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BSA Film Friday 03.27.15
Posted on March 27, 2015
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening :
1. Kashink in Miami and her OUTSIDE / INSIDE project
2. Hold On, Just Going to Post This Letter – Почта России
3. Nuart 2014 via Hypebeast TV
4. Tost Films: Emigrantes en Yola
5. ROA teaser for Jonathan LeVine Gallery "Metazoa"
Kashink in Miami and her OUTSIDE / INSIDE project
Experimenter and Street Artist hailing from France, Kashink observes the absurd and reports what she has found. A brainy badass, Ms. Kashink uses vivid color, cartoon, and calculated critique to a scene, whether scripted or organic. Part painter/ part matinee idol, Kashink helps us to question the paradox of our art and creativity classification systems.
Hold On, Just Going to Post This Letter – Почта России
A social experiment with Russian post office boxes, here is a simple way to discourage the remaining 5 people who still mail letters.
Nuart 2014 via Hypebeast TV
A nice recap of the events at Nuart via HypeBeast.
Tost Films: Emigrantes en Yola
ROA teaser for Jonathan LeVine Gallery "Metazoa"
"ROA views the beaver, the state animal of New York, as a metaphor for the idea that nature has the ability to reclaim itself. The recovery of the beaver in New York City after it was previously thought extinct is exemplary of how humans and animals affect each other and reflects the artist's interest in how animals evolve within urban landscapes."
Tags: France > Jonathan Levine Gallery > Kashink > Miami > Nuart > Roa > Tost Films > Почта России
"Big City Life Rome" Part II
Posted on March 26, 2015
An update to the "Big City Life Rome" posting in February, here are the remaining murals in the neighborhood of Tomarancia. Produced and curated by 999Contemporary Gallery, these March walls are of equal size and dimension as the previous ones, bringing to mind the swatches of cloth sometimes used to create a quilt. Included here is new work from Caratoes, Jericho, Matteo Basile, Danilo Bucchi, SatOne, Pantonio, and Clemens Bher. The international group of artists have diverse styles, but the quality is high!
Jerico (photo courtesy © 999 Contemporary Gallery)
Jerico (photo courtesy © 999 Contemporary Gallery)
Jerico (photo courtesy © 999 Contemporary Gallery)
Caratoes (photo courtesy © 999 Contemporary Gallery)
Caratoes (photo courtesy © 999 Contemporary Gallery)
Caratoes (photo courtesy © 999 Contemporary Gallery)
Matteo Basile (photo courtesy © 999 Contemporary Gallery)
Matteo Basile'(photo courtesy © 999 Contemporary Gallery)
Matteo Basile does a red faced portrait of Ai Weiwei (photo courtesy © 999 Contemporary Gallery)
Danilo Bucchi (photo courtesy © 999 Contemporary Gallery)
Danilo Bucchi (photo courtesy © 999 Contemporary Gallery)
Danilo Bucchi (photo courtesy © 999 Contemporary Gallery)
SatOne (photo courtesy © 999 Contemporary Gallery)
SatOne (photo courtesy © 999 Contemporary Gallery)
SatOne (photo courtesy © 999 Contemporary Gallery)
Pantonio (photo courtesy © 999 Contemporary Gallery)
Pantonio (photo courtesy © 999 Contemporary Gallery)
Pantonio (photo courtesy © 999 Contemporary Gallery)
Clemens Bher (photo courtesy © 999 Contemporary Gallery)
Clemens Bher (photo courtesy © 999 Contemporary Gallery)
Clemens Bher (photo courtesy © 999 Contemporary Gallery)
Click here to see our Part I of the coverage.
We wish to thank Stefano Antonelli at 999Contemporay for his diligence on getting us the material to make this article possible. To see all the completed walls and more details on the project and the participating artists click HERE.
Tags: 999Contemporary Gallery > Ai WeiWei > Big City Life Rome > Brooklyn Street Art > Caratoes > Clemens Bher > Danilo Bucchi > Italy > Jaime Rojo > Jerico > Matteo Basile' > Pantonio > Rome > SatOne > Stefano Antonelli > Steven P. Harrington
Gender, Caste, and Crochet : OLEK Transforms a Shelter in Delhi
Posted on March 25, 2015
The fluorescent pink and orange sari skims the svelte frame of Brooklyn's Olek as she glides across the dirt lot in Delhi's South Extension with bags of yarn, needles and fabric slung over arms and shoulders.
The massive new acid fluorescent epidermal transformation has taken a week to complete and the street artist is keeping her head while managing the many hands who are helping, but under the eclectic glamour is always raw labor – and a generous dollop of drama.
Olek (photo © Pranav Mehta/St+ARTIndia)
"It felt like I gave a birth to an oversize baby without any pain killers. I had to pull the black magic to make it happen. Physically and emotionally drained. Was it worth it? Absolutely YES," she types onto her Facebook page to let friends and fans know that she has finished the seven-day marathon of crocheting and directing a full team of volunteers and St+Art Delhi organizers. Triumphant, she stands atop the woman's shelter, a one story structure of corrugated metal and concrete 40 ft long and 8 foot high, with a fist in the air, a symbol of celebration as well as a show of solidarity with the sisterhood of those who helped her make it and those will seek refuge here when other options have been exhausted.
Olek (photo © Pranav Mehta/St+ARTIndia)
"Raine Basera", a night shelter for homeless women lies just off Sarai Kale Khan here in New Delhi and it is not far from some industrial parks, surrounded by buses and noise from the traffic and temporary markets. A part of the festival called St+Art Delhi 2015 this particular project is conceived to raise awareness of the shelter and its very existence to those families who need it. Given the chaos of color and decorative motifs that have characterized many of Olek's street works, this is one more that will be hard to miss. In this city of about 11 million, there are actually 184 night shelters in the city of Delhi, and 10 Indian artists will be working with the Urban Shelter Department to paint more.
Speaking with Olek you learn that this was a joyful, painful project – made possible with the help of a number of people, but mostly because of the steely determination of the Street Artist who is defining and re-defining what it means to be an artist in public space, as well as a woman in the art world. Her vigor and her vision is genuine and her struggles with issues regarding poverty, gender, and empowerment were brought to the fore on a daily basis during this project. As usual, we are of the opinion this is still the beginning of what Olek will accomplish in the Street Art world and in the lives of others – for her the goals are multitudinous.
Olek (photo © Pranav Mehta/St+ARTIndia)
We spoke with Olek about the experience in her first trip to India in the interview below. Following that is a short interview with one of the organizers from the St+Art India Foundation and the curator of this project, Giulia Ambrogi. Both help us position the work of Olek into a greater context in Indian society during this relatively new festival effort, now in its second year.
Brooklyn Street Art: Was there a motif that you added to your repertoire of hearts and butterflies that was specific to this project?
OLEK: You know how when you write for a newspaper or a blog you always have to keep your audience in mind so you use a specific language to describe your ideas and thoughts. So for this project I had to think about my specific audience. There were the people in the shelter and the neighbors around it. Many of them are are simple people without education and maybe even illiterate so I wanted to create a visual work that was accessible and meaningful for them.
So for this project I drew from the basic Indian Iconography such as the elephant, the butterfly and flowers. Of course I have crocheted these motifs before in my work but this time I kept an Indian aesthetic with the shapes and forms and they were more visible within the context of the overall piece. In the case of the butterfly I see it as having a special connection with women.
Olek (photo © Pranav Mehta/St+ARTIndia)
BSA: Was it easy to bridge the gaps between cultures when working with the women who assisted in the project?
OLEK: Well the women I was working with found me to be fascinating. Here comes this woman with tools and yarns and crochet and I think they are used to seeing men doing most of these things – who come and boss them around and tell them what to do. In my case I was sitting with them crocheting together and we were part of a team and at some point I was also wearing Indian clothes and making things happen. They were happy to see me telling the men around us that I was in control and that things were getting done. So due to my experience working with so many different people around the world in small villages in Poland, China and Hong Kong this aspect of the project was the easy part.
The crochet was our language. Once you show them how it all works and explain the project to them you get the respect right away. They liked seeing me working so fast and were shocked that it was actually possible to do this so fast. So once you get their respect it is actually quite easy to work with them. The language of making and producing art is beautiful and universal and you get the connection right away. Some of the women were volunteers but most of them we hired to work on this project. Of course there were other elements in this project that were more difficult but I have never in my life had a problem working with women.
Olek (photo © Pranav Mehta/St+ARTIndia)
BSA: In addition to its aesthetic nature, how do you think about your work when you consider that it is literally sheltering women tonight as they sleep?
OLEK: The most shocking thing for me in India was these massive amount of people who are born in poverty and under a lower class or caste and they are convinced that they will never ever see or experience anything different from what they are accustomed to and people with a higher status in their society see them as "untouchables" and inferior. They were born poor they should die poor – that is the mentality. So for the time where we were working on this project they felt that the spotlight was on them and for once they weren't invisible as cameras and people and noise was all around them and I think they felt that there was something special about them.
