text:
For Heidegger, the work of art is that which sets up a world and sets forth earth; "the work lets the earth be an earth" (Heidegger, "The Origin of the Work of Art," 1936, 172). He says that the temple that sits atop a hill shows us, for the first time, the stoniness of stone. In describing a Van Gogh, he claims that we must look at paint's color thus: "[c]olor shines and wants only to shine. When we analyze it in rational terms by measuring its wavelengths, it is gone. It shows itself only when it remains undisclosed and unexplained" (Heidegger 1936,172). The work of art is tied to the world and the earth from which is springs forth.
To continue my article last month that dealt with recent sculptural works made/shown in Atlanta that exemplify this setting to work the materials found in our urban environment, I'd like to address two recent image/photography-based projects by Atlanta-based artist Stephanie Dowda. Namely, her projects Topophilia and We Are All We've Got. These works, in their dealings with landscape and the cosmos, we find an intricate layering of space that spans prehistoric to astronomical time.
The Uncanniness of Topophilia
Dowda's Topophilia, which gets its name from philosopher-geographer Yi-Fu Tuan's 1974 book Topophilia: A Study of Environmental Perception, Attitudes, and Values, consists of 14 photographic works – all 20″ x 24″ silver gelatin prints. Made using an idiosyncratic medium-format camera, these soft, and often romantic, photographs are the material manifestations of energy emanations. Dowda states that the camera she uses "becomes a vessel [that] capture[s] the sensation" from and of the places she visits. Her process involves letting the camera decide how the light waves will write themselves onto the film. Dowda claims to be taking a step back during the process of making; she lets the landscape itself create and determine the exposure. For an artist intent on photography-based practice, the camera taking over can create an uncanny sort of situation.
Uncanny, unheimlich in the German as an adjective means eerie or frightening, though taken as Unheimlich, a noun, the term becomes an ontological condition, which for Heidegger means a not-being-at-home; in other words, a being-not-familiar-with (Being and Time, 1927, 182). In our everyday dealings, we become "tranquilized" by our familiarity with our habitual world. However, as Heidegger notes, the uncanny emerges when "everyday familiarity collapses."
Two of the photographs in Topophilia, Sense of Revenant and Sense of Breaking Apart, come from the Walter de Maria Lightning Field. Both of these photographs capture spectral energies – both human and nonhuman. Standing in front of Sense of Breaking Apart feels like splitting. The photograph's horizon disintegrates into the haze and so does my gaze. Without knowing where this photograph was taken, I felt the energetic pulsations of a place filled with electrical activity. Sense of Revenant combines a sense of the ghostly and the dreamy. Who is visiting this camera, filtering through its shutter? For Freud, the revenant figures as the dream visitor, a "reincarnation" of someone from the dreamer's life and past. (Freud, The Interpretation of Dreams 1899, 523). But the revenant is also a spectre (i.e., Roland Barthes' Spectrum).
Witnessing the ghost throws us into an unfamiliar yet familiar situation. We know this person, but this person should not be here now. The visitation is a strange rupture in our space-time experience. In his book The Memory of Place: A Phenomenology of the Uncanny, Dylan Trigg, writes that
"The relation between aesthetic experience and ontological disruption is not incidental. As an aesthetic gesture in itself, the freezing of the life-world means that, what is taken-for-granted is thus shown in its transcendental givenness. This, indeed, constitutes a necessary estrangement from the world, insofar as it is precisely the everyday world in its familiar assurance that is most susceptible to sudden reversal" (2012, 26).
For Dowda's photographs, there is this freezing, but also simultaneously a putting into motion. The energetic pulsations of past lightning and the visitor pass through the shutter and make their mark on the silver of the film. These emanations reach out to the camera. However, Dowda, as photographer, reciprocates this reaching. Trigg describes how "our bodies reach out into the world, so a mimetic interplay arises, in which our sense of self becomes fundamentally entwined with the fabric of the world" (2012, 9). For Dowda's photographs, we can see the camera as an extension of her world and thus it extends out into the world, becomes a sort of being itself.
Prehistorical Time and Astronomical Time
Lucy Lippard's 1983 book Overlay: Contemporary Art and the Art of Prehistory starts with her tripping over a stone – a stone she realized "had been placed there almost 4,000 years ago" (2). For Lippard, her interests do not lie in the use of "prehistoric images in contemporary art"; rather, she is interested in the relationship between the prehistoric and the contemporary. To do this, Lippard uses the figure of the "overlay," which for her has multiple meanings:
"It is temporal – human time on geologic time; contemporary notions of novelty and obsolescence on prehistoric notions of natural growth and cycles. The imposition of human habitation on the landscape is an overlay … so are the rhythms of the body transferred to the earth, those of the sky to the land or water … Artists working today from models of the distant past are consciously or unconsciously overlaying their knowledge of modern science and history on primal forms that remain mysterious to us despite this knowledge" (Lippard 1983, 3-4).
The stone in the landscape carries with it a richness through its slow accumulation of history. Over time, geologic material adds to material, rock formations develop then deteriorate and change. These stones always rest underfoot. The trip, a certain kind of temporal and spatial disruption, causes us to pay attention, bring us back to the stoniness of the stone. Our bodies, composed of the same material, are inherently part of this earth. Those who were there before us are also part of this landscape. When we step on this ground, we connect to the organic material underfoot.
In another gesture towards spatial orientation, Dowda's installation We Are All We've Got, which was installed at Emory's Michael C. Carlos Museum for its event Veneralia, memorialized the extinct star constellations Antinous, Quardrans Muralis, and Argo Navis. Using slides culled from Emory's Physics Department that are no longer used, Dowda projected these constellations creating a layered human orientation. These projections constitute an "overlay" of our place in this universe.
Where we are at any particular point in time changes our view of the celestial bodies. Our vision is always contingent upon our position in space and time. Stars are born die. We are created from their dust. These cosmic beings provided our cartographic orientation as well as our bodily one. Socrates argues that the human head rests at the apex of the body so that it is closer to the heavens. From Plato's Timaeus:
"Now we ought to think of the most sovereign part of our soul as god's gift to us, given to be our guiding spirit. This, of course, is the type of soul that, as we maintain, resides in the top part of our bodies. It raises us up away from the earth and toward what is akin to us in heaven, as though we are plants grown not from the earth but from heaven" (90a).
Considering Our Place
It may seem a strange move to discuss works that were not "made in" Atlanta in order to follow up a discussion of Atlanta as place. However, these works serve to broaden the horizon of our place in time and space. For phenomenology, the horizon is what allows us to perceive. According to philosopher Edmund Husserl, we perceive in terms of the horizon and background:
"What is now perceived and what is more or less clearly co-present and determinate (or at least somewhat determinate), are penetrated and surrounded by an obscurely intended to horizon of indeterminate actuality. I can send rays of the illuminative regard of attention into this horizon with varying results. Determining presentiations, obscure at first and then becoming alive, haul something out for me; a chain of such quasi-memories is linked together; the sphere of determinateness becomes wider and wider, perhaps so wide that connection is made with the field of actual perception as my central surroundings" (Husserl, Ideas I, 1913, 49).
In other words, the indeterminate haziness of the horizon gives determinacy to the object perceived; the object emerges from this horizon. For Dowda's photographs and projections, the horizons of time and space constitute the images that we are presented with. These images, of this world but completely otherworldy, throw us into uncanniness. Instead of being destroyed by this mood as anxiety, however, it provokes us to consider where we stand. Where we are. When we are. As Dylan Trigg states,
"[t]he uncanny is strange rather than shocking, weird rather than annihilating. Often, we fail to recognize the power of the uncanny, its workings registered only belatedly and in parched fragments. At that time, we turn to ourselves in order to ask the following question: What just happened to me? A feeling of disempowerment occurs. The unity of self-identity becomes vulnerable. No longer do we feel at ease within ourselves. The uncanny leaves us in a state of disquiet, unnerved precisely because we lack the conceptual scheme to put the uncanny in its rightful 'place.'" (2012, 28)
It would be too easy to deal with this uneasiness by passing it over, by claiming that there is no place that needs dealing with. I realize that the noplace of Noplaceness also gestures towards the duplicitous definition of utopia: utopia as good place and no place. However, since utopia holds within it a non-existence, it in fact is a nowhere, it is no place at all, it is the here, this place where we stand, that we must consider.
Images: An Abridged History
This past semester I taught an undergraduate class at Emory University titled "Visual Studies: The Image.†Some of the questions the course focused on were: what is an image? what does it mean to make an image? how should we look at images? what do these images do to the way we think about the world? In a world saturated with images, I thought it important to encourage students to consider the long and complicated history of the image.
Just a few broad strokes to contextualize, a brief, abridged, and very limited history, a few mile markers:
5th century BC: Zeuxis and Parhassius engage in a painting contest. Zeuxis painted a scene of grapes. Birds, attempting to feed on them, flew into and pecked at the painting. Next up was Parhassius. Zeuxis demanded to see the painting that was hidden behind a curtain, but Parhassius revealed that the painting was in fact the curtain.  Parhassius wins: his painting of a curtain fooled Zeuxis, a fellow artist, while Zeuxis' painting of grapes only fooled the birds. [1]
Plato's Allegory of the Cave in Book XII of his Republic tells a story of prisoners who are trapped in a cave and have only known a play of shadows on the cave wall, created by puppets backlit by the cave fire. These shadows are their only reality. In the event that one of the prisoners leaves the cave, his eyes, blinded by the sun's light, can't deal with actual reality. He chooses to go back to the cave unless he is encouraged to remain outside of its depths. However, in Plato's Timaeus, the origins of the cosmos is attributed to its being the image of the eternal paradigm; this is a materialization that is divine. [2]
Sacred texts of the Abrahamic religions describe the function of the image. We find that man is made in God's image, but we should not worship false images, idols. Fast forward to 8th and 9th century Byzantium and the clashes over the status of the icon; a debate that finds its roots in Greek philosophy along with Christian theology. The image is either sacred, or it is false and should be destroyed. [3]
Then, consider the birth of photography in the 19th century and the rise of cinematic propaganda. Now, reality television, Instagram, and the space program. Or, "Charlie Rules the Worldâ€: Episode 8, Season 8 of It's Always Sunny in Philadelphia – the Gang gets sucked into an online game and their distinctions between reality and fantasy, actuality and virtuality, blur.
Outer Space and the Domestic Television
Atlanta-based artist P. Seth Thompson's show The Last One, which closes on December 30, 2013 at {Poem 88} in Atlanta's West Midtown neighborhood, presents the viewer with the artist's confrontations between reality and image, truth and fiction. Using science fiction as the portal, Thompson shows us the strange and close encounters we have with the images that in/form us.
The center piece of the show, the video An Event Cannot Have An End Time in the Past, is an exercise in memory, news media, scientific teleology, and disaster. Made using primarily the artist's childhood home movies, the video's layers reveal a space-scape that fill in the contours of the family's bodies on screen. In an abrupt ending, we witness the 1986 Space Shuttle Challenger explosion; its footage become home movie, entering the family's domestic space on a screen that serves as the centerpiece for a living room. The sound, composed by Jon Ciliberto, takes the viewer on an ambient journey up to a transformative climax. As I finish this article, the TV program "How the Universe Works†on the Science Channel plays in the background at my friend's mother's home. I am here for Christmas. The lights of the Christmas tree bounce off the digitally rendered stardust and animated theaters of comet crashes, planetary orbits, and blackhole consumption. The TV viewer is informed of the Earth's pending catastrophe; the Earth occupies a precarious position in the universe that is always on the precipice of doom.
Thompson's statement accompanying the show claims that he is "co-opt[ing] and challeng[ing] the images to underscore our complicity in the suspension of belief in the digital era.†[4] What is the "challenge†he is posing to images? What does the rhetoric of challenge mean in the context of the Challenger's explosion? What has our fascination with images of space done for our understanding of our position in the world? The American space program, more rigorously tended to after the launch of the Soviet's Sputnik, serves as an entryway into the ways in which images – both physical and mental – inform policy and American everyday life. In America's determination to win the space race during the Cold War, where two major nations became images of themselves, what gets covered over? How do these images of space and nation converge to influence everyday realities?
Thompson's addition of his photograph Niels Bohr Through the Looking Glass, points further to American policy and its way of navigating science. Bohr, a Danish physicist who received a Nobel Prize for his contributions to the research on the structure of atoms and quantum mechanics, was also involved with the Manhattan Project, the project that developed the atomic bomb during the Second World War. Not only is Bohr an interesting figure to include here, an important scientist and public presence, but it is also his theories of light – that is, the discovery that light behaves as both a particle and a wave – that are important to the show. Light, the essential factor in the production of photographs, is itself unstable.
