » 16 Oct 2010, 01:12
choprjohn wrote:There are also all the great Italian Doo Wop groups. There are too many to list here, but if you go on the Gente di Mare site under the music forum there are many listed....Johnnie P.S. Jimmy Durante always been Italian, in fact early in his career there were rumors that he was mob backed.
Rise of Italian-American doo-wop
1958 heralded the rise of Italian doo-wop groups. This Italian-American sub-group took over a large portion of the genre (but certainly not all of it), from 1959 to 1964, when doo-wop "ended." Though some African-Americans moved toward their new creation, "soul music", this alone cannot explain the Italian genre dominance. Like African-Americans, the Italians also hailed from the inner city and urban areas. For example, Dion DiMucci and the Belmonts hailed from the Belmont section of the Bronx. And, like African-Americans, the Italians were generally very religious. They mostly attended Catholic churches, which gave them much singing experience. By the late 1950s, Italian street corner doo-wop groups were seen in urban cities like New York, especially the Bronx and Brooklyn. Some of the Italian groups who had national chart hits included Dion and the Belmonts in 1958 with "A Teenager In Love", The Capris with "There's A Moon Out Tonight" in 1960, The Four Seasons with Frankie Valli, The Elegants, The Mystics, The Duprees, Vito & the Salutations, The Gaylords, Johnny Maestro, and the Del Satins. Other Italian groups included Dino and the Diplomats, The Four Js, Billy and the Essentials, and Randy and the Rainbows, who charted with their 1963 smash, "Denise."
Doo-wop remained popular until just before the British Invasion of 1964. 1961 might have been the peak of doo-wop, with hits that include The Marcels' "Blue Moon". There was a revival of the nonsense-syllable form of doo-wop in the early 1960s, with popular records by The Marcels, The Rivingtons, and Vito & the Salutations. A few years later, the genre had reached the self-referential stage, with songs about the singers ("Mr. Bass Man" by Johnny Cymbal) and the songwriters ("Who Put the Bomp?" by Barry Mann) in 1961.
by ForzaItaliaPgh » 16 Oct 2010, 04:12
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|Jhoulys Chacin continued his breakout season.
On Friday night in Pittsburgh, one of those bright spots continued shining. Jhoulys Chacin pitched eight dominant innings against a very good Pirates team. He scattered six hits over those eight innings, limiting the damage to one run, in large part to the fact that he was throwing strikes. He struck out three and didn't walk a Pittsburgh batter.
Through 96 pitches, Chacin pounded the strike zone. All but 24 of the pitches were in the strike zone, or swung on by Pirate batters.
The victory gave Chacin his 10th of the season, one short of his career high, set back in 2010 when he went 11-14. At 10-5, there is little doubt that the 2013 season has been the best one yet for the 25-year-old.
The biggest reason for Chacin's success has plenty to do with the number of strikes he is throwing. However, that is only focusing on the results of what has changed. The key to Chacin's success has been because he isn't afraid to throw his entire arsenal of pitches to any hitter. Early in his career, Chacin wouldn't throw his changeup to right-handed hitters. When he is successful, he is able to locate that pitch and get weak ground balls out of it.
In addition to Chacin's changeup, he has learned to keep the ball down in the strike zone. Instead of trying to strike batters out, Chacin no longer wastes pitches trying to get a swing-and-miss. He pitches to contact, knowing that his stuff is good enough that even when it is hit, it is hit weakly and into the ground, resulting in an out. Living in the strike zone has benefited the Venezuelan pitcher two-fold. He gets quicker outs, plus he ends up walking less batters and stays in his rhythm.
There have been some bright spots in a season in which Rockies fans have had to adjust their expectations. The offense, which was supposed to be the strength of this team, has largely been disappointing. Despite strong numbers, the hits in the clutch simply hasn't happened.
On Friday night, the Rockies got those clutch hits. Todd Helton, 17-years removed from his big league debut in the same city that he started in, came through in the clutch. Hit drilled a 98-MPH fastball from left-handed Josh Wilson back up the middle plating two runs and putting the Rockies up for good.
Troy Tulowitzki also rebounded with a 2-for-3 night, getting the Rockies on the board in the 2nd inning with his 20th home run of the season.
There have been some disappointments as the summer weather heated up for the Rockies. However, Chacin has been one of the positives. In all, the top three starting pitchers in the Rockies rotation have been the reason that this team has a shot to win more than 75 games. Between Chacin, Jorge De La Rosa, a true ace who has dominated coming off of surgery, and Tyler Chatwood, the Rockies have a very competitive baseball team. Without those three guys, the Rockies would be in trouble. With them, the Rockies can improve from a year ago and build around them.
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The Centre Pompidou
Who we are ?
History of the Centre Pompidou
The birth of a concept
In 1969, President Pompidou took a decision to dedicate the Plateau Beaubourg area of Paris to the construction of a multidisciplinary cultural centre of an entirely new type, injecting new impetus to a series of projects that had hitherto failed to come to fruition: the plan to build a major public reading library in Paris, with the biggest visitor capacity for any such initiative since the Liberation. And beyond that, the rehabilitation of the National Museum of Modern Art, back then housed in a wing of the Palais de Tokyo that was in a state of semi-abandonment for lack of resources and space.
Besides creating a new library and the transfer of the National Museum of Modern Art, the new Centre project incorporated the activities of the Centre for Contemporary Art in rue Berryer and the small team around François Mathey, which had pursued a dynamic policy of contemporary art exhibitions within the museum of decorative arts.
The 1970s saw the addition of a centre for musical creation based on the vision of composer Pierre Boulez, who had decided to leave France a few years previously to protest against the state of contemporary music in our country. The creation of the IRCAM project would at last enable him to return to France.
