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Delaware Hall Room 221
Fax: 302-857-6661
Department of Psychology
You are here
The Department of Psychology recognizes and supports the overall mission of Delaware State University by providing students with the necessary education for entry level positions in human service related fields and preparing students for graduate studies. More specifically, the psychology program is designed to empower and affirm undergraduate students through broad based training in the foundations of psychology, which emphasizes the need to understand human behavior through critical thinking and scientific endeavors. The department recognizes and supports the mission of the American Psychological Association (APA) which is "to advance the creation, communication and application of psychological knowledge to benefit society and improve people's lives" (APA. [2009]. APA Mission Statement. Retrieved July 27, 2009 from http://www.apa.org/about/). In addition to teaching, the Psychology faculty are engaged in a variety of research and service activities and involve students in many of these activities.
What is Psychology?
Psychology is the field of science devoted to understanding behavior and mental processes. This includes biological and social influences on behavior, how the world is experienced via the five senses, consciousness, learning, memory, thinking, intelligence, language, development across the life span, motivation, emotion, sexuality and gender, stress and health, personality, and psychological disorders and therapies. In addition to advancing our basic understanding of the above topics, psychology also aims to apply that knowledge to solve a wide variety of real-world problems, such as developing methods of teaching that more effectively promote student learning, designing work environments that increase morale and productivity, or helping athletes to prepare mentally for participation in sports.
Careers with a Degree in Psychology
Bachelor's Degree
A bachelor's degree in psychology can be highly flexible and adaptable to many different kinds of careers (Landrum & Davis, 2007; Schwartz, 2000). In the 1994-1995 Psychology Baccalaureate Survey conducted by the American Psychological Association (Grocer & Kohout, 1997), people with bachelor's degrees in psychology found careers in the following areas:
· education and teaching
· consulting and statistical analysis
· administration or clerical services
· professional services
· sales
· health and health-related services
· research and development or research and development management
Other possible careers include marketing researcher, social worker, and communications specialist (Landrum & Davis, 2007; Schwartz, 2000). With its emphasis on critical thinking and empirical observation, psychology trains people for a variety of potential workplace environments and requirements. (Ciccarelli & White, 2009, pp. B4-B5)
Graduate Degree
In addition to preparing students for careers such as those above, a bachelor's degree in Psychology also prepares students to pursue graduate studies in a variety of fields, including business, law, child and family studies, education, social work, management, and, of course, psychology. Some of the careers open to individuals with a graduate degree in Psychology are psychiatry*, psychoanalysis, psychiatric social work, clinical or counseling psychology, or teaching and/or research in any area of psychology. (*Psychiatry requires an M.D.)
Certificate in Alcohol & Drug Counseling
The Psychology Program
Psychology Major
All students who select Psychology as a major must complete both the general education requirements (see General Education Program) and the requirements of the Psychology major. In all, 120 total credit hours are required for a Bachelor of Science degree in Psychology. The complete list of requirements can be found at the links below:
Current (Fall 2011) Psychology Curriculum (for all students entering the Psychology major on or after May 12, 2011)
Fall 2009 Psychology Curriculum (for students who entered the Psychology major between Fall 2009 and May 11, 2011)
Fall 2008 Psychology Curriculum (for students who entered the Psychology major during the 2008-2009 academic year)
Psychology Minor
The requirements for a minor in Psychology can be found at the links below:
Current (Fall 2011) Psychology Minor Requirements (for students entering the Psychology minor on or after May 12, 2011)
July 2009 Psychology Minor Requirements (for students who entered the Psychology minor between July 2009 and May 11, 2011)
Faculty Profile
Dr. Gwendolyn Scott-Jones
Associate Professor and Chairperson
Dr. Padmini (Nina) Banerjee
Associate Professor
Dr. Brian Friel
Associate Professor
Dr. Michael Gawrysiak
Assistant Professor
Dr. Rachel Pulverman
Associate Professor
Dr. John D Rich, Jr.
Associate Professor
Dr. Amy Rogers
Associate Professor
Ms. Heidi Hoffman
Adjunct Instructor and Practicum Coordinator
Dr. James P. Kurtz
Adjunct Associate Professor
Dr. Roy A. Lafontaine
Adjunct Associate Professor
Ms. Tawanda Morgan
Adjunct Instructor
Dr. Francene Perry-Brown
Adjunct Assistant Professor
Ms. Terri (Nichols) Harrington
Administrative Secretary


text:
v1.1 Update
-Highscores accessible from mainmenu.
-Keys changed.
-Teleporting enemy won't teleport on top or near player (no more instant death).
-Player gets much less stunned when getting hit by enemy.
-Enemies are little bit weaker.
-Notes. They will help you to proceed with the game by giving tips & hints. Can be
viewed through pause menu (P).
-Game can be loaded/started from beginning after death (no need to go through
mainmenu anymore).
-Graphics improvements (mainly gameover & pause game screens).
Starship Ironside is on a journey of exploration and is suddenly being sabotaged and forced to crash on a planet on the far side of Triangulum Galaxy. This seems to be a desperate situation, especially when the inhabitants of the planet are hostile and a mysterious member of the ship doesn't even want you to survive. But not for you! For you this is an oppetunity to earn yourself a medal!
Explore and survive this 8bit'ish world by powering up the main computer and contacting fleet. Lot's of levels, creatures, secrets (even one secret world!), items, achievements and pixelart await!

subset: commoncrawl


text:
>Runner's World - My Event Ratings>
In short: Surely the best UK marathon??Date of review: October 27, 2015
In short: Surely the best UK marathon, organised by people who really care about the event and the runnersDate of review: October 30, 2014
In short: Not for PB chasers, but for those who want a great well organised event on a "challenging" course!!Date of review: April 28, 2013
In short: A cheap, no frills, well organised marathon, with excellent PB potentialIn full: Re other comments I guess you get what you pay for!? Yes it would be nice to have toilet facilities dotted about the course, gels and energy drinks to hand out, but that would have put the price up. That said it is surprising that a marathon does not have any toilet facilities at all on the course (I could see some runners taking desparate action by the prom wall during the race, which isn't great to see), nor any energy drink at the finish - surely more sensible than water!? Some of the marshals were total miseries (presumably employed by a private company and non runners who portrayed the air of not giving a hoot!!) and I was actually sent around the wrong set of cones (no apology provided!) Date of review: April 9, 2013
In short: Quite rightly deserves accolade as the UK's number 1 marathon - atmosphere, support and scenery second to none!!Date of review: October 28, 2012
In short: Surely the best 30k racde in the UK?In full: With over 1,250ft of climbing and incorporating 5 miles of the Snowdonia marathon route, this has to be a must do event for those training for the Snowdonia Marathon?Date of review: October 9, 2012
In short: The best orgainsed and best value for money race I have ever doneIn full: Could not fault it, even though 1st year of the race and the recent bad weather which caused last minute changes to the course. I am sure the quality goody bag contents and the water bottle and bespoke wooden coaster I got at the end were worth more than the race entry! Date of review: June 25, 2012
In short: A flat well organised marathonDate of review: March 14, 2012
In short: Easly the best 10K I have ever done - a must do iconic race!In full: Surely one of the most challenging and scenic 10K's on the race calendar. Excellent organisation and plenty of friendly support on the course. Very good facilities at the race HQ/by the finish. Love the mug souvenirDate of review: February 14, 2012
In short: Smply the best!In full: Fantastic organisation and incredible support, which wasn't dampended by the interesting weather conditions.It is the only marathon whch I will do every year - no other marathon comes close to it in my view!Date of review: October 31, 2011
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About Runner's World


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Things to do this week in NYC Mar 10-Mar 17: MuseumsMarch 10, 2012 - by CG Directory Editor
Some of the world's most impressive museums and exhibits are in New York?including the Whitney, the Guggenheim, the Museum of Modern Art (MoMA), and (of course) the Metropolitan Museum of Art. One of the great things to do in NYC is to visit these spectacular collections. Whether you're a native New Yorker or here on vacation, NYC's museums have something new and interesting to offer everybody! Here is a list of what's going on this week at museums throughout New York City.
Exquisite Corpses: Drawing and Disfiguration - Museum of Modern Art (MoMA)
In a collaborative, chance-based drawing game known as the exquisite corpse, Surrealist artists subjected the human body to distortions and juxtapositions that resulted in fantastic composite figures. This exhibition considers how this and related practices -- in which the body is dismembered or reassembled, swollen or multiplied, propped with prosthetics or fused with nature and the machine -- have recurred in art throughout the 20th century and to the present day. Artists from Andre Masson and Joan Mir? to Louise Bourgeois and Robert Gober to Mark Manders and Nicola Tyson have distorted and disoriented our most familiar of referents, playing out personal, cultural, or social anxieties and desires on unwitting anatomies. If art history reveals an unending impulse to render the human figure as a symbol of potential perfection and a system of primary organization, these works show that artists have just as persistently been driven to disfigure the body.
