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Arodus 16, 4715
Armasse did not properly begin until noon, but the people of Kenabres knew that good times could pass suddenly and did not much stand on ceremony. Almost since First Crusader Day, more than a week passed, the city had slowly come to life. Wooden shields, many bearing Iomedae's sign, appeared in shop windows and over doors. Now and then the signs of other righteous gods and empyreal lords joined them. Many bore fresh coats of paint, but a few hung in positions of pride: full sized shields once carried into battle proudly bearing their wear and scars. The arms of Mendev hung from banners on nearly every street corner, and in tremendous expanses of fine Tian silk from the high walls of the Kite in the distance and the Cathedral of Saint Clydwell, which dominates the plaza that shares the saint's name.
All Kenabres seemed pressed into that space, people of all races and decent faiths shoulder to shoulder and sharing breath. Laughing, bright faced children darted about holding, and often wearing, candies in the shapes of swords and shields. They cavorted about, jousting in one moment, locked in mortal combat with a demon the next. Now and then one insisted on playing a great wizard or priest, bringing cries of cheating and furious, brief arguments about whether one had to have a proper wand or staff.
Older youths slipped away to less crowded places in ones and twos, occasionally more. Now and then one of the plaza's bushes made an oddly human noise that, for this day, most adults blamed on the absent breeze. Others stood nervously about, often in small groups, awkward in new arms and armor and waiting to say their oaths. Many clustered around harried priests and priestesses in shining armor to hear brief words of encouragement. Still more went on the heels of members of this sworn brotherhood, that band of sisters in arms.
Hawkers moved through the crowd almost as swiftly as the children, shouting their wares. Many sold food, but others declaimed for charms, favors, and amulets. Several gnomes moved about offering bright ribbons, sure to please that special someone. Daringly-dressed men and women made their way through the crowd with the rest, shouting with their bodies instead of voices. Now and then someone would draw near and they, like the youths, would vanish down an alley or under bushes. Even a few scribes worked the crowd, scribbling down commissions for letters to distant lovers and family.
Entertainers of other sorts plied the crowd as well: fools in motley pretended to joust. Acrobats in far less clothing than Kenabres normally considered decent leaped and contorted themselves in small spaces ringed by spectators. Dozens of minstrels, of wildly varying talent, dueled with the din and each other.
As the noon hour drew near, you had the good fortune to make your way to a spot near the cathedral. The white stone fairly gleamed under the labors of the faithful, who had scrubbed them tirelessly for days to remove a year's filth. A collection of dignitaries gathered upon the pale expanse, ringed by numerous guards. Commander Ashus Striegher of the Order of the Sunrise Sword frowned at the crowd and stood apart, standing stiff in his battle-scarred armor. He shot dour looks in the direction of Kurt the Fair of the Sacred Band of the Rose, who held his "thorn" a glaive seven feet tall, in one hand and waved cheerfully to the revelers. The red enamel of his armor bore not so much as a shadow, let alone a chip, and its brass filigree curled about him in the shape of vines. Irabeth Tirablade of the Eagle Watch, stood an uneasy distance from Prelate Hulrun. The half-orc wore gleaming plate and shared a kiss with a young woman in leathers, ignoring the prelate entirely. He in turn pretended to stand alone on the cathedral steps, save when he spoke quietly to his stone-faced deputy Liotr Hawkblade. At several points he gestured sharply to someone in the crowd and Liotr stepped quietly away to speak to guards.
The doors of the great cathedral, huge cold iron slabs bearing sword-shaped rivets and painted brilliant silver, swung open and people stirred in the dimness within. The official opening of the festival could be only minutes away.
Hi everyone. Feel free to situate yourselves in Clydwell Plaza. You're all relatively close to the cathedral, but it's a big area with a thick crowd about. You're free to run into one another or just be off on your own. However you like. :)


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Town Square
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STATE, NATIONAL, INTERNATIONALCalifornia Libraries lose ALL State Funding
It may not have been much; it had been decreasing over time, but now there will be no state monies given to any public library...Original post made by Rick on Feb. 9, 2012
Last comment by anon, on Feb 16, 2012 at 10:41 pm | 16 comments | 1313 Views
COMMENTS ON STORIESAlameda County Supervisor Lockyer undergoing 'chemical dependency' treatment
Alameda County Supervisor Nadia Lockyer said yesterday that she's in a wellness and recovery center to be treated for "chemical...Original post made on Feb. 15, 2012
Last comment by Gary, on Feb 22, 2012 at 11:29 pm | 16 comments | 1550 Views
AROUND TOWNPleasanton Plastic Bags (again)
I continue to think about all of the plastic bags we currently receive from merchants of varying sources - every time it...Original post made by Karla on Mar. 9, 2012
Last comment by Rumba, on Mar 13, 2012 at 7:37 pm | 16 comments | 1336 Views
STATE, NATIONAL, INTERNATIONALThe republicans must want Obama to get re-elected
The republicans did not learn a thing from 2008, and they must want Obama to win in November, because they are forcing Romney...Original post made by Resident on Mar. 14, 2012
Last comment by Zeke, on Mar 20, 2012 at 5:03 am | 16 comments | 1571 Views
COMMENTS ON STORIESCEO cops plea to tax fraud
The CEO of a Pleasanton-based oil company has pleaded guilty to filing a false tax return. Read the full story here http://www.pleasantonweekly.com/story.php?story_id=9208...Original post made on Mar. 23, 2012
Last comment by Barney, on Mar 26, 2012 at 2:05 pm | 16 comments | 1433 Views
CRIMES & INCIDENTSPolice release photo of car used in daytime burglary
Pleasanton police have released a photo of the car used by burglars fleeing from a daytime break-in Monday morning and was...Original post made on Mar. 30, 2012
Last comment by ***, on Apr 4, 2012 at 8:52 am | 16 comments | 2202 Views
COMMENTS ON STORIESRetired Prop. 8 judge says same-sex marriage's time has come
The now-retired federal judge who struck down Proposition 8 said at a meeting in San Francisco Thursday he thinks same-sex...Original post made on Apr. 20, 2012
Last comment by Cholo, on Apr 24, 2012 at 10:15 pm | 16 comments | 1738 Views
AROUND TOWNValley Trails and freeway noise
I am looking to buy a house in the Tri-Valley, and especially in Pleasanton. At first sight, Valley Trails seems like a nice...Original post made by Sally on Apr. 25, 2012
Last comment by Mitch, on Apr 29, 2012 at 2:37 pm | 16 comments | 2826 Views
AROUND TOWNNew banks could face restrictions in downtown Pleasanton
The Pleasanton City Council will consider a new rule tonight that would require banks and other financial institutions to...Original post made on May. 1, 2012
Last comment by Steve, on May 4, 2012 at 10:35 am | 16 comments | 1797 Views
AROUND TOWNGas Prices
All I am hearing and reading about in the news says gas prices are falling. Here is quote from an article I read today in...Original post made by nancy s on May. 9, 2012
Last comment by Mike Cheney, on May 11, 2012 at 2:57 pm | 16 comments | 1331 Views
AROUND TOWNWhy Was the Story on Pete Stark Removed?
Story posted this morning has been removed by the Pleasanton Weekly. Why?!...Original post made by Dave on May. 18, 2012
Last comment by steve, on May 22, 2012 at 8:59 pm | 16 comments | 1551 Views
SCHOOLS & KIDSBuy a better seat? REALLY??