Maybe when they come to the shelter at night to sleep and see it transformed they will feel different and maybe they will be inspired to do something else with their lives. My intention as an artist was to show them that there might be a chance to change what was supposed to be in their lives to what it can actually could be. That of course is too little of a contribution from my part.
Olek (photo © Pranav Mehta/St+ARTIndia)
BSA: What did you learn about these shelters that you would like people to know?
OLEK: Right now there are more shelters opening around Delhi than before. It is important for people to know that if they are homeless they have the shelters at night to sleep with a roof over their heads. But the sad part to me is that the conditions in the shelters are not so great. I saw them wearing their same clothes every day and I realized that what they had on them is all they have in their lives. Yet I didn't see sadness on their faces. They are used to living under these conditions and they see it as their life. So all this time I was thinking how actually the project should be about getting them out of the shelters and provide them with education. Access to education is important everywhere. It changes everything. The beautiful kids I think don't even go to school. They spend all day on the streets.
So I felt that the project was only half done and I didn't have the time or resources to do the next step with them and spend more time with them. It was devastating to me to see the amount of pollution and garbage and dirt and in some cases I have this impression that some of them didn't want to be helped because they believed that that was their lot in life by divine decree. I couldn't understand that and the whole trip was confusing. So the experience left me half empty in way with a sense that the project was done – but only half done.
Olek (photo © Pranav Mehta/St+ARTIndia)
BSA: When you were a teenager you read a biography of Jerzy Grotowski and his various travels, including his descriptions of India. How did that writing affect your experience visiting the country for the first time?
OLEK: I studied theater for a while in Poland when I was a teenager and I would go to theater festivals and that really influenced who I am right now. Grotowski had a brilliant mind and was an influential theorist and when I read that he went to India and that the trip totally changed him I was very impressed and I thought India must be a special land. I've been wanting to visit India for a long time but I was also waiting for the right time to visit – when there was a purpose for the trip and the right project.
Olek (photo © Pranav Mehta/St+ARTIndia)
But the land that he saw with his eyes was during the 1970's. I wish I had more time and I will have more time, to go back and travel and re-visit and really see the country more fully. But I think that what influenced me wasn't necessarily about the religion, the colors, the textures, the beauty of the country. What influenced me the most was the poor India. I have never seen so much plastic and garbage in my life on the streets. I saw cows eating plastic on the street. The garbage and pollution is just growing and growing and it is insane. So this was my influence from this trip and I think I could never compare it to Grotowski's trip during the 70s. But I can see how the trip to India changed him and influenced his life in theater.
Olek (photo © Pranav Mehta/St+ARTIndia)
BSA: Tell us about your sari. We don't remember seeing you making one of those for yourself before.
OLEK: I bought a sari because I was invited to attend a wedding while I was in India and I wanted to feel appropriate. I probably don't fit in most places but when I'm invited I like to pay respect to the local customs. So together with my assistant we went to the store full of saris and took in the whole experience. You buy a sari then you have to hire someone to put it on you and I loved it. From the beginning I told people that I wanted to wear a sari while working instead of wearing western fashions. People noticed how comfortable I was wearing a sari for the first time and when they remarked about that I told them I'm around so much fabric all the time that I can easily wear a sari.
Olek (photo © Pranav Mehta/St+ARTIndia)
It is interesting because to me a sari is a sexy dress. Your body is so exposed so it was confusing to me to see all the women wearing such a dress in such a conservative country. It is a very comfortable dress and nothing falls off of you. They pinned everything to keep it all in place. You go to get fitted and out of the same fabric a tailor makes the top and the underskirt and you can choose from many designs for the top. The tailor is not in the store where the sari is purchased. You have to leave and go someplace else for the fitting. But they can make it all in two hours. I loved seeing the women in India being very comfortable with their bodies. Women of all shapes and sizes wear the saris with the utmost comfort.
Olek (photo © Pranav Mehta/St+ARTIndia)
A brief interview with Giulia Ambrogi from the St+art India Foundation:
BSA: For her installation Olek was assisted by a number of diverse volunteers whom she first taught about the crochet needs of the project. What was the incentive that motivated all these people who helped her?
Giulia: Actually most of the women were already trained because they belong to the "Indian crochet community", a reality that we were pretty surprised to discover. All of them knew Olek's work and were extremely enthusiastic to have such an occasion to be together and to practice their passion for a wider cause. This big community doesn't have many initiatives dedicated to crochet so this project, by being so ambitious, public and based on a social cause was per se the main incentive for all of them.
Many other volunteers instead have been with us since the day 1 of St+art Delhi 2015. They are mostly really young and they just love urban art and what all we are bringing in the city. Thus, they are keen to be part of the project, to be in a stimulating environment and to give their contribution. It was amazing to see how all these people from different backgrounds and different ages (from 18 to 60) collaborated together and how strong was the feeling to be a big family.
Olek (photo © Pranav Mehta/St+ARTIndia)
BSA: Women in India are often at huge disadvantage financially and socially when compared to the status that men hold in society. What is the significance of bringing women artists to install their work on the streets of India?
Giulia: First of all realize artworks in the streets is already a sort of revolution. Public spaces, especially if peripheral, are most of the time neglected and are crowded mostly by lower social classes. The process of creating huge artworks for everybody's eyes and the attitude of the artists and the team of involving everyone and gathering people under the signs of art-making and artworks – which is absolutely new in India, is an empowering breakthrough or a certain kind.
Olek (photo © Pranav Mehta/St+ARTIndia)
By calling women artists we enhanced this prolific dynamic. It meant that we introduced a change, showing both to men and women that no matter the gender and the class, everyone has the same strength and rights of living, appropriating and positively acting in public spaces. Olek's work brings back to the streets a tradition that is usually practiced by women in the private and closed environment of their homes. Also, this work highlighted the power of people, especially women, when they cooperate together. Aiko's work celebrates the most dangerous and powerful woman in Indian history, Rani Lakshmi Bai, who became and still is the symbol of women empowerment.
Many things are changing in India and it is a transitional moment in which we try and hope to give our contributions by designing artistic interventions based on critical and current topics.
Olek (photo © Pranav Mehta/St+ARTIndia)
BSA: We have written before about Aiko's participation in St+ART Delhi. We wrote that her contribution was a departure from her highly sexualized iconography. Would it have been impossible for her to paint her sexually charged women in India? Can you tell us about the character whom she chose to paint and why she selected that character within the context of the festival?
Giulia: By painting her characteristic women in very sexualized scenes, her work would have been meaningless within the Indian environment. Not just deeply disrespectful it would have been totally sterile because it would not have been in dialogue with the cultural context. Since the beginning of the project Lady Aiko asked about Indian culture with the intention of creating a powerful and empowering work in relation to the country.
After some brainstorming she fell in love with both the story and the iconography of Rani Lakshmi Bai. She was the most dangerous leader in Indian history, a symbol of resistance to the rule of the British Company. In her brief time she cast aside many conventions to unite peoples of all castes and religions in her cause.
She encouraged other women to do the same and trained them to fight and support the army. She cut across the social norms of the time, refusing to accept her fate 'as a woman'. So in this case Aiko's piece was mainly the symbol of women empowerment…and much sexier than pin ups in this sense!
Olek (photo © Pranav Mehta/St+ARTIndia)
Olek (photo © Pranav Mehta/St+ARTIndia)
Olek (photo © Pranav Mehta/St+ARTIndia)
Olek (photo © Pranav Mehta/St+ARTIndia)
Olek (photo © Pranav Mehta/St+ARTIndia)
The organizers would like to thank fashion companies Tarun Tahiliani and Manish Arora for contributing materials and labor, Allkraftz & Usha Sewing Machines, The Polish Culture Institute, the Delhi Urban Shelter Improvement Board (DUSIB), and all the volunteers and participants who helped make this project happen.
We would like to thank the organizers of ST+ART Delhi; the curator Giulia Ambrogi and Pranav Mehta for the photos. And of course to Olek for taking the time to answer our questions.
Please note: All content including images and text are © BrooklynStreetArt.com, unless otherwise noted. We like sharing BSA content for non-commercial purposes as long as you credit the photographer(s) and BSA, include a link to the original article URL and do not remove the photographer's name from the .jpg file. Otherwise, please refrain from re-posting. Thanks!
Tags: Brooklyn Street Art > Giulia Ambrogi > India > Jaime Rojo > New Delhi > Olek > Pranav Mehta > St+ARTIndia-St+ARTDelhi2015 > Steven P. Harrington
MOMO Paints Massive Work Across Lobby in Boston
Posted on March 24, 2015
Corporate Space, Happy Universal Shapes, and Additive Averaging
Two unusual aspects distinguish todays' posting. One is that the featured project by the remarkable street artist MOMO is not actually on the street, rather it is in a corporate lobby – a quasi public/private place far removed from the origins and ethos of most Street Artists' work. Secondly, the interview is conducted by our guest Kate Gilbert rather than us. An artist, curator, and creative strategist, Kate directs a Boston non-profit that curates and produces independent public art projects. We really enjoyed the conversation that she and MOMO had while he was in the midst of a two week installation – and we knew you would like it too.