One Step Beyond - John Stainer of Battles - American Museum of Natural History
Now in its fifth season, the American Museum of Natural History's One Step Beyond party series continues with a DJ set by John Stainer of Battles in the Dorothy and Lewis B. Cullman Hall of the Universe on Friday, March 16. Black Moth Super Rainbow supports. During this ongoing party series, guests can dance in the Museum's Rose Center for Earth and Space to the sounds of the biggest names in techno, electronica, hip-hop, and indie rock. Guests can also enjoy the Hayden Big Bang Theater, located in the lower part of the Hayden Sphere, which features a dynamic multi-media presentation, narrated by acclaimed actor Liam Neeson, that takes visitors on a thrilling four-minute trip from Earth to the edge of the visible universe and back again. Each ticket also includes one pass to the Museum for future use. Visuals for One Step Beyond are produced by Glowing Pictures. 9pm-1am. Admission to One Step Beyond is $25. Guests must be 21 and present valid ID. A beer and wine cash bar is available.
The Renaissance Portrait from Donatello to Bellini - Metropolitan Museum of Art
It has been said that the Renaissance witnessed the rediscovery of the individual. In keeping with this notion, early Renaissance Italy also hosted the first great age of portraiture in Europe. Portraiture assumed a new importance, whether it was to record the features of a family member for future generations, celebrate a prince or warrior, extol the beauty of a woman, or make possible the exchange of a likeness among friends. This exhibition will bring together approximately 160 works—by artists including Donatello, Filippo Lippi, Botticelli, Verrocchio, Ghirlandaio, Pisanello, Mantegna, Giovanni Bellini, and Antonello da Messina, and in media ranging from painting and manuscript illumination to marble sculpture and bronze medals, testifying to the new vogue for and uses of portraiture in fifteenth-century Italy. During the early Renaissance, artists working in Florence, Venice, and the courts of Italy created magnificent portrayals of the people around them—from heads of state and church to patrons, scholars, poets, and artists—concentrating for the first time on producing recognizable likenesses and expressions of personality. The rapid development of portraiture was linked closely to Renaissance society and politics, ideals of the individual, and concepts of beauty. The object may have been to commemorate a significant event—a marriage, death, the accession to a position of power—or it may have been to record the features of an esteemed member of the family for future generations. Featuring many rare international loans, this exhibition will present an unprecedented survey of the period and provide new research and insight into the early history of portraiture. It will be divided into three sections and will span a period of eight decades. Beginning in Florence, where independent portraits first appeared in abundance, it moves to the courts of Ferrara, Mantua, Bologna, Milan, Urbino, Naples and papal Rome, and ends in Venice, where a tradition of portraiture asserted itself surprisingly late in the century.
Police Work: Photographs by Leonard Freed, 1972-1979 - Museum of the City of New York
Police Work: Photographs by Leonard Freed, 1972-1979 features a selection of vintage prints by the Brooklyn-born photographer who documented "life on the beat" with NYPD officers during the tumultuous 1970s. During a time when New York City faced near bankruptcy and was internationally notorious for its high crime rates and social disorder, Freed's photographs reveal the complexity, the harshness, and the camaraderie of the city's public safety servants and the people they protected. Highlighting a recent gift to the Museum of the City of New York by his widow Bridgette Freed, the exhibition is a gritty, realistic portrait of ordinary people doing a "sometimes boring, sometimes corrupting, sometimes dangerous and ugly and unhealthy job."
Brian Bress: Status Report - New Museum of Contemporary Art
This exhibition, the latest presentation in the New Museum's 'Stowaways' series, will be the New York premier of Brian Bress's Status Report (2009). In Bress's low-tech video, humorous characters, all played by the artist, struggle with interpersonal relationships, the pursuit of intended goals, and the desire to communicate. Manipulating pictorial and sculptural conventions through fantastically hand-crafted sets and costumes that combine drawing, painting, and collage, Bress creates a disjunctive world where spaces of imagination and representation compete for equal footing. Brian Bress (b. 1975) lives and works in Los Angeles. His videos have been shown at ICA, Philadelphia; LAX Art, Los Angeles; Diverse Works, Houston; University of South Florida Contemporary Art Museum, Tampa; and Parrish Art Museum, South Hampton. His work was included in the comprehensive survey exhibition "California Video: Artists and Histories" presented at the Getty Museum in 2008. This is Bress's first New York museum presentation.
Sanja Ivekovic: Sweet Violence - Museum of Modern Art (MoMA)
The first museum exhibition in the United States of the work of Sanja Ivekovic (b. 1949, Zagreb) covers four decades of the artist's remarkable career. A feminist, activist, and video pioneer, Ivekovic came of age in the post-1968 period, when artists broke free from mainstream institutional settings, laying the ground for a form of praxis antipodal to official art. Part of the generation known as the Nova Umjetnicka Praksa (New Art Practice), Ivekovic produced works of cross-cultural resonance that range from conceptual photomontages to video and performance. This exhibition brings together a historic group of single-channel videos and media installations, including Sweet Violence (1974), Personal Cuts (1982), Practice Makes a Master (1982/2009), General Alert (Soap Opera) (1995), and Rohrbach Living Memorial (2005). Among the 100 photomontages featured in the exhibition is Ivekovic's celebrated series Double Life (1975-76), for which the artist juxtaposed pictures of herself culled from her private albums with commercial ads clipped from the pages of women's magazines. While in the 1970s Ivekovic probed the persuasive qualities of mass media and its identity-forging potential, after 1990--following the fall of the Berlin Wall, the disintegration of Yugoslavia, and the birth of a new nation--she focused on the transformation of reality from socialist to post-socialist political systems. Ivekovic offers a fascinating view into the official politics of power, gender roles, and the paradoxes inherent in society's collective memory. The exhibition will be accompanied by a major publication.
Remembering 9/11 - New-York Historical Society
To commemorate the tenth anniversary of September 11, the New-York Historical Society will present a special exhibition, Remembering 9/11, which will be free to the public. The exhibition opens on September 8, 2011 and will remain on view through April 1, 2012. The exhibition presents a selection of several hundred photographs taken by professional and amateur photographers in the immediate aftermath of the attack on the World Trade Center (originally collected in the independent exhibition "here is new york: a democracy of photographs"), as well as letters written to policemen and firemen; objects that were placed in makeshift shrines around New York; images and texts from the New York Times "Portraits of Grief" series; photographs of the Tribute in Light; and drawings of the National September 11 Memorial, designed by architect Michael Arad with the assistance of landscape architect Peter Walker.
Hudson River School Highlights: Landscapes From The New-York Historical Society's Collections - New-York Historical Society
The Hudson River School has long been 'at home' in the New-York Historical Society. New-York Historical's first membership diploma was engraved around 1821 by Asher B. Durand. The 1858 deposit of Luman Reed's pioneering collection of American art brought iconic landscapes by Thomas Cole and Durand to the New-York Historical Society's Museum. Gifts by Durand's family in the late nineteenth and early twentieth century assembled a collection of more than 375 works by the artist, making New-York Historical the primary Durand repository. Robert L. Stuart's collection further enriched the collections with works by these artists and with stellar landscapes by Jasper Cropsey and John F. Kensett. Works selected from these holdings, as well as landscapes by Jervis McEntee, Francis A Silva, and portraits of Hudson River School "Founders," Cole and Durand, will enrich Hudson River School Highlights, twenty-five paintings on view in the Luman Reed Galleries. Of particular interest are over half a dozen of Durand's famous Studies from Nature and two of his extraordinary full scale sepia landscape cartoons.
The Ronald S. Lauder Collection: Selections from the 3rd Century BC to the 20th Century/Germany, Austria, and France - Neue Galerie
Devoted to the extraordinary collection of Neue Galerie co-founder Ronald Lauder, the show will provide a rare glimpse into one of the finest private art collections in the world. The Ronald S. Lauder collection encompasses a broad range of masterworks. The exhibition will focus on six areas: medieval art, arms and armor, Old Master paintings, 19th- and 20th-century drawings, fine and decorative art of Vienna 1900, and modern and contemporary art. Among the artists represented are Joseph Beuys, Constantin Brancusi, Paul Cézanne, Vasily Kandinsky, Anselm Kiefer, Gustav Klimt, Henri Matisse, Pablo Picasso, and Gerhard Richter.
Audubon: National Treasures - The Five Watercolors for the Second Fascicle of 'The Birds of America' - New-York Historical Society
Looking at these five watercolors you are enjoying an experience similar to that of John James Audubon's (1785–1851) original subscribers to The Birds of America (1827-1838). In distributing its 435 plates, he followed a nineteenth-century practice of issuing them serially by subscription in 87 fascicles (groups) of five prints. In a brilliant marketing ploy, John James Audubon packaged each group of engravings to consist of three small, one medium, and one large, spectacular species. The latter fully exploited the double-elephant-size paper, the largest then available, used for the prints and the watercolors of the biggest birds. In the second grouping, the pièce de résistance was the Wild Turkey (hen and chicks). Two of the other four preparatory watercolors date from an intense early period of studying birds in the company of his best pupil from Cincinnati, Joseph Mason (1808–1842), who painted many of the botanical specimens during 1821-22. All five prints after these watercolor models were initially engraved by William Home Lizars (1788–1859) in Edinburgh and retouched later by Robert Havell Jr. (1793–1878) in London. The 435 hand-colored aquatints and etchings of The Birds of America contain at least 1,026 life-size birds representing around 500 species (a number that changes as DNA evidence alters modern taxonomy). This deluxe edition, considered the most spectacular color folio print series ever produced, remains one of the world's preeminent natural history documents.