Reality's Virtuality
Thompson states that "all we have is the world we create in our head, and if that's not reality, then nothing is reality. We are left in a world of our own making and that is perfectly fine with me.†[5] Part of this statement may be a re-investment in the simulacrum, a concept made famously negative by Baudrillard [6]; a re-investment that I think needs to be seriously considered. In its Latin origins, the term "simulacrum" means merely similarity or likeness. This likeness, however, evolved to describe a likeness that is inferior, without substance. It is a likeness that does not have a model to fashion itself after. This substance-less image has the potential to open imaginative space, but in terms of a reality that only exists in our heads, I hesitate to fully jump into this spaceship. What does it mean to claim that all we have is what's in our head? Going back further in time, is this a reclamation of philosopher René Descartes' doubting of all things?
Descartes' project, which was an attempt to discover the truly certain, rejected sensory experience because of its capability to deceive; the only certainty we have exists in the mind. This rejection of the corporeal led him, in his Meditations on First Philosophy, to reject physics (important to the premise of this particular exhibition), since it is a science based on corporeal nature; he turned instead to geometry. [7] Descartes' dismissal of the body and the sensorial serves as the starting point for its own deconstruction in the project of phenomenology. For Edmund Husserl, the appearance is all we have and we must bracket out any notions of an underlying reality of the object. These appearances, taken as phenomenon, are images experienced in perception. They are both there for me as existing in my perception, but they also transcend my perception and are apart from me. These images can't merely exist in my head; they have to have their own sort of actuality. [8]
Disintegrating Images
As I've mentioned above and in a previous article, [9] the image has been historically regarded as a dangerous falsity. It is not only not truth, but it is a danger to truth itself; it is only a shadow on the wall. Chris Marker's short film that uses text from Plato's Allegory of the Cave shows the potential danger of our fascination with cinema, a stance that Walter Benjamin writes of in his 1936 essay "The Work of Art in the Age of Mechanical Reproduction.†[10] Benjamin describes the way in which the film actor, in acting for the camera, uses "his whole living person, yet forgo[es] his aura†(229). This "self-alienation†opens the door for Fascism to render politics as an aesthetics (242).
Thompson's layering and pixelation of the cinematic image exhibits a gesture of disintegration, not necessarily incorporation. What is the image disintegrating/dissolving into? Our collective imaginary? His photograph The Spaceman's Disappearing Act, presents the viewer with an almost illegible image when viewed up close. However, when viewed from the side, the image reveals a person clad in a spacesuit. It is only from an oblique view that the spaceman reveals himself. In the Lacanian sense of anamorphosis, the viewer gazes upon the distorted image which conceals the Real and thus recognizes herself as the annihilated subject; she can't be the privileged center. [11] She becomes aware of how she is seeing and therefore aware that she can be seen from such an angle. She is an image that can be perceived.
Outer Space, as the final frontier, serves as an extreme example of our fantasies. However, more "mundane†images fill in our memories and bodies. As I wrote about in a previous article, [12] Jill Frank's photographs, comprising her series Romance, approach similar issues Thompson addresses, of the ways in which cinema inhabits our everyday lives. However, what we find in Frank's work is the bodily mimicry of the viewed. The cinematic image, not registered itself on film, is instead registered through the bodies of the photographed subjects. The image has been acted out, performed, incorporated into everyday bodies.
The Last One offers actual and virtual disaster with sentimentality. Thompson references the hero's journey, a theory proposed by Joseph Campbell that organizes quintessential heroic journey stories into a definitive structure. The structure, formulated for the traveling male, is a formalization of the relationship between constructed narrative, everyday life, and mythology. This constructed narrative enables the space program and therefore constituted the situation in which the Challenger catastrophe, witnessed through the media, could occur. What happens when disaster is sentimentalized in the domestic sphere? The images in The Last One may occupy an oppositional pole to Warhol's works on disaster, car crashes, and American violence. Warhol shows the viewer news media coverage of American disasters without sentimentality. They are cold and alienating. In a sense, Thompson's works invite the viewer to engage with them in a way that bring her into the narrative fold. However, the danger here is that she can get too comfortable. The question becomes: in our everyday lives lived in the midst of disaster and violence, how do we navigate these images surrounding us in a way that simultaneously connects to and disengages from them?
[1] Pliny the Elder, Natural History, Book 35, Chapter 36
[2] Plato, Republic; and Plato, TimaeusÂ
[3] See for example, Alain Besançon, The Forbidden Image: An Intellectual History of Iconoclasm, translated by Jane Marie Todd (Chicago and London: The University of Chicago Press, 2000); Gerhart B. Ladner, "The Concept of the Image in the Greek Fathers and the Byzantine Iconoclastic Controversy," Dumbarton Oaks Papers, vol. 7 (1953): 1 – 34; and Marie-José Mondzain, Image, Icon, Economy: The Byzantine Origins of the Contemporary Imaginary, translated by Rico Franses (Stanford: Stanford University Press, 2005).
[4] Statement for The Last One, http://www.poem88.net/p_seth_thompson_slide-2013.html
[5] Ibid.
[6] Jean Baudrillard, Simulacra and Simulation, translated by Sheila Faria Glaser (Ann Arbor, MI: University of Michigan Press, 1995).
[7] René Descartes, Meditations on First Philosophy [1641], translated by Donald Cress, in Philosophical Essays and Correspondence, edited by Roger Ariew (Indianapolis and Cambridge: Hackett Publishing, 2000): 97 – 141.
[8] Edmund Husserl, Cartesian Meditations: An Introduction to Phenomenology [1931], translated by Dorion Cairns (Dordrecht: Kluwer Academic Publishers, 1999).
[8] Meredith Kooi, "James Turrell's Cave and the Unveiling Truth," Bad at Sports (October 24, 2013), http://badatsports.com/2013/james-turrells-cave-and-the-unveiling-truth/.
[9] Walter Benjamin, "The Work of Art in the Age of Mechanical Reproduction," in Illuminations, edited by Hannah Arendt, translated by Harry Zohn (New York: Schocken Books, 1977): 217 – 252.
[10] Jacques Lacan, "Anamorphosis," in The Seminar of Jacques Lacan: The Four Fundamental Concepts of Psychoanalysis, Vol. XI, translated by Alan Sheridan (New York and London: W.W. Norton & Company, 1998): 79 – 90.
[11] Meredith Kooi, "The 'Celluloid Self' and Spaces of Feminine Performativity," Bad at Sports (Sept 26, 2013), http://badatsports.com/2013/the-celluloid-self-and-spaces-of-feminine-performativity/.
Episode 424: Sarah Conaway
October 14, 2013 · Print This Article
This week: Duncan live from LA! This week he talks with artist Sarah Conaway.
Sarah Conaway (b. 1972 York, Pennsylvania) makes seemingly straightforward photographs that invite us to think magically, imbuing mundane objects with mystery and potential. Her recent photographs—printed in a range of sizes and primarily in black and white, with an occasional work in vibrant color—capture a series of actions set up by the artist in her the studio. Beyond the objects or materials that they portray, they express a residue, aura, or presence that we sense but do not necessarily see depicted. Although the act of photographing her sculptural constructions and still lifes—at times as ordinary as a crumpled strip of canvas or a piece of string—reduces the subjects' dimensionality, it focuses our attention on texture, light, and shadow—and the sheer pleasure of looking. Conaway's techniques are deceptively simple: her touch is light, the scale of the forms uncertain, the color and contrast stark. These arrangements of simple materials and common objects reveal their potential as architecture, figure, landscape, fantasy, or apparition while maintaining a tenuous state of balance and compositional harmony.
The "Celluloid Self" and Spaces of Feminine Performativity
September 26, 2013 · Print This Article
The Hagedorn Foundation Gallery, located surprisingly in a nondescript complex of galleries and antique shops in Buckhead, a north-side neighborhood of Atlanta, curated a show focusing on feminism, performativity, and photography. The works in the show by the artists Jill Frank, Mónika Sziládi, and duo Double Zero (Hannah Ireland and Annie Vought) examine how to make a photograph of someone, a person, a woman (perhaps) and what that means. One of the organizing principles of the show – performativity, a buzz word indeed especially since the 1990s with Judith Butler's work on gender – finds itself in relation to photographs that draw attention to the process of their making. Alongside considerations of gender and femininity as performative gestures, the works in the show investigate the apparatus of photography and imagistic representation itself – Jill Frank's work in particular. Adding to this work by Frank is the Untitled (Projection) series by Steffani Jemison presented in her solo exhibition, When I Turn My Head, in the upstairs gallery at Hagedorn.
The works in Ready for My Close-Up evoke other images of women from history: paintings, film stills. These other images, not necessarily direct references, exist in an assemblage of representation with Frank's, Sziládi's, and Double Zero's. When seen in conjunction with When I Turn My Head, the sphere of the imagistic medium, photography, opens itself to critical examination and self-reflection. Ready for My Close-Up seems to ask whether the question of female or feminine representation is the question of representation itself.
Jill Frank's Menacing Romance
Four photographs from Jill Frank's series Romance are presented in the show: Romance / Popocatépetl and IztacchÃhuatl (2012), Romance / Secret Sniper (2012), Romance / Vertigo (2013), and Romance / Un Homme et un Femme (2013). All images are chromogenic prints with rich colors that provoke fantasies, and with their large size (30†x 37â€), the viewer feels as if she can initially step into the scene. The first two images, Romance / Popocatépetl and IztacchÃhuatl (2012) and Romance / Secret Sniper (2012), depict more unsuspecting narratives, whereas the last two images, Romance / Vertigo (2013) and Romance / Un Homme et un Femme (2013) start to take on a more sinister e/affect.
A woman lays across a kneeling man's knee with her head invisible to the viewer – it hangs down, exposing her throat where his his hand rests. Her knee hosts a series of bandages, the slingback of her shoe has slipped from her heel.
Two men stand at the edge of a dock. Wearing matching colored shorts, one holds the other from behind, grasping at his neck and chest. The man standing in front reaches over his head to hold onto the man behind him. The man in front looks up obliquely with an indistinguishable gaze.
These two photographs: Romance / Vertigo (2013) and Romance / Un Homme et un Femme (2013) exemplify the complications Frank creates for our traditional senses of Hollywood romance. Frank's statement for the show describes her process and intentions behind the series:
"The photographs in this exhibition portray couples re-performing poses inspired by popular media images that were formative in constructing their own understanding of romantic interaction and presentation. The photographed performances challenge the authority and familiarity of the collective visual archive of American romance in order to engender a critical conversation about the influence of dominant representations.†[1]
The show's title Ready for My Close-Up directly references the last lines aging Hollywood actress Norma Desmond speaks in the 1950 film Sunset Boulevard. The film, a story of a silent film actress gone mad yearning to occupy the space of the Hollywood picture again, ends with her face approaching the camera until it disintegrates into a haze of grey. Her closeness to the camera quite literally destroys her, but it was the years of distance which contributed to her delusions. [2] Hagedorn's exhibition statement describes the cultural reference to the film in relation to the photographic works shown in Ready for My Close-Up:
"In the last half century, feminism and performativity have influenced contemporary photography more than any other cultural markers. The exhibition title is taken from the exit line of Sunset Boulevard, a film which questions female identity issues, the rehearsal of the self, the gaze of the viewer, and the use of the theatrical to command attention, all influenced by culture and all features of this group exhibition.†[3]
The works in the group show can all serve as critical responses to the film, whether the work is explicitly influenced by the film or not; they exist together in the sphere of representation's history. Frank's photographs play out the deranged romantic entanglement of the film's Desmond and Joe Gillis. Mónika Sziládi's photographs present the viewer with a crowded and disorienting perspective of cultures and practices of representation. Double Zero's photographs and video portray a feminine masquerade pushed to hyperbolic extremes.
Sziládi, The Montage-Paparazzi
Sziládi's photograph Untitled (Ladies) (2012) sticks a fuzzy and blurred face into the foreground of the image. The close-up shot has gotten too close like Norma Desmond's final close-up in Sunset Boulevard. The six photographs shown at Hagedorn are from her series Wide Receivers, possibly a play on the position in American football, the players that are able to receive passes from the quarterback and are often celebrated for those glorious catches. Her statement describes her interests in the "social sphere and its attendant behaviors†and her "aim to collapse the space between the physical and the virtual.†[4] The images, a flattening of perspectival depth, contain images of imaging or representational processes and those who are allowed representation. There is a sense that when one figure stands in front of another, there is no space between their bodies; one actually cuts through the other's body.
Untitled (Blonde) (2011) can be read as representing representation itself. Through Sziládi's inclusion of images of handheld cameras, subjects posing for snapshots, a woman putting on make-up reflected in a mirror, and a perhaps drag queen taking up the center space of the photograph, after whom the photograph is titled, the photograph seems to become a commentary on the practice of photography itself. Next to the blonde, a man was caught with his eyes closed. To the left of him, a man's eye peers directly out of the frame towards the subject looking at the photograph. Michel Foucault states that the 17th century painting Las Meninas (1656) by Diego Velásquez