~ by Kate Gilbert
In February the Brooklyn/New Orleans street artist MOMO arrived in Boston in the midst of Snowpocalypse '15, an unrelenting series of snowstorms and freezing temperatures that left Boston under 93" of snow. Undaunted by it all, MOMO completed a massive 250' x 34' mural over eighteen nights in the lobby of Boston's iconic John Hancock Building bringing his signature combination of blending techniques, harmonious colors and universal forms to warm up the austere lobby and its wintery surrounds.
MOMO (photo © Geoff Hargadon)
The following is an excerpt from an interview I had with MOMO on his fourteenth night of painting, which followed a brief talk he gave with project curator Pedro Alonzo.
Kate Gilbert: So it's 20 degrees in Boston tonight and the thermometer is stuck at 20 degrees. The snow isn't melting, and there's ice everywhere; it's permanent. So first of all I want to thank you for bringing this to us. It's great color and smart design.
MOMO: Cool, I'm glad you like it.
KG: One of the things I wanted to bring back from your conversation with Pedro is this idea of universal shapes and appealing colors. That's something we don't usually hear coming out of the mouth of an artist who originally started in the street.
MOMO: Pedro's first question took me off guard because I hadn't quite heard that from anyone. He said the murals made him feel good, and why was that. I didn't quite have an answer ready then but I've thought a lot about it since and it reminds me that I have this great love for David Hockney's swimming pools. A sunny landscape has a certain key of colors and mix of shadows and this variety of things that feels like it's at the peak spectral combination of all these formal things like shade and value, and it lets us know it's a sunny landscape.
Something about that really appeals to me. At different moments I've wished my art could be associated with swimming pools, cabanas, and beach towels – those things that are, for me, a godsend in terms of mood and inspiration.
I spent a lot of time in the south and I love a tropical climate and things like that feel really alive and vital. It's no coincidence that I take so much inspiration from Jamaica. Not just the nature there but also their culture seems to respond to this vivid set of conditions. I want to put that in the paintings and I hope that is what's coming through in what Pedro mentioned about being happy.
MOMO (photo © Geoff Hargadon)
KG: I think so. It's happy and, especially at this time of year in Boston, we're all keyed in to anything that's happy.
MOMO: Good. I realized quite late that I respond well to warm climates and it's why I stay in the South primarily. And I do think a majority of these forms keep repeating. They've come up in different ways through the years.
KG: Are they forms that you're testing on the street? When you say universal, are they universal in your artistic vocabulary, or do you think for they're universal for all of us?
MOMO: They're meant to be simple and universal so the audience might enjoy these as their own, being just colors and lines, spectrums and harmonies.
For instance I'm relying heavily on just the impact of red. Or the right orange-red which I feel is lit by sunlight. It's not so much a narrative or a meaning implied on top, it's the concrete materiality of the work that has to carry the oomph.
MOMO (photo © Geoff Hargadon)
KG: Picking up on this idea of materiality, the space has this well, let me just say, it's pretty unique. Have you ever worked in a space like this before?
MOMO: No, this is the best architectural chance I've ever had to do something, indoor or outdoor.
KG: What are you responding to in this space?
MOMO: The chrome columns are undeniably weird and fun and that's led me to make the fat lines somewhat in scale with them, or in-and-out of scale with them. There're a lot of vertical bands. Down there [pointing to the NE side] there're a lot of noodly ones that are just going their own way. It struck me that having a conversation with those floor-to-ceiling forms was an obvious way to respond.
MOMO (photo © Geoff Hargadon)
KG: There's this sort of forest effect going on.
MOMO: Yeah, there's a forest! They have a gesture. Everything in here is real straight lines and clean and feels like it'll last for the ages. But the columns do have a gesture and it's right in front of the painting.
Besides the columns, everything in the lobby is a super straight, flat surface. I've tried to play off of that with soft forms so the building can show off. I'm doing something complementary in a way.
MOMO (photo © Geoff Hargadon)
KG: You're creating a visual conversation with the architects. I'd love to see you in a room with I.M. Pei's office. What would you say to them?
MOMO: I'd be interesting to see how this building has grown or developed on its own because it's probably not the way the architect left it. They've designed security in a way that wasn't part of the initial pedestrian flow.
KG: There's this great performance going on here with people entering and leaving through the security desk, even now at 6 pm.
MOMO: And cleaning crews! It takes a huge staff to keep the building up to its standards.
MOMO (photo © Geoff Hargadon)
KG: So did you consider this audience or who'd be coming and going when you were making the work?
MOMO: Yeah, of course. First thing, I tried to identify was where people would see the wall the most frequently, or where they'd spend the most time. Because the wall is framed by the columns, you get a grouping of available vignettes.
I took the ends to have special significance. At one end there are tables and chairs where you can relax in a communal café area. I thought those areas should be dressed up in a way so you could look at them for longer periods of time. Then the center, I kept things more serious and somber because it has this stately serious pretense with the check-in desk and security being there. I tried to look at the space anthropologically.
KG: So the painting in the center is more serious? Is that represented in the darker, gray pinstripes created through…what do you call it, additive averaging?
MOMO: Yes, the particular color theory we're working with when we add these gray tones is called additive averaging. I guess they just happened in the center by chance. The center is where subtle mixes are happening and the darker colors are coming through. In general, I want the whole thing to feel light but it needed to be grounded somewhere, especially there, so it didn't seem silly.
MOMO (photo © Geoff Hargadon)
KG: I don't think your work could ever be interpreted as silly.
MOMO: Oh that's good because I want to take it right to the edge like a dance performance. Certainly dance can be seen as flippant or pure whimsy. But if it is balanced and well done, somehow it can go right to the edge and still be serious.
KG: Your work is serious and I get the sense everything is very thought-out and methodical. Were there any surprises when you got here?
MOMO: We changed everything! It's been so much work! Struggling, redesigning, you know, minutes before we go. Part of that is because we weren't able to use the sprayers. That was my mistake in understanding how much dust they were going to dump into their surroundings. We struggled a few days trying to make it work with a spray tent and it was not possible. So without the sprayers we couldn't do the giant sweeping color gradations.
That meant things had to be redesigned so they'd still be exciting while staying unblended. I tried to break up the backgrounds that the stripes are going over, so there'd still be a number of colors changing. It wasn't a solution just to switch fades for single colors, because I had to break things up in a way that'd keep them interesting.
MOMO (photo © Geoff Hargadon)
KG: That sucks.
MOMO: No, it's okay actually. Somehow the sprays that I do outdoors are a rough thing. I don't even know if they were working that well in this refined space. It has a texture that would be a little out of step with the high-polish feeling here.
KG: As a result, have you invented any new techniques while working here?
MOMO: Oh, that's a good question! I'm doing this thing between all of my helpers where I'm taking screenshots off of the computer where I'm designing, sending them in emails, and then we're all following the sketches on our phones. I feel like there's a big potential there to synch everyone up in a detailed way. I used to print everything out and keep it in a laminated pocket which is good so you don't drop your phone in a bucket of paint, but this is kinda better.
MOMO (photo © Geoff Hargadon)
KG: So maybe there's a MOMO app in your future?
MOMO: Or maybe I need a phablet – a phone tablet where I can do all my Photoshopping and it hangs off my neck.
KG: All right, let's get you a sponsor! I did want to get back to that audience question. When you're working outside doing your posters between 3 and 6 am I assume you don't want to interact with anyone. When you're here, are you interacting with people? Or are you just trying to get your work done?
MOMO: We're interacting and keeping our ears open. It's fun to just feel what the response is like. We hear a lot from the security guys because they're here all night. It's been really positive from those people and other people who've come by and have an interest in art.
MOMO (photo © Geoff Hargadon)
KG: It is really hard to take in the mural all at once. Even from the outside because of these crazy columns, multiple doors and reflections. The most similar project you've done might be the Living Walls project because you could only see it all from within a car. Is there a way to see this mural? A narrative?
MOMO: I think it's a sequential piece of artwork. Because you see pieces at a time and sorta have a chance to forget the first one that you saw by the time you get to the end. There's not a way to see the whole composition all at once. That doesn't exist. It's like changing panels on any other media.
The thing in Atlanta has this opportunity for foreshortening. I tried to make it interesting if you were to stand in front of it, but also it collapsed all 1,000 feet into an instant image. Here you can't really see everything collapsed.
It's been fun to see how much it's reflecting on the glass inside at night. I hadn't seen that other times I'd checked out the spot. The chrome columns cast and catch all kinds of parts in new weird ways.
KG: Yeah, it's going to be a really fun challenge for someone to photograph! Is there anything else you'd want Boston and beyond to know about this work?
MOMO: I feel really privileged to be working here in such a great, high-level type community and given such an amazing piece of architecture to explore. I'm just extremely grateful to everyone that made this possible and extended the necessary faith. The support has been great and Pedro's been amazing.
MOMO (photo © Geoff Hargadon)
Our special thanks to photographer Geoff Hargadon for sharing his shots of this hard-to-shoot mural for BSA readers.
MOMO's mural is the first in a three-part series of temporary public projects commissioned by Boston Properties and curated by Pedro Alonzo. It is on view at the John Hancock Tower (200 Clarendon Street, Boston MA 02116) now through May 31, 2015.
