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Master Edition Metal Detector Kit
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Master Edition metal detector features three operation modes, large control knobs to adjust ground balance, volume, discrimination between metals, tuning which fine-tunes the balance between the detector's receiver and transmitter, sensitivity and volume control for speaker or headphones, and a low battery indicator. Operates on two 9V alkaline batteries (not included). 8" waterproof search coil allowing you to search in shallow water. Detection results are displayed on the analog meter and pointer. Includes sifter, shovel, headphones and carrying case, 1 Year limited warranty
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Sifter, shovel, headphones and carrying case
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Master Edition Metal Detector Kit also features
-Three operations modes
1. Tunes out false signals from mineralized soil mode
2. Detects extreme differences in metals, such as iron and gold
3. Detects finer distinctions between metals, such as aluminum and gold
- Distinctive tones for different types of metals
- Auto tune, lets you tune your detector quickly for accuracy
- Adjustable Stem from 13" to 19" inches
- Adjustable arm rest
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Bio-gen Extracts Pvt. Ltd, India, established in the year 2000, is a GMP Certified, fine chemicals company that specializes in the process development and manufacture of Active Pharmaceutical Ingredients, Therapeutic Enzymes, Specialty Polymers & Nutraceutical Raw Materials. Our expertise in organic synthesis, process development and a controlled supply chain enables us to provide customers with high quality Bulk Actives at competitive prices. State-of-the-art equipment and instruments give us the edge to compete globally. The infrastructure, with its optimum installed capacities and capital costs, gives us sustainable competitive cost advantage. We have superior technical & innovation capabilities courtesy our people, who have repeatedly proven their ability to rise to the challenges.
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text:
Taylor Swift's New Single Reportedly Called 'Shake It Off'
Details are leaking on Taylor Swift's new single, an uptempo song reportedly called 'Shake It Off'!
Lifetime Confirms Brittany Murphy Biopic Starring Amanda Fuller
Lifetime announced this week that the network will air a biopic in the fall on the late actress Brittany Murphy, starring Amanda Fuller as the famous blonde.
One Direction Call New Album 'A Little Bit More Edgy' [VIDEO]
One Direction may have broken into the music scene with their catchy bubblegum pop, but they're making a decided departure from the typical boy band sound and moving on to something more "edgy."
Jennifer Hudson Announces Third Studio Album 'JHUD' [PHOTO]
Jennifer Hudson will be gracing the world with brand new music with her upcoming album 'JHUD,' set for release on Sept. 23.
Pentatonix Drop A Cappella Version of Ariana Grande's 'Problem' [VIDEO]
We've now got one less, one less problem — there's finally an a cappella version of Ariana Grande's 'Problem,' and Pentatonix completely smash it!
Robin Williams' Cause of Death Revealed to Be Asphyxia From Hanging
The Marin County Sheriff's Department held a press conference today (Aug. 12) to discuss the details, including cause of death, surrounding Robin Williams' passing.
Robin Williams' 10 Best Movie Scenes
We're commemorating Robin Williams' life and effect on the film industry by revisiting his 10 best movie scenes from across his expansive filmography.
Robin Williams Dies at Age 63 – Celebrities React
Beloved comedian and actor Robin Williams died this morning (Aug. 11) at age 63, his publicist confirmed.
'Frozen' Sequel Coming in Book Form
It's coming up on a year since 'Frozen' was first released in theaters and its popularity still isn't waning. It's not a huge surprise, then, that a sequel is on its way!
Taylor Swift and Selena Gomez Experience Nature on Girls' Night Out [VIDEO]
Taylor Swift and Selena Gomez received a lesson in nature when the two hung out over the weekend. Pretty appropriate considering it's the highly anticipated Shark Week!


text:
tested at the Supreme Court level.
In addition, these trusts have been
used with growing frequency for
nearly 15 years. Also: Laws supporting them have been enacted in a
growing number of states.
If you have a high-net-worth client
who is planning to use a self-settled
trust, you can take prudent steps to
lessen the risks that trust assets will
be included in his or her estate.
• Demonstrate that the client was
solvent before and after any transfers to the self-settled trust. Show
that the client retained sufficient
nontrust assets to maintain his or
her lifestyle and pay debts. A bud-
self-settled trust.
• The assets transferred to the
trust should be viewed as a safety
net — and not as assets the client will
need to access for income, cash flow
or principal to live on.
• Corroborate that the creation of
the trust and the transfer of assets to
it was not a fraudulent transfer.
bankruptcy trustee can avoid transfers to a self-settled trust or similar
device. So, if you delay making the
client a beneficiary beyond this time
period, you can insulate the trust
from that risk.
• Consider having the trust not
name the client as a beneficiary at
the time of its formation. Instead,
give some person the power to
appoint a class of beneficiaries
(such as descendants of the client's
grandfather) that might include the
Be aware, however, that this is
a real risk. If the person holding
this power is not a fiduciary, then
there would be no standard that a
court could impose on him or her to
get plan and investment plan demonstrating that remaining assets
should provide for the client's needs
with a reasonable degree of probability may be one way to corroborate this.
For example, run Monte Carlo
simulations demonstrating an
80% or higher probability that the
retained, non-domestic asset protection trust assets will support the
client into his or her 90s.
There is no real guidance yet as to
what life expectancy, or what degree
of assurance, might be necessary to
demonstrate sufficient retained
assets. Therefore, this will be a judgment call.
• While rules of thumb can be
quite misleading, some suggest that
not more than one-third of a client's
assets should be transferred into a
• If the client becomes a beneficiary of
the self-settled trust only if he or she
is no longer married to the spouse the
client had when the trust was established (in other words, after the spouse
has died or after a divorce), you may
avoid the issue. If the client dies before
the spouse, he or she will never have
been a beneficiary and the trust may
not be able to be classified as a self-settled trust.
• If the client is precluded from
being a beneficiary for some period
of years, it may similarly minimize
tax risks. If the trust prohibits the
client from being able to receive a
benefit for 10 years and a day, for
example, you might achieve additional security.
If the client declares bankruptcywithin 10 years of the transfer, theappoint your client. Would your cli-ent be able to sleep at night?
Martin M. Shenkman, CPA, PFS,
J.D., is a Financial Planning contributing writer and estate planner in
Paramus, N.J. He runs laweasy.com,
a free legal website.
Click to subscribe to this magazine


text:
Central America newspapers and news media guide.
Providing news from top newspapers throughout the region.
News and analysis on Caribbean, Central America and international current events, business, finance, politics, economy, sports and more.
Entertainment portal presenting news, events, humor, sports updates, and more.
Directory provides links to newspapers in countries in Central and North America.