Posted on AVHS Newsletter: AMADOR VALLEY HIGH SCHOOL PTSA Graduation Ceremony Preferred Seating 8 seats within...Original post made by Mary on May. 24, 2012
Last comment by Sonoma, on Jun 11, 2012 at 9:45 pm | 16 comments | 1932 Views
CRIMES & INCIDENTSDanville woman cops plea for child endangerment
The Danville woman who left her infant twins in her car to go shopping at the mall has taken a plea deal that would allow...Original post made on Jun. 22, 2012
Last comment by alias man, on Jun 27, 2012 at 8:44 am | 16 comments | 5687 Views
AROUND TOWNLow, Low down Fireworks
Puzzled how or if a decision was made to dramatically change how fair fireworks are displayed. After several decades of watching...Original post made by Watcher on Jun. 29, 2012
Last comment by Some Dude, on Jul 4, 2012 at 1:57 pm | 16 comments | 2430 Views
COMMENTS ON STORIESState park finds $54 million in its pocket
State parks officials have a mountain of explaining to do -- as the park system reportedly had $54 million hidden in its...Original post made on Jul. 20, 2012
Last comment by Mrs Mittens, on Jul 26, 2012 at 3:55 pm | 16 comments | 2086 Views
COMMENTS ON STORIESCity Council meets tonight to consider, possibly ratify new contract with firefighters' union
The City Council will hold a special meeting starting at 6:30 p.m. tonight to consider and possibly ratify a new labor contract...Original post made on Aug. 23, 2012
Last comment by GX, on Aug 23, 2012 at 9:43 pm | 16 comments | 1412 Views
AROUND TOWNTo: Tim Hunt
"A starting firefighter makes $5,800 a month, while those at the top salary step (no. 6) make $7,405 or $88,860 annually....Original post made by Arnold on Aug. 28, 2012
Last comment by Question, on Sep 27, 2012 at 7:17 am | 16 comments | 2520 Views
COMMENTS ON STORIESPleasanton council set to OK gas station next to Safeway with drive-through Starbucks coming next
A new Starbucks coffee shop with drive-through service is now planned for a vacant site next to Safeway's recently opened...Original post made on Sep. 4, 2012
Last comment by Ms Araya, on Nov 29, 2012 at 1:25 pm | 16 comments | 2563 Views
CRIMES & INCIDENTSCHP officer in critical condition after being shot during I-680 traffic stop where suspect was killed
A California Highway Patrol officer critically wounded in a shooting that followed a traffic stop on I-680 Tuesday morning...Original post made on Sep. 5, 2012
Last comment by anti-arnold, on Sep 6, 2012 at 3:16 pm | 16 comments | 2515 Views
AROUND TOWNSuicides: more common than murder
Seventeen-year-old Tricia Martin may be Pleasanton's latest casualty in an ongoing trend that claims nearly 34,000 people...Original post made on Sep. 30, 2012
Last comment by Jean, on Oct 2, 2012 at 2:40 am | 16 comments | 2790 Views
The Kentucky Gubernatorial Derby
By Tom Cushing | 1 comment | 1,495 views
'General Lee' banned; political correctness gone too far?
By Gina Channell-Allen | 14 comments | 942 views
When Students Consider Non-Portfolio Design Schools
By Elizabeth LaScala | 0 comments | 604 views


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If he's wrestling a good guy the score is going to be tight. I can't think of anyone good that he's "destroyed."
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I think he meant destroyed with points, not the ability to ride without scoring.
Well, he won 8-1, and I don't remember them giving Dake any points for his cool nickname, so I'm pretty sure he actually did score points.
Dake beat Molinaro 8-1?
Call me Romney if you like (ok, injecting a minimum of political humor and that is all)..
Is 8-1 'destroying' someone? A strong, decisive win? No doubt? But I'd put 12+ points or a pin as destroying someone.
Probably semantics, but still...


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FY'12 Budget Update for Teaching American History Grants & NHPRC
On Sept. 21, the Senate Appropriations Committee approved a Fiscal Year 2012 funding bill (S. 1599) that includes $46 million for the Teaching American History (TAH) grants program at the Department of Education. However a draft House Appropriations Committee version of the bill released on Sept. 29 would eliminate funding for TAH.
The Teaching American History Grants program received $46 million in FY 11, but that funding went to existing TAH grantees.
The Senate Appropriations Committee also recently marked up the Fiscal Year 2012 Financial Services and General Government (FS&GG) funding bill (S. 1573) that includes $5 million for the National Historical Publications and Records Commission (NHPRC).
This amount is $1.986 million less than the NHPRC received in FY '11. However, it is the amount the Obama administration requested for FY '12. As passed earlier this year the House Appropriations Committee's version of the FS&GG FY '12 bill only provides $1 million for the NHPRC.
The federal government continues to function on a week-long continuing resolution (CR) since the current fiscal year expires on September 30. When it returns from recess next week Congress is expected to consider a longer CR that will run until November 18.
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- David Hackett Fischer wins $100,000 prize for lifetime achievement in military writing


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WCWS: OU beats Louisiana-Lafayette to stay alive, faces Oregon on Saturday night
Parsons' sinking line drive down the left-field line bounced past the diving left fielder and rolled to the fence as Parsons circled the bases for an inside-the-park home run — the first career homer for the junior from Pryor and just the second inside-the-park home run in WCWS history.
"I was trying to take my hacks," Parsons said. "As soon as I saw she had missed the ball, I took off running. I saw her running back to get it, and I looked at coach and she was telling me to go all the way."
OU managed just four hits off Lafayette starter Christina Hamilton (29-4), who allowed only seven hits in her two losses at the WCWS. Lafayette ended its season at 49-10-1.
Stevens gave up six hits and three walks, while striking out seven.
"We're going to work as hard as we can to stay alive in this tournament," Gasso said. "I think this team is going to be firing on all cylinders. Our absolute goal and mission is to be standing on this field on Sunday."


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In this tweet chat, English teachers discussed the benefits of telling digital stories on...
Immigrant Athletes in the Summer 2004 Olympics
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Clare Bridge of Leawood Senior Apartments12724 State Line Rd., Leawood, KS 66209
- Call for rates
- 1 Bed
Clare Bridge of Leawood is small and home-like community specializing in caring for seniors with Alzheimers and other types of dementia. Our state-of-the-art facility features an advanced building design, carefully appointed staff, specialized management and highly endorsed programs. As a Brookdale Senior Living community, Clare Bridge of Leawood is committed to meeting the unique needs of each resident we serve, as well as their families. Featured Amenities Residents are given their choice of fully-furnished private suites. All residences come with private baths, wall-to-wall carpeting and emergency call systems that are monitored around-the-clock by our staff. Residents are also welcome to bring their small pets with them. Our community has been designed with circular paths and featured two enclosed courtyards with way finding cues to help our residents easily navigate the property and feel secure. Seniors can be found enjoying a book in our library, soaking up some sun in our sun room or entertaining family and friends in our private dining room. Activities of all sorts are scheduled from 9:30am to 8pm every day, so residents always have the opportunity to stay social and active within the community. Available Services Each resident at Clare Bridge of Leawood receives a targeted service plan to address their personal needs. Our talented staff members are trained to aid residents with basic living tasks such as showering, dressing, grooming, hygiene, din
Clare Bridge of Leawood is a senior apartment community located in Leawood, KS. View this 55+ apartment on a map.
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*Note: In Select Units


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: Speculation:
Mike Komisarek, bounce back year?
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Crash Test Domi*
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Mike Komisarek, bounce back year?
I really think and hope Komisarek is going to bounce back this year. First year with Leafs had a major injury, second year or third year with Leafs was accused of hitting a girl and was just completely lost under Wilson.
He was #1 shutdown guy in Montreal, then came to the circus that is Toronto and flopped miserably, for whatever reasons.
I think playing systems under Carlysle will get him back to his old form, because that run-n-gun style of Wilson he was like a chicken with no head.
Anyone else rooting for him to succeed this time? Because if you saw him Montreal, you know what his potential is. He's always been a team first guy, hence his beatings from Lucic.
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Distinguished Professor of Philosophy Lectures at Nyack
Posted by Deborah.Walker on Saturday October 27, 2007
Dr. Merold Westphal, Distinguished Professor of Philosophy at Fordham University will be the guest lecturer hosted by the Philosophy Senior Seminar on Tuesday, October 30 at 9:30 a.m. in Hilltop Classroom 4 on Nyack's Rockland County campus. His subject will be "Faith in the Midst of Secular Thought."
Dr. Westphal's expertise is in the field of Continental Philosophy, which includes the work of Kant, Hegel, Kierkegaard, Husserl, and Heidegger. An author of eight books and some 200 published articles, he is a scholarly consultant for the university press of several universities and academic journals.
At Wheaton College, he completed undergraduate studies summa cum laude and earned both his M.A.and Ph.D. from Yale University. Dr. Westphal has taught philosophy at Fordham for twenty years and at a number of other colleges and seminaries, among them Wheaton College, Yale University, Harvard Divinity School and Fuller Theological Seminary.