The international architecture competition
A major competition for ideas was launched, in which, for the first time in our country, architects from throughout the world were invited to participate. 681 competitors from 49 different countries presented projects.
A project involving three associated architects was selected by the international jury, chaired by the architect-engineer Jean Prouvé: two Italians, Renzo Piano and Gianfranco Franchini, and an Englishman, Richard Rogers, all virtually unknown at the time. Renzo Piano and Richard Rogers oversaw practically the entire management of the project and then went on to lead distinguished careers in their own rights, each winning the prestigious Pritzker Prize, the highest distinction in the field of architecture.
Today considered one of the emblematic buildings of the 20th Century and taken to their hearts by Parisians, the Piano and Rogers building, often compared by critics to an oil refinery, was the subject of huge controversy throughout the 1970s.
Inauguration and public opening of the Centre Pompidou
The Centre Pompidou was inaugurated on 31 January 1977. Since its opening to the public on 2 February, 1977, it has proved a huge success, far exceeding expectations. It quickly became one of the world's most popular cultural venues and one of the most visited monuments in France.
The late 70s and 80s saw the Centre offer exhibitions that became legends in their time, such as the "Paris." series ("Paris-New York", "Paris-Berlin", "Paris-Moscow", "Paris Paris"),"Vienna, birth of a century", "The Immaterials","Memories of the Future", "Maps and Figures of Earth", "Magicians of the Earth". Under the leadership of its directors, Pontus Hulten and Dominique Bozo, the MNAM collection grew considerably and became a world leader in the field of modern and contemporary art.
Following a comprehensive reform of the Centre Pompidou's organisation with the creation in particular of the Department of Cultural Development (DDC), encompassing live performances, film and the spoken word, the merger of MNAM and CCI led to the creation of an architecture and design collection which in twenty years would become one of the most remarkable in the world.
After twenty years of activity and after having welcomed over 150 million visitors, the Centre Pompidou underwent extensive renovation work at the initiative of then President Jean-Jacques Aillagon. The state allocated resources to create the additional space required for the presentation of collections and development of the performing arts. 100,000 m2 of surface area were thus redeveloped between October 1997 and December 1999. The Centre Pompidou reviewed its organisational structure, enabling it to better fulfill its missions within the MNAM-CCI (inventory, conservation, restoration and development of the collection) but also for activities related to performing arts and mediation.
The Centre Pompidou thus reopened its doors to the public on 1 January 2000: and again met with great success, with an average of 16,000 visitors per day in 2000.
Perpetual momentum and a proactive strategic approach.
The strategic approach
President Alain Seban, appointed to the Presidency of the Centre Pompidou on 2 April, 2007, encouraged the institution to adopt a strategic approach, unique among major cultural institutions.
This would reaffirm the mission and priorities of the Centre Pompidou as a platform for exchanges between society and contemporary creation, in pursuit of a vision outlined directly by President Georges Pompidou. A popular venue designed for the entire French populace, the Centre Pompidou closely follows the world of contemporary design and establishes links with a number of artists, particularly those on the French scene.
In response to these challenges, the cultural programme of the Centre Pompidou has been designed around three dimensions (exposition of the history of art, multidisciplinary thematic exhibitions and monographs of contemporary designers) and a new multidisciplinary vision.
Thus defined, the Centre Pompidou has a national mission implying that the institution not only has a presence in Paris and Ile-de-France, but seeks to develop its activity countrywide with a firm commitment to cultural decentralisation.
Furthermore, because the Centre Pompidou is tasked with maintaining and developing a national collection of modern and contemporary art, it is committed to honouring this heritage role as part of its essential mission, thus playing an active part in the study and popularisation of the history of art – one of the main tasks of MNAM.
As part of its strategic planning, the Centre has identified a number of priorities in structuring its activities over the period 2007-2012:
Showcasing our heritage: The heritage of the Centre Pompidou consists of both collections entrusted to our care by the State, which the institution aims to raise bring to a wider public through its policy of regular renewal of the presentation spaces on Levels 4 and 5, but also through an active policy of loans and deposits as well as travelling exhibitions outside the Centre's premises, especially abroad, and of course through projects such as the Centre Pompidou-Metz and the mobile Centre Pompidou, but also in the Piano and Rogers building itself, whose much-needed renovation is the subject of a multi-year investment, the first component of which involves the replacement over three years (2012-2014) of the air handling units that provide the air conditioning;
Clarifying our services: In line with its strategic priorities, the Centre Pompidou has adopted a programming strategy in respect of temporary exhibitions organised around three themes (exhibitions of art history, multidisciplinary thematic exhibitions and monographs by contemporary artists) whose success resulted in a dramatic spurt in attendance (+30% between 2007 and 2011); the DDC was tasked with developing a new more proactive multidisciplinary programme, returning to its original role at the heart of the institution's missions as a centre of creativity as envisioned by President Pompidou and with forging a closer relationship with creators;
Renewing our proposals: The Centre Pompidou has reasserted itself as a forum for cultural innovation with a number of major strategic projects (see below) such as the New Festival, Studio 13/16, the Centre Pompidou-Metz, the mobile Centre Pompidou, the virtual Centre Pompidou or the "Paris-Delhi-Bombay." exhibition, in addition to experimenting with new formats, intermediaries between exhibitions, show and performance, after the example of the "Rendez-vous Forum" opened in 2010;
A global player: In response to the globalisation of artistic creation, the Centre Pompidou's collection has become global. This is, for MNAM, the major challenge of the twenty-first century. Rising to this challenge assumes that the institution knows how to build a global network of information and support to maintain the truly universal character of its collection.
The Mnam/Cci collection
More than 60,000 works constitute the largest collection in Europe of modern and contemporary art. It covers the XX and XXI centuries through artists which artworks had major influence in recent years.
The entire collection is available in our resource center including access via the search engine.