text:
|Senators want S.C. Constitution to reflect strong support for public schools they say is missing now
; The State
Friday, March 14, 2008
Two dozen people spoke for about two hours Thursday before a Senate panel, with all but one urging lawmakers to amend the S.C. Constitution to declare stronger state support for public education. More than 100 years after ratifying the Constitution of 1895, South Carolina remains embroiled in a battle over its commitment to public education.
A 1999 Supreme Court ruling determined the state Constitution only requires the Legislature to provide its residents a "minimally adequate" education.
Those speaking to the Senate Judiciary panel Thursday want to change that.
"The language of the Constitution is silent on the quality of education we should provide," said Sen. Jim Ritchie, R-Spartanburg, who chaired the public hearing. "We're wrestling with this because words do mean something."
The Senate resolution would change the Constitution to read, "The General Assembly shall provide ... a system ... that will provide a high quality education, allowing each student to reach his highest potential."
Sen. John Matthews, D-Orangeburg, lead sponsor of the measure, said such a change is important. "The significance of the language is that it changes the 1895 Constitution," he said. "That was an era that ushered in Jim Crow for the state."
The existing state Constitution lacks a mission statement that reflects the positive educational hopes a state ought to hold for its children, Matthews said.
Sen. Robert Ford, D-Charleston, said more than words are needed.
Ford predicted a constitutional amendment would be passed by the General Assembly and be approved by voters at the polls.
"That's a no-brainer," he said. "What then?"
Ford said lawmakers, when it comes to public education, historically have been unwilling to stand behind what they put on paper. A judge is still mulling a lawsuit eight rural school districts filed against the state alleging it had not done enough to support poor, rural school districts.
More hearings will be scheduled on the amendment, senators said. It is unclear whether the question would appear on the ballot this November or would have to wait.
Proponents said they plan a drive to collect 1 million signatures in support of the bill to change the Constitution. A Web site, goodbyeminimallyadequate.com, is under construction to help the petition drive.Reach Burris at (803) 771-8398.
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|Support the Amendment requiring a High Quality Education in South Carolina!
|We need YOU to help! Become a driving force in this grass roots campaign!
|Recommend a friend to this site so they can learn about this issue and sign the petition too!
|We could really use your help to keep this campaign going. No donation is too small.


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text:
I raise Holland Lops in scenic Bonners Ferry, Idaho. I am trying to create the best Hollands possible. No inferior rabbits. Raising bunnies is my passion; I raise rabbits for the pure joy and excitment of it.
I am focusing on all varieties of sable-point, and tri colors, but will have other colors available along the way. I am just starting out so in the beginning production will be slow at first. You may contact me at my e-mail, email@example.com. I check it as often as I can and will get back to you as soon as I can.
I am still looking for more breeding stock so if you have any quality, show stock let me know. I am willing to trade if possible.
Tri colored doe
Harlequin doe
Sable Point doe
Siamese Sable doe
A.R.B.A Kalispell show on April 16
This is my first show I will be going to and I won't bring any rabbits. I am going just to get the feel of how these shows work. I will be going with a friend of mine who will be bringing rabbits.
A.R.B.A Sandpoint show in July
I will be bringing teddy and may bring annabeth and her babies, thougth the babies won't quite be old enough to go yet.
Boundry County Fair in Bonners Ferry in August
I will be showing teddy at the fair and will also bring annabeth and her babies, they will be ready to go at this point.


text:
Drema Derossett Barkley, 48, formerly of Dwale, died Tuesday March 19, 2013.
She was born on May 29, 1964 to the late William Thomas "Tommy" and Emma Mae Porter Derossett.
She is survived by her two sons, Joshua Kyle Clay, of Florida, and Nick Clay, of Prestonsburg; a brother, Greg Derossett, of Grethel; a sister, Karen Derossett Clark, of Prestonsburg; and two grandchildren, Molly Clay and Gunner Clay.
Funeral services will be held at 2 p.m., Friday, March 22, at the Georgetown Cemetery, in Georgetown, under the direction of Tucker-Yocum and Wilson Funeral Home.


text:
Break out the Popcorn
Social conservatives and libertarians don't get along. Here's a FOX News opinion piece about the recent CPAC Conference illustrating that point. (To my friends on the right: yes, I occasionally read FOX News, holding my nose the whole time.) Social conservatives can't stand libertarians wanting a voice within the Republican Party, though they courted libertarians eagerly enough in the 2010 election cycle, mostly through the TEA Party concept. Now that the 2012 Presidential posturing is well underway, both factions within the GOP are openly rude to each other when the cameras are rolling.
I say: it's time to break out the popcorn and watch the GOP self-destruct.
The Republican House of Representatives will be unable to deliver a Federal budget that satisfies its TEA Party constituents. That means strong primary challenges in "safe" GOP seats on one end of the spectrum, and growing disillusionment with the TEA Party concept on the other. With President Obama weathering 2010 with an approval rating still over 50%, the Democratic Party is poised to reclaim the House, keep the Senate, and keep the Presidency… IF Democrats get out there and work hard in all 50 states.
To my libertarian friends: this weekend's spectacles at CPAC are exactly why I think the Libertarian Party deserves access to the kinds of infrastructure enjoyed by both the Democratic and Republican parties (ballot access, financial support from the states for primaries/caucuses, and so forth). As a proud supporter of one of the two major political parties in our country, I still see the need for multiple, strong, national parties. TEA Party Republicans are a mix of two factions (social conservatives and libertarians) that, despite all the media hype, are not a natural fit and never will be.Share This


text:
Milan are forced to field Antonio Cassano and Stephan El Shaarawy in tonight's game with rock bottom Cesena.
Massimiliano Allegri had precious few options open to him when picking a starting XI at San Siro, kick-off 19.45 UK time.
The injury list includes Zlatan Ibrahimovic, Robinho, Alexandre Pato, Kevin-Prince Boateng, Luca Antonini, Daniele Bonera, Gennaro Gattuso, Massimo Ambrosini, Mathieu Flamini, Kingsley Boateng and Philippe Mexes.
This means the only two fully fit strikers available are Cassano and El Shaarawy, as Pippo Inzaghi has not played a whole game for 10 months.
Urby Emanuelson takes the trequartista role, while Taye Taiwo receives his Serie A debut in defence.
Cesena are the only side without a point so far this season, having lost to Napoli, Catania and Lazio.
Francesco Antonioli is still out of action, so Nicola Ravaglia takes the gloves, while Rafael Martinho joins Adrian Mutu and Antonio Candreva in attack.
Milan: Abbiati; Abate, Thiago Silva, Yepes, Taiwo; Nocerino, Van Bommel, Seedorf; Emanuelson; Cassano, El Shaarawy
Cesena: Ravaglia; Comotto, Von Bergen, Rodriguez, Marco Rossi; Martinez, Parolo, Guana; Martinho, Candreva, Mutu
Think you know your Italian football? Share your knowledge, tips and comments to win cash prizes in OLBG's tipster competition [11] - £11,000 to be won monthly!