Kate Gilbert is an artist, public art curator, and the director of Now and There, a new start up dedicated to creating impactful temporary public art projects in Greater Boston. When she's not buried in snow she's Tweeting as @kgilbertstudio and @now_and_there.
BSA Please note: All content including images and text are © BrooklynStreetArt.com, unless otherwise noted. We like sharing BSA content for non-commercial purposes as long as you credit the photographer(s) and BSA, include a link to the original article URL and do not remove the photographer's name from the .jpg file. Otherwise, please refrain from re-posting. Thanks!
Tags: Boston > Brooklyn Street Art > Geoff Hargadon > Jaime Rojo > John Hancock Tower > Kate Gilbert > MA > Momo > Pedro Alonso > Steven P. Harrington


text:
Joe Johnson
Monday And-1 links: Photographic evidence of Celtics changes
Aug 6, 2012, 6:35 PM EDT
Here is our regular look around the NBA — links to stories worth reading and notes to check out (stuff that did not get its own post here at PBT) — done in bullet point form. Because bloggers love bullet points like Alex Morgan loves headers. • How much have the Celtics changed the roster?…
Who will be better next season, the Knicks or Nets?
Aug 3, 2012, 8:29 PM EDT
With rosters pretty much getting set except for a few final pieces around the NBA — save for one big shakeup still to come out of Orlando… eventually — we can start to get a serious look at how rosters are shaking out. And after all the moves the Nets made so they could open…
NBA schedule released, some big games on the front end
Jul 26, 2012, 7:54 PM EDT
Would you look at that, a full 82 game schedule. Haven't seen one of those in a while. Kind of missed it. The NBA released the full season schedule on Thursday and clearly they had some marketing in mind. Some fans liked the big splash when the league opened on Christmas Day last year after…
Report: Knicks to open season against Nets in Brooklyn
Jul 25, 2012, 12:56 PM EDT
Oh, this one is going to be fun. The New York Knicks will open their season against the Brooklyn Nets, opening up the new Barclays Center and a budding rivalry in New York, according to Newsday. It is a TNT nationally televised game on Nov. 1, according to the report. The Knicks would then return…
The Inbounds: Dallas' Improv High-Wire Act
Jul 24, 2012, 6:00 PM EDT
Welcome to The Inbounds, touching on a big idea of the day. It could be news, it could be history, it could be a tangent, it could be love. OK, it's probably not love. Enjoy. Dallas had the worst offseason. Dallas had the best offseason. Two sides, one coin. Usually when you whiff on a…
Deron Williams says last season his toughest "by far"
Jul 23, 2012, 1:03 PM EDT
Basically Deron Williams has confirmed what we all already knew — it sucked to be a New Jersey Net last year. There was the 22-44 record (that's a lot of losing). There's being a lame duck team in the last year in New Jersey, where fans became indifferent. There were the constantly swirling trade rumors.…
What luxury tax? Nets new payroll massive because owner not concerned.
Jul 17, 2012, 4:53 PM EDT
Let's run through the Nets starting five and their salaries for next season: Point guard Deron Williams, $17.2 million; shooting guard Joe Johnson $19.8 million; Gerald Wallace $9 million; Kris Humphries $12 million; Brook Lopez $13.7 million. That is $71.7 million, not counting incentives some players may hit. That is with a salary cap of…
The Inbounds: The new Brooklyn Empire and the Crown of Relevance
Jul 16, 2012, 9:00 AM EDT
Welcome to The Inbounds, touching on a big idea of the day. It could be news, it could be history, it could be a tangent, it could be love. OK, it's probably not love. Enjoy. Sometime last Wednesday, after yet another round on Twitter battling the Brooklyn faithful (and they are a faithful lot for…
Joe Johnson says the Nets are 'definitely' better than the Knicks. Here we go.
Jul 14, 2012, 5:30 PM EDT
Let the Battle for the Basketball Boroughs commence. We're headed for a new rivalry, as the Nets and Knicks face off for the soul of hoops in Gotham, and the Nets have no plans to enter the arena humbly nor quietly. At a pep rally in Brooklyn introducing Joe Johnson, Johnson told reporters that the…
Report: Bulls trade Kyle Korver to Hawks
Jul 13, 2012, 4:36 PM EDT
Kyle Korver is taking his three-point shooting down south. Korver has been traded by the Chicago Bulls to the Atlanta Hawks, reports K.C. Johnson of the Chicago Tribune. And it's not exactly a straight swap, it involves the Timberwolves and could involve Chicago getting Kirk Hinrich back in a sign-and-trade. The Korver trade to Atlanta…
Winderman: Max contracts and amnesty, have the owners learned anything?
Jul 12, 2012, 7:26 PM EDT
With Elton Brand about to come off the market and Luis Scola about to go on the market, we're reminded of why there is an NBA amnesty process in the first place: because of large-scale contracts that were shortsighted. And then we have Brook Lopez, Roy Hibbert and Eric Gordon getting maximum-scale offers this summer…
It's official: Deron Williams signs with Nets, is very rich
Jul 11, 2012, 7:45 AM EDT
Deron Williams will say this wasn't about the money, and to a degree that is true — he would have made a lot of money wherever he chose to play. So really, him deciding to stay with the Brooklyn Nets was about the franchise and where he wanted to play. But it is still a…
Dwight Howard latest: Three-team deal with Bynum to Rockets in play
Jul 10, 2012, 8:03 PM EDT
The Lakers have not been able to swing a Dwight Howard for Andrew Bynum deal. The Rockets have not been able to convince Orlando to trade them Howard for picks and a few players. So, how about a three way deal. It's being discussed, reports Eric Pincus at Hoopsworld (and confirmed by Marc Stein at…
Report: Lou Williams reaches agreement with Atlanta Hawks
Jul 10, 2012, 5:42 PM EDT
Joe Johnson and his points are gone, headed to Brooklyn. Jamal Crawford has been gone for a while as the gunner off the bench for the Atlanta Hawks. The Hawks need some buckets from the perimeter. Enter Lou Williams. Williams, the 76ers leading scorer last season despite coming off the bench, has reached an agreement…
Dwight Howard trade talks stall with Cleveland out as third team
Jul 10, 2012, 2:19 PM EDT
If Dwight Howard is going to be a Brooklyn Net anytime soon, either Magic and Nets are going to have to find another team to facilitate this or they are going to have to figure out a two-team trade. Something they have been unable to do for a year. Talks are still going on to…
Details of potential Dwight Howard trade leaking. Magic get Lopez, picks.
Jul 9, 2012, 4:54 PM EDT
UPDATE 4:54 pm: The Clippers may be the fourth team in the deal, reports both Ken Berger at CBSSports.com and Chad Ford at ESPN. The Clippers would send a first round pick to the Nets for MarShon Brooks, then the Nets would ship that pick to the Magic as part of the deal. This appears…
50 Observations about NBA Free Agency
Jul 9, 2012, 12:21 PM EDT
From time to time, I drop random observations because it's too long for a tweet and too short for a full post. Also because it allows me to crack jokes, which is really the reason I'm here. That and the money. Mostly the money. Anyway, it's been a crazy week of free agency. Here are…
Dwight Howard trade rumors heating up; maybe to Nets in three-team deal
Jul 8, 2012, 7:00 PM EDT
The Magic nearing a deal to ship out Ryan Anderson signals one thing — they are entering rebuilding mode, no joke, no holdovers. Which means Dwight Howard rumors are picking up steam, fast. How much steam depends on who you ask — some sources sugest the deal could be done as soon as Monday, but there…
Thursday And-1 links: Maybe Indy will not match Hibbert offer
Jul 5, 2012, 7:39 PM EDT
Here is our regular look around the NBA — links to stories worth reading and notes to check out (stuff that did not get its own post here at PBT) — done in bullet point form. Because bloggers love bullet points. • I have said I expect the Indiana Pacers to match the max-offer (four…
Nets push Teletović to take mini mid-level so Howard, other doors open up
Jul 5, 2012, 3:47 PM EDT
The Nets like to make things hard on themselves. But they apparently have just cleared one more hurdle to making the very difficult trade to bring Dwight Howard to Brooklyn a little more possible. They may have reached a deal to get Mirza Teletović to take a smaller offer than they verbally agreed to, which…
The Inbounds: Deron Williams and the meaning of Brooklyn cool
Jul 4, 2012, 9:00 AM EDT
Let's start here: Deron Williams did not decide to re-sign with the Brooklyn Nets because it was his best chance to win an NBA title. And that's OK. Williams made a lot of comments about how winning a title would dictate his decision. But the mere fact that he limited his options to Brooklyn and…
Williams, bold moves make Nets a fun team… for now
Jul 4, 2012, 2:19 AM EDT
The Brooklyn Nets are a much better team right now than they were 72 hours ago. They will walk onto the court at the Barclays Center with an entertaining lineup, a team with offensive firepower, something you couldn't really say about the squad last seen in New Jersey (they move to Brooklyn this fall). They…
Winderman: Dallas blew it all up for this?