Professionals can also access the collection via A to Z with Navigart.
The organisation of the Centre Pompidou
A state-owned administrative body
The Georges Pompidou National Centre for Art and Culture (CNAC-GP), is state-owned administrative body (EPA) under the tutelage of Ministries of Culture and Budget.
An EPA is a legal entity under public law to which the State has delegated all or part of the design and implementation of a public policy. Constituting a subdivision of the State, it acts, like the latter, in the name and on behalf of the French Republic.
In its status as a legal personality with legal and financial autonomy, it also receives funding from own resources (entrance fees, partnerships, sponsorship, etc.) and recruits its staff.
Under the supervision but not the authority of the ministers concerned, a public body receives instructions from the Government only within the framework set out by its constitutive texts and the detailed procedures recorded therein.
The Board of Directors includes representatives from the ministries concerned (culture, budget), parliamentarians, the Mayor of Paris, staff representatives and other qualified individuals.
The President of the Centre Pompidou
The President of the CNAC-GP is appointed for a term of 5 years by decree of the President of the Republic as deliberated in the Council of Ministers. His mandate is renewable every 3 years.
For the duration of his mandate, the President is mandated on the highest State authority to conduct the policy of the institution in accordance with his statutory duties and within the guidelines set by the State, particularly via the voice of its representatives on the Board, and under the supervision of the latter.
The President chairs the Board of Directors and has full authority over all the institution's departments, divisions and units in all areas of their business.
He is by rights President of the board of the Public Information Library (BPI) – which is a separate administrative public body – and President of IRCAM, which has association status under the Law of 1901. The whole complex, devoid of legal personality and consisting of the of CNAC-GP, the BPI and IRCAM is called the "Centre Pompidou".
The President is also Chairman of the Board of Directors of the Centre Pompidou-Metz.
The General Manager is appointed by decree of the Minister of Culture, on the nomination of the President. He is responsible, under the authority of the president, for the administration and management of the public body.
The Boards of the Centre Pompidou
The Board of Directors
The Board of Directors consists of 18 members, including the President of the Centre Pompidou, who presides:
- 6 representatives of the State, including 5 representatives of the Ministry of Culture and one representative of the Ministry of the Budget;
- 4 parliamentarians (2 members of parliament and 2 senators) representing the Cultural Affairs and Finance committees of the two assemblies;
- the Mayor of Paris or his representative;
- 3 qualified persons designated by the Minister of Culture;
- 3 elected staff representatives.
The institution's General Manager, departmental heads and directors of partner organisations, the representative of the general economic and financial control and accounting officer, and any person whose presence the President deems useful, attend meetings of the Board of Directors in an advisory capacity.
The Board meets at least three times per year and determines, through its deliberations, the institution's affairs. As such, it is responsible for adopting the budget and its amendments as well as the financial accounts for the year ended, the main directions of cultural policy and programming events of the establishment, pricing policy and the annual activity report.
The Programming Board
The Programming Board includes the President, the General Manager, directors of departments and agencies involved in the Centre: MNAM-CCI, DDC, BPI and IRCAM, the director of the Centre Pompidou-Metz, the directors of communication and partnerships, legal and financial, production, human resources, audiences, publishers, information systems and telecommunications, the delegate for audiovisual cultural activities and the deputy director of MNAM CCI in charge of cultural programming.
It is consulted by the President for his decisions on programming events, exhibitions, performances, film cycles or activities involving the spoken word. It meets about twice a month and hears the views of the Centre's curators and programmers or external auditors with a project to propose. A discussion takes place following the presentations, before the President validates, defers or rejects the principle of adding the project to the Centre's calendar of events.
The Programming Board, which seeks to act transparently at all times, is the body which ensures the multidisciplinary nature of events. In this way, significantly upstream of projects, the managers of different departments and directorates can make associated proposals and design effective multi-disciplinary events.
Joint bodies
The Technical Committee (TC)
The TC, which succeeded the Joint Technical Committee on 1 November 2011, includes two representatives of the administration (the President of the institution and the General Manager) and 10 representatives elected by the staff. It is chaired by the President of the Centre who may also be assisted as necessary by the representative or representatives of the administration of his choice in exercising functions and responsibilities alongside him which are concerned with the issues put before the committee.
It meets at least two times a year when convened by its President on his own initiative or within a maximum period of two months, upon the written request of at least half of staff representatives.
It is consulted and tasked with expressing its views on the following:
- issues and draft texts relating to the functioning and organisation of the Centre;
- outlining broad guidelines for the Centre's tasks;
- programmes to modernise work methods and techniques and their impact on the staffing situation;
- social reports and various provisions of collective management of staff;
- statutory rules governing personnel.
Decree No. 82-452 of 28 May 1982 amended
Decree No. 2011-184 of 15 February 2011
The Health, Safety and Working Conditions Committee (HSC)
Common to the CNAC-GP and the BPI, the HSC is chaired by the General Manager. It includes, in addition to the human resources manager and the director of BPI, staff representatives appointed by trade unions and the occupational physician. Also associated with the work of the HSC are the Health and Safety Inspector (formerly Inspector for Hygiene and Safety) and prevention assistants or advisers (formerly officers tasked with implementing hygiene and safety, Acmo).
It contributes to the protection of health and safety at work of all employees of the Centre Pompidou. It is common to CNAC-GP and BPI.
It addresses issues such as:
-the observance of statutory and regulatory requirements for health and safety;
- work methods and techniques and choice of work equipment where these are likely to have a direct influence on the health of workers;
- projects involving the planning, construction and maintenance of buildings in terms of health, safety and welfare at work;
- measures taken to facilitate the adaptation of workplaces for the disabled;
- measures involving the development of workstations to promote women's access to all jobs and necessary for pregnant women.