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Could a contest get any better? Lan Airlines, Valle Nevado, Aspen Ski Resort and Helly Hansen have launched the prize of the year "Peak Seasons": One ski week at Aspen Snowmass, and one ski week at Valle Nevado in Chile, plus all the gear you'll need from Helly Hansen and flights for two aboard Lan Airlines. The winner will also have the chance to meet Peak Season spokesperson and snowboard pro Gretchen Bleiler. Gretchen is one of the most accomplished women in snowboarding, and a Olympic Silver Medalist and four-time X-Games Gold Medalist. As part of the contest, Lan Airlines will donate funds to Protect Our Winters (POW), the association that seeks to help halt climate change so we can enjoy snow for years to come. Enter to win by visiting Lan's Only in South America site, and we may see you at Valle this year! http://bit.ly/1He62SI
Win a Trip to Valle Nevado & Aspen With Lan Airlines!mayo 13th, 2015
Hone Your Snow Sport Photo Skills with SKI and Skiing Magazine's Powder Click Photo Camp at Valle Nevadoabril 23rd, 2015
Do you love snow, action and photography? Would you like to improve your photo skills under the mentorship of some of the leading professionals in their field? Have you always wanted to ski the Chilean Andes? If the answer is yes, check out the Powder Click Photo Camp hosted by SKI and Skiing Magazines at Valle Nevado August 21-28.
Camp participants spend seven days learning how to shoot on-mountain action stills, with daily seminars covering everything from photo editing techniques to tips on how to communicate with athletes and clients. In addition, campers have the chance to ski alongside international pros and help out on gear testing excursions and photo shoots with Active Junky, a media and shopping site for outdoor enthusiasts.
The photo camper with the best images will be given the opportunity to have his or her work published in Skiing Magazine's Photo Annual, SKI Magazine's Spring issue, and an appearance on the magazines' website. ActiveJunky.com will also award winners of the photography competition with ski apparel and outdoor equipment.
For rates and more information, click here. To book a space, contact Preston Schlebusch Photography directly at email@example.com; (917) 364-2846.
PowderQuest Does Valle Nevado: A Trip to Rememberfebrero 27th, 2015
Last season Chris Benchetler and a formidable team of PowderQuest riders hit the slopes of Valle Nevado. Watch this video recap of their trip courtesy of the Ski Channel and see what they loved most, including bluebird conditions, powder slashing, and wind lips, and even going so far as to say Valle Nevado has the best August snow in the world! Check out the video for some summer snow inspiration, and come see for yourself in 2015!


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Christian Moderns: Freedom and Fetish in the Mission Encounter
University of California Press, Dec 4, 2006 - Religion - 336 pages
Across much of the postcolonial world, Christianity has often become inseparable from ideas and practices linking the concept of modernity to that of human emancipation. To explore these links, Webb Keane undertakes a rich ethnographic study of the century-long encounter, from the colonial Dutch East Indies to post-independence Indonesia, among Calvinist missionaries, their converts, and those who resist conversion. Keane's analysis of their struggles over such things as prayers, offerings, and the value of money challenges familiar notions about agency. Through its exploration of language, materiality, and morality, this book illuminates a wide range of debates in social and cultural theory. It demonstrates the crucial place of Christianity in semiotic ideologies of modernity and sheds new light on the importance of religion in colonial and postcolonial histories.
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this was a little beyond me when i started reading it. i want to read it again when i'm smarter. Read full review
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How to tell your parents that you're majoring in art
December 2, 2014 · Print This Article
One of my duties as a Lecturer of Foundations at Northern Arizona University is to provide give tours to prospective students. In an email follow-up to one of these tours, I was asked about the viability of a career following an art degree, and how one might explain this career choice to one's parents. Specifically, I was asked to elaborate on a conversation I had mentioned having with my father, who had been skeptical to say the least regarding my career prospects after graduate school, for which I was asking to borrow some money from him. The following is taken largely from the text of the email I sent in response.
There are a few viable strategies to making a living with an art degree. I certainly have friends doing the "move to New York and try to be an art star" thing, a few of them successfully. Most support themselves with jobs as waiters or gallery assistants etc. With even a BA, one can get work as a security guard or administrative assistant at a museum, gallery, or in an artist's studio as an assistant helping to make the work. These are entry level jobs from which one can work their way up to a career.
The strategy that I know most intimately is teaching. This is a challenging but viable path, if you have the right temperament for it. Not everyone is well suited for teaching, and it is important to be sure it's right for you, rather than treating it as the default answer to the question of "I've got my MFA; now what?"
Speaking of the MFA…The question of whether or not to go to grad school is debated within the art world, but it is an absolute necessity if you want to teach art at the college level. It's also a big asset if you teach K-12 or at private institutions. Applying to grad schools is itself a big process, and scary. You may not get into your top choice, and you may not get into any school at all your first time applying. Some grad schools are expensive; others are fully funded and therefore free. This is of course a question for down the road, but I mention it because it was when I was making the decision to attend grad school that this issue came up.
The specific conversation came up with my father when I was applying to graduate school. I needed to borrow money from him, and he was basically not at all supportive of my decision to go to graduate school and pursue a career teaching art. He said, basically, "I'll loan you the money because I'm your father, but I think it's a bad investment, I don't think you'll be able to find work, and I don't think you'll be able to repay me, but I need you to, somehow." He asked me to specifically ask my faculty how long it had taken them to find a teaching job, and what was a normal starting salary. I asked my painting instructor, Leslie Kenneth Price at Humboldt State University, and he told me that after graduating from his MFA, he found adjunct work within a year, and it took him five years of adjunct work to get a full time job. He said that starting salaries at the full-time level were around $40K.
I ended up borrowing $37,000 from my father, in addition to $73,000 in student loans, to attend the Hoffberger School of Painting at the Maryland Institute College of Art. I graduated in May of 2007. I started teaching part time in 2008, and in 2013 I was hired at NAU…five years after my first adjunct gig began, at a rate of $42,000 a year. Obviously everyone's experience is different, but Leslie definitely called it in my case. Five years as an adjunct, then a full time job starting at $40K, sounds about average.
Bear in mind that some people do land full time teaching jobs straight out of graduate school. Benjamin Duke was a year ahead of mine in grad school; he was doing a kind of work that really leant itself to a particular program's needs, and so he was offered a full time teaching job at the University of Michigan in Ann Arbor before he had even finished his MFA. He also shows at Ann Nathan, an excellent gallery in Chicago. He is a.) very, very good, b.) very, very lucky, and c.) very, very smart. I wouldn't count on getting a full time job right away; even if you're good and smart you may not be lucky. But, it could happen.
On the other side of things, it is certainly possible that you won't end up teaching. Some people just aren't well-suited to it, and find other lines of work. I have several friends who earned MFAs and then were offered technical or administrative positions at the institutions from which they graduated. These are certainly viable careers, and should be considered as good alternatives to teaching. Others work for museums or galleries, or in other creative fields.
For me, though, teaching has been a great fit. The pay isn't going to make me rich by any means, but it is definitely enough to live on, what I'd call "grown up money." And there are other benefits as well. Great medical and life insurance, for example, and a great work environment. Yes, we work hard and have to do a lot of off-the-clock research, but our schedules tend to be very flexible, vacation time is impressive, and we get to work doing something we love. Oh, and another benefit: if you do take out student loans, the Public Service Loan Forgiveness Act means that, under certain conditions, if you work for a public service institution (a college, university, or museum, or a non-profit, but not a commercial gallery), and your income is under a certain amount, you can pay on an Income-Based basis and after 10 years, 120 on time monthly payments, any remaining loan balance can be forgiven.
Also, look at the College Art Association website and go through the job listings as though you're looking for a job. That will give you some idea of what's out there. Also NYFA, HigherEd Jobs, the Chronicle of Higher Education, and Academic Keys.
In one way, my father had been correct. I never did repay him a cent of what I had borrowed, despite the fact that Professor Price's predictions about the time it would take to find full time work, and my starting salary. My father died, from complications of alcoholism, a few weeks before I was offered the job that would have allowed me to repay him what he had loaned me.
