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EVERYTHING OP IS NEW AGAIN: The Persistence and Recrudescence of Optical
David Richard Gallery
2015 October 10
"Re-Op: 'The Responsive Eye' Fifty Years After", currently on view at David Richard Gallery is the third in a series of presentations co-curated by Peter Frank, critic, curator and historian and David Eichholtz, gallerist, curator and historian that critically examines and reconsiders "The Responsive Eye", the seminal exhibition organized by William C. Seitz at New York's Museum of Modern Art in 1965. This particular installation explores contemporary artworks by artists who were included in the exhibit at MoMA as well as their contemporaries and later generations of artists. All of them share an interest in exploring optical art and visual perception.
Following is the catalogue essay written by Peter Frank.
Click here to view the exhibition on line
EVERYTHING OP IS NEW AGAIN: The Persistence and Recrudescence of Optical
Art Practice, 1970-2015
By Peter Frank
Op Art, treated in its day as a craze or phase, has proven far more durable than its original detractors and even supporters anticipated. For one thing, many of its practitioners viewed it far more seriously than did those commenting upon it; the original Op artists have always considered Op an approach grounded in credible aesthetic evolution and substantive scientific research. For another, they recognized from the beginning that the formal language of Op allowed it to be attractive to the relatively unsophisticated viewer at the same time as it proposed radical extensions of established modernist practice. This was a great part of Op's appeal, especially in the wake of Pop, a style that had set a tone for its time with its playful character. Similarly, Op could engage a non-professional as well as professional audience in matters of serious physio- and psychological as well as aesthetic investigation. While Pop could be assessed as a socially inflected art (indeed, as a social phenomenon), Op could be assessed as scientific inquiry. From the start – and even more than with Pop – Op Art's most enthusiastic audience drew from a relatively casual viewership, while the art world often regarded it with suspicion and disdain. In the intervening years, that suspicion and disdain gave way to grudging respect, and certainly to an acknowledgment of Op's historic pedigree. But the crowd-pleasing aspect of the practice remained irksome in the eyes of the mainstream art world – at least until a younger generation of abstract artists, in its search for new means of invention (especially within a newly forged post-modernist stance), began exploiting Op's funhouse quality, not simply for its affront to "good taste" (although certainly with that in mind as well), but for its ever-fresh, ever-startling revelations about the vagaries of human visual perception.
This exhibition completes the stylistic (if not yet the historic) arc being traced by the series of shows comprising David Richard Gallery's "Fifty Years After" series. "Re-Op" looks at later work by various American participants featured in "The Responsive Eye" and their contemporaries and near-contemporaries, and pairs these with works by younger artists – also American – who for various reasons and to various ends have re-employed the languages and effects brought together by William C. Seitz at New York's Museum of Modern Art. Even though the show traveled to four additional venues around the country, most of the latter generation represented here were too young to have seen or even known about the show – if they were even alive at that moment. But a number of them were fortunate enough to study with participants in the broader Op movement, and, clearly, all of them display a keen awareness of what many of the movement's protagonists achieved and the rigor and discipline they exercised in that achievement.
"Re-Op" affords us a comparison between the works of the original Op generation, even as those works postdate the "Op moment," and the achievements of a younger generation (or two). Indeed, that the fact that the older artists are represented here by works that are arguably more mature and more stand-alone than those of the "Op era." allows us to distance them from the tumult of the mid-1960s and to evaluate these Op stalwarts, whatever their other allegiances (color-field, hard edge, kinetic, finish/fetish), as individuals. This, in turn, clarifies the independence-minded self-possession so many of the younger artists evince. They do not form, certainly not consciously, a "neo-Op" tendency. The formal languages they employ are even more diverse than their elders', and their purposes, while clearly sharing a preoccupation with human vision, are even more disparate.
Still, it could be argued that the younger artists here together establish something of a neo-Op idiom. Their way of working may honor their teachers' and forerunners', but it also embraces the technological – and especially the material – advances of their time. To be sure, in their day the older artists were themselves pioneers of new means and materials, driven equally by curiosity and necessity. In that regard, the younger artists inherit and perpetuate their elders' spirit. But the materials, processes, and supports employed by the artists born after World War II (and even the Vietnam War) reflect a profoundly changed world, one in which image projections are stable, reflective sign materials are commonly available, and there is a general presumption that, at some point along the development of an artwork or series, digital means are engaged. Steel, aluminum, collage, airbrushed paint, stencils, and, certainly, plastics recur from older generation to newer. But by now, the advice imparted in The Graduate – "Plastics!" – is retrospective rather than predictive.
It should be noted that the younger artists represented in "Re-Op" not only follow the original Op generation, but follow (or just overlap with) an intervening generation whose critique of "art" as an expression of "visual culture" gave them license to return to the questions posed and means proposed by Op Art. The emergence of the militantly post- modernist "neo-geo" trend in the mid-1980s, for instance, re-valorized the language of geometry while freeing it of its modernist responsibilities to utopian goals. The impulse to investigate visual phenomena for their own sake – which had impelled most of the original Op artists, and for which the art world had scolded them – was restored to a dignified status in artistic discourse. The neo-geo artists, in turn, had taken a few cues from the pattern painters of a decade previous – some of whom had themselves emerged in the context of Op.
Of course, some of the younger artists here – as, indeed, certain of the older – maintain extra-visual concerns in their work, addressed to theory and/or wider, non-visual praxis. But the appearance of things, and how audience reception of that appearance changes under modified circumstances, is at the heart of all the work on view. In the 1960s Op artists were hard pressed to claim the same contrarian sources that had given rise to Pop; if Dada grandmaster Marcel Duchamp could opine that "the viewer completes the work of art," Op artists of the day had to explain such subjectivity in analytical terms, or be dismissed as visual entertainers. Today's Re-Op artists, younger and older, are not burdened with that onus: if they work with optical illusion, they are concerned with both optics and illusions, and that suffices.
Los Angeles
September 2015
New Figurative Paintings by Angela Fraleigh at David Richard Gallery
In her newest paintings, Angela Fraleigh reexamines the classical female nudes from Baroque and Rococo paintings. Specifically, she reconsiders the gaze and thoughts of the posing models by resituating them in new compositions. Fraleigh, a feminist artist, removes the nudes from their original roles as objects of desire, icons, and ornamentation and places them in a new context where they are self-assured, empowered and the central characters. Their bodies are draped and shielded by lush vegetation, saturated color and gold or silver foils. They are lost in their own private thoughts and engage with the women in the painting, unconcerned with the artist or the viewer. She releases these figures from their prescriptive roles in mythological and historical narratives and frees them to be more intriguing characters that are a little mysterious, sometimes whimsical, and often introspective. Essentially, Fraleigh transitions these women from being "in character"—using theatre parlance—to creating their own character and identity. She demonstrates in these paintings that context matters and changes how one is viewed, setting the stage as to how women are, or at least should be, considered and approached. There is still an aspect of voyeurism in these paintings, in keeping with the essence of the Baroque and Rococo masterpieces. Yet, something seems different now, it seems less acceptable, as though a boundary has been crossed. The viewer sees these historical Baroque figures differently as they use the agency of their new positions to shift the balance of power for women, away from being objects of male desire to a state of impartiality, satisfying themselves without remorse and taking what is theirs without asking permission—at least not from a man.
Fraleigh's paintings are beautifully executed and capture the extravagance, lushness and voluptuousness of the Baroque and Rococo paintings of 17th and 18th century Europe, like those originally created by masters such as Peter Paul Rubens (1577-1640), Francois Boucher (1703-1770), Francesco Furini (1603-1646) and Pietro Liberi (1605-1687). However, Fraleigh deploys a few new techniques and devices to achieve her objectives. In one body of large-scale paintings she applies layers of stains, glazes and saturated hues that provide lush depths and rich colors from which the figures seem to emerge. In the other collection of large paintings, she provides layers of gold or silver foil in a variety of shapes ranging from palmate leaves and tree branches to pure abstractions with the figures on top of, behind and between the many layers. Both devices provide the cloaking and draping of the female figures that takes the attention away from them as seductive objects. They also provide depth to the compositions and richness that only comes from layers of color and forms. More important, these devices provide a level of abstraction and a new context from which to view the figures that beg questions about who they are, where they come from, and what they are doing. The focus shifts from the broader narrative to them individually, their relationships one to the other and unique identities. These abstract devices make Fraleigh's paintings very fresh and contemporary, bringing them and the imagery into this century and supporting the important conceptual underpinning.
The introduction of abstraction into Fraleigh's latest figurative paintings not only brings them forward in terms of modernity and the evolution of art history, but with all of the artist's devices and approaches, there is much more than meets the eye. Fraleigh is thoughtful in every detail. The abstract elements derived from gold and silver foil come from the turn of the century designs by Candace Wheeler. Wheeler was an activist for women and promoted that they should be financially independent; she was one of the first women to earn a living from her own work. Conceptually, this addition validates the independence of women. Formally, the abstraction operates to not only cloak and shield the female bodies as noted above, but more important, to create a dream-like setting where the figures are floating and not grounded. This dream state allows a revisioning of how the world and women's fates can be different, creating a path away from history of the female body as a sexual object, toward women being empowered and appreciated for intellectual, cultural and social contributions. These future accomplishments become a realization by using and celebrating the successes of women like Wheeler who have and continue to pave the way for others.
These newest paintings by Angela Fraleigh are featured in the current exhibition, "(Un)Real", at David Richard Gallery. Curated by New York-based curators, Mary Dinaburg and Howard Rutkowski, the exhibition also features paintings by Michele Bubacco, David Humphrey, Martin Mull and Claire Oliver.
View the exhibition at:
View Angela Fraleigh's paintings at:
By: David Eichholtz
Posted: 2015 September 09
DRprojects at David Richard Gallery featuring Matthew Kluber, Phillis Ideal, Gregory Botts, and Michael Scott
DRprojects at David Richard Gallery www.DavidRichardGallery.com is a platform that allows the gallery to highlight new and experimental artworks by the gallery's artists as well as guest artists and curators. It is a pleasure introducing new talent and exciting artwork to the community and our collectors.
Currently, DRprojects is featuring new artworks by the following artists.