Jul 3, 2012, 9:40 PM EDT
The Mavericks blew it up for this? To finish as runner-up for Deron Williams? The Mavericks put aside one of Dirk Nowitzki's precious few quality remaining seasons on the promise of potential hope? Yes, the Mavericks still could recover next summer, if Chris Paul doesn't reach a new deal with the Clippers, if Dwight Howard…
Deron Williams to stay with Nets, lead them into Brooklyn
Jul 3, 2012, 7:46 PM EDT
No. Sleep. 'Till Brooklyn. For Deron Williams. The most coveted free agent of this summer tweeted out late Tuesday that he had made a very tough decision — with a picture of the Brooklyn Nets new logo attached to the tweet. The two sides agreed to a five-year, $98 million deal (he cannot actually sign…
Dwight Howard to Nets: It can happen, but is it likely?
Jul 3, 2012, 12:12 PM EDT
The Orlando Magic are talking to the New Jersey Nets about a possible Dwight Howard deal. And there are a few ways — complex ways — that a deal could come together. But if you think it's a foregone conclusion — and I'm looking at you, Nets fans — you should check out what Ken…
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text: Im 24 from Melbourne Aus, and I love the outdoors, animals, travelling, summer, my boyfriend, music and the beach!! I am studying building design and drafting and hope to have my own business one day. I am looking forward to booking some apartments on airbnb and I promise to take the very best care of them! :) Georgia


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GIRLS BASKETBALL ROUNDUP: Cardinals outlast Huskies
LUVERNE -- McKayla Schilling picked up 18 points as the Luverne Cardinals took down the Jackson County Central Huskies 54-44 to remain undefeated in Southwest Conference girls basketball play Friday.
The game was tied heading into half time, but the Cardinals were able to pull away in the second half to claim the win.
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6 Ananya Articles
Odia actor and director Hara Patnaik cremated on Wednesday2 months ago 0
The actor passed away on Tuesday Hara Patnaik was on Wednesday cremated, after an emotional farewell by legions of his fans, film actors and… Read Article ▶
Madhubala Ek Ishq Ek Junoon: Will Abhay Kapoor marry Madhu?1 year ago 3
There is no peace in the Kapoor mansion, ever since AK's sister demanded that he quit acting 20 years back Abhay Kapoor (Gunjan Utreja) lost his… Read Article ▶
2 States first look: Can Alia Bhatt become the fiery Ananya?2 years ago 4
The look test of the adaptation of Chetan Bhagat's 2 States is out. While Arjun Kapoor looks like a handsome nerd in spectacles, Alia Bhatt looks… Read Article ▶
ENGEYUM EPPODHUM Review: An impressive journey4 years ago 0
The film is a sincere attempt to capture the travails of life Making a commercial movie with a strong message is no easy task. Filmmaker Saravanan… Read Article ▶
Ananya in Jayasurya's 'Kunjaliyan'4 years ago 1
Saji Surendran helms the project Ananya sure is picking up pace in the South. The actress, who debuted in 2008 with Malayalam film Positive, made… Read Article ▶
Prithviraj to romance five women!4 years ago 0
Yes, he will be seen with five ladies in Johnny Antony's Masters Piaa Bajpai may be ecstatic that she is paired opposite Prithviraj in her her… Read Article ▶
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Where to send cabinet doors for a 'factory' quality paint finish?
We had completely custom cabinets crafted as part of our kitchen remodel one year ago. We had a good many difficulties with our cabinet maker and believe that the painting was done hastily because he was late. We were told that painting was done 'in the paint booth'. He used a pre-catalyzed lacquer color matched to Benjamin Moore Atrium White (not BM paint,however), formulated to California requirements. We were warned by our contractor and the cabinet maker that these formulation changes diminish resistance.
Well, the doors (and cabinets) under/around our sink have been spray repainted twice and the doors are peeling and chipping yet again. They are flush inset doors. There is some minimal water dripping around the edges of our farmhouse sink, but we are pretty good about monitoring for that.
In any event, the paint cracks follow the joints of the doors and the peeling always starts at a seam or joint. The latest painter who's attempting to fix this says that the doors weren't primed properly in any of the previous paintings.
This is not just ridiculous -- it's expensive to have these doors repainted 3 times a year.
I know about the restrictions on formulations in CA. So, I'm wondering if there are cabinet companies elsewhere where we can send our doors and a paint swatch for repainting -- and appropriate baking to make the finish more water resistant. That won't help failures on the cabinets themselves, but the doors are by far the worst.
Any ideas or recommendations out there?
I moved to CA over a year ago and I notice that the hard water here causes more wear in kitchens and bathrooms than usual. I have been living in apartments with cheap cabinets for many years in other states and never notice this kind of wear like you get in CA. When we bought a 12 year old townhouse here, the cabinets all showed lots of water damage. Now I am getting new cabinets from Durasupreme and hopefully I can keep it looking new.


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OP Member
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Join Date:Joined: Sep 2012
I'm searching for a TPU bumper for my 1+1 like this
Alluminium seems not to protect enough IMHO...
p.s. I have already the original crystal case from 1+1 store but it's too slippery ( I'm thinking to use on it the sandpaper to make it less sleppery, what's your opinion? )
Thank you all


text:
Mert and Marcus filmed Madonna's latest video, for "Girl Gone Wild," so it's not so surprising that it looks like a Dolce & Gabbana ad come to life. The black and white video also screams sex, as in both the act and the pop icon's legendary book. Chiseled men violently eat fruit and dance in tights and heels, while Madge blows smoke into thick air and dances like a 19-year-old (in a wonderful way). Click through to watch!
Watch: Madonna's 'Girl Gone Wild' Video
Spending the Day With L.A.'s Ethical Taxidermist
Who happens to be a dead ringer for Bettie Page.
Little League Superstar Mo'ne Davis Won't Let the Haters Shake Her
No wonder The Disney Channel is making a movie about her.
A Major Broadway Star Just Joined the 'Beauty and the Beast' Cast
Could this be a hint that the movie will be a musical?
The Best Instagram Snaps of Models Working Out
They work hard to look so good.
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D.A.V. stands for Faith in the eternal values of Vedic culture and study DAV Public School, Sahibabad,
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School Timings from 25th March 2015 will be 7:30am to 1:30pm for all classes. New Session for class X and XI will start from 07-04-2015.
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Day to day queries and any point of discussion related to the issues/progress of your ward can be had through the mail ID:- email@example.com
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This is to bring to your kind notice that regular teaching is going on in classes XI and XII on saturdays.it is our earnest request to send your ward to attend the regular classes.
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38 year old woman | Houston, TX, USA | Seeking men 36-46 within 15 miles
Looking for that special someone
I'm assertive, independent, smart and romantic looking for my equal. I value the relationships that I have with my close friends and family. I spend my Saturdays with my closest friends watching football and cheering on my favorite SEC team! We all need to have a physical attraction at least in the beginning. I have always been attracted to guys with a great sense of humor. I will not play games and expect the same in return. I want a good listener and someone that will take the time with the little things. Being straight forward and honest is so important. With that said, I'm looking for someone that knows how to treat a partner and expects the same in return. It has been an interesting process so far. It's very important that you are very honest. I will not date someone that is still married. I have values and just won't put myself in that type of situation. My pictures are recent and I expect yours to be also. I could care less what you looked like 10 years ago. I am not interested in seeing naked pictures or videos of you.(yes this did happen) I don't want a stalker. If you have a tendency to call, text or email repeatedly. I am not the girl for you:) Above all you need to be emotionally stable and available, no need to waste your time or mine. It's probably a pretty good idea to be honest about what you do for a living, stripper, ordained minister or teacher. I am looking for a long term relationship and this will eventually come out. We've all dated the ones that are so pretty to look at but that is all they have to offer. So lets give it a try, it could be a great relationship or a great story!
Business networking , Cooking , Dining out , Movies/Videos , Museums and art , Music and concerts , Exploring new areas , Performing arts , Playing cards , Playing sports , Religion/Spiritual , Shopping/Antiques , Travel/Sightseeing , Volunteering , Watching sports , Wine tasting
Aerobics, Dancing, Other types of exercise, Running, Swimming, Walking / Hiking, Weights / Machines, Yoga
I exercise 3-4 times per week.
I like Dogs
Middle of the Road
Liberty Kitchen, Blackfinn, BRC, Max's Wine Dive, Absolve, J.Blacks, The Tasting Room, Cyclone Anayas, Cabo,Cottonwood, home with a great bottle of wine.
A great pair of shoes, football with the boys, Reckless Kelly concert, Mexican food with a great margarita, cool mornings in Memorial Park, my pilates strength training class, cooking with friends and a great brunch! Love to eat!
Love live music on a patio! Enjoy a great glass of wine or two, heck who I am fooling the whole bottle will do! There is nothing better than watching college football with my friends. I am huge UF fan!
I have been reading books about starting my own charity and a new business. I am just a little overwhelmed. Houston Chronicle and pretty much what I can get my hands on. I read about 2-3 books a week.