The HSC also conducts analysis of occupational risks faced by agents and each year debates a report on the changing situation of occupational hazards. It suggests measures to improve health and safety at work and cooperates in the preparation of training in health and safety.
Decree No. 82-452 of 28 May 1982 amended
Decree No. 2011-774 of 28 June 2011
The Joint Administrative Committee (CAP)
The Joint Administrative Committee (CAP) is an advisory body made up of representatives of the institution designated by the President and elected staff representatives. This committee expresses its opinion prior to major decisions relating to the career of individual agents. Through their representatives, the agents of the Centre Pompidou also participate in the preparation of decisions regarding their career.
The CAP examines questions such as:
- internal staff mobility;
- allocation of statutory benefits (except for seniority benefits within the hierarchy);
It may also be called upon to sit as a disciplinary board.
The members of the Commission sit in three committees:
- the first college addresses issues relating to personnel classified in group I (1A et 1B);
- the second college addresses issues relating to personnel classified in group II;
- the third college addresses issues relating to personnel classified in groups III, IV and HE.
For more information, see the following documents on the Intranet: Resources / official texts / Human Resource Management
Decree 82-451 of 28 May 1982 on the joint administrative commissions, amended
Decree 82-447 of 28 May 1982 on the exercise of trade union rights in public service
Divisions and departments of the Centre Pompidou
The National Museum of Modern Art, Industrial Design Centre
A department of the National Museum of Modern Art, the roles of the Industrial Design Centre are as follows:
1. inventory, conserve, restore, enhance, present to the public and showcase the art collections in the custody of the Georges Pompidou National Centre for Art and Culture, in the fields of visual arts, graphic arts, photography, experimental film, new media, industrial design, design and architecture from the early 20th Century, these collections also include the documentary base and archives concerning them;
2. present to the public, in all places, any event designed to disseminate and deepen knowledge of Art since the early 20th Century;
3° to promote contemporary creation in all its forms.
The functions of the department of the National Museum of Modern Art-Industrial Creation Centre include:
- the conservation of visual art collections, organised in eight departments: modern collections, contemporary collections, contemporary and prospective, graphic arts, photography, experimental film, new media and the restoration of works;
- the industrial design department, which includes architecture, industrial and prospective design;
- the Kandinsky Library department – the research and documentation centre of the National Museum of Modern Art – the Industrial Design centre, which includes a reading room also open to researchers in the history of 20th Century art;
- the collections department, under the joint authority of the production division.
Note that the staff of the restoration of works and collections department in part carries out its tasks within the reserves, located outside the main Centre Pompidou.building.
The museum department provides the secretariat for the acquisitions committee and the secretariat of the committee on loans and deposits, and the curators concerned with hanging works from the collection and temporary exhibitions.
The Department of Cultural Development (DDC)
The Department of Cultural Development is responsible for:
- participating, in all ways, in the enrichment and dissemination of contemporary art in all its forms as a reflection on issues affecting society and contemporary culture;
- presenting to the public, in all places, any event within its mission, particularly in the fields of the performing arts, cinema and audiovisual promotion of emerging art forms, reflection on the major changes in art and culture.
The DDC consists of:
- the spoken word department
- the film department
- the live performance department.
The Public Division (DPU)
The public division trains the audiences of tomorrow through educational activities and special programming for children, adolescents and young adults in order to:
- retain visitors and search for new audiences, through development actions, appropriate pricing policy, and promote access for the disabled and disadvantaged;
- provide the general public with written, oral and multimedia resources offering a better understanding of the Centre's programming and its collection;
- welcome, guide and inform the Centre's visitors and monitor the works in the Museum's exhibition galleries and spaces
- contribute to a better public understanding of the Centre through regular surveys.
The management consists of four departments:
- the educational and youth programming department;
- the public development department;
- the public services department
-The public reception department.
The Building and Security Division (DBS)
The building and security division is responsible for the safety of persons and property, especially art works around the clock. The division ensures the smooth operation of the building and adjoining premises and technical installations. As such it is responsible for work, maintenance, upkeep, furniture and signage.
The building and security division consists of three departments:
- the building department;
- the security department;
- the general resources department.
The Communications and Partnerships Division (DCP)
The communications and partnerships division proposes and implements the institution's communications strategy and image policy.
As such, it guarantees the identity of the institution, organises the promotion of events and activities at the Centre Pompidou, produces or commissions resources for media communications. Through research for sponsors and media and international partners, it contributes financially to the realisation of strategic projects, exhibitions and events at the Centre.
It also manages the reception of personalities and the use of private spaces.
It is in charge of internal communication.
The communication and partnerships division consists of a department, 5 units and a delegation:
- public relations and private operations department;
- sponsorships and partnerships unit;
- press unit;
- image unit;
- internal communications unit;
- management unit.
Publications division (DIRED)
The publications division is responsible for publishing books in the fields of intervention of the Centre Pompidou and the realisation of products. It defines the dissemination policy of these productions and provides editorial responsibility for the institution's website.
The publications division consists of four departments and two units:
- publishing department;
- iconography and rights management department;
- commercial department;
- multimedia department (SMU);
- administrative and financial management unit;
- manufacturing unit.
The legal and financial division (DJF)
The legal and financial division outlines the budget and control its execution. It is responsible for all financial matters under the authorised financial officials. It leads on public procurement policy and as such plays an analytical and advisory role to departments during procurement. It manages the network of budgetary correspondents and market correspondents in the departments. It also provides the secretariat for tenders, the treatment of legal issues and an advisory and analytical role, particularly in respect of litigation. It is responsible for archiving policy within the institution.
The legal and financial division consists of:
- the public procurement department;
- the finance and management control department;
- the legal and archive department.