Matthew Kluber has 3 new projections on view in the gallery in a project called "Electr-O-Pura". Specifically, they are computer-generated digital images projected onto a painted aluminum panel. The combination of the light-based moving digital imagery and stationary painted surface creates a unique hybrid that is stunning. His clever programming and software keeps them fresh. They are like slow moving paintings. Each measures 48" tall by 96" wide. Check them out in the gallery or view short videos of each on the website at http://www.davidrichardgallery.com/Matthew-Kluber-Art.cfm?ArtistsID=805&NewID=8621
Phillis Ideal's new collages in hot summer colors are featured the project "Copy, Paste, Save". Ideal pours, brushes, sweeps and smears paint onto a variety of supports: canvas, paper, panel and the floor. The strokes and puddles of color are then cut and assembled onto larger supports and collaged with portions of her works on paper, screens and other found materials. See her new abstractions at http://www.davidrichardgallery.com/Exhibit_Detail.cfm?ShowsID=270
Gregory Botts. Earlier this summer the gallery presented a selection of larger site and studio paintings by Botts, side-by-side in a salon hang similar to his presentation in March of this year at Austin Peay University. The presentation shed light on his intricate process for creating his wonderful studio paintings. That process takes representational imagery from paintings from various site locations and combines them with elements of abstraction, all set to the rhythms of poetry, and infused with art criticism and history. The results are compelling paintings that capture a cycle of nature and the evolution of contemporary art. This selection, "The Southern Route" focuses on smaller site paintings, mostly from Colorado, New Mexico, Texas and California. See them in person in the gallery's Viewing Room and on the following web page: http://www.davidrichardgallery.com/Exhibit_Detail.cfm?ShowsID=271
Continuing with landscape painting, Michael Scott's new project is painting grand landscapes from American National Parks and forests. However, there are some interesting twists and uses of materials, but you will have to wait until the masterpieces are completed and ready to exhibit. Scott's painting practice strives to capture the awe and scale of nature in the tradition of American landscape painting. He does this by creating a spiritual connection with the landscape and focusing on metaphysical symbols from Native culture—the wolf, owl, spiral of smoke, etc. This project, "On The Road Again" features a number of small studies for the larger scale paintings that Scott painted while traveling around the country in his Bambi camper. See these great studies in the gallery's Viewing Room or on the following webpage: http://www.davidrichardgallery.com/Exhibit_Detail.cfm?ShowsID=272
Written by David Eichholtz
Santa Fe, August 30, 2015
David Humphrey at David Richard Gallery
Regarding the recent paintings and drawings of artist David Humphrey, they are very curious indeed. What is the imagery? Who are these people? What is the message? Many are included in the exhibition entitled, "(Un)Real", curated by Mary Dinaburg and Howard Rutkowski on view now at David Richard Gallery www.DavidRichardGallery.com . Visit the exhibition page at http://www.davidrichardgallery.com/Exhibit_Detail.cfm?ShowsID=266
Humphrey is new to the roster at David Richard Gallery. For many collectors, the gallery is best known for its focus on Post War abstraction. Therefore, Humphrey's figurative paintings might seem a bit out of step. But, not really, since his paintings reference and pay homage—some tongue-in-cheek—to visionary modern artists and abstract painters. Also, Humphrey incorporates formal elements of abstraction—mostly the gesture—with his Pop sensibility and cartoonish figures. But, more than the formal qualities, his paintings are conceptual and abstractions with respect to the protagonists and situations he portrays.
At first glance, Humphrey's paintings are colorful and instantly engaging due to the recognizable characters and elements. Some are witty, others outlandish and a few almost like a Polaroid. They seem straightforward at first, but they really are complex in that we are viewing people, who in turn are viewing something that we do not know or understand. That is the hook and how the mystery begins. However, there is more complexity because Humphrey is an art historian as well as a brilliant writer and critic. His paintings are full of subtle references under the guise of being reductive and "what you see is what you see".
To me, Humphrey's paintings are about story telling and how a story changes as it passes from one storyteller to another. But, they are also about imagining situations and understanding people through the eyes of someone else, through their filters and memories. Humphrey is intrigued by the artworks of amateur painters and often, their artworks are the basis for his own paintings. There is a simplicity and honesty in the amateur paintings. Not knowing the people, places or situations in those paintings, Humphrey views the amateur painting and tries to imagine what was happening. Why was this situation or these people memorialized in this handmade rendering as opposed to taking a photograph? Humphrey then adds characters, modifies situations and embellishes to put his spin on the original.
Formally, Humphrey's paintings are flattened out with a graphic and Pop sensibility. This is a very clever technique, as Mary Dinaburg noted in a recent gallery talk, because it depersonalizes the painting, making it more accessible and open to alternative interpretations. The technique also puts the focus on only one or two key elements in the composition: the protagonist and an aspect of the situation. The viewer does not get the complete story from Humphrey. Like the artist, we (the viewer) must now get into the head of the creator and try to view the painting from his perspective. The story evolves from the original yet again as we view the paintings and interpret them for ourselves with our own biases and histories.
Frequently, Humphrey adds broad gestural strokes in what would otherwise be a negative space in a painting. Or, sometimes, the gestures comprise the majority of the painting with the figures being in a corner or at the bottom of the painting in the very low horizon line. These gestures operate in two ways. One is to add a unifying compositional element without adding more detail that would otherwise take away from the protagonist, again, focusing the viewer's attention on the most relevant elements. The other is to create tension across the canvas and convey the sense of abstraction. The combination of starting with something that is recognizable, 'funking' them up them through the narrative process and unifying them with gestural slashes of color produces abstractions that stand up to almost any non-objective Post War paintings.
Artist Profile – Meridel Rubenstein
Art LTD
Small of stature and big on ideas, lively, talkative. and more than a little impishly intellectual, Meridel Rubenstein has for four decades successfully pushed the boundaries of post-modernism in photography and installation through original photo-processes, and a socially active, post-feminist (dare we say, humanist) figurative engagement with environmental issues. Or as the artist succinctly puts it when asked about the germination of her diverse bodies of work, "There are three things that have to be present for me to start a project-the body, war. and nature." Her eyes darken; her expression becomes serious. "History is always really important. When everything I'm thinking about at the time comes together in one story, that's when I know I have to do it. "
Born in Detroit in 1948, and spending summers at the family farm in Vermont. Rubenstein describes herself as "always city/country conflicted." She majored in film "and protesting Vietnam" at Sarah Lawrence. In the late 1960s, she worked with a left-wing, agit-prop film collective in Vermont, along with members of New York Newsreel. Just as her own experimental filmmaking process led to a "film of stills," she had the good fortune to study at MIT with photographer Minor White. "He was the quintessential modernist, "she recalls. "He taught me purity and sequence." In 1977. she completed her MFA in photography at the University of New Mexico where she worked with surrealist Van Deren Coke. He introduced her to a far more experimental approach. "So I have both sides, you see. A part of me as an artist that is almost 19th century, and another part that is much more open conceptually."
Her technique developed over many years of making large-scale palladium prints of people and place, sometimes stamped with text and mounted on steel, or presented in even more novel ways-printed on glass, afloat on a boat, etc.-while her content took root in her concern for universal human and environmental rights. Similar concerns drive the work of Ai Weiwei, Rirkrit liravanija, Francis Alys, Christian Boltanski, Anselm Kiefer, and Mel Chin, who are properly her peers. Her early 1990s masterpiece, Oppenheimer's Chair, a stunning glass house and video meditation on how hot it might get to sit in the driver's seat of the Manhattan Project for all eternity, is being considered for the permanent collection of the Nevada Museum of Art's Center for Art + Environment this year. This comes 20 years after SITE Santa Fe commissioned it for their first biennial, which opened by chance exactly on the 50th anniversary of the first Trinity test-the small coincidence that set the piece in motion.
Today Rubenstein divides her time between Santa Fe and teaching at Nanyang Technical University in Singapore. This year she has two solo shows-in Santa Fe this spring at David Richard Gallery, and in the fall at her longtime San Francisco venue, Brian Gross Fine Art. And she's taking another trip to Iraq, the epicenter of civilization, as part of her latest boundary-blending art experiment. "Eden Turned on its Side," the title of her new trilogy, denotes a conceptual, photo and multi-media based project. The three parts are Photosynthesis-"a straightforward representation of the carbon cycle" focused on beautifully shot and altered images of leaves and trees-The Volcano Cycle-mixed-media light magic performed with imagery from the Pacific Ring of fire, raising the possibility that nature's destructive forces are also renewing-and Eden in Iraq. This ambitious final segment encompasses Rubenstein's directorship of a collaborative architectural, art garden project in the Mesopotamian marshes with Nature Iraq, an NGO dedicated to water remediation. The centerpiece is an elaborate. elegantly designed wastewater garden on the ancient marsh site in southern Iraq that many consider to be the Biblical Eden. The landscape architectural forms. the shapes. colors and volumes. are aesthetically derived from a post-modern mix of the eons of Mesopotamian mythologies and cultures that have flourished and foundered in the region.
The artwork exists primarily as a conceptual set of connections between people and places depicted in haunting landscapes, unique multimedia works, and symbol rich landscape architecture. In Rubenstein's work, the overarching focus remains on the human heart, and human rights in relationship to land, and to the natural environment. She sums it up nicely: "After millennia of destruction, can Eden be restored? In the largest sense. that's really the question I want this work to ask."
Fine Art Exhibition of Work from the 1960s Opens in New York
Architectural Digest
The cross-fertilization of ideas and inspiration between art and design continues apace. Exhibit A: "The Responding Eye: '60s Now," one of the most intriguing fine art exhibitions to hit Manhattan in recent months, which is currently on view at the Greenwich Village decorative arts gallery Maison Gerard.
The show celebrates the 50th anniversary of the Museum of Modern Art's landmark 1965 exhibition "The Responsive Eye," which presented the work of nearly 100 international artists engaged in Op Art, Geometric Abstraction, Hard-Edge Painting, and other forms of expression that turned away from the raw emotion of an earlier generation of gestural abstract painters.
The artists represented in the exhibit may not be as familiar as, say, Mark Rothko or Jackson Pollock, but they nevertheless exerted a profound influence on the Minimalism and Conceptual movements that were beginning to coalesce in the 1960s and early '70s. For art aficionados who may not happen to possess a Ph.D. in 20th-century painting, this show offers a concise yet compelling introduction to the work of Leon Berkowitz, Francis Hewitt, Beatrice Mandelman, Paul Reed, and others.
The good news for collectors is that, unlike the astronomical sums that canvases by Rothko, Pollock, and their peers typically fetch, the prices for the works on view at Maison Gerard are decidedly more accessible. In any case, they're well worth seeing.
Artwork curated by David Richard Gallery through May 27, Maison Gerard, 43 & 53 East 10th Street, New York; maisongerard.com
Beloved D.C. Artist Tom Green and his Surrealistic, Graphic Vocabulary
Tom Green took cues from consumerism, politics, and the everyday around him to build Boschean, graphic landscapes of cavorting geometry. Working within his own surrealistic visual language—part front-facing hieroglyphics, part freehand cartooning—Green brought a lighthearted approach to an advanced understanding of color, composition, and the realities of contemporary situations.