Z{{Cta}} {{#if HasMoreInfo}} ?{{CtaSecondary}} {{/if}}
|What she is looking for
|5'4" (162cms)
|5'9" (175cms) to 6'6" (198cms)
|Body type:
|Athletic and toned
|Slender, About average, Athletic and toned
|Blue, Brown, Grey, Green, Hazel
|Black, Light brown, Dark brown, Blonde, Salt and pepper, Dark blonde, Bald
|No Way
|No Way
|Social Drinker
|Social Drinker, Regularly, Moderately
|Self-Employed / Entrepreneur
|Executive / Management, Financial / Accounting / Real Estate, Labor / Construction, Legal, Medical / Dental / Veterinary / Fitness, Political / Govt / Civil Service / Military, Retired, Sales / Marketing, Self-Employed / Entrepreneur, Technical / Science / Computers / Engineering, Travel / Hospitality / Transportation, Other profession, Law enforcement / Security / Military, Architecture / Interior design
I am a residential professional organizer. I organize closets, garages, home offices, playrooms, new additions to the family and professional moves. My money maker is a sky goddess for the airline that everyone hates.
|$100,001 to $150,000
|$50,001 to $75,000, $75,001 to $100,000, $100,001 to $150,000, $150,001+
|Never Married, Widow / Widower, Divorced
|Have kids:
|Yes, and they sometimes live at home, No, Yes, and they live away from home, Yes, and they live at home
|Wants kids:
|Definitely, Someday
|White / Caucasian
|Latino / Hispanic, Native American, Pacific Islander, White / Caucasian
|Christian / Other
|Christian / LDS, Christian / Protestant, Christian / Other
|Some college
|High school, Bachelors degree, Graduate degree


text:
Unlike Mandela, but Likeliest to Succeed Him
By SUZANNE DALEY
Published: May 28, 1999
VREDENDAL, South Africa— When Thabo Mbeki rose to speak in the half-empty community hall here recently, the applause was polite. Barely visible behind the tall lectern, the diminutive Mr. Mbeki began with what sounded like an attack on the press.
Reporters never come to places like Vredendal, he said. They never look at the new housing project here or the farming project that is about to give 50 people new jobs. The press, he said, believes that bad news will sell. But, he said, there is plenty of good news to be told about the new South Africa, and some of it is here.
''Vredendal speaks of the capacity we have to work together,'' Mr. Mbeki said. ''To generate good stories, not just the bad.''
In this small, remote farming community awash with poverty, the pep talk was clearly welcome. By the time he had finished speaking, Mr. Mbeki, South Africa's Deputy President and the man who will almost certainly inherit President Nelson Mandela's job after the election on June 2, had earned a standing ovation -- a bit restrained perhaps, but a standing ovation nonetheless.
Though he has none of the spontaneous charm and sense of the right gesture that makes Mr. Mandela so beloved, the reserved, bookish Mr. Mbeki, 56, has thrown himself into campaigning.
He is everywhere these days, kissing babies, escorting old women to the podium to speak with him, and offering a message of hope that many South Africans, appalled at the rising crime and unemployment rates, are eager to hear: change will come faster now because the policies are in place.
For the last few years, Mr. Mbeki has been the behind-the-scenes administrator as Mr. Mandela has greeted dignitaries and traveled the globe to woo foreign investors.
It is Mr. Mandela, 80, who basked in the photo opportunities wearing his open-necked ''Madiba shirts,'' while Mr. Mbeki -- rarely out of a suit and tie -- handled the nitty-gritty, giving few interviews and offering little of himself to the public.
Many political analysts say they are not yet sure who the real Mr. Mbeki is. No one doubts his intellectual abilities. He writes his own speeches, some of them memorable. He is said to be a chief architect of the country's conservative economic policies.
But some say an aura of fear lurks around him. They point out that his early political rivals have been all but extinguished, some leaving for the business world, others pushed to the fringes of the governing party, the African National Congress.
Mr. Mbeki, an economist with a degree from Sussex University in Britain, is working hard at a new image. He has even been seen in a sports shirt under a blue blazer. But, frankly, stiff may be more his style.
During a broadcast on AIDS last year, he gave a speech while seated, surrounded by orphaned children, some of them climbing up his legs and pulling at his clothes. During the 15 minutes the camera was fixed on him, he didn't pat or touch a child.
When he is surrounded by adult well-wishers trying to touch him, he often looks like a deer caught in the klieg lights. Mr. Mandela goes right for the tallest beauty queen in a crowd and chats her up; Mr. Mbeki smiles but seems tongue-tied with almost everyone.
Still, he is now wading into the crowds, grabbing hands, and is even occasionally dragged into dancing with the ladies.
There is little doubt that the African National Congress will win the election -- perhaps by the two-thirds majority it is hoping for. The party still commands loyalty for its role in the liberation struggle, and it has delivered on its campaign promises, at least in some areas.
Electric and telephone poles can be seen crisscrossing even the tin shack settlements that sprawl across the landscape. A new Constitution has been enacted and more than 500 laws have been passed, revamping a system that once ordained that blacks could not vote and needed only rudimentary education.
But the problems remain enormous, and South Africans are beginning to grumble. Every day newspapers deliver a catalogue of rapes, killings and armed robberies. And the country has lost more than 500,000 jobs since 1994 -- leaving many who have just gotten phones, lights and clean water unable to pay for them.
At a recent community meeting in the black township of Soweto, many of those who came to speak to Mr. Mbeki simply described their poverty. Holding her paycheck in her hand, Rebecca Madiba said she was earning about $220 a month as a nurse's aide and could not pay her electricity or her taxes. She now owed more than $1,000 and was afraid she would lose her new house. She simply asked for help. Mr. Mbeki, sitting on a dais surrounded by officials, listened intently.
Polls show that he is gaining in popularity, though he does not yet approach the status reserved for Mr. Mandela and he is significantly less popular than Mr. Mandela among whites. Some political analysts were sure that Mr. Mbeki would rely on Mr. Mandela to do most of the campaigning. They were wrong.
As the campaign kicked off in earnest, Mr. Mandela was abroad, visiting China, Pakistan, Russia and Hungary. Early posters had the two together, but the vast majority now feature only Mr. Mbeki and the slogan the African National Congress used in 1994: ''A Better Life for All.''


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South Boston News & Record
and Mecklenburg Sun
Robin Cage, Master Artisan
03/26/15 - 6:07 am
Halifax County native receives honor
SVHEC reading bench to be dedicated in memory of Hank Bruining
03/26/15 - 6:02 am
The public is invited to attend the dedication of a reading bench, honoring the late Hank Bruining on Friday, at 3 p.m. at the SVHEC Innovation Center, outside the Welding…
Alton woman is third highway fatality this year in Halifax
03/26/15 - 6:01 am
Lady Comets rout Tunstall 15-1
03/26/15 - 6:29 am
- More A&E
Police reports for Jan. 20, 2014
SoVaNow.com / January 20, 2014South Boston Police arrested three individuals over the weekend, all on misdemeanor charges.
Cpl. A. Whitmore charged 22 year old Lawrence I. Hall III of South Boston with shoplifting on Friday, Jan. 17.
On Saturday Officer B. Smith charged 27 year old Jeremy D. Powell of South Boston with violating a protective order.
Also on Saturday, Sgt. S. Warf charged 24 year old Pierre L. Edmunds of South Boston with being drunk in public and also with eluding police.
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Report: Dakotas have low unemployment rates for mental health service recipients
ARLINGTON, Va. -- The Dakotas have among the lowest unemployment rates for residents receiving public mental health services in the nation.
Still, according to a recent report, well over half of those Dakotans are still unemployed.
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Methodologies of risky scholarship.
Linda Tuhiwai Smith, Decolonizing Methodologies: Research and Indigenous Peoples, Otago University and Zed Books, 1999.
For anyone writing a thesis a breakthrough point has arrived when you say to others: 'I'm working on my methodology chapter.' This is especially so for any student taking a radical stance or attempting to challenge the status quo. Students in Women's Studies and Indigenous Studies, among others, will find themselves asking the following questions: What is the methodology I am using? Where do its antecedents lie? Where can I find the theoretical literature to back up my arguments and my approach? How can I propose a risky scholarship?
Shulamit Reinharz's 1992 work, Feminist Methods in Social Research, provides a useful resource for looking at the range of approaches that are possible. Other scholars, such as Diane Bell (1998) and Marimba Ani (2000) include very useful introductory chapters that discuss issues of methodology, while the two books I am reviewing here by Linda Tuhiwai Smith and Chela Sandoval focus exclusively on methodology.
Tuhiwai Smith's Decolonizing Methodologies is a fine example of work that engages with the layered complexities of feminist and indigenous scholarships. The rupturing of the interconnected webs of culture, language, history and their own sense of self, is not unusual among colonised peoples; it is also a common feature in the experience of other oppressions outside of the colonisation, such as racism, sexism, homophobia, as well as discrimination based on class and ability/mobility. These additional refracting oppressions amplify one another according to the prominence within the individual's or group's identity.