The Productions Division (DIRPROD)
The productions division is responsible for the production of the Centre's artistic and cultural activities, designed and programmed by the departments, the public division and partner organisations. It is responsible for the design and technical realisation of these demonstrations, exhibition spaces and common areas. It oversees the reception and organisation of logistical and technical events that take place in theatres and cinemas, as well as on the Piazza. It establishes and manages the budgets and contracts. It manages the institution's mission expenses.
The productions division consists of eight departments:
- the architecture and museum productions department;
- the works management department;
- the audiovisual department;
- the workshops and technical resources department;
- the events department;
- the administrative and financial department;
- the premises management department;
- the collections department (under the joint supervision of MNAM BCC).
The Human Resources Division (DRH)
The HR division is responsible for outlining and implementing human resources policy at the Centre Pompidou. To this end it manages processes related to recruitment, career development and continuing professional development. It supports personnel administration including payroll transactions. It is responsible for preventive medicine, the application of health and safety and social welfare policy for staff. Finally, it coordinates social relations and provides the secretariat for staff representative bodies.
The Human Resources Division consists of:
• the personnel department;
• the careers and training department;
• the preventive medicine department;
• the social relations unit.
The Information and Telecommunications Systems Division (DSIT)
The information and telecommunications systems division is responsible for the development and cohesion of the Centre's information systems. As such, it assists users in defining their functional needs, proposes and implements IT solutions, installs and maintains computer equipment and networks.
The information and telecommunications systems division consists of:
- the research and development department;
- the network exploitation department.
The agency accountant (CA)
The accounting department is responsible for all operations of receipt of resources, payment of expenses, maintenance of accounts of the institution, including the production of the financial account, including its Annexes, Banking thereto, of managing its liquidity and the balance sheet presentation. It provides an advisory role to the Authorising Officer in the areas of its competence.
The accounting firm consists of a central service fund and the following sections:
- Accounting;
- Expenses;
- Pay;
- Revenues.
The Building
"On the Piazza and outside the usable volume, all public movement facilities have been centrifuged. On the opposite side, all the technical equipment and pipelines have been centrifuged. Each floor is thus completely free and it can be used for all forms of cultural activities – both known and yet to be discovered.
Renzo Piano, architect, Centre Pompidou
The architecture
Designed as an "evolving spatial diagram" by architects Renzo Piano and Richard Rogers, the architecture of the Centre Pompidou boasts a series of technical characteristics that make it unique. Its originality comes first from the flexible use of large interior plateaux of 7,500 m2 , each completely free, with an easily modifiable layout. Using steel (15,000 tons) and glass (11,000 m² of glass surface), the builders created a major pioneering building back in the 70s, in a country more used at the time to visions in concrete. The building of the Centre Pompidou, in its use of glass and steel, is also heir to the great iron constructions of the Industrial Age, from Paxton's Crystal Palace, but also futuristic in many ways. A prototype in all respects, it lines up with the architectural utopias of Archigram and Superstudio in the 60s.
Building structure
The metal frame consists of 14 portal frames supporting 13 transverse members, each spanning 48m and set 12.80m apart. Eight-meter-long, 10-tonne moulded steel members known as "stirrup straps" are fixed to the posts at each level.
The 45-meter-long beams rest on these stirrup straps, which transfer the loads to the posts and are balanced by tie beams anchored in stay plates. Each storey is 7m high floor to floor. The glass and steel superstructure encloses the large multipurpose spaces, which are designed to be fully modular and adjustable to changing usages.
Colour code
Colours have been used to decorate the structure, using a "code" defined by the architects:
- blue for circulating air (air conditioning);
- yellow for circulating electricity;
- green for circulating water;
- red for circulating people (escalators and lifts).
The title of the quarterly program magazine is a reference to this "color code" as a symbol of the Centre Pompidou's multidisciplinary nature.
To find out more, see the educational dossier. (in french)
Bpi (Bibliothèque publique d'information, or Public Information Library)
The Bpi contains a constantly updated selection of documents and content.
This multimedia library uses all currently-available media.
It is closely linked to the Centre Pompidou and runs a cultural programme revolving around its specific focus areas: news, society and the world, literary creation, digital culture and documentary cinema, including the Cinéma du Réel international documentary film festival, which it founded in 1978.
With a strong focus on innovation, it tests new tools and applications related to reading and knowledge.
As France's national library, it is tasked with developing cooperation programmes with French public libraries, and active international relations.
Visit the Bpi website.
Kandinsky Library
The Kandinsky Library (Bibliothèque Kandinsky) is the documentation and research centre of the MNAM-CCI. It is one of the leading libraries specialised in the arts, and all fields of the visual arts are represented. It contains a rich collection of books by artists, private archives and 20th century manuscripts originating from collectors and also major artists. The Kandinsky Library is open to researchers with appropriate credentials.
To find out more about the conditions for using the library, visit the documentation portal.
Today the Ircam is one of the world's largest public research centres in musical creation. The institute is a one-of-a-kind venue, where efforts to predict the future shape of art merges with scientific and technological innovation.
Founded by Pierre Boulez, the Ircam is linked with the Centre Pompidou, under the supervision of the Ministry of Culture and Communication. Since 1995, the Ministry of Culture and Communication, the Ircam and the CNRS have been working together as part of a combined research unit on the science and technology of music and sound. In 2010, they were joined by the Université Pierre et Marie Curie.
The Ircam develops its three main focus areas - creation, research and transfer - during a season in Paris, an annual festival, and tours in France and abroad. The Ircam is currently leading a project to launch a multidisciplinary academy of creation - the first of its kind in France. It will be linked to the festival, where its work will be unveiled. There are plans for a preliminary appearance in June 2012.
Visit the Ircam website.
Centre Pompidou-Metz
The Centre Pompidou-Metz is the Centre Pompidou's sister institution. In a building designed by architects Shigeru Ban and Jean de Gastines, it presents a multidisciplinary programme aimed at every sector of the public and inspired by the spirit, the know-how and the values of the Centre Pompidou.