"presents us with the entire cycle of representation: the gaze, the palette and brush, the canvas innocent of signs (these are the material tools of representation), the paintings, the reflections, the real man (the completed representation, but as it were freed from its illusory or truthful contents, which are juxtaposed to it); then the representation dissolves again: we can see only the frames, and the light that is flooding the pictures from outside, but that they, in return, must reconstitute in their own kind, as though it were coming from elsewhere, passing through their dark wooden frames.†[5]
Sziládi's digital composites of images taken at "public relations and networking events as well as trade shows and meet-ups of social segments that have connected online to interact offline†[6] comment on the constructed nature of the way we present ourselves in public and the ways in which we image those constructions. Like Velasquez's painting, the apparatus of representation shows itself explicitly, drawing our attention to our own practices of presentation and public performance.
Double Zero's Revealing Masks
Double Zero's photographs and video push these meticulous constructions of public appearance to the extreme. In their video Cha cha cha changes (2013), Hannah Ireland and Annie Vought dress each other up with unconventional objects or conventional objects in unconventional ways. Over the course of the video's almost 23 minutes, the two women take on absurd costuming and masking. With materials that are used for make-up application and other cosmetic tools, their faces become covered in lipstick and face paint, their heads bound in bubblewrap and what appears to be foil that could be used to dye hair. Flower stems are stuck into the fabrics wrapping their heads, blooms sticking out from their faces.
The two take turns transforming each other's appearance. In what appears to be a reference to Matthew Barney's Cremaster Cycle, particularly Cremaster 3, they go through processes of bodily manipulation and adornment. [7] If Barney's Cremaster Cycle is about the development of the male testes, what can be said about Double Zero's feminine transformations? Their statement reads: "We have united to use our 20 year friendship as the basis for investigating the ways we affect one another, the boundaries between us, and different modes of taking up space in the world. With the complexities of friendship and the trust we've built over time, we pursue these themes directly in the actions and objects we make together.†[8] Their photographs and video show a relational transformation. They affect one another whether they choose it or not. The silliness of the objects and the resulting ornate masks when coupled with their facial expressions in the video, the phenomenon of feminine friendship grows into a complex situation of acceptance and denial.
Norma Desmond, after she convinces herself that her script for her film about Salome, the ancient femme fatale, will be directed by Cecil B. DeMille, she starts a rigorous beauty routine. She claims that she needs to make herself ready to be in the pictures again and a sequence shows her being massaged, prodded, wrapped, lotioned. At one point, while wearing products on her face and with her hair wrapped, she enters Joe's room, but tells him not to look back at her; when she is made-up in this way instead of the proper way, he is not to gaze upon her. Desmond's excessively vain self-consciousness, is a private practice made public. At another moment in the film, after gazing at herself in the mirror, eyes wide with frenzy, she rips off the cosmetic strips on her face before walking into Joe's room to discover he is leaving her. She chases him as he exits the house. To get his attention, she shoots him. She shoots him again. This is the moment of her breakdown. After this moment, all she can do is sit in front of the mirror and prep for the camera.
Concluding Remarks: does Jemison's ink adhere?
Desmond lives in a world of cameras and characters. To her, cinema ended when dialogue began. She says to Joe "We didn't need dialogue, we had faces.†She then steps into the light of the film projector in her home movie theater that is showing one of the movies she had starred in. The woman actress need only have a face; she didn't need a voice – this is the kind of cinema that Desmond supports. The voice destroys the perfect face; the face of 1932 Marlene Dietrich's Shanghai Lily that Laura Mulvey gazes upon in her essay "Visual Pleasure and Narrative Cinema.†[9] As Joe Gillis voice-over narrates, Norma is a "celluloid self.†[10] Is the celluloid flat? Does it have any depth? Is her self only surface, the merging of the surface with the underlying anatomy, her body? Or, is her self a thin veneer covering the surface of the filmic foundation?
The upstairs gallery of Hagedorn hosts Steffani Jemison's show When I Turn My Head which "considers issues that arise when conceptual practices are inflected by black history and vernacular culture†and also "addresses the form and materiality of a photograph through the fugitivity of the image.†[11] Works from her series Untitled (Projections), photographs printed on acetate, explore the ways in which an image may separate from its support. The ink does not sink into the acetate; it rests on the surface, creating a depth of materiality. [12] Mary Ann Doane writes in her seminal essay "Film and the Masquerade: Theorizing the Female Spectator" that "The masquerade, in flaunting femininity, holds it at a distance. Womanliness is a mask which can be worn or removed. The masquerade's resistance to patriarchal positioning would therefore lie in its denial of the production of femininity as closeness, as presence-to-itself, as precisely, imagistic." [13] Taken together with the works in the show on the ground level, what do we discover about photography as a tool and method for thinking through and creating structures of representation? How much does the image adhere to what it represents and the foundation which holds that very representation itself?
Sziládi, the figure of montage-paparazzi, makes apparent the apparatus of representation while Frank's photographs create scenes in which non-extraordinary people inhabit the characters of Hollywood in order to experience true romance. What Frank shows us, though, is that these typical narratives are not without their dangers. Norma murders the man she has come to love. Whether or not that love is true is a question we could ask. In considering Ready for My Close-Up, must this love be artificial? Double Zero's work seen as a sort of parody of making-up for the camera, expresses the artificial nature of feminine identity construction. However, within the framework of feminine friendship, we can't too quickly dismiss these gestures of dressing one another. The collage nature of Sziládi's digital images is seamless. Before knowing that they were constructed, I stood in front of the photographs pondering what parties they came from: where do these people gather? Are they all in costume together, playing into some collective fantasy?
Frank's series grew from an iconic image, at least in today's age of Hollywood: the image of Baby / Jennifer Grey crawling towards Johnny / Patrick Swayze in Dirty Dancing. A recognizable image. What sets Frank's later photographs apart is their subjects' poses are initially unrecognizable. In some way, their illegibility may gesture towards an infiltration of our cultural imaginary that we now fail to recognize. The everyday performances of relationships and romance congeal in Frank's photographs.  Ready for My Close-Up, a show curated around the issue of feminism and performativity, finds its complexity in Frank's strangely unsettling images of menacing romance, Sziládi's disorienting flatness, and Double Zero's interplay of masking and revealing.
Desmond, an embodied image of the female hysteric, is deluded. Her wide eyes stare out at the film spectator. As the character Salome, a woman who has been historically represented as a seductress, she approaches the camera, staring directly out at us, outside the frame of the film. In this moment, is she re-living/playing her past traumas? Traumas that may have led to this moment? In the film's final moments, when Desmond declares that she is ready for her close-up, what can we say is exterior? What is interior? Â Who is she? And, gazing at her, making eye contact, who are we?
Ready for My Close-Up
September 12, 2013 – October 25, 2013
Artists' Reception: October 4, 2013, 6:00 – 8:30 PM
Panel Discussion with the artists and Wendy Vogel, Associate Editor at Modern Painters: October 5, 2013, 12:00 – 2:00 PM
Hagedorn Foundation Gallery
425 Peachtree Hills Avenue, Number 25
Atlanta, GA 30305
[1] Jill Frank, Statement
[2] Sunset Boulevard. Directed by Billy Wilder. 1950.
[3] Hagedorn, Statement
[4] Mónika Sziládi, Wide Receivers statement, http://msziladi.com/index.php/image/statement/13
[5] Michel Foucault, The Order of Things: An Archaeology of the Human Sciences (New York: Vintage, 1994), 11.
[6] Sziládi, Wide Receivers statement
[7] I am indebted to Justin Andrews for calling this to my attention.
[8] Annie Vought, "Double Zero Videos,†http://annievought.com/category/double-zero/
[9] Laura Mulvey, "Visual Pleasure and Narrative Cinema," Screen, vol. 16, no. 3 (1975): 6-18.
[10]Â Sunset Boulevard.
[11] Hagedorn Foundation Gallery, Press Release for Steffani Jemison's When I Turn My Head.
[12] During the panel discussion featuring Steffani Jemison, when I asked Jemison if she could describe the title choice and process of making these images, she replied that she was examining the make-up of a photograph: its support and its image. Panel discussion with Steffani Jemison, Rizvana Bradley (Assistant Professor of Women's, Gender, and Sexuality Studies at Emory University), and Rujeko Hockley (Assistant Curator of Contemporary Art at the Brooklyn Museum) on 9.21.2013 at Hagedorn Foundation Gallery.
[13] Mary Ann Doane, "Film and the Masquerade: Theorizing the Female Spectator" in Femmes Fatales: Feminism, Film Theory, Psychoanalysis (New York and London: Routledge, 1991), 25. Reprint of the essay's 1982 publication in Screen: Screen, vol. 23, no. 3-4 (1982): 74-88.
Dominic from Luton goes to Reykjavik
August 9, 2013 · Print This Article
Guest post by Mark Sheerin
It is more than 1,000 miles from Luton, England, to Reykjavik, Iceland. But Dominic from the UK town appears to love a good caper. Why else would he put together a group show on very little money in one of the most far flung and expensive cities in Europe?
"It was done on a wing and a prayer,†he tells me on the phone from his Luton studio. "The art was just really, really ambitious considering we didn't have much money to play with. It's amazing what you can do with a cardboard tube and a delivery van.â€
Five artists took part. And the show has just run for a month at gallery Kling & Bang. Along with Dominic, the full bill included Gavin Turk, Mark Titchner, Laura White and Peter Lamb. The show went by the name London Utd. "It's kind of doing what it says on the tin,†says Dominic, whose eponymous town is just a twenty minute train ride from the UK capital.
Not that he is the first to cross the Atlantic to the artist led space. He tells me that Paul McCarthy and Jason Rhoades have also shown at the dynamic and co-operative venue. And Dominic takes the opportunity to recount the tale of Kling & Bang's legendary appearance at Frieze Art Fair.
"They did a Frieze Project in London in 2008 called Sirkus. It's an incredible story,†says the artist, telling me that Sirkus was the name of a Reykyavik bar: "This place was the hub, the heartbeat of the arts communityâ€. But after nine years of business, Sirkus closed down, leaving Kling & Bang free to turn the façade and fixtures into a temporary installation for the art fair.
Dominic warms to his tale: "They arrived at Heathrow in October 2008 and basically all their credit cards had been stopped because the [Icelandic] crash had suddenly happened overnight and so this bar, which was a mirror of good times and place to meet, became that again in London.†Word soon went round about the penniless Icelanders with the reconstructed bar.
Things are a bit better in Reykjavik now and in its way London Utd has become another bridge between the art scenes in both cities. Mark Titchner's piece was a piece of text in Icelandic, which read The World Isn't Working. (Perhaps the UK crash is yet to come.)
Gavin Turk meanwhile offered a twelve and a half metre diptych inspired by Andy Warhol's Death and Disaster series and featuring the four wheeled emblem of working class Britain the Ford Transit. Laura White produced no less than 54 drawings of photos of sculptures which she herself had made. And Peter Lamb translated the shifting detritus on his studio floor into two large abstract canvases.
Asked about one of his own works in the show, Dominic is ready with another yarn. "That photo was done as a tribute to Paul Young,†he tells me. Like the artist, the singer came from Luton. "He used to work at Vauxhall [car plant] in the early 80s and he told someone I know in the canteen once that he was going to be a global pop star and then literally 18 months later he was, with Everytime You Go Away.â€
The track resonates with many a Lutonian and inspired a Dominic from Luton performance at an event called Café Almanac organised by Bedford Creative Arts. This involved sourcing an 80s wig from Luton Indoor Market, posing for a portrait artist in the shopping centre and getting 5,000 badges made to cover a cheap suit. "I just stood up in front of about 50 people in this Working Men's Club on a Saturday afternoon and sung my heart out,†recalls the artist.
This took place under a net filled with 200 balloons in the colours of the local soccer team, intended for release in the final verse. However "The net got caught in all of my badges so I had 200 balloons attached to me and I panicked and – it wasn't scripted at all – I basically ended up having a fight with these balloons and stamping on them and stuff and it brought the house down actually.â€
But despite the hazardous stagecraft, Dominic's "biggest challenge†is a self-proclaimed inability to sing. So it comes as no surprise that the artist thinks most performance art is too earnest. "People would argue with this, but I think there's a duty to entertain,†he says, "That's just my take on it. That's my little mantra.†Even the anecdotes which relate to each of his gigs are compelling experiences.
As a final aside, it's worth pointing out that the artist formerly known as Dominic Allan comes from one of the most derided towns in the UK. His "from Luton†tag is a sticky piece of cultural baggage. Dominic tells me that the name just came about through being easy to remember when he ordered materials.
Now, he claims, "It's just a very glorious vehicle for the idea of the underdog and also to shove it back in people's faces now because Luton's one of those towns which people laugh about . . . The more I go on, the more I realise that it is serious, and it is seriousâ€.
So that's Dominic, from Luton, easy to laugh with, hard to laugh at. Prepare to be entertained if he ever comes to your town.
Mark Sheerin is an art writer from Brighton, UK. He can also be found on Culture24, Hyperallergic, Frame & Reference and his own blog criticismism.com