text:
The original historical romance to watch with your girlfriend is also a movie that many of us had to watch in high school. Everything's there, though: Doomed young lovers, their…
Period pieces have a unique ability to transport audiences to another time and to show them that people then were just as messed up as they are now (if not…
A man is tumbling through space until his oxygen runs out, wondering what the hell happened. Do not see this movie stoned.
Holliday Grainger has a thing for period pieces. That might be a bit of an assumption, but considering her last two major gigs have involved costumes from another century, it can't be too far-fetched an observation.
A native of Northern Ireland, Jayne Wisener got her break in the United States in 2007 with a prominent role in Sweeny Todd: The Demon Barber of Fleet Street.
Australian actress Mia Wasikowska broke onto the scene stateside in 2008 with a critically acclaimed role in the HBO series "In Treatment."


text:
|First Year Residents
|Second Year Residents
|Third Year Residents
Salaries adjusted annually on July 1.
In addition, on-campus housing provided
(See below for details.)
|First Year Residents
|3 Weeks
|Second Year Residents
|3 Weeks
|Third Year Residents
|3 Weeks
Comprehensive medical, and dental insurance costs are available on a cost sharing basis.
Benefits Page
Disability insurance and malpractice insurance are provided by the organization at no cost to the resident.
An initial allowance to cover expenses is provided.
Each resident is provided with an on-campus townhouse at no cost to the resident. This may include furnishings, if desired. Utilities and local telephone costs are covered. Residents are responsible for their long distance calls.
First-year residents receive four days of conference time annually; second and third-year residents receive five days of conference time annually. A conference allowance is provided for expenses.
Broadlawns Medical Center pays for the resident medical license and state controlled substance registration. Permanent Medical license fees are paid on a cost-sharing basis.
Membership to local, state medical associations and the American Academy of Family Physicians are paid by Broadlawns Medical Center.
Membership to other national organization(s) are an individual's responsibility.
Scrubs and lab coats are provided free of charge to residents.


text: Mikel Edward (Mike) Bombailey, 46, born April 15, 1963, left us on Monday. Calling hours are from 6 to 8 p.m. Thursday at Johnson Funeral Home. Funeral services will be held Thursday at 8 p.m. in the funeral home chapel. Graveside services will be conducted 1 p.m. Friday at Elm Springs Cemetery.


text:
Offensive coordinator Doug Nussmeier was hired to stabilize the Michigan offense and create a consistent identity for a unit that spent too much time trying to do everything last season and not enough time doing anything well. During spring practice, Nussmeierhas streamlined the offense, emphasizing the running attack much to the delight of running back Derrick Green. "Michigan is about running the ball, and this unit is going to bring it back," said Green, who looks noticeably leaner and says that he is 20 pounds lighter than when he struggled for playing time last year. "I feel a lot faster, stronger; my body feels a lot better than last season."
Ohio St.'s actions are not unlike their lower intestine: stinky and loaded with danger.
MichFan4Life Good lord our backs can't block for s**t. It's just one video but geez!


text:
Judgement of Paris
written by Ross King
Chatto and Windus | ISBN 9780701176839
Hardback – 464 pages
Member's price: $9.00
Usually ships within 2–11 business days.
Originally $59.95
It is hard to believe it now, but in 1863, the French painter, Ernest Meissonier was one of the most famous artists in the world. The darling of the 'Salon' - that all-important public exhibition of Art held biannually in Paris - he painted historical subjects in meticulous detail and sold his works for astronomical sums to collectors, who included Napoleon III himself. Manet, on the other hand, was struggling in obscurity. Famous today as the 'Father of Impressionism', when this book opens he was known only as the sloppy painter of a few much-derided canvases, depicting bourgeois gentlemen in top hats and Absinthe-drinking beggars. With his usual narrative brilliance, and eye for telling detail, Ross King has taken the parallel careers of Meissonier and Manet and used them as a lens for their times. Beginning with the year that Manet exhibited his ground-breaking 'Dejeuner sur l'herbe' and ending in 1874, with the first 'Impressionist' exhibition, King plunges us into Parisian life - on the streets and in the corridors of power - during a ten-year period full of social and political ferment. These were the years in which Napoleon III's censorious and pleasure-seeking Second Empire fell from its heights into the ignominy of the Franco-Prussian war and the ensuing Paris Commune of 1871. But also, when a group of artists, with Manet at the vanguard, began to challenge the establishment by refusing to paint classical or historical subjects and, instead, turning to the landscapes and ordinary people they saw around them. Benign as such paintings might seem today, they helped change the course of history. The struggle between Meissonier and Manet to get their paintings exhibited in pride of place at the Salon was not just about Art, it was about how to see the world.
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text:
Shulman, Olson Differ Over 'Fresh Start' for Taxpayers From Lien Changes
By Kristen C. Ricaurte
Publication Date: 02/25/2011
Internal Revenue Service Commissioner Doug Shulman Feb. 24 announced several tax initiatives aimed at giving taxpayers a "fresh start" and helping them meet their tax obligations.
IRS plans to raise the dollar amount triggering the filing of tax lien, as well as allowing taxpayers to request a lien withdrawal once a debt is paid in full, Shulman said in a phone call with reporters to discuss the changes.
The service also is increasing access to installment agreements for small businesses and expanding the streamlined offer in compromise (OIC) program. Additionally, in most cases IRS will not file a lien if a taxpayer enters into a direct debit installment agreement, Shulman said.
Changing the dollar amount threshold for filing a lien unburden tens of thousands taxpayers, Shulman said, adding that giving taxpayers the option to request a lien withdrawal once their tax debt has been paid will give taxpayers a fresh start.
"Taken together, these five steps represent an important set of changes for taxpayers. We think these will help people trying to get right with their taxes and we think it strikes the right balance to protect the interests of the government," Shulman said.
Installment Agreements for Small Business
Shulman said the service is giving more small businesses the opportunity to take advantage of streamlined installment agreements by increasing the threshold amount for participation.
Small businesses with $25,000 or less in unpaid taxes will be eligible to participate in the program, increasing the current dollar amount of $10,000 by more than 100 percent, according to an IRS news release detailing the changes (IR-2011-20).
"Small businesses are an important part of the nation's economy, and the IRS should help them when we can," Shulman said. "By expanding payment options, we can help small businesses pay their tax bill while freeing up cash flow to keep funding their operations."
Shulman also said the service is opening up the new streamlined OIC program to a larger group of taxpayers, allowing taxpayers of annual incomes as high as $100,000 to participate.
Taxpayer Advocate Critiques Changes
Shulman said the changes included in today's announcement came in part from consulting with the IRS Advisory Council and National Taxpayer Advocate Nina Olson.
In a Feb. 24 statement responding to the announcement, Olson said the changes are a step in the right direction, but expressed concerns that IRS is "addressing the symptoms and not the root causes of the problem."
Olson also expressed concern over IRS's lack of specificity regarding the lien threshold increase amount and the number of taxpayers benefiting from the increase.
Failure to Contact Taxpayers Causes Problems
Currently, liens are filed automatically and without consideration for a taxpayer's financial situation. Additionally, IRS has not evaluated the compliance value a lien may have, or if it would encourage noncompliance, she said.
IRS makes little effort to contact taxpayers in person once a collection notice is sent out, causing the debt to fester. This leads taxpayers to believe IRS is ignoring their debt, she said, and by the time the service takes notice of the debt, it is often too large for a taxpayer to pay.
Olson's 2010 Annual Report to Congress, released Jan. 5, criticized IRS's use of liens and the impact IRS's collection practices have on financially struggling taxpayers.
The complete text of this article can be found in the BNA Daily Tax Report, February 25, 2011. For comprehensive coverage of taxation, pension, budget, and accounting issues, sign up for a free trial or subscribe to the BNA Daily Tax Report today. Learn more »
© 2011, The Bureau of National Affairs, Inc.