It holds temporary exhibitions of modern and contemporary art, drawn from the Centre Pompidou's collection. Every field of creation is present, from the visual arts to architecture, including design, dance, theatre and music. The museum caters for a broad public and runs special youth programmes.
In November 2011, 18 months after opening, the Centre Pompidou-Metz had already received 1.1 million visitors, making it the most popular museum outside the Île-de-France region.
Visit the Centre Pompidou-Metz website.
The Centre Pompidou-Metz is officially a public establishment for cultural cooperation ("EPCC" in French). Its members include Metz Métropole, the Lorraine Region, the City of Metz, the Centre Pompidou and the State. This status guarantees the new institution of complete independence in its scientific and cultural choices. It ensures that the local government bodies that finance it will remain committed and in control. And its status as affiliated organisation with the Centre Pompidou guarantees close ties.
The local government bodies contribute to the Centre's running expenses. The Conseil général de la Moselle is committed to reviewing a partnership agreement with the Centre Pompidou-Metz every year. The Centre Pompidou and the State together hold one-third of the seats on board of directors of the Centre Pompidou-Metz. The other seats are distributed among Metz Métropole, the Lorraine Region and the City of Metz. The President of the Conseil général de la Moselle and the Chairman of the Executive Board of the Wendel Group, the founding sponsor, take part in the board of directors as qualified personalities.
Under the rules governing EPCCs, the director of the Centre Pompidou-Metz has considerable latitude in cultural and scientific matters. Under the General Code of Regional Authorities, he is appointed by the president of the EPCC at the suggestion of a two-thirds majority of the board of directors.
Activity report
2013 activity report:
Online french version
Activity reports (archives)
Online french version
Online french version
2010 :
Online french version
PDF ( 3,2 Mo) french version
2009 :
Online french version
PDF ( 3,2 Mo) french version
We live with our sponsors: discover sponsors of the Centre Pompidou.
Friends of the Museum
Donations from the Société des Amis to the Centre Pompidou
Acquisitions through the annual dinner of the Society of Friends Mnam
Paul-Armand Gette - La grande momie , 1963-64
Piero Gilardi - Totem Domestico , 2014
Adrian Villar Rojas - Untitled (shelves) , 2013
(Participation à l'acquisition d'une œuvre) :
Marwan - Mann mit grüner Weste , 1967
Atuld Dodiya - Charu , 2004
Anri Sala - Ravel , 2013
(Participation à l'acquisition d'une œuvre, achat avec le soutien de la Centre Pompidou Foundation) :
Tunga - Lezart III , 1989-2013
Acquisitions through the annual dinner of the Society of Friends Mnam
Alina Szapocznikow, Sein en chiffon vert (Fétiche II), 1970-1971
Alina Szapocznikow, Sans titre, vers 1963 - 1965
Alina Szapocznikow, Sans titre, vers 1963 - 1965
Alina Szapocznikow, Étude de forme posée sur une colonne 5, vers 1963-1967
Alina Szapocznikow, Sans titre, vers 1963 - 1968
Alina Szapocznikow, Sans titre, vers 1963
André Masson - Gradiva , 1938 - 1939
André Cadere - Sans titre , 1968-1969
Carsten Höller - Giant Triple Mushroom Amanita muscaria / Helvella crispa / Boletus badius , 2010
René Herbst - Guéridon circulaire , 1928
Eileen Gray - Chaise , vers 1926-1929
Charlotte Alix et Louis Sognot - Chaise pivotante , vers 1930
Ettore Sottsass - Ensemble réalisé pour la Villa Grassotti , 1948-1949
Ettore Sottsass - Ensemble réalisé pour la Villa Grassotti , 1948-1949
Etienne-Martin - Double trèfle , 1985
Jeff Wall - Knife Throw , 2008
Rachel Whiteread - Untitled (Room 101) , 2003
Philippe Parreno - Marquee , 2008
Pascal Convert - Le Temps scellé, Joseph Epstein et son fils , 2009
Anish Kapoor - Sans titre , 2008
Francis Picabia - L'Adoration du veau , 1941 - 1942
Daniel Buren et Xavier Veilhan - La cabane éclatée aux paysage fantômes , 2007
Tacita Dean - Kodak , 2006
Huang Yong Ping - Intestins de Bouddha , 2006
Pierre Huyghe - This is not a Time for Dreaming , 2004
Gérard Garouste - Balaam , 2005
Cy Twombly - Achilles Mourning the Death of Patroclus , 1962
Anselm Kiefer - La Vie secrète des plantes , 2001-2002
Mario Merz - Invasione, 1997-2000
Tony Oursler et Mike Kelley - The Poetics Project, 1977-1997
Project for Contemporary Art
This project, launched in 2002, is aimed at art enthusiasts keen to play a more active role in supporting the Centre Pompidou's acquisitions policy. Thanks to their generosity, committee members work alongside the Museum's Director and project curators to acquire works that embody art in its most contemporary form.