A Passion for Drawings: Charles Ryskamp's Bequest to The Frick Collection - Frick Collection
This winter and spring The Frick Collection will celebrate the generosity and discerning taste of former Director Charles A. Ryskamp (1928-2010) with an exhibition of works on paper from his bequest. This generous gift transforms the museum's holdings in drawings, enlarging them by nearly a third, while complementing the permanent collection's focus on the landscape and figural subjects favored by Henry Clay Frick. The works will be exhibited for the first time at the Frick in the Cabinet, a space created by Dr. Ryskamp during his tenure as Director from 1987 to 1997 and intended especially for the display of works on paper. The drawings were chosen from Dr. Ryskamp's extensive collection by Director Emerita Anne L. Poulet, Deputy Director and Peter Jay Sharp Chief Curator Colin B. Bailey, and Senior Curator Susan Grace Galassi. The varied subjects and styles of the works speak to the vibrant intellect of Dr. Ryskamp, who equated the collecting of art with the acquisition of knowledge. Three drawings are by artists already represented in The Frick Collection: a landscape in pencil by Pierre-Etienne-Theodore Rousseau, an early academic nude by Edgar Degas, and a pen-and-ink study of a young man by Giovanni Battista Tiepolo. Other works -- by artists such as George Stubbs, William Blake, and Eugene Delacroix -- were selected for their quality and art historical significance. The installation will also include two oil-on-paper studies of clouds by John Constable, which Dr. Ryskamp was instrumental in bringing to the Collection in 2001.
Eugene Atget: "Documents pour artistes" - Museum of Modern Art (MoMA)
This exhibition presents six fresh and highly focused cross sections through the career of master photographer Eugene Atget (French, 1857-1927), drawn exclusively from the Museum's unparalleled holdings of his work. The sign outside Atget's studio read, "Documents pour artistes," -- declaring his modest ambition to create images for other artists to use as source material. This humility belied the visual sophistication and distinctive vision that characterized much of Atget's own work. Whether exploring the urban texture of Paris' fifth arrondissement throughout the first quarter of the 20th century, or the abandoned grandeur of the parks at Sceaux during a remarkable creative outburst in the spring of 1925, Atget captured the essence of his chosen subject through the camera's lens with increasing sensitivity throughout his career. Also featured are his photographs made in the Luxembourg gardens, as well as a concise selection from Atget's sustained investigation of Parisian and rural courtyards. Two final sections of the exhibition highlight Atget's attention to the human figure, a rare but significant aspect of his work, as well as his "Surrealist" photographs of mannequins, store windows, and street fairs that so intrigued the Parisian avant-garde in the 1920s. Atget began making photographs in the late 1890s, and the photographs featured in this exhibition span the breadth of his career. However, more than two-thirds of the over 100 works on view were made after World War I when Atget's photographic vision had fully matured, and these remain taut, essential, and surprising pictures to this day.
Chinese Art in an Age of Revolution: Fu Baoshi (1904-1965) - Metropolitan Museum of Art
Perhaps the greatest figure painter and landscapist of China's modern period, Fu Baoshi successfully integrated Western and traditional artistic influences to create haunting images that evoke a mood as much as a place or person. This exhibition will treat Fu's forty-year career with some seventy paintings, including many of the artist's recognized masterpieces, drawn from the preeminent holdings of China's Nanjing Museum. The exhibition, augmented by superb works from a New York private collection, will be the most comprehensive treatment of the artist's oeuvre ever presented outside of Asia. Co-organized with the Cleveland Museum of Art, the exhibition will feature a richly illustrated catalogue.
Enrico David: Head Gas - New Museum of Contemporary Art
"Head Gas" is the first New York exhibition by Italian-born, Berlin-based artist Enrico David. Over the past twenty years, David has produced a body of work encompassing painting, drawing, sculpture, and collage that draws upon a rich variety of sources and expresses a range of complex emotional states. Although his work is highly celebrated throughout Europe--the artist was among the nominees for the 2009 Turner Prize, for example--David's work has rarely been exhibited in the United States. The figures populating David's work convey the struggle of adaptation, both physical and psychological, of the self and of the image. In his art, we see haunting, incomplete, and sometimes grotesque characters fighting against and merging into backgrounds comprising a personal lexicon of forms. These patterns are derived from craft, folk art, and twentieth-century design, as well as advertising, techniques of display, fashion, and art historical moments. Previously, David choreographed his figurative works to imply dramatic narratives, at times using the exhibition space as a stage. His exhibitions function as performances of self-analysis constructed and theatricalized specifically for public display. Through David's highly personalized iconography, the works act as mirrors, reflecting viewers' desires, fears, and vulnerabilities. In David's more recent work, the implications and strands of psychological tension are enacted within a more formalized, image-based corporeality. For his 'Studio 231' exhibition, David has created an entirely new body of work. The paintings and works on paper are part of a series of portraits rendered delicately in pencil and luminescent fields of acrylic paint applied with a sponge or caressing brush. David's imagery suggests bodies at the point of apparition or dissolution-beings that cannot be contained or consumed, perhaps only passed through, and reluctantly present. 'I imagine these images as the product of a conscious, physiological act of will. To exist despite the alienating and antagonizing nature of their surrounding environment-as if a precarious and utterly temporary agreement was struck between them and the molecular components of paint and canvas, lines and colors, even the space itself, threaten to engulf them,' says David. 'These conditions, as ridiculous and unlikely as they may sound, represent for me an experience that feels real, necessary to embrace, even optimistic.' 'Head Gas' also features a new series of hand-painted paravents. These folding screens, originally conceived by the artist for his own apartment, create an architectural intervention within the exhibition space, simultaneously connecting to the images occupying the gallery. Enrico David is the second artist featured in the New Museum's new 'Studio 231' series. The Museum inaugurated the series in October 2011, with a new installation and performances by London-based artist Spartacus Chetwynd. 'Studio 231' is a series of commissioned projects in the museum's adjacent, ground-floor space at 231 Bowery. This new initiative will give international, emerging artists the opportunity to realize ambitious new works conceived especially for the space. These projects at 231 Bowery also seek to foster a new relationship between the artists and the public by allowing artists to create work outside the confines of the main museum building and in closer proximity to the energy of the street and to the creative space of the artist's studio.
The Ungovernables - 2012 New Museum Triennial - New Museum of Contemporary Art
The 2012 New Museum Triennial will feature thirty-four artists, artist groups, and temporary collectives -- totaling over fifty participants -- born between the mid-1970s and mid-1980s, many of whom have never before exhibited in the US. The exhibition title, "The Ungovernables," takes its inspiration from the concept of "ungovernability" and its transformation from a pejorative term used to describe unruly "natives" to a strategy of civil disobedience and self-determination. "The Ungovernables" is meant to suggest both anarchic and organized resistance and a dark humor about the limitations and potentials of this generation. "The Ungovernables" is an exhibition about the urgencies of a generation who came of age after the independence and revolutionary movements of the 1960s and 1970s. Through both materials and form, works included in "The Ungovernables" explore impermanence and an engagement with the present and future. Many of the works are provisional, site-specific, and performative reflecting an attitude of possibility and resourcefulness. In the sculpture of Adrian Villar Rojas, monumentality is juxtaposed with transience. Rendered in clay, the works depend on cracks on their surfaces -- the inevitable failure of the object, of meaning, and the guaranteed transformation of all ideas and objects back to dust. But it is dust that is then repurposed, reimagined, and re-formed. When Danh Vo learned that the Statue of Liberty is simply a steel armature covered by a copper skin the thickness of two pennies, he researched the hammering process that gave her shape, then employed craftsmen to replicate the statue's skin for his work WE THE PEOPLE. Julia Dault manipulates materials of modernity such as Formica and Plexiglas in temporal arrangements that can never be repeated. In her works, the artist's labor is dependent on the conditions of a certain space, her strength to execute a work at a particular time, and the uncontrollable accidents her materials determine. House of Natural Fiber, a new media collective and alternative space, has recently combined microbiology and art to teach locals about safe ways to brew homemade fruit wine while amplifying and sampling the sounds of the distillation process to make electronic music. Jonathas de Andrade's Ressaca Tropical (Tropical Hangover) is an installation of over one hundred photographs linked to pages of a romantic diary found in the trash. In isolation, the components of Ressaca are historical documents. However, pieced together, they comprise a larger fiction of what a city is and can be -- how the past can remain alive, not through conservation, but instead through the invisible energy of living. The New Museum has initiated a series of residencies and public programs to support the production of new works for the Triennial to foster artistic investigation, experimentation, and exchange. Residencies began in February 2011, with Public Movement and Adri�n Villar Rojas focusing on research for Triennial projects. In June and July, the New Museum embarked on a concentrated period of activities with Wu Tsang as well as Shaina Anand and Ashok Sukumaran of CAMP. On November 4 and 6, Public Movement presented Positions, a choreographed protest in which political and philosophical positions manifest into physical positions. Wu Tsang continued to develop his work Full Body Quotation with a performance on November 19, which will be the foundation of his installation in "The Ungovernables" exhibition. The Triennial is curated by Eungie Joo, Keith Haring Director and Curator of Education and Public Programs.