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American Forces Press Service
KABUL, Afghanistan, Jan. 23, 2009 U.S. and Afghan officials met to discuss the status of security in the area and future security initiatives Jan. 21 at the Regional Command West headquarters in western Afghanistan's Camp Arena.
The Regional Security Committee conference drew participants from the Afghan government, NATO's International Security Assistance Force, as well as U.S. and civilian leaders from across the region.
The security committee's goal is to implement policy and initiatives that will produce tangible improvements in security, governance, reconstruction and development throughout the year, officials said.
"I hope we can achieve better coordination with this conference," Ahmad Yusef Nuristani, Herat province's newly appointed governor, said. "We cannot do this alone. We have to coordinate the security sectors and cooperate with one another against the region's enemies."
The conference offered a forum in which representatives from each sector could voice their concerns and opinions and work together to solve the problems they collectively face. Discussing lateral support and lessons learned helps to bolster security in the area, officials said.
"The biggest need in [Herat] province is security, because without security we can't do much in terms of building bigger projects and attracting foreign investment and trade," Nuristani said. "We need to provide some sort of relief in terms of security for the people so they can go to sleep at night with peace of mind."
Now is the time to take action against the Taliban and the insurgent groups in Baghdis [province], Baghdis Governor Mohammad Ashraf Naseri said, and "to let the people know that we are here to bring peace and stability in your areas.
"We are here to solve your problems. We are here to support you and provide an education to your children," he added.
Seif Ibrahim, regional representative for the United Nations Aid Mission to Afghanistan, said he was impressed with the solutions participants brought forth at the conference.
"We are here to coordinate all the activities of the United Nations agencies from humanitarian aid to development," he said. "And for us, security is one of the most important aspects. Wherever there is security, there is development. But when there is no security, there is a negative impact to our activities.
"I am very, very impressed in the way the people have been explaining the security problems and giving out some solutions so that in the future we can reach the people who need us," he said.
(From the NATO International Security Assistance Force public affairs office.)