This spring, David Richard Gallery in Santa Fe debuts "Tom Green – Mapping the Human Condition (family, nature, war, authority, memory, compassion)." The exhibition features a selection from Green's last series of work made before his death from ALS in 2012, as well as paintings and works on paper from throughout his career.
Considered to be one of the most prominent Washington D.C. artists of the last century, Green led art in the city away from the prevalent trend of painters in the Washington Color School (such as Morris Louis and Kenneth Noland), while working for 35 years as an instructor at the Corcoran College of Art and Design. He encouraged his students to look inward towards a personal vocabulary of form, a commandment he personified. One of his most defining characteristics to those who knew him was his ever-present black sketchbook in which he would constantly draw, reacting to the world around him.
The works on view at David Richard Gallery show the focused attention of an artist who had worked to solidify his unique methodology. In various works on paper and canvas, we see pop, narrative tableaus depicting an spirit of joy, as well as a concern for the heavier, threatening aspects of modern existence. Hard edged color and graphic forms give an ominous tone to Two Conditions (1983), which seems to threaten two equally violent and undesirable scenarios. Memory (1994) has a contemplative inwardness in its monochrome palette and composition. In stark contrast, Puppet (1988) is a buoyant and busy work on paper that pushes onward and upward through turmoil. In Gadget (1987), a bright, fun object stands front-and-center, resembling both an indefinable machine and a futuristic, Inca-inspired deity.
Considering the productive nature of the artist's practice and his constant response to events around him, it is no surprise that these works, like human characters, cycle through emotional up- and downswings. Filtering the world around him into his own pictorial space throughout an incredibly prolific career, Green's works are useful markers in illustrating the rapid shifts of the world around him as it entered a new and chaotic century.
What You See Is What You Think You See?
What You See Is What You Think You See?
In 1965, the Museum of Modern Art open The Responsive Eye, an exhibition of what most people refer to as op art.
The works abandoned all association with nature, such as a horizontal line that could suggest a landscape, as well as the gestural painterly-ness of the abstract expressionists. The new work brought scientific and psychological studies of perception into the world of art. Rather than "telling" the brain what the eye is seeing, it allows the eye to see what it sees, and the brain to interpret what is there. The exhibition's curator, William Seitz, said the title of the exhibition was chosen "to indicate an activity, not the kind of art."
He asked, "Can such works, that refer to nothing outside themselves, replace with psychic effectiveness the content that has been abandoned? What are the potentialities of a visual art capable of affecting perception so physically and directly? Can an advanced understanding and application of functional images open a new path from retinal excitation to emotions and ideas?"
In recognition of the 50th anniversary of the exhibition, David Richard Gallery in Santa Fe, New Mexico, is mounting a series of exhibitions curated by David Eichholtz and Peter Frank. The first was Post-Op: 'The Responsive Eye' Fifty Years After, February 24 through April 11. The second, Op Infinitum: 'The Responsive Eye' Fifty Years After, opens May 29 and continues through July 6. Post-Op explored the "roster" of artists from the MoMA exhibition and examined the artists' work "during and after the op art 'craze' of the mid-1960s."
Op Infinitum further explores artist from The Response Eye, as well as work from the '60s by other artists working in the same vein but not included in the exhibition. Subsequent exhibitions in the David Richard Gallery series will "feature artwork by contemporary artists who continue to push art into the perceptual realm with new materials and technologies that create visual sensations, immersive experiences and view-active engagement," as well as later-career and contemporary work by artists from The Responsive Eye. The final installment of this series will turn to the international artists from Europe and Latin America who were an important part of the MoMA exhibition.
In his essay for the first of the exhibitions, art historian and curator Frank observes the artists associated with op art remained true to the principles that inspired them 50 years ago.
"Their sensibilities," he writes, "oriented toward systematic investigation and the evolution of coherent form, maintain throughout their careers whether or not their latest practice diverged from op art or even from geometric abstraction in general. Some went back to the exploration of perceptual stimulation after working in others (if related) styles…And succeeding generations of artists – notably but not exclusively painters, and notably but not exclusively Americans – have referred to op mannerisms or even return to op practices, interested all over again in what can be done to stimulate the eye beyond the expected, beyond the quotidian, beyond the prosaic. Op art stays stubbornly fresh, as long as the human eye stays gullible and enchantable."
I began my own museum career toward the end of the op art "craze" and was amazed, walking through Post-Op, at how fresh the paintings and constructions still are. Fifty years later, science may know a little more about how the sensations occur, but their visceral impact is still surprising.
Julian Stanczak (born 1928) was training to be a musician in Poland when he lost the use of his right arm in a Siberian labor camp during World War II. He learned to paint left-handed and studied with Josef Albers at Yale. His first exhibition in New York was Julian Stanczak Optical Paintings, held at Martha Jackson Gallery the year before The Responsive Eye at MoMA. The shifting, transparent forms, planes and colors of Tactile See-Through, 1974, continue to engage in amaze.
Oli Sihvonen (1921 -1991) also studied under Albers, but at Black Mountain College. He came to Taos, New Mexico, in the late 1940s with a group of Black Mountain students and returned later as a full-time resident for more than a decade. Untitled (230), 1968, has areas of pure color that are affected by the colors around them. In his essay for The Responsive Eye, Seitz wrote about black-and-white works. "Almost everything that can be stated generally about optical painting in color is also true a black and white, and the opposite is also the case. The primary aim from which both result is beauty of form, and tasteful relationships, nor equilibrium in the old sense but the activation of vision. And color is unnecessary for perceptual ambiguity, variability and movement. "Ward Jackson's (1928 2004) Parallel Point #1 illustrates his point as we "see" movement and changes in tone where there are none.
Frank quotes Frank Stella, who said, "What you see is what you see." Frank then notes that op artists would say, "What you see is what you think you see.
Santa Fe's Art Now: A Mix of Show and Sell
Santa Fe's Art Now: A Mix of Show and Sell
No gallery keeps the spirit of contemporary art alive in Santa Fe better than David Richard, now located in the Railyard District. The gallery has a unique identity in the local scene, specializing in work from the 1960s through the 1980s. You see big names there, from a living and not-long-dead set broad enough to include Willem De Kooning, Francis Celentano and Judy Chicago.
544 S. Guadalupe St., Santa Fe, 505-983-9555, davidrichardgallery.com
Two artists but one theme: war
Washington Post
Washington painter Phyllis Plattner's semi-classical pictures depict bombings, shootings and decapitations. Argentine-bred glass artist Silvia Levenson's wall sculptures simulate baby clothes in bright, nursery school hues. Yet both women's work carries the same theme: war.
Two floors apart at the American University Museum, their art ponders historical violence in ways that are deliberate yet immediate. Although their methods and inspirations are quite different, Plattner's "Gods of War!" and Levenson's "Identidad" are equally vivid and personal.
Levenson was not only in Argentina in 1976, but also pregnant when people were "disappeared" and their babies awarded to government loyalists. Plattner was visiting Mexico's Chiapas state in 1994 when Mayan rebels known as Zapatistas began a revolt against the national government. She began collecting locally made dolls of masked Zapatista fighters, but it wasn't until five years later, when she was living in Florence, that the dolls entered her work.
Plattner began reimagining Italian masterpieces with the dolls in place of religious and mythological figures. Some of those works are included in this exhibition, but the painter didn't fully engage her subject until she began emulating Renaissance altar pieces that group multiple scriptural scenes in gold-framed symmetrical arrangements.
Within this ornate format, Plattner incorporated notable pictures by such bloody-minded maestros as Caravaggio. But while Plattner's compositions are derived from 14th- to 17th- century Italy, she doesn't quote only from that time and place. She pairs renderings of biblical murder and martyrdom with Goya's well-known depiction of a Napoleonic-era firing squad and Picasso's even more famed "Guernica." Plattner also roves beyond Europe, incorporating Asian and Meso-American images of battle and warriors. All are rendered in close approximations of their original styles, whether Japanese woodblock prints or Picasso's cubism.
Phyllis Plattner's "Chronicle of War, Faces." (Phyllis Plattner)
It may be the black-and-white "Guernica," details of which feature in several of the multi-part paintings, that led Plattner to incorporate photographs. She uses oil paints and brushes to replicate iconic snapshots from World War II, the Vietnam conflict and more recent cataclysms. Separated by gold-leaf borders are the entrance to Auschwitz, the naked Vietnamese girl fleeing a napalm attack, the World Trade Center towers ablaze, an abused prisoner at Abu Ghraib and African child soldiers.
Many of these images are instantly recognizable, yet Plattner doesn't allow them to overpower her overall compositions. Arranged into suites, the paintings pair infamies across eras, matching romanticized legend to stark photojournalism. "Chronicles of War/Heads and Hands" is a fugue of horrific wounds and deaths. In "Chronicles of War/Moments," a dying St. Sebastian, pierced by arrows, looks away from the corpse of a lynched African American man.
One interesting effect of such juxtapositions is to make visceral the suffering that Christian art traditionally presents as spiritual. Pious viewers may object, but in Plattner's paintings no kinds of torture and killing appear more exalted than others.
To make these multifaceted works, the artist mastered many styles and techniques, including the woodworking necessary for the elaborate frames. Such complex pieces can't be made quickly, so the evolution of Plattner's style — and outlook — is inevitably slow. But it seems that her more recent paintings seek a balance between war and peace. Although they're still clustered with images of killing and mourning, some panels are devoted to birds, cherubs or serene skies. The news from the battlefield remains dreadful, but there are other things to behold.
From a certain angle, Levenson's "Identidad" seems more cheerful than Plattner's work. More than 100 colored-glass bibs, bloomers and pairs of socks line a long, white wall, evoking the love elicited and hope inspired by the very young. On the other side of the gallery, however, several dozen glass knives dangle over a photo of two young girls — the artist and her sister, standing in for both a later generation and an entire nation.
The ominous blades are the show's only visual representation of violence. Two videos explain the fates of the disappeared and the children stolen from their families, as well as the campaign of the Grandmothers of the Plaza be Mayo. (They've helped identify 116 of some 500 babies born while their mothers were imprisoned between 1976 and 1983.) Levenson's work is less outraged than pensive, musing on the loss of such children as the girl in "She Flew Away," which consists of just a swing and a pair of shoes, both made of glass.
That material is suitably ambiguous: solid but translucent, heavy yet fragile. Levenson's glass garments catch the light in a lively way, yet are stiff and unmoving, and without bodies to animate them. As clothing for actual children, of course, kiln-cast socks and pants are useless. But as symbols for missing persons, they are poignantly both present and absent.
David Richard Gallery, LLC | 544 South Guadalupe Street, Santa Fe, NM 87501 | p (855) 983-9555 | f (505) 983-1284
David Richard Contemporary, LLC | 130 Lincoln Avenue, Suite D, Santa Fe, NM 87501 | p (505) 982-0318 | f (505) 982-0351
10:00 a.m. - 5:00 p.m. Tuesday - Saturday or by appointment