Rembrandt's World: Dutch Drawings from the Clement C. Moore Collection - Morgan Library & Museum
This exhibition focuses on artists who worked in their native Holland during the fertile period of the seventeenth century known as the Dutch Golden Age.
White Gold: Highlights from the Arnhold Collection of Meissen Porcelain - Frick Collection
The Portico Gallery for Decorative Arts and Sculpture opens in late December with an inaugural exhibition of works drawn from Henry Arnhold's promised gift of 131 examples of Meissen porcelain from the early years of this Royal Manufactory's production. On view through April 29, 2012, White Gold: Highlights from the Arnhold Collection of Meissen Porcelain will feature approximately seventy of these objects, presented along with a group of eighteenth-century sculptures by Jean-Antoine Houdon (1740–1828). Among the latter works is the full-length terracotta Diana the Huntress, a signature work at the Frick that returns to view having been recently cleaned and treated. It finds a permanent home in the new portico gallery, while the ongoing display of other sculptures and ceramics will rotate periodically.
Storytelling in Japanese Art - Metropolitan Museum of Art
Japan has enjoyed a long tradition of narrative painting, one that continues even today with the popular contemporary Japanese cartoon (manga) and animation. This exhibition will offer particularly stellar examples of illustrated Japanese narrative works from the thirteenth to the nineteenth century. Drawn from some of the foremost American collections as well as the Museum's own holdings, it will be the first exhibition devoted to this subject in the United States in more than twenty-five years. It will feature more than sixty-five exquisitely executed paintings in various formats: handscroll (emaki), album, book, hanging scroll, screen, and playing cards.
Duncan Phyfe - Master Cabinetmaker in New York - Metropolitan Museum of Art
n the early 1800s, furniture from the workshop of New York City cabinetmaker Duncan Phyfe (1770–1854) was in such demand that he was referred to as the "United States Rage." This exhibition—the first retrospective on Phyfe in ninety years—will serve to re-introduce this artistic and influential master cabinetmaker to a contemporary audience. The full chronological sweep of Phyfe's distinguished career will be featured, including examples of his best-known furniture based on the English Regency designs of Thomas Sheraton, work from the middle and later stages of his career when he adopted the richer "archaeological" antique style of the 1820s, and a highly refined, plain Grecian style based on French Restauration prototypes. The exhibition brings together nearly one hundred works from private and public collections throughout the United States. Highlights of the exhibition include some never-before-seen documented masterpieces and furniture descended directly in the Phyfe family, as well as the cabinetmaker's own tool chest. Organized chronologically, the exhibition will present the cabinetmaker's life and work through drawings, documents, personal possession, and furniture. Portraits of his clients and contemporary depictions of New York City street scenes and domestic interiors will provide a glimpse into Phyfe's milieu.
The Loving Story: Photographs by Grey Villet - International Center of Photography
Forty-five years ago, sixteen states still prohibited interracial marriage. Then, in 1967, the U.S. Supreme Court considered the case of Richard Perry Loving, a white man, and his wife, Mildred Loving, a woman of African American and Native American descent, who had been arrested for miscegenation nine years earlier in Virginia. The Lovings were not active in the Civil Rights movement but their tenacious legal battle to justify their marriage changed history when the Supreme Court unanimously declared Virginia's anti-miscegenation law -- and all race-based marriage bans -- unconstitutional. LIFE magazine photographer Grey Villet's intimate images were uncovered by director Nancy Buirski during the making of The Loving Story, a documentary debuting on February 14, 2012 on HBO. The exhibition, organized by Assistant Curator of Collections Erin Barnett, includes some 20 vintage prints loaned by the estate of Grey Villet and by the Loving family.
Perspectives 2012 - International Center of Photography
Perspectives is an exhibition series that focuses on emerging young artists working in photography and video. The small group exhibitions in the series are nonthematic, highlighting the individual ideas and achievements of an engaging and eclectic group of new faces. Those presented within Perspectives have not been widely exhibited, inspiring conversations on contemporary art, broadening ICP's audience, and revealing work that may otherwise not be seen outside of a small gallery setting. Above all, Perspectives will highlight global contemporary artists who have not yet been shown in New York, and who may not conventionally be considered photographers. ICP Curator Christopher Phillips organized this second exhibition in the series, which includes work by Chien-Chi Chang, Greg Girard, and Anna Shteynshleyger.
Magnum Contact Sheets - International Center of Photography
Magnum Contact Sheets reveals how Magnum photographers have captured and edited their best shots from the 1930s to the present. The contact sheet, a direct print of a roll or sequence of negatives, is the photographer's first look at what he or she has captured on film, and provides a uniquely intimate glimpse into their working process. It records each step on the route to arriving at an image -- providing a rare behind-the-scenes sense of walking alongside the photographer and seeing through their eyes. Including both celebrated icons of photography and lesser-known surprises, the exhibition functions as an "epitaph" to the contact sheet, now rendered obsolete by digital photography. Through these fascinating and usually private images, the exhibition celebrates what and how photographers saw for nearly a century. Coinciding with the publication of Magnum Contact Sheets (Thames & Hudson), edited by ICP Curator Kristen Lubben, the exhibition includes a selection of some of the 139 contact sheets in the book.
Princes and Painters in Mughal Delhi, 1707-1857 - Japan Society
Delhi has served as a cultural center of North India for more than a millennium in different incarnations. This exhibition focuses on the 18th century to the mid-19th century, the crucial period when Delhi moved from being the heart of the late Mughal Empire to becoming the jewel in the crown of the British Raj. The exhibition examines Mughal artistic culture in the 18th and 19th centuries to highlight the interwoven nature of Mughal, European and regional patronage networks within which Delhi artists operated. Approximately 100 objects include works by Delhi-based court artists Nidha Mal and Chitarman, and less familiar works by artists such as Ghulam Murtaza Khan, Ghulam Ali Khan and Mazhar Ali Khan. In addition to Mughal miniatures produced under later emperors -- Muhammad Shah (reigned 1719-1748) up to Bahadur Shah "Zafar" (reigned 1837-1858) -- this exhibition highlights a selection of Company School paintings produced for Delhi-based personalities such as William Fraser, James Skinner and Thomas Metcalfe. Select photography, drawings and decorative arts are also included. William Dalrymple and Yuthika Sharma are guest curators of the exhibition.
John Chamberlain: Choices - Solomon R. Guggenheim Museum
This exhibition comprises nearly 100 works, from his earliest monochromatic welded iron-rod sculptures to the large-scale foil creations of recent years.
Renoir, Impressionism, and Full-Length Painting - Frick Collection
An exhibition of nine iconic Impressionist paintings by Pierre-Auguste Renoir, offering the first comprehensive study of the artist's engagement with the full-length format, which was associated with the official Paris Salon in the decade that saw the emergence of a fully fledged Impressionist aesthetic. The project was inspired by La Promenade of 1875-76, the most significant Impressionist work in the Frick's permanent collection. It explores Renoir's portraits and subject pictures of this type from the mid-1870s to mid-1880s. Intended for public display, these vertical grand-scale canvases are among the artist's most daring and ambitious presentations of contemporary subjects and are today considered masterpieces of Impressionism. On view only at the Frick, Renoir, Impressionism, and the Full-Length Format is a landmark exhibition, bringing together, with the Frick painting, several beloved masterpieces from around the world. Works on loan from international institutions are La Parisienne (1874) from the National Museum of Art, Cardiff; The Umbrellas (c. 1881 and 1885) from The National Gallery, London (first time since 1886 on view in the United States); and Dance in the City and Dance in the Country (1882-83) from the Musee d'Orsay, Paris. Works on loan from American institutions are The Dancer (1874) from the National Gallery of Art, Washington, D.C.; Madame Henriot "en travesti" (1875-76) from the Columbus Museum of Art; Acrobats at the Cirque Fernando (1879) from the Art Institute of Chicago; and Dance at Bougival (1882-83) from the Museum of Fine Arts, Boston. The exhibition will be shown in the Frick's East Gallery. Renoir, Impressionism, and the Full-Length Painting is being organized by Colin B. Bailey, the Frick's Associate Director and Peter Jay Sharp Chief Curator.