For Tuhiwai Smith it is not simply the process of research that is fraught with difficulty but also the terms under which research is done. The latter is the framework within which research is carried out. She points to the overwhelming influence of western, so-called objective knowledge systems in framing precisely what research is possible, what questions can be asked. Simply thinking about which areas to research raises questions about 'what counts as real' (Tuhiwai Smith 44), and therefore about what constitutes real research. Feminist research has faced similar difficulties since the 1970s. There are sanctions for those who overstep the margins of intellectual respectability and go beyond what is considered 'legitimate knowledge' (Tuhiwai Smith 63). In a globalised world, legitimate knowledge is that which is acceptable to the arbiters of western knowledge (primarily universities, but also governments and major media corporations). So-called universal knowledge, knowledge not claimed by any one group of people, becomes the global knowledge currency. Everything else can be ignored. Legitimate knowledge is decontextualised and unmarked by its author's perspective (or at least this is the accepted fiction).
More recently, Tuhiwai Smith argues, 'the other' has become a tradable commodity and a profitable one (90). The ability to trade is at least two way. On the one hand, the cultural objects, works of art, language and cultural institutions can be sold on the global market, or to the global tourist who passes through. On the other hand, the 'interesting little backwaters, untapped potentials' (98) are themselves markets for other global products.
Tuhiwai Smith proposes a '"local" theoretical positioning' (186) that enables the researcher to draw on her own very 'specific historical, political and social context' (186) to develop an embedded critical theory. It is only in this way, Tuhiwai Smith argues, that the 'oppressed, marginalized and silenced groups' (186) will gain something from research and from the knowledge created. The creation of knowledge is a matter of means and ends, and if the ends are not achieved in a way consistent with the cultural framework, then the knowledge is not worth having.
Chela Sandoval's Methodology of the Oppressed raises similar questions within the framework of US social movements since the 1960s, in particular feminist and antiracist movements with a slight nod towards lesbian and gay movements (subsumed under the label 'queer'). It is refreshing to find a US-based author who acknowledges her location, as Tuhiwai Smith suggests researchers should, but the label US Third World feminism that she uses throughout is problematic. Just as 'queer' flattens the differences between lesbian and gay politics, usually resulting in the disappearance of lesbian theory, 'US Third World feminism' tends to obscure Third World feminism: the diversity of theoretical writings emerging from all around the world, including Indigenous theory such as that of Tuhiwai Smith.
Sandoval provides useful readings of Fredric Jameson, Roland Barthes and Frantz Fanon and although the works of US Third World feminists such as Gloria Anzaldua, Audre Lorde, Cherrie Moraga and Paula Gunn Allen provide important touch-down points there is no thorough-going analysis of those works. Sandoval seems intent upon finding the points of intersection between European male poststructuralist theory (her terminology) and US Third World feminism rather than assuming that US Third World feminism has its own theoretical substrata.
It is on this basis that I find her conflation of cultural feminism and radical feminism annoying, as is her ignorance of radical feminist theory--such as that of Mary Daly and Susan Griffin--which predates the irreverent scholarship of the few white US postmodern feminists she cites approvingly.
Sandoval's discussion of the process by which cultural consciousness occurs, in particular the processes of accepting dominant culture positions is interesting. She uses an example from Roland Barthes' work, Mythologies (1957), of a young North African boy dressed in French military uniform saluting, in effect protecting the French empire in North Africa and simultaneously 'serving the oppressors' while losing his own identity and integrity. She describes how this reflects 'colonial, race, age, gender' power relations prevalent at the time between France and North Africa. The analysis she provides is an interesting one, but it fails to address the issue of gender. I find this troubling in a book that claims to put at its centre a US Third World feminism. I see the problem of US Third World feminism as one in which that category is simultaneously colonised (by US culture that because of its local dominance is invisible to her) and coloniser (of actual Third World feminism that is invisible because it is outside of the USA). In effect US Third World feminism is both victim of internal colonisation and a culpable actor in its own colonising impact on actual Third World feminism. Marginalised researchers need to beware of falling into this paradox, that is, through the reification of one group, of one perspective, not to thereby invisibilise others.
Sandoval's book is an ambitious work and will no doubt be well received in the US, but for a reader from outside of the US it is frustrating. Tuhiwai Smith chooses a smaller canvas for her work, but it never gets out of hand and her injunction to challenge all assumptions and to ensure local control of research not for the researchers' benefit but for the benefit of the researched is one that all researchers should heed.
Other books cited: Marimba Ani, Yurugu: An African-Centered Critique of European Cultural Thought and Behavior, Africa World Press, Trenton, NJ, & Asmara, Eritrea, 2000; Roland Barthes, Mythologies, Paladin, London, 1972; Diane Bell, Ngarrindjeri Wurruwarrin: The World That Is, Was, and Will Be, Spinifex Press, Melbourne, 1998; Shulamit Reinharz, Feminist Methods in Social Research, Oxford, New York, 1992.
Department of Political Science
University of Melbourne
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Barry Bonds
A-Rod To Home-Run King Barry Bonds: 'I Want To Take Your Record'
The seven-time National League MVP is the home-run king, with 762 for his career. A-Rod is currently fifth on the list with 654, trailing Willie Mays, Babe Ruth and Hank Aaron.
Report: A-Rod Is Being Tutored By Barry Bonds In California
According to the San Francisco Chronicle, the all-time home-run king is working with Rodriguez on his hitting as the Yankee looks to regain his form for the 2015 season.
Baseball Hall Of Fame Cuts Election Eligibility From 15 Years To 10
They changes are effective immediately and will be reflected in 2015 Hall of Fame voting by the Baseball Writers' Association of America.
9 Athletes Over 50 Who Are Still Better Than You
Most look like they haven't aged, some look even younger than they did when they were active players, and some are still involved for the love of the game. Here's a look at nine athletes over 50 who are still better and more athletic than you and who could beat you in anything.
Keidel: All Hail Hank Aaron, MLB's True Home Run King
When we see Hammerin' Hank, we see more than a baseball dignitary. Aaron is the face of fairness, which led to his greatness, and still makes him the greatest.
Bud Selig Hints That Hank Aaron Is Still Baseball's Home-Run King
During the ceremony Braves chairman Terry McGuirk said Aaron "set the home-run record the old-fashioned way" and added "You will always be the home-run king of all time."
Keidel: The A-Rod Apologist Is Just As Delusional As Rodriguez Is
Since most men don't have the time, money, and desperation for such municipal waste, we have the A-Rod apologist, who, like their fallen icon, has resorted to vast swaths of illogical reasoning, deflection, and denial in his defense.
Hall Acknowledges Calls For Reform, Says Proposal Up To BBWAA
The BBWAA has voted on Hall of Fame candidates since 1936, and elections have become more controversial in recent years as stars tainted by accusations of steroids use have fallen well short of the 75 percent needed for entry to Cooperstown.
Leo Mazzone On WFAN: Piazza Belongs In Hall Of Fame; Bonds, Clemens Too
"I'd rather face (Jeff) Bagwell and (Craig) Biggio than Piazza," Mazzone told WFAN co-hosts Joe Benigno and Evan Roberts on Thursday afternoon.
Palladino: Are Hall Of Fame Voters Softening On Steroid Candidates?
It may not happen on Wednesday. It may not happen next year. But soon, the cheaters and suspected cheaters will get in. It is inevitable.
Say Goodbye To Nostalgic Candlestick Park
"The Stick" says its last public goodbye after a run of Super Bowl success; baseball greats like Willie Mays and home run king Barry Bonds; the 1989 earthquake that interrupted the Bay Bridge World Series; and even The Beatles' farewell concert.
Bonds Pays $4,100 Penalty Stemming From Obstruction Of Justice Conviction
Former major league outfielder Barry Bonds has paid $4,100 in penalties stemming from his obstruction of justice conviction two years ago.
Deadspin Says It Bought Hall Of Fame Vote From BBWAA Member
Remember the stink made in January when Aaron Sele received a vote for the Hall of Fame? That was nothing compared to this.
Greg Maddux, Tom Glavine, Frank Thomas Highlight Hall Of Fame Ballot
Greg Maddux, Tom Glavine and Frank Thomas are among 19 newcomers on this year's Hall of Fame ballot, joining a collection of steroid-tainted holdovers that include Barry Bonds, Roger Clemens, Mark McGwire and Sammy Sosa.
By The Numbers: No Chemical Issues Today… Just Numbers
For today's By The Numbers, I thought I would take a look at the eight sluggers in history who have, thus far, clubbed 600 or more home runs.


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Mon - Fri | 10am - 5pm
Sat & Sun | 10am - 6pm
Tip for Your Zoo Trip
Exciting changes are coming to the Zoo!
Please view construction updates before you arrive.
Copyright © 2013 Audubon Nature Institute P.O. Box 4327 New Orleans, LA 70178 (504) 861-2537 email@example.com
Swamp Train
Swamp Train
Take a scenic ride and see the Zoo from the seated comfort of the Swamp Train! This narrated journey takes you behind the scenes of the South American Pampas, loops in front of the popular Louisiana Swamp exhibit and then weaves its way around the sea lion pool and reptile house.
The train is handicap accessible and departs every 30 minutes from the Carousel train depot and the Louisiana Swamp Exhibit.