text:
Donna Murphy
'Higher Ground' Trailer Shows Off Questions of Faith, Penis Drawings
- By Scott Beggs
- @scottmbeggs
- July 12, 2011
"Rife with honest moments, spurred by Farmiga-the-filmmaker's keen eye for shading various relationships in loving, authentic ways, the film transcends the specificity of its setting to evoke the joys and pains of everyday life, and the proverbial search for the meaning behind it." That's how our very own Robert Levin...
Kevin Carr's Weekly Report Card: November 26, 2010
- By Kevin Carr
- @kevincarr
- November 26, 2010
This week, Fat Guy Kevin Carr loosens his belt and falls asleep on the couch after eating too much turkey. But with three days left in the weekend, there's always the opportunity to brave the hoards of crazy holiday shoppers to see a movie. It's time to look at a...

subset: commoncrawl


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Who wants to go to a fun cocktail party, with free liquor and bites. I would if I wasn't going to stalk Jason Statham all night long.
Please RSVP them and since this is supposed to be a non-transferable invite tell them you saw it on PhillyChitChat for your invite. Click on pix for the larger size and email address.


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Students from Bothwell Middle School and Marquette Alternative High School were able learn about and listen to music from around the world on Friday.
The field trip took them to the Kaufman Auditorium at Graveraet Intermediate School. It was all a part of the outreach program, Building a Global Vision Through the Eyes of the Community. Musicians Seth and May Bernard told the audience of their experiences traveling to Ethiopia. The performance was meant to be both educational and entertaining.
They performed songs inspired by the music they heard in Ethiopia. Guest performer Kailin Yong also performed some of his own compositions. Yong is an internationally recognized violinist from Singapore.
"I'm excited about today," said Bothwell teacher Kathryn Russell. "Every time that I can help kids get the idea that they are a part of the bigger picture, then I am really an educator, and they are really great learners and can carry the message forward. I'm excited."
The musicians will be holding a full concert, called Crossing Paths, Friday at 7 p.m. in the Kaufman Auditorium.


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This title may be a hit for Ireland enthusiasts, but for this reviewer it falls flat. The plot is predictable and lags in the middle. Rory's and Saraid's lack of depth is evident. Although the supporting cast is strong, their parts in the plot simply seem like setup for the next installment in the series.
Contemporary Rory MacGrath is being haunted, first by a medieval woman who lurks in his dreams and then by the ghost of his grandmother, begging him to return to his native Ireland. But when he does, he's thrown back in time to ancient times. There he and the woman from his dreams, Saraid, must unravel a plot against Saraid's family and foil an ancient evil. Will the couple's love (and their supernatural powers) be enough to save their future? (BERKLEY SENSATION, May, 368 pp., $15.00)
Reviewed by:
Whitney Kate Sullivan


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Online Access
Manage your account online at your convenience.
- View a summary of your account balance.
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- Transfer your assets from fund to fund (401k plans only).
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Give it a try with a demonstration. Simply click here and type in the user ID and password below.
Demo User ID: internet
Demo Password: asbdemo7039
If you have not accessed your trust account online before, contact us at 888-872-4826 for access information.


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Masters in Education Online: Teaching Elementary Math and Science (STEM)
Contact Us
Janet Haden, Program Advisor
Is Online Learning Right for You?
Learn about our technical requirements, our collaborative learning approach, and more:
Online Learning FAQ
Learn more about STEM and the demand for STEM educators:
ABCs of STEM Education
See the full curriculum for the online Masters in Educational Studies program:
Key Faculty Members
Meet the high-quality faculty teaching Wheelock's Online Degree courses:
Ellen Faszewski
Felicity Crawford
Judith Richards
Debbie Samuels-Peretz
Jeff Winokur
Wheelock College's Master of Science in Educational Studies with a focus on STEM is an online degree with a particular emphasis on teaching math and science to young children. Wheelock's online program includes:
- 10 graduate courses (30 credits) that can be completed in 20 months
- 8-week courses offered consecutively and separated by short breaks
- A focus on content and pedagogy - we help teachers teach better!
Wheelock's online degree program offers elementary school teachers the opportunity to pursue an advanced degree in STEM education while teaching. Courses are offered online with no requirement to travel to campus–enabling current teachers to continue their education at a place and time convenient for them. Each 8-week course is $1,795. The total program is $17,950 (at the current cost per credit). Take your next step:
- Learn more about the program. Learn about the program's structure, the importance of STEM education, what it's like to learn online, or our faculty.
- Learn how to apply. Our summer term begins May 5, 2016. The application deadline is April 15.
- Visit our graduate financial aid page. Learn about financial aid for our online programs and how you can afford a Wheelock education.
- Contact us. For more information, contact Janet Haden, Program Advisor, at 617-982-2032 or email@example.com.
This Master of Science in Educational Studies offers an approach to teaching STEM that emphasizes not only the teaching of science and math, but how children's cognitive development and their racial and cultural identities affect learning. The program also stresses the relationship between you as a teacher-practitioner, and how research (yours and that of others) informs practice. See our our curriculum for full details, including course descriptions.
Advance your licensure
This degree includes both a Math and Science certificate that each meet the Massachusetts State Department of Education requirements to advance licensure to the Professional level. This makes the program a great fit for anyone who already has their initial teaching license.
A graduate degree for the future, delivered online
As a private, non-profit college founded in 1888, Wheelock has provided transformational education for over 125 years to people passionate about making the world a better place for children and families.
As a natural evolution of that mission, this degree allows teachers anywhere to pursue an advanced degree in STEM education while teaching. Are you ready to inspire a new generation of students in the growing fields of mathematics and science?
Nationally Recognized in STEM Education
Wheelock College is particularly committed to STEM education, as evidenced by a NASA-funded STEM Teacher Enhancement Project (STEP), designed to improve math and science instruction among elementary school teachers. This degree was partially funded from this initiative. Learn more about our expertise >
Here's what a recent graduate had to say about the program:
"It was a real challenge but well worth the time and effort that went into it! I can honestly say I think I learned almost as much from the fact that it was online as I did from the content of the courses. As a result of my Master's, I can attribute receiving a $10,000 grant to run a STEM camp this summer along with a new part time position as Math Curriculum Coordinator K-5 for my District. It is exciting the avenues that have already opened up just since May."
- Tracey Deegan (right)
Contact Us
For more information contact Janet Haden, Program Advisor, at 617-982-2032 or firstname.lastname@example.com.