John Chamberlain: Choices - Solomon R. Guggenheim Museum
John Chamberlain: Choices offers a comprehensive examination of the work of the late John Chamberlain and the first U.S retrospective since 1986. Comprising approximately one hundred works, the exhibition examines the artist's development over a sixty-year career, exploring the shifts in scale, materials, and techniques informed by the assemblage process that was central to his working method. The exhibition presents works from Chamberlain's earliest monochromatic iron sculptures and experiments in foam, Plexiglas, and paper, to his final large-scale foil pieces, which have never been shown in the United States. Chamberlain was first celebrated at the Guggenheim in a 1971 retrospective. John Chamberlain: Choices is organized by Susan Davidson, Senior Curator, Collections and Exhibitions, and is accompanied by a fully illustrated exhibition catalogue. This exhibition is supported by the Henry Luce Foundation and the Terra Foundation for American Art. The Leadership Committee for John Chamberlain: Choices, chaired by Larry Gagosian, is gratefully acknowledged.
Diego Rivera: Murals for The Museum of Modern Art - Museum of Modern Art (MoMA)
Diego Rivera was the subject of MoMA's second monographic exhibition (the first was Henri Matisse), which set new attendance records in its five-week run from December 22, 1931, to January 27, 1932. MoMA brought Rivera to New York six weeks before the exhibition's opening and gave him studio space within the Museum, a strategy intended to solve the problem of how to present the work of this famous muralist when murals were by definition made and fixed on site. Working around the clock with two assistants, Rivera produced five "portable murals"?large blocks of frescoed plaster, slaked lime, and wood that feature bold images drawn from Mexican subject matter and address themes of revolution and class inequity. After the opening, to great publicity, Rivera added three more murals, now taking on New York subjects through monumental images of the urban working class and the social stratification of the city during the Great Depression. All eight were on display for the rest of the show's run. The first of these panels, Agrarian Leader Zapata, is an icon in the Museum's collection. This exhibition will bring together key works made for Rivera's 1931 exhibition, presenting them at MoMA for the first time in nearly 80 years. Along with mural panels, the show will include full-scale drawings, smaller working drawings, archival materials related to the commission and production of these works, and designs for Rivera's famous Rockefeller Center mural, which he also produced while he was working at the Museum. Focused specifically on works created during the artist's stay in New York, this exhibition will draw a succinct portrait of Rivera as a highly cosmopolitan figure who moved between Russia, Mexico, and the United States, and will offer a fresh look at the intersection of art making and radical politics in the 1930s. MoMA will be the exhibition's sole venue.
Printin' - Museum of Modern Art (MoMA)
Organized in conjunction with the exhibition Print/Out, Printin' takes as its starting point DeLuxe (2005), a tour de force portfolio of 60 works by Ellen Gallagher (American, b. 1965) that challenged traditional ideas of what a print could be. This technically complex work employs a veritable riot of mediums, unorthodox tools, and elements, from slicks of greasy pomade to plastic ice cubes. DeLuxe also offers a multivalent constellation of ideas, touching on such issues as portraiture, identity, history, advertising, commodity, and the disruption, translation, and recasting of space. Proposing a kind of technical dissection and conceptual unpacking of this portfolio, Printin' brings together work by more than 50 artists from multiple disciplines in a sweeping chronology that extends from the 17th century to the present day, to propose a free-flowing yet incisive web of associations that are reflected in DeLuxe. Encompassing prints, drawings, films, books, photographs, sculptures, videos, and comic strips, the exhibition features such artists as Vija Celmins, David Hammons, George Herriman, Robert Rauschenberg, Martha Rosler, and many others, forming a dense network of formal, technical, and conceptual connections and intersections.
Print/Out - Museum of Modern Art (MoMA)
Over the last two decades, geopolitical borders have shifted and new technologies have forged channels of communication around the world. Printed materials, in both innovative and traditional forms, have played a key role in this exchange of ideas and sources. This exhibition examines the evolution of artistic practices related to the print medium, from the resurgence of traditional printmaking techniques -- often used alongside digital technologies -- to the proliferation of self-published artists' projects. Bringing together some 70 series or projects drawn substantially from MoMA's extensive collection of prints and books, with the addition of several important loans, the exhibition features major artists and publishing projects, such as Ai Weiwei, Trisha Donnelly, Martin Kippenberger, Daniel Joseph Martinez, Lucy McKenzie, Aleksandra Mir, Museum in Progress, Edition Jacob Samuel, Thomas Schutte, SUPERFLEX, Rirkrit Tiravanija, and Christopher Wool, among many others. Print/Out is the third in a series of large print surveys periodically organized by the Museum's Department of Prints and Illustrated Books in order to assess the evolution of the medium. The last two exhibitions were Printed Art: A View of Two Decades, organized by Riva Castleman in 1980, and Thinking Print: Books to Billboards: 1980�1995, curated by Deborah Wye in 1996.
Millennium Magazines - Museum of Modern Art (MoMA)
This survey of experimental art and design magazines published since 2000 explores the various ways in which contemporary artists and designers utilize the magazine format as an experimental space for the presentation of artworks and text. Throughout the 20th century, international avant-garde activities in the visual arts and design were often codified first in the informal context of a magazine or journal. This exhibition, drawn from the holdings of the MoMA Library, follows the practice into the 21st century. The works on view represent a broad array of international titles within this genre, from community-building newspapers to image-only photography magazines to conceptual design projects. The contents illustrate a diverse range of image-making, editing, design, printing, and distribution practices. There are obvious connections to the past lineage of artists' magazines and little architecture and design magazines of the 20th century, as well as a clear sense of the application of new techniques of image-editing and printing methods. Assembled together, these contemporary magazines provide a first-hand view into these practices and represents the MoMA Library's sustained effort to document and collect this medium.
In the Company of Animals: Art, Literature, and Music at the Morgan - Morgan Library & Museum
Drawing from the breadth of the Morgan's collection, this exhibition will explore the ways in which animals have served as inspiration for and subjects of diverse creative works.
Rembrandt and Degas - Portrait of the Artist as a Young Man - Metropolitan Museum of Art
Self-portraits made by Rembrandt van Rijn (1606-1669) and Edgar Degas (1834-1917) at the start of their illustrious careers are seen side by side, for the first time, in an exhibition that highlights the Dutch master's guiding influence on the young French Impressionist and offers an intimate look at their unique kinship.
Hanging Around: Necklaces from MAD's Collection - Museum of Arts & Design
For at least forty thousand years, in virtually all cultures, humans have worn objects of symbolic, decorative, and amuletic value around their necks. Ranging in length from chokers to rope necklaces that hang below the waist, and in form from simple pendants to elaborate sculptural collars and breastplates, necklaces are strategically positioned beneath the face to draw attention to themselves, enhancing the wearer's allure, power, or status and showcasing the maker's artistic skills. The unique works on display in Hanging Around are from the Museum of Arts and Design's jewelry collection. Dating from the 1960s to the present, these artistic creations encompass conceptual approaches ranging from the decorative to the provocatively political. Some of the necklaces on view feature precious metals and rare gemstones, but others derive their impact from materials as unconventional as pig intestines, gun triggers, mustard seeds, LED lighting, black coral, butterfly wings, phone directories, mirrors and lenses. The fabrication techniques employed by the artists are as different as traditional goldsmithing and cutting-edge digital prototyping.
Whitney Biennial 2012 - Whitney Museum of American Art
This year marks the seventy-sixth edition of the Whitney's signature exhibition. Closed Mon. & Tues. $18.
The Butterfly Conservatory: Tropical Butterflies Alive in Winter! - American Museum of Natural History
The Butterfly Conservatory: Tropical Butterflies Alive in Winter!, a perennial favorite visited by millions of children and adults, returns to the American Museum of Natural History. This popular winter attraction invites visitors to mingle with up to 500 iridescent butterflies fluttering among blooming tropical flowers and lush green vegetation inside a free-standing, balmy, 1,200-square-foot enclosure.
The Coe Collection of American Indian Art - Metropolitan Museum of Art
Drawn from works given and bequeathed to the Metropolitan during the past decade by Ralph T. Coe of Santa Fe, New Mexico, the exhibition will be comprised of some thirty objects made in natural materials from stone to animal hide. It will feature a wide range of Native American works that come from different times, different places, and numerous distinct peoples. The oldest pieces in the Coe Collection date to some thousands of years B.C.E. The major part of the collection dates from the nineteenth to early twentieth century, a period of great contact between Native Americans and outsiders of all sorts, from traders to missionaries to the U.S. army. The peoples of the Great Plains are prominent during this time, and objects such as the impressive, personalized hide shirts of important Indian men have come to identify American Indians in the public mind. Representing contemporary work, an imposing sculpture of a Noble Woman by the Northwest Coast Haida artist Robert Davidson, dated to 2001, will be on view—the product of a long, deeply felt tradition for the carving of wood.