2014 (on going)
Tomma Abts - Untitled #12, 2004 & Untitled #14, 2004
Tauba Auerbach - Untitled (Fold), 2013
Andreas Eriksson - Stubbe , 2012
Eva Kotatkova - Untitled , de la série Not How You Move, But What Moves You , 2013
& Untitled , de la série Not How You Move, But What Moves You , 2013
Elad Lassry - Untitled (Eggs, Eyes) , 2012
Pascale Marthine Tayou - Open Wall, 2013
Gérard Traquandi - Sans titre , 2013
Ilit Azoulay - Room # 8 , 2011, photographie
Bertille Bak - T'as de beaux vieux, tu sais , 2007, vidéo
Vincent Beaurin - Triptyque bleu , 2012
Elisabetta Benassi - Hitler's Idea of Springtime in Germany , 2012
Anti Mapplethorpe Demostrations , 2012
Mortally wounded Lee Horvey Oswald arrives , 2012
Volcano , 2012, œuvres sur papier
Inci Eviner - Harem , 2009, vidéo
Ceal Floyer - Scale , 2007, installation sonore
Mark Geffriaud - La lumière qui va contre le vent , 2013, installation
Tadashi Kawamata - Tree Hut in Pompidou, 2012, installation
Rainier Lericolais - Toupie , 2012, œuvre sur papier
Jorge Macchi - Sans titre , 2012,œuvre sur papier
Florian Pugnaire - Paramnesis , 2011, vidéo
Jessica Warboys - Vanel , 2011
Volcano, Painting, Flora, 2011, pigments sur toile
Farah Atassi - Workshop, 2011
Yto Barrada - Ba-Youssef et les tomates jaunes, 2011
Yto Barrada - Tables d'écoliers de la serre, Ferme pédagogique, Tanger, 2011
Elger Esser - Cancale, 2006
Hans-Peter Feldmann - Shadow Play, 2011
Ann Veronica Janssens - Rose, 2007
Sergej Jensen - Sans titre, 2011
Bertrand Lamarche - Lobby (Hyper Tore), 2010
Gonçalo Mabunda - O trono de um mundo sem revoltas, 2011
Rivane Neuenschwander - Sunday, 2010
Robin Rhode - Microphone, 2005
Fredrik Værslev - Untitled, 2011
Jorinde Voigt - Territorium, Öl, Wasser, Elektrizität / Kontinentalgrenze, 2010
Yael Bartana - Mur i Wieza, (Wall and Tower) , 2009
Mohamed Bourouissa - Temps mort , 2009
Oleg Kulik - Mad Dog , 1994
Curtis Mann - Two Attempts (Olive Harvest, Palestine) , 2008
Curtis Mann - Landlocked, Checkpoint (Unknown & Palestine) , 2008
Michel Paysant - Autre vanité 1 ; Autre vanité 2 ; Autre vanité 3 , 2009
Michel Paysant - Autre vanité 1 + 2 + 3 , 2009
Hubert Scheibl - Minds and Mushrooms , 2006-2008
Oscar Tuazon - Tire Test Column , 2009
Gilles Barbier - Sans titre (les vers) , 2009
Neil Beloufa – Kempinski , 2007
Katinka Bock - Zone II , 2009
Angela Bulloch - Hybrid Song Box 4 , 2008
Mircea Cantor – Itching Pocket , 2007
Damien Deroubaix - Sick bizarre defaced creation , 2009
Guyton\Walker (Wade Guyton et Kelley Walker), Untitled , 2009
Camille Henrot – Les cages , 2009
Tatiana Trouvé – Sans titre, série Rémanence , 2009
Tatiana Trouvé – Sans titre, série Rémanence , 2009
Taysir Batniji - Série Pères , 2006
Céleste Boursier-Mougenot - schizoframes , 2003
Alain Huck - Hortus Conclusus , 2008
Vera Lutter - Rheinbraun I, August 21-22, 2006 , 2006
Vincent Mauger - Sans titre , 2005
Nicolas Moulin - Nachdatch , 2006
Taryn Simon - Cryopreservation Unit, Cryonics Institute, Clinton Township, Michigan , 2007
Taryn Simon - Playboy, Braille Edition, Playboy Entreprises, Inc. New York, New York , 2007
Monika Sosnowska – Rubble , 2006-2008
Adel Abdessemed - Habibti , 2006
Kader Attia - Ghost , 2007
Emmanuel Lagarrigue - I Never Dream Otherwise Than Awake , 2006
Jan Mancuška - Oedipus , 2006
Damian Ortega - Molécula de glucosa expandida , 1992/2007
Troels Wörsel - Untitled , 2007
Andreas Hofer - The Lowlands , 1993-2003
Subodh Gupta - Sister , 2005
Jean-Luc Verna - 10 œuvres sur papier , 1995-2006
Iza Genzken - Untitled , 2006
Jennifer Allora et Guillermo Calzadilla - Under Discussion , 2005
Léandro Erlich - View , 1997-2005
Janaina Tschäpe - Blood Sea , 2004
Valérie Favre - Domination , 2004
Wang Du - Le Baiser , 2005
Wilhem Sasnal - Factory et Anka , 2004
Adam Adach - Dernier été , 2002
Anri Sala - Mixed Behaviour , 2003
Eric Poitevin - Sans Titre , 2004
Jason Rhoades - La Chatte de Beaubourg , 2004
Keith Tyson - Tabletop Tales : Anticipating a tumbling coin from the cherubic mint , 2002
Perspective members (under 40s)
Perspective for Contemporary Art is a category of Museum Friends for art lovers under the age of 40, keen to learn more about contemporary art and become involved in the Museum's activities. At the special events organised by the association, Perspective members meet prominent figures on the contemporary art scene of today.
The Perspective group's membership fees go towards buying a work of art for the Centre Pompidou's collections, chosen from suggestions by the Museum Director and the curators.