- Train wristbands give all day access
- Three stops along the route include the Louisiana Swamp Exhibit, Sea Lions and Dinosaur Adventure/Reptile Encounter
- Seats are subject to availability and are not guaranteed at each stop
Tickets: $5/non-members, $4/members
Zoo Visitor Info
Audubon Zoo Hours
Mon - Fri | 10am - 5pm
Audubon Experience Package
$41.95 Adult Admission
$29.95 Child (2 -12) Admission
$29.95 Senior (65+) Admission
Our best value! Visit Audubon Zoo, Audubon Aquarium of the Americas, Entergy IMAX® Theatre and Audubon Butterfly Garden and Insectarium for one low price. The Audubon Experience package includes one visit to each facility. Audubon Experience packages are valid for 30 consecutive days starting with your first visit. The IMAX® ticket is valid for one movie on first-come, first-served availability. Tickets may be purchased in advance and used the day of your visit. Our attractions are open Tuesday through Sunday.
Audubon Zoo General Admission
$18.95 Adult Admission
$13.95 Child (2 -12) Admission
$14.95 Senior (65+) Admission
Free for Audubon Members
Zoo and Aquarium Combo
$38.95 Adult Admission
$27.95 Child (2 -12) Admission
$27.95 Senior (65+) Admission
Group Tickets
Discounted admission for youth groups of 10 or more and group lunches for 20 or more. Exciting, educational and entertaining trips at economical rates are available with advance reservations at the Zoo, Aquarium, Butterfly Garden and Insectarium, and IMAX®. To make your reservations or for more information please read more online, or call us at (504) 581-4629 or 1-800-774-7394, Monday through Friday from 10am to 4pm.
Audubon Membership
Visit often with a full year of free admission to Audubon Zoo, Audubon Aquarium of the Americas, and Audubon Butterfly Garden and Insectarium! Plus, Audubon Members save with $5 admission tickets to Entergy IMAX® Theatre, while enjoying many other valuable perks. We encourage you to do the math, and compare single ticket prices to Membership. Depending on how often you plan to visit, Audubon Membership is the best entertainment value in town!
Plan Your Visit
Audubon Zoo is located in historic Uptown New Orleans, a block from the river on Magazine Street.


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A direct sequel to 2010's Machete, Machete Kills features the return of Danny Trejo as the titular character, who finds himself teaming up with the U.S. government. As a freelance agent Trejo is sent into Mexico where he has been assigned to take out a ruthless weapons dealer (Mel Gibson) who threatens to launch a weapon into space. Also on board are Michelle Rodriguez, who returns as Luz, Sofia Vergara, Amber Heard, Jessica Alba and Demian Bichir.
Trejo spoke openly about the upcoming sequel Machete Kills, focusing primarily on the ladies his killer-for-hire will be able to romance. "Weve got Sofia Vergara, who is a star in her own right, Jessica Alba, Michelle Rodriguez, and Zoe Saldana and guess what? I get to kiss all of em.
As Robert Rodriquez's Machete Kills nears its June start date, more and more compelling cast announcements are being made. The latest from Variety not only confirms rumors that Mel Gibson will play the evil arms dealer whose out of this world ambitions spurs the U.S. government to call on the help of Danny Trejo's titular Grindhouse badass, but also reveals Modern Family firecracker Sofia Vergara has entered talks to join the feature's growing group of femme fatales...
Amber Heard has taken a role in Machete Kills. In addition to the aforementioned actors, both Danny Trejo and Jessica Alba are attached to return as the titular Machete and Sartana, respectively. Heard will be playing an assassin codenamed Miss San Antonio, though the trade doesn't say which side she will be working for. The story of the film sees Machete agreeing to work with the U.S. government to help stop an evil arms dealer (Gibson) from launching a missile and causing massive chaos.
Bichir will join to two thrilling new projects, one being William Friedkin's Trapped, and the other Robert Rodriguez's exploitation-inspired action feature Machete Kills. Sequel to the Danny Trejo-fronted Machete, this soon-to-shoot schlock-fest has the titular hero teaming up with the U.S. government
Those who stayed through the end credits of Lins Fast Five learned that Rodriguezs character, Letty, had not died (as Vin Diesels Dom has believed), and that she has become the latest target of Dwayne Johnsons relentless federal agent. The Fast series has transformed into a high-octane soap opera, so bringing a character like Letty back from the dead isnt much of a stretch. That and I always thought she fit well with the brash attitude of the burly franchise.
It's fair to say even Rodriguez thinks this is stunt casting-- that's the whole grindhouse aesthetic, after all-- but is it a stunt worth doing? Sure Gibson is controversial pretty much no matter what, but he also seems kind of distracting, and maybe even a liability
Both characters make sense to return for the next adventure, though it's unclear where they might fit into the story, which finds Machete working with the U.S. government to take down a Mexican drug cartel leader. There are also still plans to round out the trilogy with Machete Kills Again
One of the most surprising news items of this week was that Robert Rodriguez had secured financing for Machete Kills, his sequel to the summer 2010 grindhouse feature Machete. According to the report, Rodriguez has teamed up with producer Alexander Rodnyansky and production is currently scheduled to begin in April. But if things aren't moving fast enough for you already, wait until you have a gander at this.
At the end of Machete, the Grindhouse follow-up from director Robert Rodriguez, the filmmaker made a pretty lofty promise. The credits sequence told audiences that they could expect two sequels to the film called Machete Kills and Machete Kills Again. The reason I call it a lofty promise is because Grindhouse was fairly notorious for underperforming at the box office, as people didn't seem super excited to bring back the format.
At the end of Robert Rodriguez's Machete, the director made a pretty steep promise: multiple sequels. Had the film been more successful it wouldn't be an issue, but the fact is that the movie made
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VFW Baseball: St. Cloud sweeps Brainerd
The Brainerd sophomores lost two games, 6-4 and 9-3, against St. Cloud Red Wednesday at Adamson Field in Brainerd.
Four Brainerd pitchers combined to walk 17, 10 of which scored runs for St. Cloud Red.
Game One
St. Cloud Red 6 7 2
Brainerd 4 4 2
Game Two
St. Cloud Red 9 5 1
Brainerd 3 3 4
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Vietnam-era aides cite the lessons of a US defeat
''No president can win a war when public support for that war begins to decline and evaporate," said Jack Valenti, special assistant to Johnson from 1963 to 1966. ''It's like letting a heavy body roll down a hill and, once you let go, you lose control of it."
Few people have greater empathy for the challenges facing the Bush administration in Iraq than Valenti and the other speakers who appeared yesterday at a unique conference on ''Vietnam and the Presidency" at the John F. Kennedy Library in Dorchester. As top advisers to the Vietnam-era presidents, they know firsthand about making decisions based on unreliable intelligence and the fear that failure would only embolden US enemies around the world.
But the four men -- Valenti, Henry Kissinger, Theodore Sorensen, and Alexander M. Haig Jr. -- had plenty of hard-earned lessons for Bush and other political leaders from the worst military defeat in US history, costing more than 57,000 soldiers' lives. Though the lessons depend partly on ideology, all four saw similarities between Vietnam and the war in Iraq.
''Every asset of the nation must be applied to the conflict to bring about a quick and successful outcome, or don't do it," said Haig, an adviser to presidents Johnson and Nixon who says more troops are needed to succeed in Iraq. President Bush's father had 660,000 coalition soldiers for the 1991 Gulf War invasion, more than twice as many as his son had for Iraq's initial invasion.
''Vietnam and the Presidency," the first conference sponsored jointly by all the presidential libraries, drew more than 500 people to the Kennedy Library, including some who arrived at 6 a.m. for good seats and another 1,000 watching by satellite from the nearby University of Massachusetts. Caroline Kennedy, President Kennedy's daughter, introduced the morning discussion among the four former advisers, all approaching or past 80 and still strikingly sharp in recalling events of decades ago.
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AFRICA/KENYA - "Demarcation of borders to avoid further violence," the request of the Bishops of four East African countries
Nairobi (Agenzia Fides) - The Bishops of neighboring Dioceses in South Sudan in Kenya, Uganda and Ethiopia have called for borders demarcation to avoid conflicts and to achieve peaceful co-existence amongst the neighbouring communities of the four countries. According to reports from the Sudan Catholic Radio Network the appeal was launched during a Conference on peace and cross border evangelization at Lodwa Diocese in Kenya.
His Exc. Mgr. Dominic Kimengich, Bishop of Lodwa, appealed to the international community to help in the border demarcation in avoid tensions and wars amongst the neighbouring pastoralist communities. It is not uncommon for gangs to raid cattle from one border to another, especially between Kenya and Ethiopia, causing deaths and injuries.
The Bishop of Lodwa urged Church officials to encourage peace building through reconciling the people together.
The Bishop of Torit, Johnson Akio Mutek suggested the inclusion of elders in resolving the issues of the borders.
The meeting of the Bishops of the four states was born from the need to find a common position on the issue of the Ilemi Triangle, an area of 14,000 square kilometers disputed by South Sudan, Kenya and Ethiopia. (L.M.) (Agenzia Fides 13/12/2012)
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