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Cooking and Baking
Anything but eggs!
I have a guest coming to stay at my B&B for five days and she is allergic to eggs. Help! I need some ideas for egg-free breakfasts! Any suggestions would be very much appreciated. Nothing too fancy because I also have fifteen other people to cook for including one who is allergic to milk...
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By Kelly Crow | Photograph by Francesco Carrozzini
To read Rebel Yell from this month's WSJ. magazine, please click here
KC: So I read a New York Times story from late January 1993 that gave a quick summary of what was happening in the art world at the moment: Gagosian was rumored to be selling Si Newhouse art to David Geffen, Sotheby's and Christie's were shedding dozens of jobs and some kid from Cologne, whose father, Rudolph Zwirner, was a great dealer, was setting up his own shop in Soho. What did it feel like plunging into the NY art market at that time?
DZ: There wasn't much plunging going on in 1993. In 1993, the art market had contracted relatively brutally in 1991 and 1992 and many galleries had closed their doors. There were hundreds of galleries on Broadway stacked on top of each other, and these buildings became ghost buildings. We were opening in an environment where most people were closing so it seemed a little bit insane, but in hindsight it was the perfect moment to open because we got in at the beginning of a new cycle.
KC: How did you get to that point?
DZ: I was born in 1964 in Cologne, Germany, into a household of art dealers. My father's dad was a linguist, but he changed course. I came to the U.S. after high school and originally studied music. I was a drummer and studied at NYU and then decided in my mid-20s that I was getting married and going to have kids and so music wasn't something I was going to pursue. I was a jazz musician, and I played with one of the big stars of the avant-garde scene, Dave Douglas, the trumpeter. I studied with Joe Lovano, who was a sax player, so some of the guys I was with have had great careers. I thought I was good but not good enough, so I went back to Germany and worked for a record label, Act, that was affiliated with Polygram. I was an A&R guy, so I worked with the talent and I enjoyed that but the music business is so litigious. You always have the strange situation that if you have a successful act, the manager will try to break the contract to get a better one. You're not building on success—you're creating friction. If you have an act that's unsuccessful, we want out. However, I made some money.
At first I took that classic position that I didn't want to do what my father did, so I didn't look at the arts much. I was focused on my music. But ironically, with the money I started making I wound up going to art galleries in Hamburg and started to build a collection. I bought Bernd and Hilla Becher, the German painter Pink, and I met a lot of artists and one day I woke up and realized I was really interested in the art world.
KC: Had your father prepared you entirely for the financial brinkmanship of running your own gallery?
DZ: My father didn't prepare me for all of that. The preparation came through growing up with great art, just the environment of artworks I had around me when I was a kid helped me file things as I went along and understand their merit in economic and intellectual terms.
KC: What artists did you grow up around?
DZ: We had Gerhard Richter, Cy Twombly, Sigmar Polke, the American Pop artists and great artists from the 1970s were all around the house where I grew up. I think my father was happy I was setting up shop, but on the other hand, the economic times were so questionable at the time he that was plenty worried about whether my gallery was going to work. I was 28, and I'd worked for a New York outfit called Brook Alexander, and I worked for his print publishing house for a year and a half and we got to work with Donald Judd and Bruce Nauman and Lucian Freud but only on the print side of things. It was an interesting job in the art world at a complicated moment.
KC: What artists did you bring with you to your gallery?
DZ: The artists we brought when we started were Luc Tuymans, Stan Douglas, Jason Rhoades, Toba Khedori, Diana Thater and Franz West. They were our core group. I had traveled extensively in 1992, including most importantly to the art show Documenta where I saw Tuymans' and Douglas' work for the first time. I went to the West Coast and met younger dealers there who introduced me to artists, and that was a vital breeding ground for artists and still is.
KC: Did you already have a vision at that time for what type of space or art you were looking for?
DZ: I think it's important not to have a gallery style. We don't have a single aesthetic. We have Lisa Yuskavage and On Kawara – that's quite a stretch. Both are highly regarded with strong audiences, but aesthetically they are very different, and I find that invigorating for the gallery and more interesting for the clients.
I never aspired to have a group of friends in the gallery. Some galleries want all their artists to be best of friends and hang out at night. I never needed that – I was looking for people who are extraordinary and singular. Whenever you see that work, it can only be by that artist. And of course I wanted them to be innovators, people who are pushing forward. There is a train of art history and hopefully some of the people I'm working with are moving that train forward.
KC: What surprised you in the first few years of doing business?
DZ: One surprise was when we turned a profit in the first year. We had to – there was no beef to the bone when we started. In the fall of our first season, we showed Jason Rhoades and we had a sell-out show and I realized we were reaching an audience. The critics were taking note of the gallery and a few months later, I got lucky. The fellow that I was sharing my space with – we had a Soho gallery that we'd cut in half – went out of business so I could double my space in 1994 and that was a real engine. Our bigger space attracted more artists and the market became more buoyant. It suddenly felt like a viable idea. My father stopped worrying.
KC: He was a self-made man and he expected you to be the same?
DZ: It's really hard to inherit a gallery. A gallery is something incredibly personal. You make all your own choices and you built up relationships and profound friendships with artists and hopefully they extend for many years, and I don't think you can just fork that over. You can fork the business over, but not the individuality that a successful gallery is all about. If it's active in the primary market, which means it shows living artists, it's very hard to pass onto another generation. None of that holds true for galleries operating in the secondary market with long-gone artists, where continuity is a great strength because you can build on your inventory and client relationships from previous sales. In the secondary market, it's great to have legacies; in the primary market, it's better to start over. I'm certainly not grooming my kids to take over my gallery.
KC: What was the stupidest mistake you made in your first few years in the business?
DZ: Stupid mistakes are always the one where you talk to a certain artist and don't understand their work. I remember being introduced by Klaus Kertess, who is a wonderful curator, to the work of Ellen Gallagher, whose work I didn't really understand. In that moment I could have asked her to join my gallery and I didn't, but c'est la vie. You make mistakes when you make judgment calls on artists early in their careers and then as their career moves forward and you realize later they have much more to say than you originally envisioned. [note: Gallagher shows with Gagosian today.]
KC: Any other icons get away?
DZ: The other artist I like very much is Laura Owens, and I totally didn't get what she was doing but I've grown very fond of her work. There is one truth in this business: If you have a really great piece of work, it's going to find a buyer, so I'm sure I screwed up deals along the way, but at the end of the day, the extraordinary work finds another client. I was once offered a masterpiece by Martin Kippenberger many years ago by a Japanese client for a very reasonable price and I made the classic mistake: I tried to get it for even less money. Someone else was smarter than me and took it for the asking price, which I should I have done. I wanted 10%, I wanted to negotiate, but I should have added 10%.
KC: You still grew and expanded along with your artists and you eventually got a reputation to rival Gagosian – what do you think of those comparisons? How do people get it wrong?
DZ: It's flattering when people compare me to Larry Gagosian. I have great respect for Larry's gallery and he does amazing shows. As a dealer, we have different career paths. I'm coming from the primary market and expanded into the secondary market and he did it the other way around. So we have different business models, and I'm really proud that I have a stable of artists that I nurtured from scratch and then add a few along the way.
KC: A few years ago, every dealer in town had a new BFF from Russia or a hedge funder and you caught flak for snubbing them. What was going on in your head at the time?
DZ: I certainly appreciate money, but money alone doesn't make great collectors. It is really a certain obsession that I'm attracted to in collectors. I'm also a little old-fashioned, and I get really excited about the shows we do. So when people come into the gallery and interact with me, I get a chance to know them. A lot of people who entered the scene in the past few years were not so interested in the gallery circuit –they went to the art fairs and were frequently buyers at auction. That interaction was lacking, and in hindsight some of these people are net sellers, not net buyers, and they're going to create problems for the galleries they bought from and the artists they tried to collect in depth and are now trying to sell off.
KC: How does it create a problem?
DZ: Our market like any other is driven by supply and demand. If you have too much work by any artist entering the marketplace at one time, you're going to depress prices, and I think you'll see in the next few auction cycles that those artists who had especially steep curves and lots of work in the public arena will also be the ones who have to fight most to keep their price levels.
KC: When you think about the heights of the recent art boom, what moment sums it all up for you?
DZ: During the big auctions during the fall of 2007, I remember sitting there and looking at prices and I couldn't understand them. I'm a professional, and every day I do valuations for art, but the prices I was seeing were surreal. At the end of 2007, we went to Miami Basel and we sold virtually everything. It felt exuberant and wonderful, but people weren't thinking or making prudent decisions. It didn't feel like the type of transactions that I've been involved in for the prior 14 years where you're dealing with a serious collector with a passion for the arts thinking hard about what they want to buy and negotiating until they get a good conclusion. It was for me the height of the bubble. Even by 2008, you could feel the beginning of the reckoning.