text:
Check in from 14h / Check out prior to 10h
The Manna of Hahndorf: Find photos, reviews, information, amenities and compare prices for 4 stars hotels in Hahndorf, Australia.
Situated in Hahndorf, The Manna of Hahndorf offers modern 4-star accommodation, as well as a heated pool and a Jacuzzi. It also provides complimentary Wi-Fi.
Hotel description
This stylish motel offers laundry facilities, an express check-in and check-out feature and a coffee bar. The in-house spa provides a variety of massages and body treatments.
Every stylish room at The Manna of Hahndorf includes a flat-screen TV and a mini bar, while the bathrooms feature hair dryers and showers. Each provide a telephone, ironing facilities and heating.
Manna of Hahndorf serves breakfast each morning, and has a bar where guests can unwind with a drink. There is also the added convenience of an on-site restaurant.
Adelaide Airport is less than a 40-minute drive from The Manna of Hahndorf Hotel. Those wishing to explore the area are able to visit Adelaide, located an easy car trip from the property.
Hotel features
Restaurant, Air Conditioned, Mini Bar, Microwave, Hair Dryer, TV, Shower, En suite, Private Bathroom, Coffee Shop/Cafeteria
Business Center, Conference Room(s), Laundry service, Bicycle Rental, Photocopier, Luggage Storage, Express Check-In/Check-Out, Self Laundry
Swimming pool, Tour Desk, Jacuzzi, Spa & Wellness Centre
Internet Connection (wireless)
Private Toilet
Availability and Prices
Booking Site
Room Type
Per room
Per night
Per night
Users who viewed The Manna of Hahndorf also viewed these 4 stars Hahndorf hotels:
The Haus Studio Apartments
38a Main Street, Hahndorf
38a Main Street, Hahndorf
Amble at Hahndorf
10 Hereford Avenue, Hahndorf
10 Hereford Avenue, Hahndorf
Search hotels
based on