The Road Behind: GWAR After Oderus
November 4, 2014 · Print This Article
Well I'm traveling down the road
And I'm carrying that heavy load
I walk around in a stupor
Sleazy, I cant do the show
Last April, Dave Brockie, better known as Oderus Urungus, lead singer of the band GWAR, died of a heroin overdose. I wrote about his death in a previous article: http://badatsports.com/2014/i-hope-theres-drugs-in-heaven-rest-in-peace-dave-brockie/
Hanging out backstage
I'm in a homicidal rage
I signed a million dollar contract
I puked on every page
Slaughtered half the crew
Caused they ate the deli-tray
Oh Baby hey
Said I'd do the show but I canceled anyway
Many feared that the band would die with Brockie, but happily, this doesn't seem to be the case. GWAR has endured, with a tour beginning at Riotfest in Chicago. After the initial performance, GWAR was reported to have a new, female lead singer by the name of Vulvatron. This was of course welcomed and hailed as a progressive step by the feminist (or at least pro-equality) press (and Internet chatter), but this early reports were quickly amended. A new character called Blóthar, a self-described berserker, performed many of the vocals formerly performed by Oderus, and was credited in subsequent reports as GWAR's new lead singer, with Vulvatron's role being amended to being "more mysterious."
You were road kill baby
Til I scraped you in my arms
Just another wattle flapping
On the old turkey farm
So baby….
I was of course still saddened by the loss of Brockie, but also intrigued and excited by the new lineup. Would GWAR still be GWAR without Oderus? I hoped so, and it was in this spirit of hope that I bought tickets to the Albuquerque performance on the so-called "Eternal Tour." (They were also performing in Tempe, much closer to my new home of Flagstaff, but some friends were in Albuquerque, so we made a road trip of it.) I'd seen photos of Blóthar and Vulvatron, and heard some interviews, but I needed to see and hear them performing, with my own eyes and ears. So we headed out for Albuquerque, and arrived at the venue (Sunshine Theather) just in time to catch the last couple of songs by the second opening act, Decapitated. (They were excellent, by the way.)
And while the wheels keep rolling
And another milepost gone
All along the road behind
Oh can't you hear me calling
Just like the sad whale song
I'm on the road behind
The show centered around a narrative that Oderus Urungus was missing. The band attempted to rescue him using a time machine, going into the past (before he went missing, presumably with Brockie's death) to bring him into the present. After initially accidentally capturing a pizza delivery dude, who was suitably dismembered, this resulted in the band acquiring only Oderus' penis, the "Cuttlefish of Cthulhu." At first confused by this development, the band concluded that Oderus had mistaken the door-like "time portal" for a glory hole, and had stuck his dick through in hope that it would get sucked. (The band then complained (I'm paraphrasing), "What? This thing doesn't suck your dick? You can get pizza, but you can't get your dick sucked? Fuck the future!")
Well there you have it baby I'm just a sensitive guy
Y'know I snuffed a million planets
But I still find time to cry
Because there's more to life
Then making other people die
Like a little bloody tear baby
Running out my dirty little eye
The set list of this tour has been well described by previous reviews (http://www.heyreverb.com/blog/2014/11/02/gwar-summit-music-hall-denver-halloween-photos-review/96481/). A weird, turtle-like hobgoblin named Bonesnapper delivered a hip hop sort of track (I didn't recognize it, but looking it up, it's apparently called "I, Bonesnapper") the way Sleazy P Martini, the band's manager, formerly performed Think You Oughta Know This and Slaughterama. He was subsequently ridiculed by the rest of the band for his efforts.
And some things baby
They don't make no sense
Does it really matter if it bugs your parents?
Beefcake the Mighty and Vulvatron performed a duet of Hate Love Songs. The band did a few other GWAR classics: Saddam a Go-Go, and Horror of Yig. The band did prove that they could perform the standard repertoire. It was by any standard a good show. Throughout, the narrative of the absence of Oderus served as a memorial to Brockie. The show hit its climax with a battle with Mr. Perfect, a giant, Dr. Manhattan-like being from the future, with a cracked lava skin texture and, after sustaining some battle damage, tentacles for arms. This was all standard GWAR fare, and certainly the band showed that, for all the sadnass at Brockie's death, the show would go on.
You were road kill baby
Til I scraped you in my arms
Just another wattle flapping
On the old turkey farm
So baby….
The concert had, from its beginning, acted as a memorial for Dave Brockie. Towards its conclusion, this element was brought to the forefront. A metal rendition of Danny Boy accompanied a funeral procession in which the band carried Oderus' giant, two-handed sword, Unt Lick. The sword was propped up as a monument, and the band proceeded to perform GWAR's one classic sad song: The Road Behind. https://www.youtube.com/watch?v=1UyqDIaFCos
Now baby quit yer crying
Put those clown britches on
Blóthar sang these lyrics in the third person: "You know he snuffed a million planets, but he still found time to cry," and there was no doubt in anyone's mind about whom they were singing. There wasn't a dry eye in the house; each and every one of us sported "a bloody little tear, baby, running out my dirty little eye." It felt and sounded like the entire audience was singing along with every word; I know I was. And then, without skipping a beat, they refused to descend too far into the maudlin, and instead performed a rendition of the Pet Shop Boys (whom they decried as "the worst band of all time") song West End Girls, mashed up with Jim Carroll's "People Who Died."
Well the wheels keep rolling
And another signpost gone
Baby can't you hear me calling
Like a sad whale song
Sad whale baby
There was no encore. They played what they came to play, following a set plan, an when they were done, they cleared the stage. The night was over. (Well, actually we went to a burlesque show at a bar afterwards, but the band was done.) And we were left to reflect on the night's performance. The absence of Dave Brockie, a.k.a. Oderus Urungus, was not merely felt, but central to the show. In every moment was a tribute, whether overt or unspoken, to his contributions to the band. The question of his legacy, of who would take the place as lead singer of GWAR, was similarly central. While Blóthar sang most of the vocals that Oderus would have performed, he deftly avoided the role of Brockie's replacement. In small moments, the idea that Brockie was irreplaceable ran as a consistent thread throughtout the show. The suggestion, "What do you think, Bonesnapper for lead singer of GWAR?" rang not merely as a throwaway line, but as a reminder, that GWAR's lead singer was and would always be Oderus Urungus, a.k.a. Dave Brockie. The singing of "The Road Behind" in the third person underscored his absence. Vulvatron asserted herself even more powerfully than Sylmensta Hymen, GWAR's most recent female member, had done, which was no mean feat. Sawborg Destructo struggled against Bonesnapper but neither was a serious contender.
The concert was the perfect tribute to Brockie. It showed two things: firstly, that Oderus was irreplaceable, and nobody would be stupid enough to try to take his place. Secondly, we saw that despite this, the band could and would continue to perform without him. GWAR has seen other members come and go, and if they can survive, as it seems, the loss of their lead singer, then the band could in theory endure indefinitely. However, the concert-as-wake was such a memorial, the late Brockie and missing Oderus so central that the performance, it left one question lingering in the air. As we spilled out into the night, I wondered what their next tour would look like. What would GWAR look like once Oderus' shade no longer hung over the stage in absentia?
But, as Blóthar put it, that's enough sad shit, enough feeling sorry for ourselves. Here's the Pet Shop Boys cover.
By the title of this essay I imply not that I am providing an introduction to this topic, for the uninitiated, from the perspective of experience. Rather, I intend to share the experience of my own introduction to this topic, in preparation for a course I will be teaching next semester. Prior to beginning my research, I posed the following question to my Facebook friends; their responses follow.
Explain "relational aesthetics/social practice," using only common language (no artspeak), and without bringing up Thai food. Go.
Jay Gallegos: Practical collaborative participation. It's more like Ethiopian food.
Casey McGonagle: Do regular stuff, only it's art.
Randall Szott: Art for artists inspired by Martha Stewart.
Chloë Rayson: One mans trash is understood by another man to be treasure
Richard Holland: Sometimes people make shit up.
Jennifer Reeder: Block party fantasy camp.
Albert Stabler: Making a blog about an ethically-motivated garage sale.