text:
The latest news, notes and analysis on the Marquette men's basketball team
Buzz Williams to coach at USA Junior training camp
Marquette coach Buzz Williams has been selected as one of three coaches to work the 2013 USA Basketball Men's 19-Under training camp.
Williams, Ed Cooley of Providence and Tim Ryan of the College of Central Florida will assist with the camp, to be held June 14-19 at Colorado Springs, Colo.
Florida's Billy Donovan will coach the team, with assistants Shaka Smart of Virginia Tech and Mark Few of Gonzaga.
Team USA will compete in the 2013 FIBA U19 World Championship, June 27-29, in Prague, Czech Republic.
"It's an honor and a privilege to have the opportunity to represent the program while coaching with USA Basketball this summer," Williams said. "I am really looking forward to serving as a court coach, while at the same time working with some of not only the top players in the country, but some of the best coaches as well."
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text:
Silva compares the situation to Hurricane Katrina. "This is man-made, and you've got a third-year drought," he says. "Just because there are no buildings knocked down, that doesn't mean you don't have the same situation as Katrina: food lines, hunger lines, people unable to pay their bills, people unable to pay their mortgages, people out of jobs. That's how we see it. The State of California has declared this a disaster area, but we've heard nothing from the federal government."
In the aftermath of Hurricane Katrina, the federal government was excoriated by members of the minority community for its sluggish rescue and rebuilding efforts, I remind Silva. Mendota is 94.7 percent Hispanic or Latino. Fresno County as a whole is 47.6 percent Hispanic or Latino. Could race be a factor here, too?
"It could be," Silva says. "I can't prove that, but it seems to me that if this happened in New Hampshire or New York City, the relief would be there automatically. As for us, we have to beg agencies. We have to beg them to put food on the table for these people. And they still won't open the spigots."
This doesn't just affect the people in Fresno County. Professor Richard Howitt of the University of California at Davis says that 45 percent of the Fresno County acreage could be out of commission. The prices of staple foods will rise all over the country as farmers plow the sun-scorched crops into the ground.
But most of all, it's the farmers in the Central Valley who will suffer. Apparently, President Obama's stimulus is available for labor union payoffs and big government boondoggles. Hispanic farmers are another story.
Bernie Sanders Champions YUGE Profits for U.S. Corporations (But Only in Cahoots with Communists) | Humberto Fontova
Bush mocks Rubio and his fans: Stop whining that it's "unfair" that you're being attacked by another candidate's Super PAC | Allahpundit


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text:
Meeting human selves
M.S. in Nursing Online at Walden University
Walden University
Meeting human selves
Making bismuth (by R. Tanaka)
Bismuth Onix
iguanamouth did a series of onix pokemon in other minerals, and recently I've been fascinated with bismuth, so I decided to take up the challenge. Natural bismuth is boring; manmade bismuth makes incredible step-shaped crystalline structures like upside-down step pyramids.
Don't think I did the concept the justice that iguanamouth did, but I took it as far as I wanted.
Bismuth portal ☾
Walden University
So i was watching su over with my little brother, and on lion 3 i noticed this in lion
that's a bubbled gem- and it's quite obviously the metal (but also counts as a crystal) Bismuth
What is it doing in lion- the place where several items important to Rose (things she wanted to be safely passed to Steven) are left?
My theory is that it's a gem that was important to Rose: Greg says that Rose was only able to save a few of her friends using her shield, so this bubbled gem may very well be one of Rose's close friends
Bi - 01.CA.05(Strunz)
(from Germany, grown lab)
Here we have some Native bismuth 'crystals'. They form as a 'hopper' type of crystal network. They have a bright metallic luster and show a beautiful iridescent rainbow play of colors. Bismuth is the last element to decay in the universe. The average life of an estimated 20 trillion years. It is equally rare in the crust than gold.
For flow-fairy! 😊
Bismuth crystal illustrating the many iridescent refraction hues of its oxide surface (Alchemist-hp + Richard Bartz / Wikimedia Commons).
Bismuth is the heaviest nonradioactive element and is essentially a nontoxic neighbor of lead and thallium in the periodic table. It is mined as bismuth oxide (Bi2O3, also known as bismite) or bismuth sulfide (Bi2S3, bismuthinite), and the brittle, silvery elemental form is one of a few substances (water is another) for which the solid is less dense than the liquid. Although bismuth has been extensively used in alloys, pharmaceuticals, electronics, cosmetics, pigments, and organic, the chemistry of bismuth is perhaps the least well established of the group-15 elements (known as the pnictogens). Compounds of bismuth typically have low solubility in most solvents, so that definitive formula assignments are usually based on X-ray diffraction studies of crystalline samples that have been isolated in small or indefinite quantities. Most isolated compounds are unique rather than members of a series of related compounds illustrating fundamental chemical trends.
The bioutility of bismuth compounds has a 250-year history that includes numerous medicinal applications; however, the mechanisms of bioactivity are not understood. Moreover, as for most compounds of bismuth, the chemical characterization of biorelevant complexes remains incomplete. Although the "heavy metal" designation has impeded application of bismuth chemistry in medicine, two compounds have been extensively used for gastrointestinal medication for decades. Pepto-Bismol contains bismuth subsalicylate, and De-Nol contains colloidal bismuth subcitrate. The use of these compounds for the treatment of travelers' diarrhea, non-ulcer dyspepsia, nonsteroidal anti-inflammatory drug damage, and various other digestive disorders extends from the previous use of bismuth compounds in the treatment of syphilis and tumors, in radioisotope therapies, and in the reduction of the renal toxicity of cisplatin.
-Neil Burford
It's Elemental: Bismuth
I wanted to do some pixels again and… many hours later… I have a new print for Katsucon and Anime Boston. I've also got preorders open in my store!
BISMUTH (Native Element) This 2 inch bismuth hopper crystal set was grown in the laboratory. Bismuth occurs naturally in nature, but not in the form of the fabulous looking lab grown crystals you can purchase. I generally don't add lab grown crystals to my collection, but these things are amazing to look at and actually looks pretty cool on the display shelf.
So my chemistry class had to do an atom model project, and we could choose our own element. You only get three guesses as to why I chose bismuth. I chose bismuth on purpose.
"What does this trouble-maker want with Steven and The Crystal Gems? We'll see, in the new episode, Technicolor Menace!"
some mock model-sheets for bismuth so that i can have "official" references! it's neat to see them all put together, i feel so professional uwu
my new gemsona, serendibite, will have her sheets up next! and then still, their magnificent fusion :o but for now, bismuth's final revised bio is down below!
Bismuth -Germany
Piece of Bismuth I needed to pick up for a custom order 😍 Sad to have to let this piece go #bismuth #crystals
BISMUTH (Native Element) Bismuth crystals grown in the lab.
I drew a gemsona! I didn't have time to think of her weapon, do you have any ideas?
Edit: A lot of people are suggesting a hammer, that was my thought too. I love the idea of her pulling a hammer out of her TONGUE.


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Previous Episode | Next Episode
A Windy Day!A Windy Day! (2010) Season 1 Episode 15- The Hive Cartoon Episode Guide by Dave Koch
This page has been viewed 6 times this month, and 343 times total.
- The Hive Cartoon Episode GuideEpisode GuideTelevisionSeriesCartoon
- DQ Entertainment, Lupus Films, Monumental Productions, Picture Production Company, Hive Enterprises, Bejuba! Entertainment
- Distributed by: Walt Disney Television Animation
- Cartoon Characters: Buzzbee, Jasper the Wasp, Debee, Rubee, Grandpa Bee, Grandma Bee, Jump, Mamma Bee, Pappa Bee, Mr Millipede, Miss Ladybird, Postman Spider, Dr Beetle, Barnabee, Babee, Katypillar, Millice Ant, Vince Ant.
- Voice Actors: Deo Simcox.
- Produced By Camilla Deakin, David Willing, Ruth Fielding, Steve O'Pray.
- Written By Ian Carney, Myles McLeod, Rebecca Stevens.
- First Aired on December 18, 2010.
- Originally Aired on ITV (UK), Playhouse Disney (USA).
- Running Time: 7 minutes.
- Episode Number: 15
- Season: 1
- Color
- United Kingdom / Ireland / India
Cartoon Summary:
Grandma and Grandpa Bee are worn out from playing tag with Buzzbee and Rubee -- after all, they're not as fast as they used to be.
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Prohibition chiefs testify before Ways and Means...
Prohibition chiefs testify before Ways and Means Committee of the House
1 photographic print.
Asst. Secretary of the Treasury and prohibition czar Lincoln C. Andrews and the Commissioner of Prohibition, Roy C. Haynes outside of the House of Representatives.
- National Photo Company Collection (Library of Congress).
- National Photo Company Collection
- Andrews, Lincoln C.--(Lincoln Clarke),--1867-1950.
- Haynes, Roy C.
- Group portraits--1920-1930.
- Photographic prints--1920-1930.
- Portrait photographs--1920-1930.
Added by AncientFaces


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For a limited time, we are extending our celebration of the 40th anniversary of Charisma. As a special offer, you can get 40 issues of Charisma magazine for only $40!
NEW from CHARISMA: Do you want to encounter the Holy Spirit and hear God speak to you? Increase your faith, discover freedom, and draw near to God! Click Here


text: If you have 8-bit data available in a register R (say integer value 93). However your adder is a 16-bit adder. How would you convert this 8-bit value into a 16-bit representation before handing it over to the adder? What if the value in R was a negative value (-93) represented in 2's complement?