subset: commoncrawl


text:
The Mike Domer Group
21803 N Scottsdale Rd #100,
Scottsdale, AZ,
85255, United States
+1 48 0350 7771
With over 35 years experience as a broker in the Luxury home market, Mike Domer is extremely qualified to assist you. Mike is ranked in the top 1% of all agents nationwide and is currently on track to be the number one producing RE/MAX agent in the State of Arizona. This is an amazing accomplishment considering RE/MAX sells more real estate in Arizona than any other company.
Share Tweet The Mike Domer Group
Your place?
In addition to adding a description of your business, you'll also be able to…
Post special offers, reward your customers
Increase your exposure, get featured on Competitors' Pages
Respond to reviews, customer relationship management made easy!
Enhance your profile, add Opening Hours, Parking Info and a Longer Description
…and much more!


text:
Is there food available at this attraction?
Is a car required to access this attraction?
Is this attraction accessible using public transportation?
Is this attraction wheelchair accessible?
Do you recommend this attraction for travelers on a budget?
Do you recommend this attraction for seniors (55+)?
Is this attraction pet friendly?
Does this attraction involve animals?
Do you find this attraction suitable for young children?
Do you find this attraction suitable for families?
Thanks for helping!
Although we didn't dive with Blue mango we did almost live in their cafe for the week we were in Boracay! Clean, friendly, good service and nice food. We frequented there for...
read more
We went diving as a group. One of our members was a novice and the instructor with her was amazingly patient. The dive crew was attentive and pointed out wonderfully cool sea life. Overall, a great experience. I didn't really realize the value of this wonderful friendly experience until we tried booking from a Padi shop in Pattaya, Thailand and...
The place is good. You get what you pay for and Boracay is quite expensive so this place is some more of a upper budget option.
I took a padi course certificate there for six months ago and I still haven't gotten my certicifate so I can't dive eventhough I took the course, test and paid for everything.
The diveinstructor...
Although we didn't dive with Blue mango we did almost live in their cafe for the week we were in Boracay! Clean, friendly, good service and nice food. We frequented there for breakfast, got take away meals for the kids and had a few drinks ourselves! My 7 year old was addicted to the pancakes! It was a lovely low...
i went to boracay way before the place became very commercial - when places to eat were just simple shacks, rooms were just made of bamboo and there were no roads. you can actually just walk with your barefeet even at noon. Blue Mango gives me back this feeling of nice and easy ... their beach area is wide enough...
Stayed at the Blue Mango Inn which was absolutely lovely and we also did 6 dives with the dive team. Although we went to a couple of beautiful dive sites and the dive staff was super friendly we really feel that the equipment is in desperate need of replacement; BCD's that could not inflate, no depth meters and gauges or...
Completed the PADI Open Water Course with Blue Mango Dive Shop (they're PADI certified) and had a great time. The environment was relaxed and safe and even though we weren't staying the hotel itself, the staff were happy to let us come and go and run up a tab.
The course took 3 days and benefitted from the confined dives...
Blue Mango might be the best place to get PADI certified on the island. Its moderately priced, personal and Zeke is a great instructor. He is also very flexible. I got certified with them and dived some of the best spots in Boracay with them. Peter is also great to dive with!
there were 3 of us that we already PADI certified to Advanced level and wanted to do some fun dives, we spoke with Vaughn via email but wanted to see the establishment before diving with them. We had a truly excellent experience, I did 7 dives in total with Blue Mango, and the divemasters, Dante, Jabbar, and Peter were great!...
Blue Mango Divers and Inn
At 29yrs, its all supposed to be fun and excitement, looking forward to the next activity and entertainment. But in Boracay its all pleasure that was fulfilled.
We did not know what to fully expect as this was our first time travelling to Philippines. We have Pinoy friends in Singapore and they all say that...
I have been to many places in the Philippines and other places in the world and I have to say that the Blue Mango in Boracay is my favorit place to be! I have know Vaughn and his family who own and run this fine establishment for about 5 years now and I feel as if I have known them...
Own or manage this property? Claim your listing for free to respond to reviews, update your profile and much more.


text:
Check out "Teeny Weeny Travel Kermit"
hi, vo for Teeny Weeny Travel Kermit (thank you Izabella Miko & Renita Gale!) & vo for a crapload, yes a crapload of commercials, promos etc here wwwtherubinstudio.com oh yeah i do a movie and/or a tv show or a commercial every now & then here http//www.imdb.com/name/nm3692564/ ***Starting in February, look (this is not vo but on-camera!) for me as the "Herald" in a national Konica/Minolta commercial. oh yeah i'm a dj for the world famous kroq 106.7 in los angeles here http//kroq.radio.com/shows/rubin/


text:
I must admit I didn't think I would think highly of this book but it turned out to be a very good one.
I was highly entertained with the story a..Show More »
Fun story, witty, believable story line. Good mix of humor with situations that were believable, (for the most part!)
Robert Buettner is very knowledgeable on the military SciFi genre and able to keep the entire series entertaining. MacLeod Andrews's narration was obv..Show More »


text:
Proudly serving the health care and helping professions.
Recently added item(s)
You have no items in your shopping cart.
Double click on above image to view full picture
Author: Jacquelin Berman PhD, MSW, Lisa M. Furst LMSW
This volume is one of the best practice-oriented books on mental health and aging that I have read. I hope that the coming years will see substantive developments in outreach to depressed older adults. This book lays a solid and credible foundation for these efforts.
Late life depression has become increasingly prevalent among older adults. This book presents guidelines to help enable aging and social service programs to establish a mental health education and screening program focused on late-life depression. This 2-time award-winning model presented in this book offers a practical and culturally-sensitiveapproach to mental health education which can be adapted by service programs seeking to identify clinical depression among their older adult clientele.
Additionally, this program offers professionals serving older adults an opportunity to increase their knowledge about clinical depression among older adults; develop the skills necessary to identify the signs of clinical depression and suicidal ideation; and create long-standing, collaborative relationships across the professional disciplines of aging, social services, medical and mental health services.
Edited By: Richard Schulz PhD|Linda S. Noelker PhD|Kenneth Rockwood MD, FRCPC|Richard Sprott Ph.D.|
Martha B. Holstein PhD, Jennifer Parks PhD...
Edited By: Susan McFadden PhD|Robert Atchley PhD|
Brenda Lewis Cleary PhD, RN, FAAN


text:
- In the Back Story, Eustacia receives Temple's diagnosis from a Jerkass, sexist doctor, and thoroughly stands up to him.
- Temple provides a possibly unintentional moment of Funny/Awesome, when the cattle workers try to scare her off by covering her truck in bull's testicles, she doesn't give them the horrified reaction they were hoping for.
Temple: I've eaten bull's testicles! That's a waste of meat!
- Temple meticulously recreating the optical illusion Dr. Carlock shows in class, at his request. The Adorkable smile from Temple adds extra triumph to this.
- Her speech at the National Autism Convention, which stuns everyone - the misguided expert on stage, the audience, and Eustacia. Which doubles as heartwarming when Temple lets everyone know what a great Determinator and a wonderful mom Eustacia is.


text:
Never let your WordPress be outdated, receive an email whenever a new version of your favorite CMS is available!
Go to NeverOutdated and register in order to add your blogs.
This is how a dashboard looks like. All your blogs, their versions, the latest available version and finally the status.
Requires: 2.7.0 or higher
Compatible up to: 3.4.2
Last Updated: 4 years ago
Active Installs: 10+
Got something to say? Need help?


text: As if you needed another reason to lust after the Nexus 5 and/or Android 4.4, Google just announced a huge new feature for the default Phone app in KitKat. The new version of the dialer/contacts app will match incoming numbers against Google's various databases to provide an automatic caller ID for businesses using Google Places, as we've already seen. But starting next year, this feature will be applied to people as well.Read More


text:
We are destined to be moved, to witness injustices, to be pushed right out of our places of comfort. For some reason.
life's work
A Flash Mob Tribute to Retiring Middle School Principal
Retiring Principal, Roger Boddie, receives a thank you of a live time.
"Stay at Home Dads Can't Be Content": You Can't Be Serious
I'm a man in addition to, not in spite of, being a stay home parent
What's Your Fight? 10/6
What gets you out of bed in the morning? What has been or is your life's greatest battle?