Randall Szott: Wait, that cuts a little too close to home there buddy.
Sherelle Castro: The kind that comes with cats and batteries.
Anne Harris: I have no idea. And I'm actually about to eat Thai food. Imagine that.
Kevin Freitas: Bullshit
Meg Duguid: The composition of moments and actions that shed light on a concept. You should be able to talk about this work like one might a painting or a composed photo, composition, movement, content. There should be a broad exposure to multiple practices from Mierle Ukeles, Mary Miss, Maya Linn, to Gordon Marta Clark and Rick Lowe. There should be a range of politically overt and implicit politic. I actually think that you could leave politics out all together and look at some of the work of the Judson Dance Group and some of Kaprow's late performance work. I would liken some of it to the idea of found object as it is found motion.
Robert C. Anderson: Verbal self-abuse.
Mike Malorin: Peanut sauce… Dammit!
Kevin Freitas: Soup kitchen
Sarah Kaiser: compare visual stuff to the rest of the world
Michael Mlekowski: Stuff you look at and if it's any good you get to take a free sample home!
Diana Dorwin: The importance of the object or action isn't determined by the artist, or the individual viewing the artwork, but the viewing community as a whole.
Grub Fay: some young art student goes to a party where everyone is having a good time, and starts yelling, "look at us, we're all art!" and of course makes the party less good, and ruins the art.
From this hyper-informal survey, it seemed that among my friends, many were not disposed to take the topic seriously: not only in the humorous, playful responses to my question, but in their attitudes towards relational aesthetics as a serious practice. Others recognized its legitimacy, and a few (e.g. Meg Duguid) spoke from firsthand experience working in this genre.
I'll admit some past skepticism towards relational aesthetics; my perspective (thought not so eloquently phrased) echoed Casey McGonagle's: "Do regular stuff, only it's art." I decided that I owed it to myself to learn more about the topic, to at least add some nuance to my skepticism and hopefully gain a greater appreciation for it. To this end, I volunteered to teach a course on Relational Aesthetics next semester (Spring 2015), and began research in preparation for this. The following essay is a summary of my initial readings.
The phrases "relational aesthetics," "relational art," and "social practice" have becoming increasingly common in the art world since the late 1990s, while their exact meaning continues to elude many of those not directly involved in this field. In order to study this aspect of art, we need to understand exactly what it is that we are talking about.
French art critic Nicolas Bourriaud defined the approach in 1998 in his book Esthétique relationnelle (Relational Aesthetics), calling it "a set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space." He had coined the phrase two years earlier in the catalogue for the exhibition Traffic, curated by Bourriaud, at CAPC musée d'art contemporain de Bordeaux.
Relational aesthetics, then, can be understood as a way of looking at things, as a guiding principle, and as an approach to artmaking. An artwork can be considered "relational art" if it is essentially based on social interaction. In this way relational aesthetics is very different from traditional art forms such as drawing, painting, sculpture, and photography, which are defined by the physical materials and tools used in their production. Relational aesthetics may be more similar to a movement, such as Impressionism, Expressionism, Cubism, etc. Writer and director Ben Lewis finds many similarities between relational art and earlier "ism"s at their beginnings: relational art is often not considered art at all because it redefines the concept of art, many artists considered "relational" deny that they are such and relational art had a "founding" exhibition.
Since relational aesthetics is not defined by a single medium, it follows that relational art can be made in any media. And certainly, examples of relational art can be found in a wide range of media. However, certain media lend themselves to relational aesthetics. In particular, the best-known examples of relational art often exist as a subset of performance art. The poster child for relational aesthetics has always been Rirkit Tiravanija, and his best-known series bears a close resemblance to performance. Beginning with Pad Thai (1990) at the Paula Allen Gallery in New York, Tiravanija cooked and served the exhibition's eponymous food for gallery visitors. The difference between this form of relational art and other types of performance is that in most performance art, the artist's actions are the essence of the work; in relational art of this type, the essence of the work lies in the interaction between the audience and the artist. Cooking Thai food could be a performance; serving it to visitors moves it into the realm of relational aesthetics.
Other forms of relational art more closely resemble sculptures or installations. Some of Tiravanija's works resemble installations, albeit installations inviting viewer interaction. One example, from Traffic (relational aesthetic's seminal exhibition) was described in Frieze magazine: "'Traffic' predictably included the model practitioner of this kind of art – Rirkrit Tiravanija. Around the second floor viewing gallery he provided simple, user-friendly arrangements of tables and chairs made from brown packaging cardboard, each with a free mini-bar of red wine and mineral water."
However, the clearest example of the sculpture/installation model of relational art is Felix Gonzalez-Torres. Nearly all of his work consists in some way of objects arranged in a space. Some, such as his stacks of printed posters and his piles of candy, invite viewers to take one of the component pieces home with them. In Relational Aesthetics, Nicolas Bourriaud describes the problem posed by these takeaways:
"One is allowed to take one of the posters away with him/her. But what happens if lots of visitors walk off in turn with these sheets of paper offered to an abstract public? What process would cause the piece to change and then vanish? For this work did not involve a "Performance", or a poster hand-out, but a work endowed with a defined form and a certain density, a work not displaying its construction (or dismantlement) process, but the form of its presence amid an audience [italics original]."
This problem is more a theoretical one than a practical issue; the medium of the work itself is described in this case as "Offset print on paper, endless copies." The museum, gallery, or collector would simply order more copies of the poster made, and replenish the stack. Similarly, the piles of candy are replenished from commercial sources. The issue is not one of logistics, but rather of the interaction, via the artwork, between the artist and the viewer, who becomes a complicit participant in its creation. This is what places the work within the realm of relational art.
Gift-giving is only one possible mode of social interaction of course, and yet relational aesthetics often carries with it a presumption of generosity. Another mode is communication, often the transmission of information or the teaching of a skill. I think now of Hui-Min Tsen's walking tour of Chicago's Pedway. [http://chicagopedwaytour.com/Home.html] Tsen guides participants on a walking tour of this underground route through the city, a form of casual urban exploration, a better way of getting to know the place.
My wife Stephanie Burke and I created several artworks which, though we didn't necessarily use the term at the time, are in hindsight relational in nature. In one series, called Shooting With Artists, we took Chicago-based artists to a shooting range in Indiana to shoot guns. For many, this was their first time shooting a gun, and their first exposure to "gun culture." We thought this was interesting because art culture and gun culture generally never meet; they are seen as polar opposites politically and socially. The exceptions to these, where these cultures overlap, become nuanced and unexpected. These trips were documented with video and still photos, but the works themselves were essentially relational.
Another project, which was Stephanie's concept, was called "Snow Coffee." In our neighborhood (as in much of Chicago), people would claim "dibs" on a parking space that they had (ostensibly) shoveled clear of snow, marking it as their own private parking space with various items, most often patio furniture. Playfully interacting with this contentious practice, we would put on our bathrobes and take a carafe of coffee to enjoy while sitting in these impromptu cafes, consisting of no more than a pair of lawn chairs in a snow-free parking space on the side of the street. Eventually, following the epic snowstorm remembered as "Snowmageddon," Stephanie spent the better part of a day digging our Jeep out of the snow. When we left the parking space thus created, we "claimed" it with two chairs and a card table, complete with tablecloth and a vase of flowers.
This essay documents the beginning stages of my research into relational art and social practice, in preparation for a course I am teaching next semester at Northern Arizona University. This research will continue until and throughout the Spring 2015 semester. Feedback is welcome; contact me through Facebook (Jeriah Hildine) or at jeriah (dot) hildwine (at) gmail (dot) com.
One Year Away From Chicago
August 5, 2014 · Print This Article
It has been one year since I left Chicago for Flagstaff, Arizona, after accepting a position as a full-time lecturer of foundations at Northern Arizona University. Many other Chicago-based artists and educators, some with roots and connections to Chicago's art scene far deeper and stronger than my own, have made the same choice. Some leave for personal reasons, but for the most part, artists leave Chicago to find work, or, more accurately, they leave as I did, to accept an offer of employment from a college or university located elsewhere.