Question Bridge: Black Males - Brooklyn Museum
Question Bridge: Black Males is an innovative video installation created by artists Hank Willis Thomas and Chris Johnson in collaboration with Bayet� Ross Smith and Kamal Sinclair. The four collaborators spent several years traveling throughout the United States, speaking with 150 Black men living in 12 American cities and towns, including New York, Chicago, Oakland, Birmingham, and New Orleans. From these interviews they created 1,500 video exchanges in which the subjects, representing a range of geographic, generational, economic, and educational strata, serve as both interviewers and interviewees. Their words were woven together to simulate a stream-of-consciousness dialogue, through which important themes and issues emerge, including family, love, interracial relationships, community, education, violence, and the past, present, and future of Black men in American society. The exhibition includes multiple screens playing videos of the interviews, edited so that it appears as if the men are having a conversation. The artists hope that the Question Bridge project will be a catalyst for constructive dialogue that will help deconstruct stereotypes about Black male identity in our collective consciousness. Museum visitors are also invited to visit the user-generated Question Bridge website, accessible on iPads throughout the gallery, which offers a platform to represent and redefine Black male identity in America.
The Steins Collect - Matisse, Picasso, and the Parisian Avant-Garde - Metropolitan Museum of Art
Gertrude Stein, her brothers Leo and Michael, and Michael's wife Sarah were important patrons of modern art in Paris during the first decades of the twentieth century. This exhibition unites some two hundred works of art to demonstrate the significant impact the Steins' patronage had on the artists of their day and the way in which the family disseminated a new standard of taste for modern art. The Steins' Saturday evening salons introduced a generation of visitors to recent developments in art, particularly the work of their close friends Henri Matisse and Pablo Picasso, long before it was on view in museums. Beginning with the art that Leo Stein collected when he arrived in Paris in 1903 -- including paintings and prints by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri de Toulouse-Lautrec, Edouard Manet, and Auguste Renoir -- the exhibition traces the evolution of the Steins' taste and examines the close relationships formed between individual members of the family and their artist friends. While focusing on works by Matisse and Picasso, the exhibition also includes paintings, sculpture, and works on paper by Pierre Bonnard, Maurice Denis, Juan Gris, Marie Laurencin, Jacques Lipchitz, Henri Manguin, Andre Masson, Elie Nadelman, Francis Picabia, and others.
The Deutsche Bank Series at the Guggenheim: Being Singular Plural - Solomon R. Guggenheim Museum
The Deutsche Bank Series at the Guggenheim: Being Singular Plural presents new film, video, and sound-based works by seven of the most innovative and visionary contemporary artists, filmmakers, and media practitioners living and working in India today. Expanding on its original 2010 Deutsche Guggenheim presentation, the exhibition presents eight projects dispersed among the museum?s Annex galleries, New Media Theater, and outdoors along the exterior ramp leading from Fifth Avenue down to the Sackler Center for Arts Education. The New York installation continues to focus on artistic production in South Asia including with works by: Desire Machine Collective (Sonal Jain and Mriganka Madhukaillya), Shumona Goel and Shai Heredia, Amar Kanwar, and Kabir Mohanty and Vikram Joglekar. The exhibition is part of the Guggenheim?s Asian Art Program and is organized by Sandhini Poddar, Associate Curator, Asian Art. Accompanied by a fully illustrated exhibition catalogue, this exhibition is made possible by Deutsche Bank. The Leadership Committee for Being Singular Plural is gratefully acknowledged.
Glasstress New York: New Art from the Venice Biennales - Museum of Arts & Design
The Museum of Arts and Design is proud to present Glasstress New York: New Art from the Venice Biennales an extraordinary international gathering of glass sculpture created in Murano at the studio of entrepreneur and mentor Adriano Berengo. Berengo, the founder of Venice Projects, has engaged artists, architects and designers from such diverse countries as the United States, China, Italy, Germany, The Netherlands, and Spain. The resulting works were originally commissioned for and presented at the Venice Biennials of 2009 and 2011. The pieces are dramatic and often provocative, ranging from independent sculptures to installations incorporating sounds and light to prototypes for production. The spirit of innovation and experimentation pervades the works in this exhibition; many of the artists and designers were given their first opportunity to work with this challenging medium, and in collaboration with the brilliantly capable master glass artisans assembled by Adriano Berengo. Artists featured in the exhibition include: Jan Fabre, Michael Joo, Jaime Hayon, Patricia Urquiola, Tony Oursler and Mike + Doug Starn to name a few.
Harlem 1970-2009, A Study in Transitions by Camilo Jose Vergara - New-York Historical Society
This exhibition of photographs by Camilo Jose Vergara will be shown in two cycles: Harlem: The People and Harlem: The Place. Vergara's images serve as powerful and poignant witness to the changes that have occurred over the past four decades in one of the most famous neighborhoods of New York City. Known as the capital of black America, Harlem is a place that has been home to many in the civil rights movement. However, this dynamic part of the city north of Central Park is defined by not only its residents, but also by the physical environment; buildings, which, viewed repeatedly over time, have an organic quality of their own. The first installation (February 17 - June 10, 2012) is defined by the personalities and people of Harlem and the second cycle will focus upon the bricks and mortar; those buildings that tell their own stories.
Hero, Villian, Yeti - The Rubin Museum
Comic book storylines have drawn on Tibet's cultural and religious traditions for more than sixty years, mixing reality with myths and long-held stereotypes. Featuring more than fifty comic books from around the world, Hero, Villain, Yeti sheds light on global perceptions of Tibet as reflected in and informed by these diverse narratives.
Cindy Sherman - Museum of Modern Art (MoMA)
Cindy Sherman (American, b. 1954) is widely recognized as one of the most important and influential artists in contemporary art. Throughout her career, she has presented a sustained, eloquent, and provocative exploration of the construction of contemporary identity and the nature of representation, drawn from the unlimited supply of images from movies, TV, magazines, the Internet, and art history. Working as her own model for more than 30 years, Sherman has captured herself in a range of guises and personas which are at turns amusing and disturbing, distasteful and affecting. To create her photographs, she assumes multiple roles of photographer, model, makeup artist, hairdresser, stylist, and wardrobe mistress. With an arsenal of wigs, costumes, makeup, prosthetics, and props, Sherman has deftly altered her physique and surroundings to create a myriad of intriguing tableaus and characters, from screen siren to clown to aging socialite. Bringing together more than 170 photographs, this retrospective survey traces the artist's career from the mid 1970s to the present. Highlighted in the exhibition are in-depth presentations of her key series, including the groundbreaking series "Untitled Film Stills" (1977-80), the black-and-white pictures that feature the artist in stereotypical female roles inspired by 1950s and 1960s Hollywood, film noir, and European art-house films; her ornate history portraits (1989-90), in which the artist poses as aristocrats, clergymen, and milkmaids in the manner of old master paintings; and her larger-than-life society portraits (2008) that address the experience and representation of aging in the context of contemporary obsessions with youth and status. The exhibition will explore dominant themes throughout Sherman's career, including artifice and fiction; cinema and performance; horror and the grotesque; myth, carnival, and fairy tale; and gender and class identity. Also included are Sherman's recent photographic murals (2010), which will have their American premiere at MoMA. In conjunction with the exhibition, Sherman has selected films from MoMA's collection, which will be screened in MoMA's theaters during the course of the exhibition. A major publication will accompany the exhibition.
Francesca Woodman - Solomon R. Guggenheim Museum
Francesca Woodman, the most comprehensive exhibition in the U.S. of the artist's work since Woodman's untimely death in 1981 at the age of 22, will be presented at the Guggenheim Museum from March 16 through June 13, 2012. Spanning the breadth of her production, the exhibition includes more than 120 vintage photographs, artist books, and a selection of recently discovered and rarely seen short videos, presenting an historical reconsideration of Woodman's brief but extraordinary career. Francesca Woodman is organized by the San Francisco Museum of Modern Art (SFMOMA). The exhibition has been curated by Corey Keller, Associate Curator of Photography, SFMOMA, where it opened in November 2011. The New York presentation of Francesca Woodman is organized by Jennifer Blessing, Senior Curator, Photography, Solomon R. Guggenheim Museum. The Leadership Committee for 2012 Exhibitions of Photography is gratefully acknowledged.
Dan Flavin: Drawing - Morgan Library & Museum
Best known for his fluorescent light installations, Dan Flavin was also an avid draftsman. This first retrospective of his drawings will include over one hundred sheets representing every phase of his career: early abstract expressionist watercolors of the 1950s, studies for light installations, portraits and landscape sketches, and pastels of sailboats from the 1980s. In addition, the exhibition will feature nearly fifty works from Flavin's personal collection of drawings, including nineteenth-century American landscapes by Hudson River School artists, Japanese drawings, and twentieth-century works by artists such as Piet Mondrian, Donald Judd, and Sol LeWitt.