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Category Archive for: 'Events'
A glorious mess
Last Monday, Slow Food Portland members had a chance to hear some of the stories from October's Terra Madre conference, told by our local delegates. Their tales ranged from acerbically funny accounts of "lost-in-translation" experiences to more poignant stories of the cultures they encountered. A […]Read More →
Stories from Terra Madre
… there were people everywhere. Different languages being spoken and sung, instruments playing, signs in umpteen different languages. It sounded more like a beehive than a conference, if the bees played xylophone … If you were lucky enough to share in the dinner fundraisers organized […]Read More →


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Lives in Killin, Scotland, United Kingdom
Joined on Nov 30, 2006
|Total: 2, showing: 1 – 2
On article Major update to dpreview forums coming soon: tell us what you think (692 comments in total)
Switchable colour schemes using CSS would be great. I Don't like the black background.
On article Pro shooter to cover London 2012 using Panasonic Lumix DMC-G5 (301 comments in total)
A very poor advert for Panasonic. Totally unremarkable images and a wasted opportunity. Think I'll give Getty a call.
|Total: 2, showing: 1 – 2


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Bali Blinds & Bali Shades
- Bali blinds and shades for every need
- Built with utmost care and
- Eco-friendly and environmentally sound
- Custom Bali blinds and shades
- Industry leader for innovation
Bali, an industry leader for blinds and shades Do-It-Yourselfers, is dedicated to improving the environment, contributing to energy efficiency in the home and the use of renewable resources in their products. With cordless, blackout, top down/bottom up, and motorized options, Bali's natural and bamboo shades material comes from renewable sources and their wood blinds are harvested through sustainable yield forest management. Fabrics made with low-emission and irritant/allergen-free methods help reduce asthma and other health-related issues. Many of Bali's solar shade fabrics are GREENGUARD® Indoor Air Quality Certified for low VOC. What started in 1939 in Mineral Point, Wisconsin with a famous piece of drapery hardware known as the "badger crane" is now the major brand in window fashions known as Bali.
Bali® DiamondCell® Cellular Shades: Blackout Midnight and Legacy
retail $100.03 $67.00 + an extra 15% offsee 52 colors
Bali® SkyTrack® Skylight Shades: Light Filtering
retail $188.12 $126.00 + an extra 15% offsee 50 colors
Bali® DiamondCell® Perfect Arch Cellular Shades: Blackout Midnight and Legacy
retail $126.91 $85.00 + an extra 15% offsee 52 colors
3/4" Pleat (1)
.75 inch (3/4 of an inch), are the second largest available, and equivalent to 16 pleats per foot.
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Cordless lift option easily raises and lowers the blind or shade for convenient and safe operation
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Cordless top down bottom up shades allows you to lower the shade from the top, raise it from the bottom, or both.
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Take a look at our wide selection of motorized blinds and window treatments
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Top down bottom up is ultimate privacy and light control option - raise the shade from the bottom, the top, or both
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These shades can be installed on sloped, inclined or other angled windows including skylights
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Stationary shades for insulation. Several room darkening options.
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Take a look at all of our blinds and shades for hard-to-reach windows
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Top picks for tight spaces. Maintain your privacy.
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Insulates your window. Manual or motorized operation.
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Bali DiamondCell cellular shades offer fashion-forward window coverings at the right price
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Cover your skylight windows with style and efficiency with Bali's Skytrack cellular shades
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Possible Duplicate:
Can you compile C# so it doesn't need the .NET Framework at runtime?
I am in the process of developing an application is C# which relies on .NET. The computers that the application will be running on are standard user account running Windows XP.
My question is can I compile my application with .NET without of the client computer having .NET framework? Currently right now the application does not run and at run time it tells me that it is not a valid Win32 application. It will run fine on the .NET computer.


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solid board
This review is from: GIGABYTE GA-H55M-S2 LGA 1156 Intel H55 Micro ATX Intel Motherboard
Pros: plugged it in and it went. had to put in disk to get the drivers for windows 7 (mainly to get online), but after i did that it was all gravy.
Cons: big cards will cover up one extra PC slot, but it didn't matter to me as the mother board comes with a NIC card on it and most everything else you will need. only one plug in on the MB for a case fan. thought that was strange to only have one.
Other Thoughts: great board for the price. lets you build a super solid machine for a good price.
Did you find this review helpful?
Great reliable board, feature packed
This review is from: GIGABYTE GA-H55M-S2 LGA 1156 Intel H55 Micro ATX Intel Motherboard
Pros: Have worked with the H55 boards before from Gigabyte and they never let me down. Good packaging, reliability, easy to understand BIOS, and great build quality.
Cons: None
Other Thoughts: Used with a Core i3, 2x2Gb G.Skill ECO RAM 1333Mhz, and a 350W Seasonic Power Supply.
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Drivers - we don't have no stinkin drivers!
This review is from: GIGABYTE GA-H55M-S2 LGA 1156 Intel H55 Micro ATX Intel Motherboard
Pros: Nice feature set.
Cons: No PATA port(s)
Other Thoughts: C'mon guys. What's the story with orphaning the legacy connectivity. We still need them for business environments.
0 out of 7 people found this review helpful. Did you?
Seems to work fine
This review is from: GIGABYTE GA-H55M-S2 LGA 1156 Intel H55 Micro ATX Intel Motherboard
Pros: Put the board in, installed my i5 750 and 4gb ram and turned it on. Works great! Has 6 sata ports, which is nice. Love the 8 onboard usb ports.
Cons: The first time I turned it on, it rebooted about 10 seconds after I hit the power switch, but it hasn't done that since. Also, my video card (gts 250) covers 3 out of 6 of the sata ports so I can't use em (- 1 egg)
Other Thoughts: I want to overclock this cpu, but I haven't looked into the board and how good it is for overclocking. All in all it seems like a good value board that arrived in good working order.
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Picture: Ben Affleck - Pre-BAFTA Dinner at Annabels London United Kingdom Saturday 9th February 2013
Ben Affleck was the toast of the British Academy of Film and Television Arts (BAFTA) Film Awards on Sunday night (10Feb13) after Argo won honours for Best Film and Best Director.
The star's acclaimed movie about the real-life 1979 Iranian hostage crisis beat out the likes of Les Miserables, Life Of Pi, Lincoln and Zero Dark Thirty for the ceremony's main prize.
He was also named Best Director, ahead of fierce competitors Michael Haneke (Amour), Quentin Tarantino (Django Unchained), Ang Lee (Life Of Pi), and Kathryn Bigelow (Zero Dark Thirty).
In the acting categories, Daniel Day-Lewis continued to rule over awards season by picking up the Best Actor trophy for his turn as U.S. President Abraham Lincoln in Lincoln, with the Best Actress title going to French screen legend Emmanuelle Riva for Amour.
Anne Hathaway (Les Miserables) and Christoph Waltz (Django Unchained) triumphed in the Best Supporting Actress/Actor categories respectively.
The event was held at London's Royal Opera House and was hosted by British comedian Stephen Fry.


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Tuesday, June 25, 2013
AUGUSTA, Ga. (WRDW) -- A fire rekindled at an Augusta home early Tuesday morning.
Crews were called out around 5 a.m. to home on Tate Road.
Crews spent Monday afternoon battling the original flames.
Fire crews say lightning may have caused the spark, but no official cause has been released.
Anthony Price, a retired veteran, is the homeowner. He told News 12 on Monday that he lost everything.
Have information or an opinion about this story? Click here to contact the newsroom.
Copyright WRDW-TV News 12. All rights reserved. This material may not be republished without express written permission.