Most recently, Chicago painter Molly Zuckerman Hartung announced (on Facebook) that she's leaving Chicago: first to Knoxville, TN, to teach for the fall semester, then to Miami for a residency for the spring, then back to Chicago to teach next summer, and finally, fall of 2015, to New York City for, presumably, all the usual reasons that artists go there. Molly cut her way through everything that stood in her way to get where she is, left an indelible mark on Chicago, and if anybody can pull the rock star Hail Mary of the New York scene, it's her. I wish her all the luck in the world, not that she needs it.
Earlier this year, Tony Fitzpatrick closed up shop in Chicago to head down to New Orleans, a place that had been dear to his heart for many years. I remember him telling a story once, I hope he doesn't mind my repeating it, about how he used to fly down to New Orleans all the time, and he used to carry a gun. He'd just mail it to himself. So one time he was walking along the levee in the French Quarter, gun in his shoulder bag, and a couple of teenagers who looked like trouble walked up on him, maybe said something, asked what was in his bag, whatever. Tony put his hand in the bag, on the butt of the gun, and told the kids to walk on. I guess they figured he was serious, because they did as he asked, walked on. But then Tony's thinking about it, thinking about if they hadn't, and then Tony'd have shot the kids, and he'd have that on his conscience, all for what, his wallet? Nothing, to Tony's mind, worth shooting a couple of kids over. So after that he stopped carrying a gun. In my memory, the story ends with him pitching the gun into a canal, but I'm probably mapping that over from another story another guy told me about accidentally flying to Germany with his dad's forgotten pistol in a pocket of a suitcase he'd borrowed from his dad. Anyway, Tony's in New Orleans, but Tony can do anything, anywhere, and he surely will.
Adam Benjamin Fung, a painter who shows with Zolla-Lieberman Gallery in River North, left last summer to teach at Texas Christian University. Sweet gig, good for him. Amy Mayfield, another Zolla-Lieberman painter, returned to her home town of San Diego, I think more for family reasons than for a job. This was a couple years ago I think. Photographer Adam Ekberg, who I worked with at Hyde Park Art Center, moved to Florida to teach, along with Noelle Mason, who continues to show with Thomas Robertello. Liz Nielson and Carolina Wheat, artists who formerly ran Swimming Pool Project Space, moved to New York for a job; Stephanie and I adopted Carolina's son's ball python, Homestar Runner, whom we immediately renamed Snake. Dayton Castleman moved to Arkansas. And many more.
The reason these artists keep leaving, with one or two exceptions, is almost always employment. Chicago generates an amazing diversity of artists, not just SAIC kids, but Columbia, Northwestern, UIC, and of course the self-taught, the non-academic, and the artists who, like I did, move to Chicago after school and set up a practice. But Chicago can't keep these artists, because it can't afford to feed them. Some move to other metropolises, and do very well for themselves as exhibiting artists: Chicago's loss.
Others move for a teaching job and do well for themselves in that regard, and hopefully (I'm hoping for myself here) can maintain something of a practice. But it's a challenge, that last bit, one that I've been wrestling with for the past year. A lot has happened, I've got every excuse in the book, but the fact is, in some ways it's been a pretty dry year for me, as far as painting goes. The move and the job are part of it, but honestly buying a house and fixing it up was the bigger part. I got some stuff done, did the Walking to Mordor project, that was pretty sweet. Did a few paintings but honestly none that are any good. I've got some ideas but they're slow in getting going.
The gallery thing is rough out here. There's one gig in town, Beaver Street Gallery, that's pretty legit. If I play my cards right, make some decent new work, I've got a shot at showing there, I'd bet. And I'd love to. But, if you think Chicago lacks collectors, you should check out Flagstaff. The occasional Phoenician rolls through, but they mostly buy plein aire landscapes, or the kind of silver coyote regionalism that's all over out here. Maybe things are better down in Phoenix. I've got some work up in a restaurant called The Bordello of Jerome, in the little town of that name, not far from here. Maynard from Tool has a winery out there; maybe he'll buy a painting. We have another ball python named (by his previous owner) Maynard, in his honor.
Of course one hopes to leave Chicago with some connections intact, and I've been back and done a few group shows in the past year. The big deal of course is still the idea of having gallery representation in the city. I'd bet most of the artists I named above held on to their Chicago gallery connections. I think I pretty much shit the bed on that one. I had a solo show at Linda Warren Projects back in May of 2012, and was stoked to do another one. I had some good work going in the studio in Chicago. I made it back a few times, worked on the paintings a little. We kept trying to schedule a studio visit to line up the next show, shit kept coming up, it never happened. Why? Well, it's tough when I'm only in town once a month or so. So I just picked up the last of my work from the gallery, packed up the studio, and drove it all down here in a Uhaul. I'm still hoping to do another show with Linda in the future, of course, but again, it's tough to do, long-distance like this. It's not all bad, of course. The job is decent, full time at least, though not tenure track. I've got a pretty sweet house I bought, nice yard, garden, bird feeder, all that. I've got a good studio space in what used to be the garage, all finished now, carpet and a wood stove and all. Of course it's pretty full of stuff from the move, got to get it cleared out a bit, so I can maybe make some damned work again. So we'll see.
And that's what happens. That's what's waiting for you, on the other end of all those teaching job applications you fill out. Maybe. Depends where you end up, I guess, and your attitude, and your work ethic. But a new job and a move like that can really knock the wind out of you. A year without making a decent painting really does a number on your pride. So you get up, you get back on the horse, and hope for the best.
The State of Representational Painting Today
July 1, 2014 · Print This Article
My relationship with representational painting must be a common one: drawn in, as a child, by the painted illustrations in books about dinosaurs, in particular. Who hasn't been awed by the "gee whiz!" factor of an impressive piece of realism? As much as we are taught that photography is a form of abstration from reality, "It looks just like a photo!" remains synonymous in common usage with looking like reality.
Howard Ikemoto is famous for the anecdote in which, after telling his daughter that he teaches people to draw, she replies, "You mean they forget?" It's adorable, and certainly there is something to be said for the childlike sense of wonder that comes from drawing without fear, without self-consciousness, but drawing for the pure pleasure of it. Thinking back, maybe when I was very young I had this. I still have a few of my early drawings, almost all of prehistoric life: "a caveman daddy building a fire," a prehistoric whale I knew as Zeuglodon (since I learned of it in the early 1980s, its name has reverted to Basilosaurus, a name dating to when it was mistakenly believed to be a reptile, but proper according to taxonomic rules), and an Apatosaurus guarding a nest of eggs.
I was inspired in this early drawings by the magical ability of paleoartists, through their paintings, to bring extinct animals back to life. The realism of the paintings made, in a very literal sense, their subjects real. Without life restorations, who would really believe in dinosaurs, and who would care about them?
In early adolescence I felt a precursor of John Berger's notion (from Ways of Seeing) that to possess a painting of a thing was to possess in effigy the thing itself. I built an army, an empire, by drawing warriors and their weapons. My archetypes here were defined by the illustrations in Martin Windrow's Soldier Through The Ages series, and by the airbrushed sihlouettes of airplanes in the works of Bill Gunston and others.
This interest in military history and technology led, through an interest in medieval combat, to an interest in fantasy. I bought Dungeons and Dragons sourcebooks, not to play the game, but to look at the illustrations. Keith Parkinson and especially Larry Elmore were my heroes. As with my early interest in paleoart, I admired their ability to drag, by brush and pen, unreal worlds into reality. Related to the illustrations in this role-playing sourcebooks are the work of other fantasy illustrators, among them Boris Vallejo, Wayne Barlowe, and Tim Bradstreet. These artists formed the core of my artistic interest in my mid teens.
The recurring theme with the representational painters and drawers whom I admired in my childhood and adolescence was that they were all illustrators. One doesn't imagine Vallejo and Elmore debating semiotics. Questions of meaning, of significance, of the role of their work in society, simply do not come up. The artists content themselves with honing their craft, with creating original compositions which tell the story that they want, or were hired, to tell.
There is nothing new about this. Medieval and Rennaissance painters working for the church weren't expected nor allowed to take liberties with the Biblical narrative. It wasn't part of their job to provide a new perspective on religion. Later artists working as hired portraitists were similarly expected to play it straight, though in some cases, such as Goya's painting of the royal family, they may have slipped in some subtle criticism.