text:
Celesio AG (OTCPK:CAKFY)(OTCPK:CAKFF) is a German pharmaceutical and healthcare company that is one of Germany's oldest stocks. Celesio was founded by Franz Ludwig Gehe in 1835 and started trading on the Dresden stock exchange in 1904, more than a hundred years ago.
From its humble beginnings as a drugs, paints and chemicals retailing operation, the company has grown in to one of Europe's largest pharmaceuticals distribution and retailing companies. It is the largest listed company of its kind in Europe, after Alliance Boots was taken private by KKR in 2007. Its other main rival in Europe is Phoenix Pharmahandel, a privately held company which is Germany's largest drug wholesaler and the second largest in Europe.
Celesio's business
Celesio operates all along the pharmaceutical value chain. One part of the operation is the wholesale distribution of drugs to pharmacies (manufacturer solutions and pharmacy solutions), where the company operates in 12 countries. This is essentially a highly specialized logistics, warehousing and wholesale operation that ensures pharmacies have the right supplies on time - a kind of toll bridge between drug manufacturers and pharmacies. The pharmacy retailing division (patient and consumer solutions) directly operates some 2,000 pharmacies in seven countries, but not in its home market. A special law in Germany prohibits the operation of pharmacy chains – pharmacists can only operate up to four pharmacies. Celesio had high hopes that the EU would force Germany to repeal this law, and bought the Dutch mail-order pharmacy DocMorris in 2007 for nearly 200 million EUR to penetrate the German market. However, the law has been upheld by the European courts in 2009. Today, DocMorris operates pharmacies in Germany under a franchise system.
Celesio's geographical revenues mainly come from France (29.4%), the U.K. (20.9%), and Germany (18.7%). The acquisition of Brazilian pharmaceutical distributor Panpharma has yielded 1.5bn EUR in revenue last year, which makes Brazil Celesio's fourth-largest market, with 6.5% of revenues. Further contributions come from Austria, Norway and other countries.
Current issues
After being a stock market darling for the best part of the last decade, Celesio's share price has taken a severe beating over the last three years (see chart below). After reaching highs above 50 EUR per share in 2007, the share price is currently well below 20 EUR – levels that were last seen in the years 2000 and 2003. While Celesio AG is mainly traded on its home market in Germany, there is an active listing for its unsponsored ADRs in the US under the symbol (CAKFY.PK). The ordinary shares can also be traded under (CAKFF.PK), but are less active. The ADRs of Celesio represent one-fifth of an ordinary share. The current price is in my view quite attractive, as some issues around the company have created a very depressed share price, while the operating figures have not changed much. Compared to its historic valuation, and to other listed competitors, Celesio is currently undervalued.
The main issue around the company is not an operational one, but related to its main shareholder, the Haniel group. Haniel owns about 55% of Celesio's stock, and relations with the main shareholder have been strained for some time. Haniel has large debts and is unwilling to finance any expansion plans of the company. Already in 2009, Haniel tried to prevent the value-creating acquisition of Panpharma in Brazil. The tensions culminated recently with CEO Fritz Oesterle, who headed the company for the last 12 years, leaving the company. Haniel had discussions with a Chinese company to sell its Celesio stake, but the talks went nowhere. The Haniel boss, which is also the chairman of Celesio, recently gave an interview to the FAZ newspaper, criticising the company. The comments have drawn sharp critisicm from Celesio's executives, who sent an angry letter to their board and the Haniel group.
In my view, the main reasons creating the current negative sentiment around the company are
- Celesio's dependence on regulated markets
- The company's inability to make larger acquisitions because it lacks support from the main shareholder
- The main shareholder's intentions to withdraw from the company, creating a perceived share overhang
- Strained relations with the main shareholder and the search for a new CEO
Historically undervalued
To get the best possible historical analysis, I went back on 18 years of financial statements which are summarized in the table below. The table contains Celesio's main figures regarding revenue, net income, and balance sheet data. The last rows give the market's historical valuation of Celesio at the year-end, by giving the year-end price-to-earnings, price-to-book and price-to-revenues ratios and dividend yield based on the respective year's financials and the year-end market capitalization.
The numbers show that Celesio currently trades far below its historical valuation. Consider the following figure, which gives the historical ratios for each year, and the long-term average:
Celesio's current P/E ratio is around 11, while the 16-year average (excluding the years 2008 and 2009, where the P/E was negative) was 18.6. In the 1990s, Celesio stock even regularly traded at P/E ratios above 25. The company's price-to-revenues ratio currently stands at about 0.12. The 18-year historical average is double that amount, 0.24. Celesio's revenues have grown fivefold over the period, and the operating margin has been stable around 2% on average. The price-to-book ratio is also less than half of its historic average. Celesio currently trades at about 1.1 times book value, while the 18-year average is 2.4. Its current dividend yield of nearly 3% is also much higher than it was in the past.
All in all, the stock price could double if Celesio gets back to its historical average metrics.
Undervalued relative to listed peers
Celesio's largest competitors in Europe, Alliance Boots and Phoenix, are not public companies. There are however some international companies that operate in the same market. I have compared the current valuation metrics of seven international competitors to those of Celesio in the table below.
In the USA, CVS Caremark (NYSE:CVS), Walgreen (WAG) and Pharmerica (NYSE:PMC) operate in similar markets. CVS and WAG are about ten times larger than Celesio in terms of market capitalization, while Pharmerica is about ten times smaller. Generally, the US companies have higher equity ratios (above 50%) than Celesio (31%). CVS and PMC have lower returns on equity, while Walgreen has the highest return on equity. The valuations of US peers are more expensive, with P/E ratios from 14 (CVS) to 21 (PMC), and price-to revenues of 0.22 (PMC) to 0.57 (WAG).
In Japan, Suzuken (OTC:SZUKF) and Sundrug (OTCPK:SDGCF) are similar companies that have about half of Celesio's size each. They command higher multiples (P/E ratios of 13-14), along with German competitors Sanacorp and ANZAG (Andreae-Noris Zahn).
Celesio currently has the lowest price-to-earnings ratio among the group, and the third-largest return on equity (10%).
Return on equity
The return on equity has nearly always been that good at Celesio. The 18-year average ROE is about 13%, with the highest figure being 22.2% in 2001. Excluding dividends, which have been on average 4.3% of equity, the compounded annual growth rate of Celesio's equity was 9.3% over the last 17 years. If the historical trend remains intact (see figure below), the current pricing at slightly above book value offers the opportunity to capture about 12% long-term annual equity returns.
The market currently offers Celesio stock at a bargain price. Historical valuation metrics, the comparison with listed peers and the current valuation in itself all point to a strongly undervalued security. While there remain operating and strategic issues, I believe the current stock price of around 16 Euros is too cheap. Buying at these levels should provide satisfactory long-term returns for the patient investor.
for more information about the company, the reader is referred to the company website, especially its annual report and recent investor presentation.
Disclosure: I am long Celesio AG.


text:
Wednesday, February 13, 2013
Real World Valentines from our Readers
So without further ado, here are the reader-submitted Real World Valentines:
With thank for being awesome!
xoxo, Lydia
PS: If you feel like voting for us in Parents Magazine's contest, click on the groovy graphic below. It will take you to their FB app. We're in the category of "Most Likely to Make You Laugh". No pressure though. Only if you feel like it.
(c)Herding Turtles 2009 - 2013
12 comments:
Hilarious !! I went and voted for you :-) xxxxxxxxxxxReplyDelete
Thanks for acting like "I kept the kid alive and did half a load of laundry" is a major accomplishment. (SAHD-to-working-mom version)ReplyDelete
Apparently my wife wrote 3 of these, and now I have to guess which ones. Suddenly a mine field in North Africa looks like child's play.ReplyDeleteReplies
Even if you get them all wrong, please tell your wife that Lydia said that you obviously are a wonderful man if you're even clicking over here to play along with us. Internet high five to you, Peter Gulka!Delete
I got two out of three!Delete
these make me so, so very happy. Is there a downloadable "Blank" for those who want to customize?ReplyDelete
Oh boy did I vote for you guys! If it weren't for RFML I'd have been a brain dead...(well even more than normal) Mommy with no sense of humor a long long time ago! Oh BTW these are awesome. <3 I heart you guys!ReplyDelete
Not only did I vote for you guys, but said publicly that you hookers RAWK!!ReplyDelete
So there!!
"Thanks for watching the kids so I can go to the grocery store alone. You have no idea what a treat that is." Sad but true!ReplyDelete
I would like to add one to the pool - Happy Valentine's Day! I would never divorce you because it would leave me with way too much work and no one to help! =)ReplyDelete
Thank you for not turning me in to the psychiatric ward when I went crazy from being on bed rest for 13 weeks and you found me in the bathroom trying to break my water with chopsticks! I owe you!ReplyDelete
My husband and I played along and presented ours to each other in lieu of real cards last night. After reading his, I declared that he clearly WON Valentine's Day. These were his gems:ReplyDelete
"I am grateful that when imitating my voice to others, you chose Sylvester Stallone. Edith Bunker would be much less enjoyable."
"Thank you for not demanding that we chose players that you have heard of, or from your favorite teams until after the 10th round of the fantasy football draft. It really makes a difference."
Those one over mine:
"You are never sexier than when handing me the remote...except when you are pouring me a glass of wine."
Thanks for the fun, Mommyland!!
Popular Posts
I am a Girl Scout leader. The following is a transcript of a recent troop meeting. [I t is also satire and completely made up.] ...
Whole30 Day 0: Later this week, I'm starting a diet/nutrition/sadness program called Whole30 . Where you eat nothing but strict Pa...
Last Friday, roughly 25% of the second grade at my kids' school was sent home with a nasty stomach bug that had kids puking in buckets...
Guru Louise and I asked you about what most teachers really want for end of the year gifts. We got hundreds of answers on Facebook , Tw...
I recently listened to a podcast about space junk , the man-made debris floating around in Earth's orbit. It discussed how one Cold War-e...
So last summer, my youngest daughter (age 5) began seeing previews for a new Dora show called Dora and Friends: Into the City! Gone was th...
When I got the email with this guest post in it, I was very happy because I know a bunch of moms with ADD or ADHD - and you know what? ...
I sometimes think I'm the only one who wonders about bizarro things like if the Blue Wiggle is hot in real life* or what the hell happen...
Hi friends! Hi and waving! Julie here. Trying to wrap my head around doing this Whole 30 thing when I'm not sure I even want to. My ol...
We've had a lot of people ask us to write a post about the seemingly innocent topic of the Mother-in-Law. Seriously, people? Are you kidding...