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Farewell to the MinnesotanPosted: January 6, 2013 Filed under: Life | Tags: Minnesotan 2 Comments
Every volunteer has had that moment. It's the moment where you're 99.7% sure you're going home before your 27 months are up.
Early termination (ET in PC lingo) will always surface on the edge of your brain on your bad days. Peace Corps is so crazy an experience, that you'd be crazy not to think about going home. It's okay. It's normal. It's an indispensable part of being shoved out of your comfort zone, which is what Peace Corps is about.
Of the 44 Az9s who arrived originally, eight have decided to finish their service early. Among their number is the Minnesotan, my site mate and site wife, who will be taking a crack-of-dawn flight from Baku back to Minnesota this Tuesday morning. And she will be missed.
It is not an easy decision for anyone. Chances are, you've put in at least six, if not more, months into your application. You've stepped on a plane with a ticket to an obscure airport, psyching yourself up for two years of no running water or something similar, ready to commit. You know it won't be easy.
And then, after all that your host country and Peace Corps throws at you, when all signs start pointing to that early ticket home, people often take the easier path: sticking it out, thinking that tomorrow will give more reasons to stay, belittling tough times ("It's only a rough patch!"). I can safely say that not one case of the Az9s' ETs was someone who "quit." After throwing in so much effort – living in a world you will never have the opportunity to live in again, even if it's insanely difficult – feeling like you're just walking away is not how anyone wants to end it.
Reasons to leave are manifold. Why does anyone leave their job, for example? In Azerbaijan, we've had volunteers with family matters escalating at home. We've had host organizations that have not been hospitable or effective. Sometimes people leave for medical purposes, after being seriously injured or ill. There are other opportunities, such as professional or personal ones, that a PCV doesn't want to miss. And yet, ET'ing is still a decision fraught with emotion and stress.
I think I will be out of sorts for a while. Site mates are the most likely PCVs that you text to about squat toilet misadventures or drag around to awkward guesting situations – even to argue intensely with, when the pressure cooker you're stuffed in, alongside cultural differences and disparate personalities, requires the release of steam. But things weren't working for the Minnesotan. She had many reasons in Azerbaijan and at home, and in the end it made sense for her to go.
Dear Minnesotan, I wish upon your head the most wonderful of American reintegration experiences – including massive meals at Chipotle and taking walks at night. Also, your short hair looks great (you wouldn't believe me – HA). You got me through good times and hard times, and it wasn't a cakewalk – far from it. But we learned a lot, we're still surviving, and we have been joined in site-matrimony. Here's to your new beginning! Yaxşi yol, dear friend and site wife.
2 Comments on "Farewell to the Minnesotan"
Oh such well-written, but sad news about another Minnesotan. For sure I will welcome her home back here. And perhaps she will be able to send me back in time for Novrus! Inshallah! Peggy
Boys may come and go but site wives are forever! Love to you both in this tough time. Inshallah her sey yavas yavas daha yaxsi olacaq. Ozunuze cox yaxsi baxin.


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A sweet sounding baritone ukulele with everything you need to start having fun.
"Kanikapila" means lets play music, and playing music is an important tradition in Kohala and all over Hawaii. With the Kohala KP-B Kanikapila Baritone Ukulele you get everything you need to start having fun. The KP-B is a Kohala uke calibrated for sweet sound and comes complete with a convenient clip-on tuner, a gig bag, and an instruction book that'll get you strumming in no time.
The Baritone is the largest of the ukulele sizes and has a much deeper sound than other ukulele sizes. Tuning on this size is the same as the top four strings of a guitar (D-G-B-E).
From the beach to the stage, take this one with you. Order today.


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I bought them at Harbor freight, 8 bucks for hundreds......It has come back to bite me......walk up to a gate and the tie is still there....have to walk back to the truck to get the wire cutters.....Oh well....it makes me feel better knowing I left it secure...
I'd be very honest and apologetic. I'd also offer to cover the cremation and burial and to pay for a new dog if she wants one.
I've got dogs and cats. My favorite cat "Cross-eyed Larry" got hit by a car earlier this year. The worst part, for me, was digging the hole in the back yard. It was really depressing and it took a long time because our soil is so rocky. I know it may sound stupid, but people do get very attached and she might appreciate a nice, simple lansdcape job where the dog is buried. I planted an agave and some wildflowers where Larry was buried. I'd offer to do that stuff for her too, if she wants to bury the dog in her yard.
Congressman: There is no just cause for an invasion of Iraq.
Peter: Well that may be, but what we're all forgetting is anyone that doesn't want to go to war is gay.
Congressman: I want to go to war.
Congressman: I want to go to war.
All of Congress: I want to go to war.
Dick Cheney: I was the first one who wanted to go to war.
Last week the same thing almost happened to us but luckily the neighbor found the dog before any harm happened to him. I was still shaken and called our customer to offer my apologies and to tell him how thankful I was that his dog was ok. He was cool about it and said his kids should have checked the gate before they let the dog out but still I assured him that we would be extra careful *I like the pink tie idea too*
Not too long ago there was a thread from someone that the exact same thing happened to. Not sure how it worked out for them but I will say that pretty much all you can do is offer her your sincerest apologies. I wouldn't buy a puppy either because like it was already said picking a new puppy is a special time *I might would offer to cover the cost of a new pet when she was ready*
Most of you know I just lost my hound about a month or so ago and it truly is a very painful experience. My children let him out and it was hard not to be angry as they are old enough to know better but you really can't blame anyone it was just a horrible unfortunate accident.
I am real sorry it happened Joe ...I know you must feel horrible but try not to beat yourself up to bad.
Tara Gray
The Other Side Lawn Company
Thank you, everyone, who has replied. As far as the being honest and/or fessing up, there is no question on that. I point blank told her right out that I had probably did it. I stopped what I was doing and went right over to her house after she called and told me what happened. It was after that, that I came back home and posted this thread. I agree with the not buying a new dog theory. There is just no way to replace this little guy. There is no actual price you can put on it, either. It's not like a damaged downspout, or something. She had this dog for 11 years....so there is no question that he was a close part of the family. I just feel like such a jerk for the neglect in this incident. It is not like me to leave a gate open with or without pets. Like I say, I just don't know what happened, but I DO know that I just don't remember closing the gate. She said she will call me when she needs me, but if she never calls, then I fully understand. The irony?...next weekend is Memorial Day. Thanks again to everyone.
Thank you, Dad - for always being the dad that you were. You truly are my hero. You always were.
It sounds like your not even sure.....I'm sure the mind is going a 100miles a second...don't beat yourself up over it...tomorrow is another day....some might never see.....good luck...
Hey Joe,
Everyone makes mistakes Joe. You certainly didn't intentionally do it, if you did it at all. You did the right thing by going straight over there and talking with her. And knowing you I'm sure you offered to do anything possible to help out the situation. No doubt you feel awful but dang, nobody's perfect, I just hope the lady will soon understand that, although it may take her a while. Maybe call her before the next cut and ask her if she wants to continue the service and if she says yes, then maybe send her the invoice with a big NO CHARGE and say it's the least you could do.
I don't know, tough deal for sure. But you're a good operator Joe, I'm sure you'll work your way through this.
Up North Yard & Drive
this could happen to anyone of us. don't let it tear you up, your a good honest man to head straight over and discusse it with her, I would make a follow up visit to see how she is doing in a couple days, if the dog is buried in her yard, I really like the idea of offering some special landscape as a gesture to show your feelings of the situation. then make it real special so she can see that you feel for her.
I hope I never have to deal with a situation like this, I can see where it is hard to know how to react.
Do you remember opining the gate? The reason I ask is when I go Thu a gate if it's shut it is just automatic to me to shut it. I probably wouldn't remember doing it ether but when you always do something you always do it. With out thinking and that would be why you don't remember doing it. If the gate was open you might have left it open but I would bet if it was closed you closed it back.
I have dogs and I'll tell you the truth. If you let one of my dogs out and it got killed I would hate you for it. Intellectually I would understand people make mistakes and I would forgive you....but emotionally I would hate you. That woman is probably feeling the same. That said you know in your heart you would never do something like that on purpose. It was an accident pure and simple. Beat yourself up over it one time real good and voe to never let it happen again. Then forgive yourself. That's all you can do when it comes right down to it.
I sure am sorry you had this happen.
I like the pink ties idea as well. Maybe sharing this story with us will save several other dogs with so many of us liking the pink ties idea.
Some days just Bite.
Sorry to hear that lawn buddy .Your all right in your own way !! But i do this i don't know if any one else does it but i hook my dogs when i will not be out with them just to make sure if it was left open they don't get out . But this kind of thing will happen just gotta take it . And if you do any thing DO NOT GET A NEW DOG . My aunts dog past away while they were in Fl for the winter and they came all the way back to Pa to put him to rest . and he just died of age and she didn't get a new dog till just a while ago so.
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The common Starfish, Asterias rubens, may constantly be found among stones, about low-tide mark.
At low-tide there is a much longer stretch of beach than here.
It was low-tide in the middle of the day, and the river-flats looked dismal.
Its foundation is always under water except for an hour or two at low-tide.
With the débris from all these sources the reef is constantly built up until it rises to low-tide level.
They are generally to be found adhering to the under surface of stones about low-tide mark.
The barelegged men and women were as industriously taking advantage of the low-tide as if nothing at all were happening.
It occurs about low-tide mark and just below, upon stones and alg, or crawling about on a soft bottom.
On this stretch of line speed and balance tests will be made when passenger traffic is at low-tide.
The double entrance to the burrow, which may be discovered about low-tide mark, is unique.
|low tide