Ship-Shape: Nautical Scale Models - Intrepid Sea, Air & Space Museum
"Ship-Shape: Nautical Scale Models," a new exhibition that examines the detailed process of building model ships at the Intrepid Sea, Air & Space Museum and will be on display through Sunday, July 8, 2012. The exhibition consists of dozens of artifacts including model ships, vintage toy ships, a variety of antique model kit boxes, a mock-up of a modeler's workbench showing the building of a model ship being made in progress and illustrations that demonstrate how models are constructed. Among the highlights of the exhibit are models of the Battleship New Jersey, which served during WWII, the Korean War and Vietnam, and USS Constitution, the oldest commissioned vessel afloat in the world. The model USS New Jersey measures 112" W x 25" H x 15" D and the model USS Constitution measures 57" W x 43"H x 22" D. A modeler's workbench offers a peek at the tools of the trade, while World War II nautical toys illustrate children's fascination with ships. From wartime cardboard models to ships in bottles, the exhibit highlights the dexterity, ingenuity and artistry embodied in these popular collectors' items. "Ship-Shape: Nautical Scale Models" is made possible through the support of the Susan and Elihu Rose Foundation and will be on display through Sunday, July 8, 2012. The exhibit is free with museum admission. For more information, visit www.intrepidmuseum.org.
Keith Haring: 1978-1982 - Brooklyn Museum
Keith Haring: 1978-1982 is the first large-scale exhibition to explore the early career of one of the best-known American artists of the twentieth century. Tracing the development of Haring's extraordinary visual vocabulary, the exhibition includes 155 works on paper, numerous experimental videos, and over 150 archival objects, including rarely seen sketchbooks, journals, exhibition flyers, posters, subway drawings, and documentary photographs. The exhibition chronicles the period in Haring's career from his arrival in New York City through the years when he started his studio practice and began making public and political art on the city streets. Immersing himself in New York's downtown culture, he quickly became a fixture on the artistic scene, befriending other artists such as Jean-Michel Basquiat and Kenny Scharf, as well as many of the most innovative cultural figures of the period. The critical role that these relationships played in Haring's development as a public artist and facilitator of group exhibitions and performances will also be explored. Pieces on view will include a number of very early works never before seen in public; seven video pieces, including Haring Paints Himself into a Corner (his first video piece) and Tribute to Gloria Vanderbilt; and collages created from cut-up fragments of his own writing, history textbooks, and newspapers.
Women in Aviation: World War II - Intrepid Sea, Air & Space Museum
In 1910, Raymonde de Laroche of France became the first woman to earn a solo pilot's license. Just three decades after de Laroche earned her license, the world was engulfed in a terrible war. Aviation promised to play a critical role in the conflict. Seeing an opportunity to contribute their talents, female pilots lobbied their governments for a chance to serve. Women in Aviation: World War II examines the wartime contributions of these pioneering women. American women took to the skies under the auspices of the Women Airforce Service Pilots, the Civil Air Patrol and aircraft manufacturing companies such as Grumman. Female pilots ferried airplanes from base to base. They tested powerful warplanes fresh off the assembly line and flew patrol missions around the country. Behind the scenes, female engineers helped produce rugged warplanes. More than many women, female pilots challenged traditional ideas of what a woman could accomplish. At war's end, society expected women to return to their quiet lives as wives and homemakers, and most women who hoped to continue their flying careers found little opportunity. Decades passed before America's female aviators received formal recognition for their wartime service. Women in Aviation: World War II features original artifacts including flight suits and gear, uniforms, pilot log bo
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Two seconds of effort could save your life
By A TIMES EDITORIAL
Published May 24, 2007
When it comes to buckling up, the National Highway Traffic Safety Administration is buckling down to persuade motorists to wear their seat belts. You may have seen the administration's televised advertisements this week warning drivers to "Click It or Ticket."
It's no secret why the campaign picked sporting events for its commercials or why the images focus on male drivers. Women are more likely than men to buckle up, whether they are driving or a passenger, according to a 2006 survey by the Florida Department of Transportation. Close to 86 percent of women use seat belts, compared with 77 percent of male drivers and 72 percent of the male passengers.
The good news from the June 2006 survey is that seat belt use in Florida topped 80 percent for the first time. Just nine years ago, less than 60 percent of motorists in Florida buckled their seat belts.
Hernando, which was not one of the counties selected for the 2006 survey, reported poor seat belt use in previous years. That should change. The high-profile Click It or Ticket law enforcement campaign began Monday and continues until June 3. It is aimed at the upcoming Memorial Day weekend, traditionally one of the most dangerous times on the highway and coinciding with the onset of the summer vacation season.
A year ago, law enforcement officers wrote more than 45, 000 tickets for failure to wear seat belts, including 468 in Hernando. By way of comparison, in Pasco County, where there are about three times more residents than in Hernando, officers issued only 494 tickets for not wearing seat belts. To the north, Citrus County officers wrote only 221 such tickets. (Visit www.clickitfla.com/results.shtml for county-by-county results.)
Under Florida law, seat belt citations may be issued to drivers only as secondary offenses. In other words, an officer has to observe the vehicle speeding, moving erratically or some other violation before the driver can be stopped. A bill to make seat belt use a primary violation died in the Legislature earlier this month, as it has in past years. That's too bad.
Despite the grumbling that such a law would be meddlesome, it would be useful and put seat belt enforcement on equal footing with other motor vehicle laws. Does it make more sense to stop a vehicle for a broken tail light than for an unbuckled driver? Seat belts save lives and reduce crippling head and spinal injuries that are expensive to treat and drive up insurance costs.
Two years ago, Florida changed its seat belt law to allow officers to pull over a vehicle if they observe someone who looks to be younger than 18 riding in a car without a seat belt. That was a smart move, but attempts to save lives should not end at age 18.
That is the message officers will be delivering this weekend and all of next week. Legislators should heed it, too.


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- Steidinger, Karen A. and Karl Tangen / Carmelo R. Tomas ed. 1997. Dinoflagellates. Identifying Marine Phytoplankton. 387-584
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We Are Happy To Serve You Ceramic Cup
The We Are Happy To Serve You Ceramic Cup gets around, so much so that it's finally available in a less disposable ceramic version. As seen on Mad Men, Suits, and Law & Order, the famous cup design has been in circulation in NYC since 1963. Over 200 million are used per year in New York restaurants and delis! Now that you know why New Yorkers are always drinking from one, you should get your own We Are Happy To Serve You Ceramic Cup. It's a cultural icon!
- Color: Multi-colored
- Made Of: Ceramic CA Proposition 65
Availability: In Stock
Ready to ship in 1 - 2 Business Days
Reviewed by 4 customers
- Good Value For Money
- Has Great Detail
- Looks Great
- Sturdy
- Doesn't Look Durable
Best Uses
- Breakfast
- Gifts
- Office
Comments about this product:
I will use this product mainly as decorative, however I think it would withstand normal usage well. The design of the cup is matte finish, which I think is good detail considering they are paper cups on TV. It also has the seam that paper cup would have. The colour of the image is lighter than that in the picture but it still looks great. I think it is good value for money.
Comments about this product:
While on the hunt for a Law & Order mug, I was disappointed to find no one sells one with the distinct 'dun dun' sound effect but was pleased to come across this bodega coffee/Anthora mug that pays homage to many NYC-based shows including Law & Order and I was happy to 'settle' for this one.
It is a few ounces smaller than a traditional 11 oz. mug (see photos) and since it has no handle if you put anything too hot in it, don't expect to be able to pick it up without a sleeve till your drink cools a bit. On one side of the cup there's a soft vertical bump and a soft dent in the rim to simulate the cup was made of paper which is a nice little detail I hadn't noticed in the photos. It has the Solo Cup stamp on the bottom so you know it's official and says it was made in Thailand. And while the ceramic is thick and the mug has a nice weight to it, I personally use it for holding pens because it looks cuter sitting on my shelf than it does in my cupboard.
I only give it 4 stars because the photos show a more shiny electric blue which a real bodega cup typically is not and, thankfully, this mug isn't either. What you get is more of a dark pastel/air force blue with orange gold and those colors are more matte than they are glossy. Solid, cute mug overall but unless you like your caffeine in small amounts this is probably more for display than actual use.
- Durable
- Large Capacity / Good Size
- Stylish
Best Uses
- Commercial
- Decoration
- Gifts
- Home
- Office
Comments about this product:
I got so excited when I pulled the cup out of the box because now I have one just like the rest I see in the many t.v. shows! I currently have it placed high on a shelf, so whoever passes by can see it. I did quite a bit of research before finally purchasing the infamous cup. I assumed it was for display purposes only, which is why I bought it, but I didn't know the cup was also being used to drink out of. If it was my intention to use the cup everyday, I preferred it came with a lid.
Comments about this product:
As a former New Yorker who drank from these "To Go" Cups for years, I was very excited about having them in my home for morning coffee.
While the cups look great, they are much smaller than the real version and hold just a few good sips of coffee. Although ceramic, they get extremely hot with just a regular pour from a coffee pot and cannot be held right away.
As a conversation piece or a momento of my home town they are great - but as a regular every day coffee cup - not so much.


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AED (Automatic External Defibrillator)
Located on the Main Level in The District near Len, on the second level near JCPenney's, on the third level at the Food Court, and in each of our Security Vehicles.
Baby Changing Station
Located in all public restrooms.
Family Restrooms
Located in Children's Play Area and Dining Pavilion.