KC: The auction houses made hay made the sun was shining, but the battle for business got brutal at times. What's the biggest mistake they made during the boom?
DZ: I think the auction houses rode the boom and threw all they could at it. Their mistake was the generosity with which they made guarantees that they doled out to sellers, and that bit them as the market shifted. Both Sotheby's and Christie's left a lot of their own money on the table with excessive guarantees given out during the summer of 2008 for works that couldn't perform that fall. They are adjusting quickly, and guarantees are a thing of the past. Now, the gallery can make just as good argument as the auction houses when it comes to selling a work.
KC: When did it fully hit you that the world had changed? Where were you when you realized the market was dropping fast?
DZ: Things didn't change overnight, but I started thinking more realistically last summer. The art world has a wonderful ritual where summer is really a time for shut down, and then last September Lehman Brothers went out of business, and then Madoff hit, so there were some clear indications that there was stormy weather ahead. My alarm bells went off in an interesting way. In the summer of 2008, we had a phenomenal fair in Basel, Switzerland, selling to Russians and Germans and other Europeans but there were no Americans there. We were used to getting a 70-to-30% American to European clientele, but at that fair we had a 90-to-10% European to Asian clientele and that made me realize there was a fundamental shift going on. The Americans weren't even there, so there was a change of attitude. The American art market is by far the most important in the world, so we started being more cautious from that moment on. The party went on until the Damien Hirst sale: that was the end of the party. That surprised everybody.
KC: Let me read you something I got in my email yesterday: According to the Art Price Global Index, prices dropped 34% in 2008 and the first market indicators in 2009 do not presage a rapid return. Basically, it says we're back to 2002-2003 price levels, right?
DZ: People are saying art prices dropped 34% this year and that sounds correct to me.
Some artists had so much work out there in the market they became their own little marketplaces. With them, corrections are inevitable. But some artists will see their prices rise. Take Alice Neel. The weakest auction I've seen ever in my life was Christie's Impressionist and modern sale last fall in New York – but it brought a new record for Alice. Go figure.
The best model going forward is excellence. I need to work especially hard now. I think Michael Govan, the director of LACMA, said there seems to be a new clarity to contemporary art now. A fashion cycle has come to an end. Every bubble sweeps up a certain bunch of artists that will define that fashion cycle. Unfortunately for these artists, fashion moves on and we look at a new group of artists. That's an exciting time because we get to look at what the market pushed up over the last five years and assess whether these artists did historically relevant work. The market will value certain artists in a new way.
KC: How does Alice Neel figure into this moment?
DZ: Alice Neel has been essentially overlooked. You could make a strong case that the most important female artists of the 20th century are Georgia O'Keeffe and Alice Neel. I challenge anyone to correct that. The interesting thing is she's an American artist who worked in figuration in a country and during a century in which when abstraction was front and center and dominated by men. Abstraction was the New York School and those were men. So Alice worked through the 1930s, 40s, 50s, 60s, and created a totally unique body of portraiture that is now, if you contextualize it with painters like Freud, Dumas, Peyton, Yuskavage, is worth being rediscovered. People who want to have a coherent group of artists in the figurative field have to know Alice Neel's work. So it's pretty exciting to be involved with her estate now.
KC: In a year-end roundup in our paper, another reporter made some market predictions. "Prediction #8: The worst-performing global market in 2009 will be the contemporary art market. It will be a race to the bottom for the frothiest luxury markets like Hampton beach homes and downtown NYC condos. But the contemporary art market will be the stand-out loser. It will nearly evaporate as many art investors of the last couple of years realize they've been Madoff-ed." What do you think about that?
DZ: Most people are in the art market not to make money but because they are passionate about the artworks that they live with. It's a minority who live with their art and only sees dollar signs. The majority understand you pay for it and it's possible the value will go up or down, but you live with it either way. It's not going to be a race to the bottom. However, if you went into this market five years ago primarily with speculative motives, you're going to be licking your wounds right now because that speculative energy not the engine anymore.
KC: Where is the money still?
DZ: The very rich collectors are still very rich. We find that we're in active dialogue with our serious collectors. One of them put it nicely to me yesterday: "I'm active in this market, but I'm not aggressive." I said, "I'm glad to hear you're active – let's see where that gets us." The hardest hit part of our market is in the middle where works are not especially expensive but are selling to people who have jobs and salaries, that's $10,000 to $150,000. It's counterintuitive because you think that's where it should be really active right now, but most of those works go to people who have between $250,000 and $1 million of disposable income. Most of them are sitting on the sidelines and keeping that income aside for the rainy days. Those who are wealthy and own their own businesses and have been collecting works for over $1 million on a regular basis are still looking. They want to get offers–they want to decline the offers–but collecting remains a lifelong passion and they still have a vision for their collection and are looking to fill gaps and find bargains. It's such an important part of their social life that they can't just abandon art.
KC: Auction houses? Who's surviving?
DZ: All strategies at all auction houses are fluid right now. There is absolutely nothing written in stone – they're just trying to react and produce results for their consignors and you can't do that through stubbornness. Private sales, they're both doing some of that now. In May, we get a chance to see if they can build a proper line-up and have a sale with desirable objects. The art market needs a good sale that gets people together. Sotheby's and Christie's have been so close to each other conceptually for so long, nothing much is going to change there. You'll see similar business models going forward. What may change is how all the cost-cutting affects their customer service. They are both operating huge machines with much-smaller staffs, so the quality of their service may suffer. We need the stability of their biannual pricing. I say biannual because I think New York is on top and London has to go back and find its rightful place again. New York's sales each May and November are still the key sales.
Phillips will have to fight for survival – that's a business model that hinges on a very buoyant art market and it'll be interesting to see how it can withstand a difficult period.
KC: What do you make of Steve Cohen's April exhibition at Sotheby's?
DZ: My initial reaction was "intrigued" because there's something new brewing there and I can't put my finger on it. Stevie Cohen comes to our gallery and is a smart investor and has a clear financial strategy for his art buying. And now that we know he's a big owner of Sotheby's stock, it makes it more complicated. But it was billed as an exhibition, and it's a great calling card for Sotheby's in a down market. Right now, everybody is trying really hard to get something going. Collectors can't be demonized for selling. A lot of selling I've seen is upgrading, and the fact that collectors sell creates the liquidity we need. So if we see a couple of his works at auction in the next few years, I wouldn't roast him at all.
KC: And this notion that booms make bad art?
DZ: One thing is for sure: The boom times, if they infiltrated the artist's studio, it's not a good thing. The boom shouldn't have even made a difference in the studio. I can tell you that the activity in Marlene Dumas' studio is exactly the same this year as it was last year – she's still looking at a blank canvas and trying to produce a meaningful piece of art. If anything, this new era may give artists more time – maybe they'll get a year to make a body of work instead of six months, and that time could help them create more quality. Maybe we can look again at art for its aesthetic and intellectual value and see its economic value as an afterthought. Plenty of people don't want to hear that, but from an artist's point of view it could be really good.
KC: You ever talk to your dad about these times?
DZ: That's the great thing about the older generation – they've been through so many cycles. It's interesting to talk to them but one thing they'll tell you that markets work themselves out. What's even more important right now is that museums get the support they need. There's a lot of talk about how fairs are suffering, but museums are having even a tougher time and they're the ones producing the exhibitions and catalogues that are so important for the entire system. Those that support museums need to step up to the plate. They're vital. You don't make a work to be bought by a Russian oligarch. You're happy when that happens, but that's not why you paint. You want that work to one day be part of a career retrospective at a major museum. In Europe, the museums get much more public money so they're having an easier time transitioning right now. The American institutions function on donations. The situation with LAMOCA and the Rose make me sad. Los Angeles is known through its cultural product—movies—so you'd figure there would be enough support there for one of the country's greatest museums. LAMOCA, from my perch, is daring and they show amazing stuff. They seem to have worked it out but it made me sad to see how close to the edge they got. It shouldn't have to fight for its survival.
KC: What's the worst thing a new collector could do at the May sales?
DZ: The worst thing a new collector could do now is to buy a really bad work at an inflated price. Two silly people can always pull that off at auction. They can bid a work up beyond what it should be. The other really bad thing a collector could do is to not look really hard at the offerings because there's going to be value and quality somewhere, you just have to look for it. I've been telling everybody that someday we'll all look back on 2009 and realize it was actually a spectacular year to buy art.
To read Rebel Yell from this month's WSJ. magazine, please click here