Hicham Berrada - Présage 11-10-2013-7h36, 2013 & Rapport de lois universelles # 3 , 2013, vidéos
Peter Buggenhout - The Blind Leading the Blind #58 , 2013
Iris Levasseur - Amnésie FB , 2013
Sarah Lucas - Nud Cycladic 5 , 2010, sculpture
DON de Nathalie Guiot avec le soutien de la Société des Amis du Mnam :
Greta Bratescu - The Gate, 2011, œuvre sur papier
Dove Allouche - Le diamant d'une étoile a rayé le fond du ciel , 2011
Ulla von Brandenburg - Spectre 1 , 2008
Georgia Russel - South , 2011
Pierre Charpin - Miroir G , 2006
Martin Szekely - Rangement CORK 3 , 2009
Maarten Van Severen - Table T 88 A , 1988
Mario Garcia-Torres - Je ne sais si c'en est la cause , 2006-2008
Delphine Reist – Averse , 2006-2008
Gyan Panchal - Eca , 2005
Denis Darzacq - La Chute n°1 , 2006
Denis Darzacq - La Chute n°4 , 2006
Become a member / Contacts
Les Amis du Musée (Friends of the Museum) are invited to around 100 events each year, including tours of Centre Pompidou exhibitions with their curators, around 50 visits to exhibitions in Paris and the Paris region, 30 or so meetings with artists in their studios or galleries, outings to exceptional places and private collections, three days in France, and trips abroad (since 2000: Austria, Brazil, Portugal, Japan, China, Turkey, Greece, Sweden and Denmark, Texas, Germany, Italy, Spain, England and India).
Members of the Société des Amis are given a preferential rate if they subscribe to the Cahiers du Musée: €68 for four issues.
You can join or renew your membership in two ways: using secure online payment (Visa and Mastercard) or by sending in your completed downloadable membership form by post.
There are various annual subscription categories:
International Circle: €10,000
Donor: starting at €2,500
Benefactor: individual: €800; couple: €1,300
Support: individual: €300; couple: €400
Perspective, for members under 40: €250 - €350
Tax rebates
Under current French tax law, donations to the association are tax deductible. For each donation, the donor receives a duly completed tax receipt from the Société des Amis. The amount of this receipt is for the donation after the price of the Centre Pompidou annual pass has been deducted, and if applicable, the subscription to the Cahiers du Musée.
Private individuals are given a reduction of 66% of the amount shown on the tax receipt, up to an annual limit of 20% of taxable revenue.
Legal entities are given a reduction of 60% of the amount shown on the tax receipt, up to an annual limit of 0.5% of their turnover.
Act no. 2003-1311 of 1 August 2003 on sponsorship.
Planning law for social cohesion no. 2005-32 of 18 January 2005.
Articles 200 and 238bis of the French General Tax Code.
For more information, you can view the legal texts on the Ministry of Culture and Communication website.
To contact us:
Société des Amis du Musée National d'Art Moderne
Centre Pompidou - F–75191 Paris Cedex 04
Tel: +33 (1) 18.104.22.168 – Fax: +33 (1) 126.96.36.199 - firstname.lastname@example.com
NB: for any questions that do not concern Les Amis du Musée, use our contact form.
Association for the development of the Centre Pompidou (ADCP)
The ADCP is a recognised association founded in 1976 on the initiative of Édouard Balladur, with support from Madame Georges Pompidou, to assist the Centre in its twofold mission: disseminating culture/aiding contemporary creation, and helping to further the institution's development.
Former Minister of Culture Jack Lang became the President of the ADCP in 2010. Its Honorary President is Edouard Balladur, former Premier Ministre and President Georges Pompidou's closest advisor at the Elysée Palace.
Research and training
Les cahiers du Musée national d'art moderne
These quarterly journals present (in French) the best of current thinking on the history and theory of modern and contemporary art. They contain original essays by established French or international authors, papers by young researchers, or historically important texts that were unavailable up until now. Thematic issues alternate with varia issues. The journal is a crucial working tool and source of reflection for professionals and amateurs alike, with its finger on the pulse of both the current international artistic and intellectual scene, and the Centre Pompidou's own activities. The cover is regularly commissioned from an artist, who may also design a specific project for the inside pages of the same issue.
Director of Publication: Alain Seban
Editor: Jean-Pierre Criqui
Useful links:
Information and enquiries: email@example.com
Subscriptions: Subscription form (PDF, 43 Ko) (in french)
Buy cahiers du Mnam: online store of Centre Pompidou.
Find the Cahiers du musée on Facebook
and discuss the Cahiers du Musée on Twitter with the hashtag #EditionsCP
See the contents pages of all of the available issues. (in french)
Scholarships from the Musée national d'art moderne
As part of its policy to support research, the Centre Pompidou offers three scholarships for PhD students enrolled in the second or higher year of their thesis, in a university in France or abroad. Applications for the year 2013-2014 are now closed.
The Centre Pompidou has awarded six scholarships, in three research fields, since the scholarship scheme was created. Click here to see a presentation (in french) of the scheme by Catherine Grenier, curator at the Musée national d'art moderne in charge of the research programme.
Professional area
This area is for professionals hoping to work with the Centre Pompidou: Jobs and internships, Press Room, Tourist trade, Public procurement, Hire of facilities, Researchers and students, Annual Report...
Go to the professional area
To contact us, please use the form provided.


text:
Gallery: Dirk Van Der Kooij's Spectacular 3D Printer Robot Places Newly...
Dirk Van Der Kooij's space is located in a former Phillips building on the edge of Eindhoven's Strijp area, next to Piet Hein Eek's studio, shop and restaurant. An award-winning designer, Van Der Kooij's design-build method materialized when he found an old 3D printer while studying at the Design Academy of Eindhoven. Nowadays, he uses an old industrial robot that's been personally programmed to make his zero-waste furniture from scrap materials.
This friendly robot gives new life to old fridges and e-waste, saving them from scrap yards and landfills while producing great-looking designs. The thick threads of plastic used in the 3D printing method create honest designs by clearly showing how the chairs were fabricated. Each Chubby Chair takes about three hours to print, and can customized to suit.
The tag "Precise as toothpaste. Heavy like oak. Colors like pure paint. Designed like a cloud" hangs from a Chubby Chair, summing up Dirk Van Der Kooij's philosophy and production method as a unique, sustainable and fun alternative.
Photo © Ana Lisa Alperovich for Inhabitat
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