text:
Gemma Atkinson Bikini Pictures
December 5th, 2007
Here's Gemma Atkinson taking surfing lessons. I always considered surfing to be a dangerous sport, so I've never attempted it. The thought of getting caught under a wave and drowning scares the living sh$t out of me. I even have a recurring dream that this is how I'm going to die. Now if only I can get Gemma into one of these dreams, I'd feel a lot safer. There's no chance of drowning when you've got the best flotation device ever made right next to you: her water wings.
Related Articles:
Welcome To Gemma's Jungle
Gemma Atkinson Maxim Magazine Pictures
Gemma Atkinson Bikini Pictures
Gemma Atkinson Ultimo Lingerie Picture
Check Out This Sexy Leg Show!
Cutie Ava Sambora Bikini Dream
HUGE Clown Boobies!
Rihanna's Sweet Wet Booty
Cutie Ava Sambora Bikini Dream
HUGE Clown Boobies!
Rihanna's Sweet Wet Booty


text:
Already a member? Log In
David Lindsay is on LMTmag!
The online social blog and network from LMT Communications dedicated exclusively for members of the Dental Laboratory industry. Join free to connect with David.
Fixed and Removable Technician for over 30 years
Started working in "76" and got my Complete Denture CDT 5 years later and then picked up my C&B Certification in 1990. I've worked as an in-house technician for a couple of CA Prosthodontists, owned and operated my own full service labs in AZ, and managed Denture departments for National Dentex twice. I've worked for ClearChoice Dental Implant Centers for the past 2 years in San Jose and San Diego CA offices. I'm currently the in house Lab Technician for Aspen Dental Klamath Falls, in Klamath Falls, OR and I also maintain my own private lab. Back in 98 I shifted focus and I took 11 years off from Dentistry and worked in IT until I got laid off in 09 at which time I decided to get back into Dentistry and have enjoyed catching up on the newest techniques and trends.


text:
UnME2, Inc.
- October 5, 2013
( 74)
gottaTxt, the text messaging app of the future, is available today! Whether you're meeting at the airport, for dinner, at a sporting event, or just on your way home from work, don't just send a message, send your location too. Only gottaTxt lets you geotag your messages to send your location with your message (and update it automatically).
Only gottaTxt works seamlessly with other gottaTxt users and non-gottaTxt (regular SMS) users too.
Only gottaTxt protects your privacy by encrypting your messages while in transit and even while stored on your phone.
Only gottaTxt let's you autorespond to text messages when you are unavailable or your phone off-line/dead.
Only gottaTxt let's you blacklist annoying text-messagers, and even lets you respond automatically and silently.
You won't find any ads in gottaTxt, and we do not even attempt to obtain any of your personal information.
100% sucks! This app sucks! I just downloaded it and I clicked on it to open it and the first thing it said was gottatxt has suddenly stopped working. Wtf the thing hasn't even opened yet!
Its awesome Cool
Go add video
Loved it The person who made this app was my dad .😎
Sucks It wouldn't let me even go on the app it said ' sorry but gotta text has stopped working please try again later' and I tried later many many times and still the same thing happens I say don't waist ur time downloading this stupid app uninstalling:-( really wanted to try this app :-(
:( Can't register my number. Help pls?


text:
Posting a new Topic:
You can post a new question from the country page to which the question is relevant to, or at the bottom right hand of this page.
You don't need to register
to post a new question or answer excisting ones
Please don't spam this forum with your new surf camp / charter / villa / surf school. Go to SurferDream.com and list your business there for free.
The GlobalSurfers forum has been the leading surf travel resource for over 17 years, so keep it friendly and relevant. Happy posting!
Posted inPeru
RE: Any righanders?« Reply #1 on: November 06 2006 18:11:00 »
Yes I know a lot! Tell me what kind of wave are you looking for? There are many spots, you can check out on w...eco-innovationtours.com or if you want write me firstname.lastname@example.com
where are you from ?
see ya
RE: Any righanders?« Reply #3 on: November 06 2006 22:11:00 »
Did you think Peru has only left handers?? your f... moron?
RIGHT HANDERS: La isla-punta hermosa, caballeros,punta rocas-both hands,puerto nuevo,asia,el paso, peñascal, san bartolo, la vuelta, peña redonda..blah blah blah...
more info, DON`T write to my mail box.


text:
Illinois Tool Works (NYSE:ITW) is expected to report Q3 earnings on Tuesday, October 25 before the market open with a conference call scheduled for 10:00 am ET.
Analysts are looking for EPS of 98c on revenue of $4.56B. The consensus range is 93c-$1.00 for EPS, and $4.39B-$4.63B for revenue, according to First Call. The company reported weaker-than-expected results in Q2, missing EPS and revenue estimates. On its Q2 earnings report, management forecast Q3 EPS below, but FY11 EPS above analysts' estimates. In the subsequent weeks, the stock traded modestly lower and touched a fresh 52-week low of $39.12 earlier this month. Since then, the shares have rebounded approximately 20%. On a year-over-year basis, the stock is virtually flat. Over the past three months, sentiment on the street has been mixed, with several upgrades and downgrades.


text:
Yes! I can finally show you the result of my work. The new brand identity by Jambo Media is finally ready to show to the world. Client started using it today on their twitter, facebook and website. But in the future their website will get a restyle to fit along with the new brand too!
keyboard shortcuts:
L or F like
Z toggle zoom
post comment
Show and tell for designers
What are you working on? Dribbble is a community of designers sharing screenshots of their work, process, and projects.
Copyright © 2009–2017 Dribbble LLC. All screenshots © their respective owners. Shipped from Salem, Mass. USA.


text:
Watch India vs Bangladesh Online: So after the successful win in Asia Cup T20, India is again back in the game. Today is one the most awaited day in World T20 match since everyone is be demanding a great win by India because Bangladesh have lost continuously last 4 times from India. So every Indian is going to watch this match with full dedication and in a hope to see their team win. But many times you are somewhere busy or not able to get direct access to television or you might prefer watching match online then here we are sharing some of the official and legal source from where you can watch the entire match live without any charge.
So on 23rd March 2016 at 7:30 PM IST, World T20 Second group stage between India and Bangladesh is going to be commenced and everyone of us are eagerly waiting to hoot for our respective teams. If you are out of home for some reason and still want to enjoy the match then below we are sharing some of the live telecasting source which can be even accessed from your smartphone without buffering. Below we are listing the team line up of both India and Bangladesh.
Watch India vs Bangladesh Live Online:
So you can watch this match live on your laptop / computer or from your smartphone without buffering from the following sources.
For PC / Laptop Users:
Watch Directly on Youtube LIVE
- HotStar
- starSports Live
For Smartphone Users:
Expected Team Line Up:
|Shikhar Dhawan
|Tamim Iqbal
|Rohit Sharma
|Soumya Sarkar
|Virat Kohli
|Sabbir Rahman
|Suresh Raina
|Shakib Al Hasan
|MS Dhoni
|Shuvagata Hom
|Yuvraj Singh
|Hardik Pandya
|Mushfiqur Rahim (wk)
|R Ashwin
|Mashrafe Mortaza (capt)
|R Jadeja
|Saqlain Sajib
|Jasprit Bumrah
|Mustafizur Rahman
|Ashish Nehra
|Al-Amin Hossain
|Harbhajan Singh
|Mohammad Mithun
|Mohammed Shami
|Nurul Hasan
|Pawan Negi
|Nasir Hossain
|Ajinkya Rahane
|Abu Hider