In technical terms, prior to the invention of the camera (Vermeer's camera obscura notwithstanding), realistic painting reached its zenith in the Baroque era paintings of Rembrandt. In the years after Rembrandt, representational painting slipped into a state of what could be called decadence. Braoque became Rococo, and Fragonard took the place of Rembrandt. About two hundred years went by before anything new truly appeared under the sun.
As Monet and the Impressionists were changing our understanding of what art was and of what it could be, the sort of art beloved by the Academy (which has in hindsight become maligned as a backwards, short-sighted, atavistic institution) continued to be made, and beloved by the public. In particular Bouguereau is known for his playful scenes of frolicsome nudes. There was no Salon de Refuses for Bouguereau; his work sold exceptionally well throughout his life, and while intellectuals in Paris might have rooted for the underdog of Impressonism, collectors loved to adorn their walls with Bouguereau's tits and ass.
It was this fork that consigned realism to the ghetto where it now finds itself: for decades, criticality become synonymous with the apparently unstoppable march towards formalism. The purity of abstraction was seen as a prophesied messiah, an inevitable goal towards which art had always, unknowingly, been striving. Artists who rejected this direction, who failed to march in lock step in Greenberg's army, found themselves marginalized. Norman Rockwell, Maxfield Parrish (whom Rockwell described as "my idol"), and the aforementioned Bourgereau achieved commercial success but have been pushed to the margins of art history.
The idea of the abstract expressionists that one could find God through painting may in hindsight seem painfully naïve, but for those caught up in its fervor it must have felt very real. What those its sway should have seen coming, but of course never do, is that like any movement, abstraction was doomed to hit a high water mark, to buoy up a generation of painters and then break on the shoals of something new. Pop art carried us through a couple of decades, but it was the last of the major -isms, and it was followed by the new pluralism within which we now find ourselves. One might bemoan this pluralism as constituting a lack of direction, but in this openness is infinite opportunity. As they say in Fight Club, "It is only after we've lost everything, that we're free to do anything."
Abstract expressionism had been a might castle, and Pop art had assaulted it by mining under its walls. When the supports were burned away, the mine and wall collapsed, leaving a great breach, into which rushed a vast army of would-be successors. Figurative representation counted itself among these, and in several forms.
"Photorealism" is what many in the laity say when referring to any work of particularly accurate representation, but in saying so they generally miss what is most obvious. As revealed by the name itself, Photorealism isn't a direct representation of reality: it's a representation of a photograph of reality. The differences between how the eye sees and how the camera sees are inherent to Photorealism. This is not to say that the camera does not remain a valid and powerful tool for the representational painter. Working from source images offers many advantages over direct observation, as well as many disadvantages. These concerns are entirely separate from the practice of Photorealism, which focuses on these process artifacts, rather than working around them.
If figurative representation had a rock star of the 20th Century, it was undeniably Lucien Freud. Freud's earliest known work dates from 1940, but he really hit his stride in the 1990s, expanding his distinctive style of impasto figuration. Freud's influences (acknowledged and otherwise) include Medieval Flemish painting, German Expressionism, and his Abstract Expressionist contemporaries in the mid-20th Century. In auction at 2008, his 1995 painting Benefits Supervisor Sleeping set a world record price for a work by a living artist, selling for $33.6 million. Freud died in 2011. Other representational painters who have cut their way into the heart of the contemporary art world include Eric Fischl and Neo Rausch.
Odd Nerdrum, born in 1944, was the next generation figurative realist darling. Represented by Forum Gallery in New York, collected by museums the world over, Nerdrum is hardly ignored by the art world, but his reception has always been mixed. Defining himself as a painter rather than as an artist, his manifesto On Kitsch was a response to his feeling of weariness at seeing a Rauschemburg combine including a goat and a spare tire. Unlike Freud (and other painters like Eric Fischl), Nerdrum seems to have intentionally positioned himself in an adversarial relationship with the art world. When he says, "If I were an artist I would not paint," it is less a declaration of intent, and more a tautology: if, as Nerdrum believes, artists don't paint anymore, then if he paints, he is not an artist, and conversely, if he were an artist, he wouldn't paint.
Nerdrum was a pivotal figure in my education in painting. In school, we learned that realistic representation wasn't cool anymore (though there were many of us who stubbornly persisted in doing it), but Odd Nerdrum gave us hope. He showed us that there was at least one person out there in the art world, with a gallery and a monograph and everything, who was still using the realistic painting techniques of Rembrandt and his kin to tell stories. Nerdrum was better for us than Freud, for a couple of reasons. Firstly, Freud was of an older enough generation that we always sort of suspected that his figuration was a kind of legacy. Secondly, Freud's imagery was pointedly mundane: a woman on a couch, a man in bed with a dog, etc. Nerdrum's apocalyptic landscapes reminded us, or at least me, of the sort of fantasy illustration that had drawn us into painting in the first place.
In graduate school, our knuckles were bruised as we were taught that no, Nerdrum wasn't a good artist, wasn't someone to emulate. The problems were never clearly elucidated to us, but in hindsight I think they were twofold. In both cases, what we loved best about Nerdrum was exactly what was wrong with him.
Firstly, Nerdrum's technique was too well-established. Even Freud seemed to innovate technically, beginning in the 1950s with a sort of retro-Flemish, sable-brush pointillism, and moving by the 1990s towards a knife-thick impasto. Nerdrum's technique seemed to say, "Rembrandt nailed it; why look for silver if you've got gold?"
More importantly, though, Nerdrum's theatrical melodramas clove too closely to the illustrative fantasy end of the representation spectrum. While Freud and Fischl, like Leipzig painter Neo Rausch, painted people in open-ended environments loaded with psychological tension, Nerdrum's scenes approached the same objective but created too specifically literal of an alternate reality. This, again, is part of what we loved about Nerdrum: that he had created a plausible world, a bleak apocalyptica in which we could imagine each painting being just over the horizon from the next. But in the era of semiotics and theory and all that, it was too close to the lowbrow world of comic books and role playing game covers.
Jenny Saville's recent work (judging from the advertisement in ArtForum for her upcoming show) seems to have drifted away from her earlier, meaty depictions of surgery and obesity, and towards Cecily Brown's drippy, linear, erotic cartoons. Saville's adaptation is indicative of the sort of change figurative realists are adopting in order to survive in today's "cult of the new" art world. Another example can be found in Walton Ford, who has continued for decades now to paint Audubon-style depictions of wildlife enacting human dramas. Saville and Ford provide us with examples of how figurative realism can remain relevant.
Chicago's art scene is as pluralistic as any, but in between the queer performances, feminist videos, conceptual abstraction, and sound art (just to name a few), traditional techniques of representational painting endure. Laurie Hogin, Stephen Cephalo, Julia Haw, and Rory Coyne are just a handful who leap immediately to the forefront of my mind. Each strikes their own unique niche in the spectrum of figurative representation, showing that realistic depictions of people, animals, and spaces remains a potent force for expression.