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BPL Community Profile
Trevor Wilson (trevor83) - BPL Lifetime Member
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All Forum Posts by Trevor Wilson
Re: gg dog pack
Great to hear! Thanks!
Re: Re: Indian Peaks Southern Loop
Thanks! I'll be looking forward to it for sure.
Re: 1,000 Mile Hike
I have never done a long distance hike so I can't personally provide advice but...I'm not sure if you have seen trailjournals.com. I think they could provide you with a lot of information ...
Re: Re Smokies AT Traverse
Thanks, Jeffrey. I hope you have a great trip next month. I agree, rain is certainly part of almost any extended trip to the Smokies. I haven't been the PNW but I look forward to it (rain an...
Re: doggie door
Dan, that's really cool! Great work!
Re: Re: Re: GSNP traverse
Haha, 5 days sounded like it would be a pretty crazy feat. I'll definitely do my best on the Swiss treks!
Re: GSNP traverse
Alan - I'm very happy to hear my trip report (re)inspired you and even better to hear you had a great trip! It really is a beautiful section of trail with some great ridgeline walking. It sou...
Re: dog pack
sale pending on dog pack
Re: Re: Re: Indian Peaks Southern Loop
Fantastic trip report and photography as always! Thanks for sharing. Have you ever written a blog post on your photography setup? I haven't been able to find that on your blog. I would ...
Re: Re: FS: GG Murmer and GG Dog Pack
Murmur is sold! Bump on dog pack still available. Dogs are great to backpack with! I know someone is in need of a big dog back pack for a cheap price :)
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New England Simple Living
Laurie A.E. O'Meara
Artist and Horticulturist
Cape Cod, Massachusetts
United States of America
Welcome to my website. I am an artist who lives on Cape Cod, Massachusetts. I obtained a degree in horticulture in order to enhance my botanical painting and illustration. I feel preserving our American weaving, sewing, needlework and spinning histories are important, especially as we move into more and more of a global economy. My love of art and horticulture has brought me to a deeper understanding of the role of plants, trees, water and energy on our planet.
When you get the chance, please plant a tree.
Site created on October 6, 2007
Counter reset December 15, 2009 and March 17, 2012
Previous count 5,197 visitors
All designs, images, and text, including artwork and photographs (except where noted ) on this site are copyright 2001 - 2014 laeom (Laurie A.E. O'Meara) All Rights Reserved and their use or copying is not allowed without prior written permission. Thank you. :) Images and text that are marked courtesy of, used with permission, "by", or other notation are copyright of the respective person and are also protected.
Please note: The domain name of my former website was laeom.com . It is my understanding that a corporation has now taken that domain name. I am no longer affiliated with the domain name laeom.com.