Foreign Currency Online Ordering with Travelex
Order your travel money online for convenient home delivery. Did you know that some Simon center locations also include retail Travelex stores for your convenience. Travelex is the world's largest retail foreign currency exchange specialist, with over 1000 stores around the world. We can provide you with over 75 foreign currencies as well as a Cash Passport that can be pre-loaded with either Pounds or Euros and includes chip & PIN technology, a must when traveling in Europe. To get started, visit Travelex now.
Handicapped Accessible Restrooms
All restrooms are handicapped accessible. Located in the AMC Rotunda, Children's Play Area, Dining Pavilion, and Lower Level Management Office Hallway.
Lost and Found
Located at the Mall Management Office on the Lower Level. High valued items such as money, wallets, purses, jewelry, cell phones, or credit cards cannot be claimed on Sundays.
Mall Walking
Available seven days a week beginning at 8:00 AM. Lower level is .06 miles around, first level is .70 miles, second level is .62 miles, and third level is .22 miles. Walking distance maps are available at the Mall Management Office located on the Main Level.
Management Office
Located on lower level near Gordmans.
Mobile Device Charging Stations
You can charge your phone while you are shopping. Conveniently located Device Charging Stations allow visitors to charge their phones, tablets, and other communication devices while enjoying the mall. The Charging Station features comfortable seating - and is the perfect spot to rest and recharge!
Free surface and deck parking available.
Public Transportation
Adjacent to Metro Transit bus stop at Door 13; Metro Transit offers routes directly to Southdale Center. Taxi services are also available.
Located in the AMC Rotunda, Children's Play Area, Dining Pavilion, and Lower Level Management Office Hallway.

Simon Giftcard®
Give the gift of shopping with a Simon Giftcard, available at the Mall Management Office in denominations ranging from $20 to $500. There are no fees after purchase and the funds do not expire. The Simon Giftcard can be used anywhere Visa or American Express are accepted. See cardholder agreement for complete terms and conditions.
Simon Mobile App
The Simon Mobile App can help you find your favorite stores, dining and entertainment options at the Simon shopping center nearest you. You'll also be able to check out the latest deals, news and events available at your favorite center right from your smartphone or tablet. And there are many more features designed to enhance your shopping experience including mall maps, gift card balance check and more. Download the free app from your favorite app store.
All Simon Malls, Mills and Premium Outlets in the U.S. have achieved the national 'StormReady' designation by the National Weather Service. This designation recognizes Simon centers' preparedness to handle all types of severe and potentially life-threatening weather situations.
SmartCart located at Mall Entrance nearest to Ruby Tuesday.
Valet Parking
Complimentary valet parking available for Cheesecake Factory and P.F. Chang's customers!
Wireless (Wi-Fi) Internet
We offer free wireless internet to our shoppers at this Simon mall. Any shopper with a Wi-Fi enabled laptop, tablet or smartphone can easily log onto the Wi-Fi network. All shoppers have to do is open their web browser or select "Simon WiFi" (the SSID name) from their available list of wireless networks to get to the Simon Malls Wi-Fi landing page. All shoppers that choose to use the Wi-Fi network at this mall must agree to Simon Wi-Fi Terms & Conditions of Use prior to using this free service. If there are any issues or questions, shoppers and tenants should contact the Wi-Fi network technical support hotline at (888) 726-5930 for assistance.
Then Get Our Can't Miss Style Reports, Retailer
Offers and Event News Before Everyone Else.


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Weve been rushed off our feet with events including woodhorn galactic invasion, glasgow collectormania, megacon carlisle and of course BLOODSTOCK FESTIVAL!!!
We were VIP guests at this years Bloodstock Festival and we went down a storm! we met alot of bands and famous people including Exodus, Municipal Waste, Evile and Chris Jericho from WWE to name a few! Crazy times when peopel like taht are coming up to you asking for pictures with YOU! it should be the otehr way round XD
Any way were having a little break before we get back into it at the end of the month for Eurogamer down in London, Scream-Con in Newcastle, LFCC in London (fingers crossed) and then Memorabillia & Comic Con at Birmingham NEC!
Also we have a magazine artical coming out as a halloween special for one of these women weekly magazines called Real People (dont laugh XD) which should be fun lol
Our little documentary should hopefully be done by the end of the month too so ill make sure to link you all to that
hope youre all well and ill try keep you all updated better than i have
Much love


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The Art of Shopper Marketing: Purex's Shock and Awe at Walmart
May 23, 2012
In January 2011, we launched Purex Complete Crystals Softener at Walmart. The natural crystal-based fabric softener provided long lasting freshness, but it carried the highest price tag in the category. Through an integrated educational offensive, we drove awareness and trial for Purex Crystals among Walmart's price sensitive shoppers.
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Interactive Travel Map | Text the Secretary | Behind the Scenes PhotosAbout the Author: Ambassador Eric Goosby serves as the U.S. Global AIDS Coordinator, leading all U.S. Government international HIV/AIDS efforts.
This week, I had the honor of joining Secretary of State Hillary Rodham Clinton on her visits to Angola and South Africa, two stops on her seven-nation trip to Africa. The fight against global AIDS is a central piece of the Obama Administration's foreign policy and global health agenda, and a key theme of this trip.
As the Secretary traveled across Africa, we saw how the U.S. Government, through the President's Emergency Plan for AIDS Relief (PEPFAR), is working in partnership with nations around the world to combat HIV/AIDS.
On Monday, I was present at the "Hope" hospital in Luanda as Secretary Clinton and Angolan Minister of External Relations Assunção Afonso dos Anjos signed the Angola Partnership Framework to Combat HIV/AIDS. Through this five-year strategic plan, our governments will work together to position Angola to address its HIV epidemic over the long haul, supporting the national HIV/AIDS strategy through service delivery, policy reform, and coordinated financial commitments.
Inside the hospital HIV/AIDS clinic, Secretary Clinton visited with the clinic's patients and staff. In addition to speaking about the partnership between Angola and the United States, the Secretary emphasized the need for an intensified focus on women as an access point to family-centered care, and the need to aggressively intensify HIV prevention efforts. Secretary Clinton and I see our partnership with Angola as an opportunity to prevent a saturation of HIV in high-risk communities.
Partnership Frameworks, such as the one signed in Angola, will be tailored to each country the United States is partnering with, reflecting PEPFAR's commitment to country-owned responses to HIV/AIDS.
Another illustration of PEPFAR's commitment to support national leadership on HIV/AIDS came last Saturday when I joined Secretary Clinton on her visit to the Cullinan Antiretroviral Therapy Clinic in Johannesburg, South Africa. The clinic, founded in September 2006, is funded jointly by the South African Government and PEPFAR and was established in response to community demand to access services locally. It caters to patients who are referred from other HIV/AIDS clinics, walk-in clients who want to know their status, and inmates of the nearby Zonderwater Prison. The site offers comprehensive HIV/AIDS services in addition to other wellness and emergency care services.
I was moved by the stories of two HIV-positive individuals at the clinic – a woman in her late 30s and a man in his late 40s. These two people spoke about receiving their diagnoses, the stigma they faced, and the toll HIV took on their health and outlook on life. But despite these hardships, they were also able to speak about coming to terms with their status, the restoration of health through treatment, and their renewed hopes for the future. Without this clinic, these two South Africans, and many others, would have to travel a significant distance to receive life-saving treatment and care services or would have had to forgo these services altogether.
Seventy percent of the services provided at Cullinan clinic are funded by the Government of South Africa, and the remaining 30 percent are supported by PEPFAR. This partnership model is very positive because, ultimately, each partner government is responsible for the health of its population. To support efforts that are both country-owned and sustainable, we must strive to place governments in a position where they lead their nation's response – strategically and financially. Sustainability will take time, but we will be there, side-by-side, until it is possible. We must support partner governments and help them expand their capacity to manage and invest in their AIDS responses. This kind of partnership will maximize the impact and sustainability of their programs, helping their nations move toward an HIV-free future.
President Obama and Secretary Clinton have pledged to continue PEPFAR's critical work to address the HIV/AIDS crisis around the world. I look forward to continuing to work in partnership with nations to build upon our shared successes to date.
Eric in New Mexico writes:
Ambassador Goosby,
At what point could you say the global community has "turned the corner" on this disease, and what statistical criteria would you base such an assesment on?
Keep up the good work.
Best Regards,
John M. in Australia writes:
@ Eric, would love to get in touch with you - and congratulations on your appointment.
Sandra in Texas writes:
I have known Ambassador Goosby since the earliest days of the passage of the Ryan White Care Act. No finer selection exists for this important position. Ambassador Goosby continues to have a global impact on the seemingly endless challenges of HIV/AIDS.
Dr. Goosby,
Be well and know that you have enormous support for your leadership both here and throughout the world. God bless!
Kagiso in South Africa writes:
Are ever going to see the U.S. delegates visiting our region, as we are also one of the organisations (LifeLine Mafikeng) funded by PEPFAR/CDC HHS, and USAID. just come and see the challenges we go through on daily basis.
thank you, God bless!
Jag in Maryland writes:
Excellent work. Keep up the good work. People with infections (and substance abuse) need all the support we can provide.