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Select Local Merchants
New Wave SeafoodRead MoreFresh fare can be found at New Wave Seafood, where diners seek to sample every seafood dish on the menu. Plan to indulge a bit at New Wave Seafood, though, because they don't offer any low-fat fare. Save money on a sitter — kids are welcome to join the table at New Wave Seafood. New Wave Seafood does not accept reservations, so it doesn't hurt to be fashionably early. No need to gussy up for a trip to New Wave Seafood, where patrons dress for comfort and fun. Can't stay at New Wave Seafood long? Pick up and go home. New Wave Seafood is known for serving great food, and they are able to serve it at your next event with their excellent catering. Whether you're heading to New Wave Seafood for lunch or dinner, parking is always free in the adjacent lot. Dining at New Wave Seafood will set you back about $30 per person on average. Stop by for breakfast, lunch, or dinner — New Wave Seafood serves up all three meals.1847 Wantagh AveWantagh, NY US
Ceriello Fine FoodsRead MoreIf you haven't experienced Ceriello Fine Foods, now is a great time to enjoy the highly-rated deli. Come by for the excellent quality and stay for friendly service. You'll be planning your next trip to Ceriello Fine Foods before you know it. In addition to its convenient take-out offerings, the restaurant even provides catering for events around town. A staple in the community for nearly 50 years, Ceriello Fine Foods definitely stands out from the rest. In addition to valet, visitors do have access to a private parking lot nearby.1161 Wantagh AveWantagh, NY US
Lazzat Restaurant and Spice CornerRead MoreThe premier destination for a flavorful menu, Lazzat Restaurant and Spice Corner in North Bellmore is one of the area's highest-rated restaurants. The great menu options allow guests to focus on what matters: the perfect quality. There's no specific recommended attire, so feel free to dress casually and comfortably. If you're on the lookout for the perfect spot for family or friends, it's been reviewed as a solid option for large groups and kids. WiFi's available if you're trying to get some work done, and in addition to its quick service (take-out is available), the restaurant also offers delivery, and can even cater an event for you. Specializing in both lunch and dinner, Lazzat Restaurant and Spice Corner is a great choice when you're in the mood for Asian cuisine and want to branch out from the standard Chinese or Japanese fare. Visitors to the restaurant have access to a private lot nearby or can park on the street.1892 Bellmore AveNorth Bellmore, NY US
Gamma EnterprisesRead MoreDelta Labs is a Natural Health & Wellness company with a focus on Quality Ingredients sourced from U.S. refineries since 2002.113 Alder StWest Babylon, NY US
Halal Spice and CurryRead MoreAt Halal Spice and Curry, guests can expect one of the better-priced meals in East Meadow. The good quality, set in a familiar atmosphere, will make you a regular. There's no specific recommended attire, so feel free to dress casually and comfortably. Also, though the overall price can be a bit on the low side, you won't be sacrificing any quality. In fact, you should be able to enjoy a good meal for $11 or $12, and can probably get in and out for $8 if you try. If you need food provided for a local event, take advantage of its catering options. Add it all up, and Halal Spice and Curry is a terrific choice when you're in the mood for Asian cuisine and want to branch out from the typical Chinese or Japanese fare.2238 Hempstead TpkeEast Meadow, NY US
M and Y Mini MarketRead MoreFor your next sandwich, check out M and Y Mini Market, a delicious deli in Freeport's Freeport region. A lot can be said about high-calorie food, and delicious is almost the first thing that comes to mind. At M and Y Mini Market, service is a priority. That why we provide parking spaces on site. You won't need to save up for a trip to M and Y Mini Market — most meals cost less than $15.310 North Main StreetFreeport, NY US


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HIS Radeon R7 260X 2GB IceQ X2 Overclocked Video Card Review - Sound Test
Sound Test
Pulling out the TES 1350A Sound Level Meter we find ourselves quickly yelling into the top of it to see how loud we can be.
After five minutes of that we get a bit more serious and place the device two CM away from the fan on the card to find the maximum noise level of the card when idle (2D mode) and in load (3D mode).
Along with good heat numbers, you can see that noise levels are exceptional.
The non-reference cooled R series cards have really thrown out some good noise levels and this one from HIS is again no different.
PRICING: You can find products similar to this one for sale below.
United States: Find other tech and computer products like this over at Amazon's website.
Australia: Find other tech and computer products like this over at PLE Computer's website.
Canada: Find other tech and computer products like this over at Amazon Canada's website.
- Page 1 [Introduction and Package]
- Page 2 [The Card and Specifications]
- Page 3 [Benchmarks - Test System Setup]
- Page 4 [Benchmarks - 3DMark 11]
- Page 5 [Benchmarks - 3DMark Fire Strike]
- Page 6 [Benchmarks - Unigine Heaven Benchmark]
- Page 7 [Benchmarks - Phantasy Star Online 2]
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- Page 10 [Benchmarks - F1 2012]
- Page 11 [Benchmarks - Metro Last Light]
- Page 12 [Benchmarks - Dirt Showdown]
- Page 13 [Benchmarks - Nexuiz]
- Page 14 [Benchmarks - Sniper Elite V2]
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- Page 18 [Benchmarks - Tomb Raider]
- Page 19 [Benchmarks - BioShock Infinite]
- Page 20 [Benchmarks - High Quality AA and AF]
- Page 21 [Temperature Test]
- Page 22 [Sound Test]
- Page 23 [Power Consumption Test]
- Page 24 [Pricing, Availability and Final Thoughts]
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Lust Shack - Scene 2
Get Your Gay Access Now!
DVD Title Lust Shack
Category Studs
Added June 30, 1997
Viewed 2,574 times
Favored 3 times Add to favorites
Duration 19m, 59s
Tags Anal Licking, Anal Sex, Blowjobs, Cum on Stomach, Handjobs, Hardcore
- This scene does not have any comments yet!
A gay man sits in the barn pulling his pud, his cock gets hard in his hand and he gets caught by another cowboy. He removes his hands and replaces them with his mouth. His shaft glistens with saliva as he deep throats his rod. The blond sits up and pulls down the brunettes pants taking his dick into his mouth and deep down his throat then bends over to let the other guy moisten his asshole. With his cheeks spread wide apart he gets a long hard pecker rammed in his hole. He gets his ass punished and his back painted white with jiz.
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Lust Shack
June 30 1997
More Scenes From DVD
- Scene 2 - Two Gay Cowboys Heat Up the Hay
- Scene 1 - Outdoor Gay Anal Fuck At Woodland Shack
- Scene 3 - Giddy Up! Bath Time For Cum Cowboys
- Scene 4 - Bare Assed Cowboys Fuck in the Barn
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text: Let's get some regular bike nights going. :mrgreen: Date: First Sunday of every month. For those of you who plan ahead, this will kick off November 4, 2012, then the next couple will be December 2nd and January 6th. Time: 5:00-7:30ish (or whenever we feel like heading out) Location: Cloverleaf Sports Bar & Grill, 1240 Hollis St., Bremerton, 360-377-8516, http://www.cloverleafsbg.com/ http://goo.gl/maps/udP4M Notes: - You can't see the Cloverleaf from Wheaton Way. It's behind the gas station on Wheaton and Hollis, in the giant parking lot with the closed Kmart and Lowes. - On the plus side, because this is a sports bar, if there's a good game on, you can talk bikes and yell at the TV at the same time. Win-win, right? :mfclap: - I have a couple tables reserved in the main room along the far wall. This is the all-ages area, in case you're brave enough to expose your kids to us or are under 21 yourself. - I know this is pretty far south for some of the Kitsap crew. If we really want to get wild and crazy, we could start a north-end bike night on an alternating week, possibly? Hope you can make it! 8)


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Tel: (714)775-6007
School Overview
|School Membership(s)School Assoc.
|Accelerated Christian Education (ACE) or (School of Tomorrow)
Association of Christian Schools International (ACSI)
|Religious Affiliation
|Assembly of God
|Grades Offered
|Grades Prekindergarten - 6
Student Body
|Total Students
|62 students
|Student Body Type
|% Students of Color
State avg.: 45%
|Students by Grade
Academics and Faculty
|Total Classroom Teachers
|2 teachers
|Student : Teacher Ratio
National avg.: 13:1
Nearby Schools:
All Schools | High Schools | Elementary Schools | Preschools | Public Schools
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- School Location Miles Students Grades
Santa AnaBethel Baptist School
901 S Euclid St
Santa Ana, CA 92704
(714)839-3600(Baptist)0.5 mi | 213 students | Gr. PK-12
Santa AnaSt. Barbara Elementary School
5306 W. Mcfadden Avenue
Santa Ana, CA 92704
(714)775-9477(Roman Catholic)0.6 mi | 348 students | Gr. PK-8
Santa AnaAri Guiragos Minassian Armenian School
5315 W Mcfadden Ave
Santa Ana, CA 92704
(714)839-78310.6 mi | 99 students | Gr. PK-6
Santa AnaSanta Clara Day Nursery
1021 N Newhope St
Santa Ana, CA 92703
(714)554-8850Daycare / Preschool (Roman Catholic)1.3 mi | 96 students | Gr. PK-KG
WestminsterCovenant Christian Academy
10101 Cunningham Ave
Westminster, CA 92683
(714)531-9950(Presbyterian)1.5 mi | 30 students | Gr. K-8
School Reviews
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Updated June 28, 2015
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