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Christmas wish list inspiration
Over thanksgiving we exchange gift list ideas with the family during the name draw, and I'm at a blank. What I really want is a Thermapen, or a kitchen renovation, but that slightly exceeds the $50 limit. My kitchen is pretty well supplied, but I'm always looking for ideas. Anything on your Christmas list to help inspire me?
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|Le Corbusier and Villa Savoye Remembered
|Written by Camille Chami
|Wednesday, 24 October 2007 19:00
2008-09 will mark the 80th anniversary of Le Corbusier's Villa Savoye, an outstanding achievement from a leading figure of Modern Architecture. It was the embodiment of Le Corbusier's philosophies.
Years of research done through previous works, painting and architecture, that helped in bringing his ideas to maturity. The Architect transformed a simple week-end country house into a thoughtful project that brought in innovative concepts, volumetric ideas, and spatial organization still present in Architecture as we know it today.
Pictures courtesy of Nick Ehert
Related Articles:
|Last Updated on Wednesday, 24 March 2010 15:03


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Glenn Bernardis
Lecturer, Sound for Theatre; Sound Designer/Supervisor
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Glenn, a native of Buffalo, N.Y., graduated from the State University of New York at Buffalo with a degree in audio production, electronic music and computer music systems. He has mentored with computer music pioneer Lejaren Hiler, composer David Felder, and Steve Bradley. Glenn also studied voice, guitar and composition as well as bass and...
Steven Braddock
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Steve has directed Curtains, The Philadelphia Story, Urinetown the Musical, The Rimers of Eldritch, Little Women and Damn Yankees for NU Theatre. Before coming to NU, he served for eleven years as the Artistic Director of the Gifford Family Theatre, a professional Theatre for Young Audiences in residence at Le Moyne College. He has worked as Director of Education for...
Marilyn Deighton
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- Phone:
- 716.286.8492
Marilyn holds an MFA in costume technology from the University of North Carolina School of the Arts. Currently, she teaches stagecraft, costume construction, pattern drafting, corsetry, dancewear, and she supervises the student workforce in the costume shop and is the Draper/Tailor for all of the theatre department's productions. Previously, she was a lecturer and Draper/Tailor at the University...
Josie DiVincenzo
Lecturer, Acting & Theatre Appreciation
Josie returned to her hometown of Buffalo, NY in 2010 after a successful career in TV, film and theatre in Los Angeles. Recent local roles include those in the acclaimed all-female Macbeth with Shakespeare in Delaware Park; Noises Off, and Rock-n-Roll (directed by NU Theatre's own Doug Zschiegner) at the Kavinoky; You Say Tomato, I...
David Dwyer
Assistant Professor, Design/Tech; Scenic Designer/Production Manager
- Email:
- firstname.lastname@example.com
- Phone:
- 716.286.8485
David holds a Master of Fine Arts in production design from Michigan State University, and a Bachelor's in theatre and an Oral Communication Certificate with distinction from Marietta College. As a freelance designer he works primarily in the Eastern United States, with a few ventures elsewhere. His designs have been seen at The Boarshead Theatre,...
Adriano Gatto
Artist in Residence, Stage Combat and Recruitment
- Email:
- firstname.lastname@example.com
- Phone:
- 716.286.8481
Adriano has returned to Niagara University as the current Artist-in-Residence/Recruiter for the Department of Theatre & Fine Arts. Certified with Distinction by Fight Directors Canada and Recommended by the Society of American Fight Directors, Adriano's work as a fight choreographer has been seen at various theatres across the country, most recently the Irish Classical Theatre Co.,...
Cristen Gregory
Adjunct Professor, Voice
- Email:
- firstname.lastname@example.com
Cristen is a soprano and has been a member of the faculty since 2000. Her career has taken her all over the world in leading operatic roles, oratorio, pops, orchestra concerts, and recitals. She holds a Bachelor of Music Degree in Voice Performance from the University of Toronto, and an MBA from Medaille College. She...
Terry Judd
Adjunct Professor, Physical Theatre
Terry has worked in theatre in Canada since completing his apprenticeship at the Stratford Festival in 1967 and 1968. He took the eight month training course at the Canadian Mime School in 1974-1975, and was one of the founding members of the Gryphon Theatre in Barrie in 1970. During his career, he has performed with many...
Katie Mallinson
Lecturer, History and Literature of Theatre
- Email:
- firstname.lastname@example.com
Katie is a graduate of Niagara University with a BFA in Theatre and a BA in English. She earned her MFA in Dramaturgy from the Institute for Advanced Theater Training at Harvard University. Katie has taught at Niagara University, with Shakespeare in the Park and as a Teaching Fellow at Harvard University. As a dramaturg, she...
Gary Marino
Lecturer, Ballet
Gary began his formal training in the music department of SUNY at Albany, then went on to study dance with Melissa Hayden, Elizabeth Carroll, Edward Vilella, Kay Mazzo and Peter Martins at Skidmore College. He also studied jazz with Rhett Dennis at the Luigi School in New York as well as modern with Ethel Winter of...
Robin Patterson
Adjunct Professor, Physical Theatre
Robin graduated from Simon Fraser University, Canada. She studied physical theatre in Paris at Ecole Jacques Lecoq, then toured with the Canadian Mime Theatre for four years. A co-founder of the international touring company, Theatre Beyond Words, Robin is presently Artistic Director of the company, specializing in writing and directing mask, clown and modern commedia dell'arte. She...
Elenora J. Seib
Adjunct Professor, Voice
Elenora , a native of Buffalo, NY, holds a Master of Music degree from the Manhattan School of Music and a Bachelor of Music degree cum laude from SUNY Fredonia. She has worked as music director/conductor for many productions throughout Western New York and has toured Europe as accompanist to several choral ensembles. Currently the director...
Amanda Lytle Sharpe
Adjunct Professor, Speech; Guest Director
Amanda received her Bachelor of Fine Arts in Acting with honors from the University of Florida, and her Masters of Fine Arts in Acting from the University of North Carolina Greensboro. She worked professionally with the North Carolina Shakespeare Festival and the North Carolina Theatre for Youth. Amanda also attended the British American Drama Academy at Stanford...
Maureen Stevens
Associate Professor, Design/Tech, and Costume Designer
- Email:
- email@example.com
- Phone:
- 716.286.8490
Maureen received her B.S. from Buffalo State College in Apparel and Textiles and her M.F.A. in Theatre with an emphasis in Costume Design from the University of Illinois at Urbana-Champaign's Krannert Center for the Performing Arts. Previous to joining the faculty at Niagara University, her career spanned many facets of costuming and areas of the country including:...
Paul Todaro
Adjunct Professor, Acting
- Email:
- firstname.lastname@example.com
Paul graduated from Niagara University's theatre program in 1987 and moved to New York where he worked with the Independent Theatre Company at House of Candles Theatre on Manhattan's lower east side. Paul acted and directed the plays of Shakespeare, Beckett, Brecht, Pinter, Strindberg and, in 1992, became the Artistic Director of the company. In 1993, House...
Brother Augustine Towey, C.M.
Late Director Emeritus & Co-Founder of Niagara University Theatre
Brother Augustine (1937 - 2012) earned a Ph.D. in Theatre from New York University, a certificate in Shakespeare and Elizabethan Theatre from the University of Birmingham (Stratford-upon-Avon, England) and a Masters in Dramatic Literature from St. John's University (New York). Brother Augustine directed over 135 plays in the past 50 years at Niagara University and many...
Terri Filips Vaughan
Associate Professor, Dance, and Choreographer
- Email:
- firstname.lastname@example.com
- Phone:
- 716.286.8489
Terri has choreographed over 30 musicals and 19 concert works at Niagara University. She graduated summa cum laude with an MFA in Dance from the Texas Woman's University and cum laude with a BA from Hope College. Terri has worked as a freelance teacher, choreographer and theatre director for numerous schools, community groups, studios and professional companies....
Dr. Sharon Onevelo Watkinson
Professor & Chair of Theatre, Department Co-Founder
- Email:
- firstname.lastname@example.com
- Phone:
- 716.286.8482
Dr. Watkinson earned her Ph.D. from New York University, and MA from The Catholic University of America in Washington, D.C. Here at NU, Dr. Watkinson has directed many productions including the Focus Award-winning J.B. and Good Woman of Setzuan. She has acted frequently in local and university theatre productions including Women Times Women, the title role in...
Stacy Zawadzki-Janusz
Adjunct Professor, Dance
Stacy is the owner/director of ZPAC-Stacy Zawadzki's Performing Arts Center. She is also an independent Director/Choreographer for many local production companies, an Adjudicator, and a Fitness Assessor/ Instructor with BWI Health and Promotions. She received an MFA from the State University of New York at Buffalo. Stacy has been a member of the Buffalo Contemporary Dance...
Doug Zschiegner
Associate Professor, Acting/Directing, Associate Director of NU Theatre
- Email:
- email@example.com
- Phone:
- 716.286.8487
Doug directed Company, The Threepenny Opera, She Stoops to Conquer, The Real Thing, A Midsummer Night's Dream, Into the Woods, and Bat Boy: The Musical here at NU, and It's A Wonderful Life, Secret Order, and Rock 'n' Roll at The Kavinoky Theatre. He's a member of Road Less Traveled Production's Resident Ensemble, directing premiers...