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webOS Developer Webcast on September 9
Wednesday, August 26, 2009 7:21:06 PM
O'Reilly have posted details of a new developer webcast on Palm's webOS, to be hosted by Software CTO and webOS development book author Mitch Allen at 10am PT on September 9. The topic is "Application Basics". It'll be interesting to see whether or not this presentation proves as popular as O'Reilly's last webOS tutorial, which was held before the Pre or the webOS SDK had made it into public hands.
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X-22 is a kit containing very low nicotine (VLN) cigarettes going through the FDA-approval process as a prescription smoking cessation aid.
22nd Century believes X-22 facilitates quitting by satisfying smokers' cravings for cigarettes while (i) greatly reducing nicotine exposure and nicotine dependence and (ii) extinguishing the association between the act of smoking and the expected delivery of nicotine. The therapy protocol allows the patient to smoke VLN cigarettes over a six-week treatment period to facilitate the goal of the patient quitting smoking following the treatment period.
Independent Studies Demonstrate VLN Cigarettes Can Increase Quit Rates
Independent studies on very low nicotine (VLN) cigarettes for smoking cessation have shown increased quit rates, whether VLN cigarettes were used alone or concurrently with nicotine replacement therapy (NRT), including the following 4 clinical trials (2019 total subjects):
1. Clinical Trials Research Unit, The University of Auckland – Phase III – 1,410 subjects
- Walker et al. 2012
- VLN cigarette plus NRT (nicotine patch, gum and/or lozenge) significantly increased quit rates at all measured time points (3 & 6 weeks and 3 & 6 months) over use of NRT only
- Study was called "groundbreaking" by press; see Want to quit smoking? Try keep lighting up
2. University of Minnesota Masonic Cancer Center – Phase II – 165 subjects
- Hatsukami et al. 2010
- VLN cigarette had significantly better results than FDA-approved nicotine lozenge and a reduced nicotine cigarette (6 times more nicotine than the VLN)
3. Vector Tobacco
- Becker et al. 2008
- Reduced nicotine cigarettes for 6 weeks, including VLN cigarette for 2 weeks, before use of nicotine patch significantly increased quit rates over use of nicotine patch
- 22nd Century has a right of reference to trial
4. Roswell Park Cancer Institute
- Rezaishiraz et al. 2007
- Use of VLN cigarette before use of nicotine patch increased quit rates over use of reduced nicotine cigarette (containing 10 times more nicotine than the VLN) before nicotine patch
Results Pending – Two Completed Independent Clinical Trials
University of Minnesota Masonic Cancer Center – Phase II – 219 subjects
- Follow-up study to Hatsukami et al. 2010
- ClinicalTrials.gov Identifier: NCT01050569
- Evaluating quitting results of six-week treatment period among: (i) exclusive use of a VLN cigarette (a version of X-22 with slightly higher nicotine content provided by 22nd Century); (ii) 21-mg nicotine patch; and (iii) concurrent use of VLN cigarette and nicotine patch
- Trial included a 6-month follow-up period
Queen Mary University of London, in collaboration with Pfizer – 200 subjects
- ClinicalTrials.gov Identifier: NCT01250301
- Evaluating whether the use of a VLN cigarette (a version of X-22 with slightly higher nicotine content provided by 22nd Century) in combination with Chantix® (or NRT) increases quitting over use of Chantix (or NRT) alone
- Chantix® is branded as Champix® outside the United States
In the University of Minnesota Phase II trial (Hatsukami et al. 2010), patients exclusively using a VLN cigarette containing 22nd Century's VLN proprietary tobacco achieved a 43% quit rate (confirmed four-week continuous abstinence) as compared to a quit rate of 35% for the group exclusively using a FDA-approved 4 mg nicotine lozenge (Commit®) and a 21% quit rate for the group exclusively using a low nicotine cigarette. Smoking abstinence at the 6 week follow-up after the end of treatment was 47% for the VLN cigarette group, 37% for the nicotine lozenge group and 23% for the low nicotine cigarette group. Carbon monoxide (CO) levels in patients were tested at each clinic visit to verify smoking abstinence. As an intent-to-treat clinical trial, subjects who dropped out were considered not abstinent or smoking.
The VLN cigarette was also associated with greater relief from withdrawal symptoms and craving of usual brand cigarettes than the 4 mg nicotine lozenge. In fact, cravings continued to decline for weeks after treatment as shown here:
22nd Century Sponsored Clinical Trial
22nd Century sponsored a Phase II-B clinical trial (238 subjects) under its own investigational new drug application cleared by the U.S. Food and Drug Administration (FDA) in July 2011. The X-22 VLN cigarettes utilized in the Company's trial had a nicotine content of less than half of the nicotine content of the VLN cigarettes utilized in the above six summarized clinical trials. Although there was no statistically significant difference in quit rates compared to the active control (a cigarette containing conventional nicotine levels), there was a significant reduction in smoking during the 6-week treatment period and post treatment from baseline. 22nd Century and independent researchers believe that the nicotine content of X-22 utilized in the Company's Phase II-B trial was below a cessation effective threshold. As was the case with independent clinical trials utilizing VLN cigarettes, there were no serious adverse events attributable to X-22 and the product was well tolerated. Going forward all company-sponsored clinical trials will utilize VLN cigarettes with a relatively higher nicotine content.
Clinical Pathway to FDA Approval
22nd Century has licensed Hercules Pharmaceuticals LLC, its pharmaceutical subsidiary, exclusive worldwide rights to X-22. Hercules Pharmaceuticals will evaluate results and data from recently completed independent clinical trials that utilized the Company's VLN cigarette with a slightly higher nicotine content to determine which variables optimize quitting. Upon completing analyses of these trials, the Company expects to conduct Phase III clinical trials. Hercules Pharmaceuticals is currently identifying potential partners for the further development and worldwide commercialization of X-22.


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Paranormal investigators research otherworldly activity at historical sites and explore the gruesome back story of the infamous and heinous individuals who operated out of each location. The team will stop at nothing as they dig deep into the crimes and victims to determine if they are the cause of the present-day haunting.
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Critical TopicsAir Freight Management Customs Brokers Trade Compliance Global Trade Intermodal and Rail Freight Mobile & Wireless Motor Freight Management Ocean Freight Management Ports and Infrastructure Software & Technology Sustainability Third Party Logistics Transportation Management Systems Warehouse & Distribution Center Warehouse Management Systems All critical topics or View all topics
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Pallet market set to reach 1.3 billion units in 2017
Posted 07/09 · 09:35 AM · LM EditorialA recovering economy and the re-shoring of manufacturing are driving demand for pallets in North America, according to the Freedonia Group.
News • Materials Handling • Pallets •
Gordon Hellberg joins Wynright Corporation as executive vice president, sales
Posted 06/14 · 08:02 AM · MMH EditorialHellberg brings experience in sales as well as project engineering and design.
IARW and WFLO elect new officers and board members
Posted 06/05 · 07:06 AM · MMH EditorialNew officers and board members of the International Association of Refrigerated Warehouses (IARW) and the World Food Logistics Organization (WFLO), an education and research foundation affiliated with IARW, were elected at the 122nd IARW-WFLO Convention & Expo, which was held in May 2013 in Hollywood, Florida, USA.
News • Storage • Education • Warehouses • Logistics • Cold Storage • IARW • WFLO •
MHI forecasts growth of material handling equipment orders of 5% to 6% for 2013
Posted 05/24 · 10:44 AM · MMH EditorialMaterial handling equipment new orders grew 7.2% in 2012 and are forecasted to grow 10% or more in 2014.
Armstrong: Economy 'limping along' until next major crisis
Posted 05/23 · 11:44 AM · MMH Editorial2012 3PL report and predictions show modest growth, little help from Washington.
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Swisslog and Power Automation Systems announce cooperation agreement
Posted 05/22 · 11:55 AM · MMH EditorialSwisslog in North America will include the PAS technology as part of its solution portfolio.
News • Technology • Automation • Storage • Warehouses • Swisslog • Automated Storage • Power Automation Systems • PAS •
Numina Group partners with Result Packaging to provide distribution automation to Australia
Posted 05/17 · 02:42 PM · MMH EditorialAgreement will supply the latest technologies for automating pick, pack, and ship order fulfillment to the Australian-New Zealand markets.
Vocollect introduces first wearable to integrate voice and hands-free scanning
Posted 05/17 · 09:40 AM · MMH EditorialFood distributor piloted A700 to achieve an 80% error reduction and 12% productivity boost.
REO Speedwagon to close out 2013 Material Handling and Logistics Conference
Posted 05/14 · 06:25 AM · MMH EditorialJay Leno to be keynote speaker at Park City event.
IARW names 2013 Top 25 Largest Public Refrigerated Warehouses
Posted 04/09 · 02:23 PM · LM EditorialIARW president and vice president of Global Cold Chain Alliance comments on the rankings.


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- Score:
- rated 4.39 / 5 stars
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- Genre:
- Puzzles - Other
- space
- love
- moon
- portalhistory2008
Credits & Info
- Uploaded
- Sep 27, 2008 | 9:07 PM EDT
- Frontpaged October 1, 2008
- Daily 3rd Place September 29, 2008
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Author Comments
Rated 3 / 5 stars
I put them to the BIRD HAHAHAH
Rated 5 / 5 stars
Holy shit, if you complete all the endings in one game, they actually make a story. A girl yearns to be with the boy so she becomes what he desires most (I am your moon). Then, the game represents what their relationship has become (Seagull trip). The girl is now comfortable enough with the boy, so she shows her true colors. Because of this, the boy forgets where his true passion lies and becomes depressed (Lost love). He spontaneously discovers this passion, however, and suddenly becomes obsessed all over again (Bring me the moon). They slowly drift apart causing an abrupt end in their lives together (Tragedy). Sorry if this doesn't make sense to anyone else ehehehe but this is what I got from the game. Truly an art game.
Rated 5 / 5 stars
i killed them both was the best ending.
Rated 5 / 5 stars
i make all the ends in one game :D
Rated 5 / 5 stars
This game is amazing. Sure it maybe short, but its symbolic. I like the different endings, especially the "I Am Your Moon" ending, with it the music


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Jay McInerney
Novelist and non-fiction writer
Books Amanda Urban
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The author of novels, short stories and three collections of essays on wine, Jay McInerney is a regular contributor to The New York Times Book Review, The Independent and Corriere della Sera. His short fiction has appeared in The New Yorker, Esquire, Playboy, and Granta.
In 2006, Time cited his 1984 debut, Bright Lights, Big City, as one of nine generation-defining novels of the twentieth century. He was the recipient of the 2006 James Beard Foundation's M.F.K. Fisher Award for Distinguished Writing and his novel The Good Life received the Prix Littéraire at the Deauville Film Festival in 2007.
Jay lives in Manhattan and Bridgehampton, New York.
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