text:
Grant Opportunities
International Social Science Research with NSFOctober 15, 2012
The National Science Foundation's Directorate for Social, Behavioral, and Economic Sciences has announced its participation in a far-reaching initiative to coordinate funding opportunities between the Foundation in the United States and four governmental science-funding agencies in France, Germany, the United Kingdom, and the Netherlands.
NEH Digital Humanities Start-Up Grants programAugust 28, 2012
NEH Enduring Questions GrantsAugust 28, 2012
The National Endowment for the Humanities' Summer Stipends program provides $6,000 grants to individuals pursuing advanced research that is of value to scholars and general audiences in the humanities. Summer Stipends support projects at any stage of development. Tenure-track faculty must apply by Thursday, August 23, to be nominated through the College's internal selection process for the NEH competition, which has a deadline of Thursday, September 27, 2012.
NEH Enduring Questions Grants (due 9/13/12)June 11, 2012
The NEH Enduring Questions grant program supports faculty members in the teaching and development of a new course that will foster intellectual community through the study of an enduring question. This question-driven course will encourage undergraduates and teachers to grapple with a fundamental concern of human life addressed by the humanities, and to join together in a deep and sustained program of reading in order to encounter influential thinkers over the centuries and into the present day.
The course is to be developed by one or more (up to four) faculty members, but not team taught. Enduring Questions courses must be taught from a common syllabus and must be offered during the grant period at least twice by each faculty member involved in developing the course. The grant supports the work of faculty members in designing, preparing, and assessing the new course. It may also be used for ancillary activities that enhance faculty-student intellectual community, such as visits to museums and artistic or cultural events.
NEH Enduring Questions grants can provide up to $25,000 in outright funds for projects serving a single institution. The grant period may run between eighteen and thirty-six months. Recipients may begin their grants as early as May 1, 2013, but must begin no later than January 1, 2014.
Complete program guidelines: http://www.neh.gov/files/grants/enduring-questions-sept-13-2012.pdf
Deadline: Thursday, September 13, 2012
Bogliasco Fellowships in Arts and HumanitiesMarch 6, 2012
Bogliasco Fellowships are awarded to qualified persons working in the various disciplines of the Arts and Humanities without regard to nationality, age, race, or gender.
To be eligible for the award of a Fellowship, applicants should demonstrate significant achievement in their disciplines, commensurate with their age and experience. The Foundation gives preference to persons whose applications suggest that they would be comfortable working in an intimate, international, multi-lingual community of scholars and artists. Fellowships must be held at the Liguria Study Center in Genoa, Italy.
The next deadline for the submission of applications is April 15, 2012, for the winter-spring semester beginning in February 2013.
The next notification date for the award of Fellowships will be July 1, 2012 for Fellowships during the winter-spring semester beginning in February 2013.
More information: http://www.bfny.org/english/applicants.cfm
Fulbright Specialist Program (FSP)February 28, 2012
The Fulbright Specialist Program (FSP) promotes linkages between U.S. academics and professionals and their counterparts at host institutions overseas. The program is designed to award grants to qualified U.S. faculty and professionals, in select disciplines, to engage in short-term collaborative 2 to 6 week projects at host institutions in over 100 countries worldwide. International travel costs and a stipend are funded by the U.S. Department of State Bureau of Educational and Cultural Affairs. Participating host institutions cover grantee in-country expenses or provide in-kind services.
Project activities focus on strengthening and supporting the development needs of host institutions abroad and do not fund personal or clinical medical research and related projects involving patient contact. Eligible activities include short-term lecturing, conducting seminars, teacher training, special conferences or workshops, as well as collaborating on curriculum planning, institutional and/or faculty development.
U.S. faculty and professionals apply to join a Roster of Specialists for a 5 year term. Roster candidates are reviewed by peers in the same discipline, and by the J. William Fulbright Foreign Scholarship Board (FSB).
IREX US Embassy Policy Specialist Program (EPS)February 28, 2012
The U.S. Embassy Policy Specialist program (EPS) gives U.S. scholars the opportunity to serve as researchers-in-residence at U.S. Embassies, U.S. Consulates, and USAID Missions in Eurasia. IREX works with U.S. government representatives in-country to recruit scholars that meet the specific needs of the host Embassy or Mission, with the goal of improving U.S. government access to policy-relevant knowledge and expertise in the region.
Each EPS fellowship lasts one to two months and is structured in consultation with the host Embassy or Mission. As part of the EPS fellowship, participants are provided with visa assistance, international roundtrip transportation, housing in the country of service, a monthly allowance for living expenses, and emergency evacuation insurance. EPS fellows work closely with U.S. government staff and receive support from field offices in the region. Eligible countries for the 2012-13 EPS program include Armenia, Azerbaijan, Georgia, Kazakhstan, Kyrgyzstan, Russia, Tajikistan, Turkmenistan, and Ukraine. EPS applicants must have a graduate degree (PhD, MA, MD, MBA, MFA, MPA, MPH, MLIS, MS, JD) at the time of application and must be U.S. citizens.
More information: http://www.irex.org/application/us-embassy-policy-specialist-program-eps-application
Deadline: March 14, 2012
Fulbright-Hays Group Projects AbroadFebruary 28, 2012
The Fulbright-Hays "Group Projects Abroad" program oversees competitions annually for short-term seminars, curriculum development teams, and group research or study projects and every four years for advanced overseas intensive language projects. The GPA program provides grants to support overseas projects in training, research, and curriculum development in modern foreign languages and area studies for teachers, students, and faculty engaged in a common endeavor.
Projects may include short-term seminars, curriculum development, group research or study, or advanced intensive language programs. Projects must focus on the humanities, social sciences and languages, and must focus on one or more of the following areas: Africa, East Asia, South Asia, Southeast Asia and the Pacific, the Western Hemisphere (Central and South America, Mexico, and the Caribbean), East Central Europe and Eurasia, and the Near East.
Short-Term Seminars - A short-term seminar is designed to help integrate international studies into an institution's or school system's general curriculum. Seminars normally are five to six weeks in length and focus on a particular aspect of area studies, such as the culture of the area or a portion of the culture.
Curriculum Development Team - A curriculum development team, composed of several faculty members or teachers or administrators, may spend four to six weeks in a foreign country or region acquiring resource materials for curriculum development in the modern foreign language or area studies programs. Resource materials may include artifacts, documents, books, educational films, museum reproductions, recordings, and other instructional materials. The project shall provide a systemic use and dissemination in the US. of the acquired materials.
Group Research or Study Projects - A group research or study project is designed to permit a group of faculty from institutions of higher education and graduate and undergraduate students to undertake research or study in a foreign country or region for a period of three to twelve months. The institution should make arrangements for any clearances or affiliations necessary for conducting research in the host country.
GPA Short-Term Projects: April 23, 2012
GPA Advanced Overseas Intensive Language Training Projects: April 23, 2012
Core Fulbright Scholar ProgramFebruary 1, 2012
The core Fulbright Scholar Program sends 800 U.S. faculty and professionals abroad each year. Grantees lecture and conduct research in a wide variety of academic and professional fields. Awards at hundreds of institutions around the world are available; awards include research, teaching, and combination research-teaching positions. In recent years, two Carleton faculty members have used Fulbrights to spend time abroad.
The Fulbright Scholar Program sponsored by the United States Department of State, Bureau of Educational and Cultural Affairs, and is administered by the Council for International Exchange of Scholars (CIES). For further questions, please contact Christopher Tassava at ctassava or x5833 or read the Fulbright Scholar Program webpages at http://www.cies.org/us_scholars/
The next deadline is August 1, 2012.
National Science Foundation "Science, Technology, and Society (STS)"November 1, 2011
The NSF's "Science, Technology, and Society" (STS) program considers proposals for scientific research into the interface between science (including engineering) or technology, and society. STS researchers use diverse methods including social science, historical, and philosophical methods. Successful proposals will be transferrable (i.e., generate results that provide insights for other scientific contexts that are suitably similar). They will produce outcomes that address pertinent problems and issues at the interface of science, technology and society, such as those having to do with practices and assumptions, ethics, values, governance, and policy. The next deadlines are February 1 and August 1, 2012.
For more information, see the program webpage, or contact Christopher Tassava.
Stanford Humanities Center FellowshipsSeptember 2, 2011Faculty fellowships are awarded across the spectrum of academic ranks (assistant, associate, and full professor) and a goal of the selection process is to create a diverse community of scholars. Applicants who are members of traditionally under-represented groups are encouraged to apply.
There are no citizenship requirements for these fellowships; non-U.S. nationals are welcome to apply. All applicants must have a PhD and be at least three years beyond receipt of the degree at the start of the fellowship year. Junior fellowships are for scholars who will be at least three and no more than ten years beyond receipt of the Ph.D. by the start of the fellowship year. Senior fellowships are for established scholars who are more than ten years beyond receipt of the PhD.
Each residential fellowship carries a stipend of up to $60,000. The 2012-13 application deadline will be October 3, 2011.
Please contact Christopher Tassava (x5833 or ctassava) for more information, or see the program website.


text:
Light the barbecue and soak up the gentle breeze. Feel inspiration take hold. It's hard to imagine living anywhere else. Staying in Manly is truly the best way to experience the city of Sydney and the beach all in one holiday, and this contemporary and spacious villa is the perfect base for all your Sydney adventures. With its huge water views, proximity to Sydney Harbour and National Park for fantastic bush walks, the idyllic Forty Baskets Beach less than 100 metres from the villa and the coastal walk to Manly on your door step - you'll never want to leave!
Kamekura Blue Horizon - Manly
For more information: www.kamekura.com
- Barbeque
- Carpark
- Games or recreation room
- Laundry
- Non Smoking
- Pay TV
- Swimming Pool
|Kamekura Blue Horizon
|Five bedrooms with three bathrooms allows for a full family vacation. Linen and cleaning fees are included in the villa rental cost. Please contact the operator for more details of this property.
Facilities: Air Conditioning, Alarm Clock, Balcony, Bath, Barbecue, Blankets, Dryer, Electric Blankets, Private Bathroom, Refrigerator, Heating, In-room movies, Lounge/Dining Area, Microwave, Minibar, Pay TV, CD Player, Tea/Coffee making facilities, Television and Washing Machine


text:
Investigate 'shutdown'
Last week, a group of World War II and Korean War veterans from Mississippi, having traveled to Washington, D.C., to visit the World War II Monument, were told they could not enter the outdoor facility because of the "government shutdown." The monument was closed, the National Park Service said.
So the veterans, some in wheelchairs, pushed aside NPS barriers and went ahead onto the monument grounds. By the next day, the NPS had changed its mind. Veterans were being allowed to visit the monument.
But neither they nor anyone else was permitted on the grounds of other monuments, including those honoring Abraham Lincoln and Thomas Jefferson. Barricades at the Lincoln and Jefferson memorials were reinforced after the episode at the World War II Monument.
Clearly, President Barack Obama has issued orders intended to inconvenience Americans during the "shutdown." Doing so scores political points for him.
Once the current dispute is over, White House conduct regarding the "shutdown" should be investigated – by Democrat and Republican lawmakers alike.


text:
Item: 149081
- Description
- Reviews
- Help & Advice
- Buying Options
Wonder Wheels
The Wonder Wheels has won the Auto Express Best Buy 11 times! It is easy to apply with the application brush included & cuts through dirt, grease & brake dust instantly, leaving your wheels with an outstanding shine.
Wonder Wheels Extra Info
- 5 Litres pack with application brush
- Suitable for use on dirt, grease & brake dust
- Auto Express Award Winner
Rated 4.5 out of 5 by 8 reviewers.Rated 4 out of 5 by cleaner2 Very good The product works well to clean away road grime, brake dust and tar spots. It's rather laborious with the tiny brush supplied, as opposed to using a spray, but it works and all you need is a bigger brush. Only need a small amount to do all four wheels so should last much longer than sprays. 23 February 2016Rated 5 out of 5 by Dickie1230 Wonder Wheels 5 Litre Best wheel cleaner on the market especially when used in a gardener sprayer 12 November 2014Rated 5 out of 5 by pump1 good stuff have to say this is good stuff. i use this on my car and truck works good and no damage to wheels, 04 August 2014Rated 5 out of 5 by pabsdad strong stuff Have been using this product for some time - effective and no damage to wheel finish so far! Good value when buying in this quantity. 27 January 2014Rated 3 out of 5 by Yogasunny Cartec products better and cheaper Won't purchase again more expensive than cartec and not as good 16 June 2013Rated 5 out of 5 by Miniman1275 Very very good This item was very good cleaned well and left a nice shine with very little brushing 21 April 2013Rated 5 out of 5 by Courier41 Works well & good value Always found this works well on my car & motorcycle wheels. 5 litre bottle is much better value than buying smaller volumes. 03 February 2013Rated 4 out of 5 by Foodmonster Car plan wonder wheels Quality product , that does exactly what it says on the tin ! Pardon the pun Great valve for money the larger container of this product. 28 October 20101-8 of 8
You can buy this product from one of our carefully selected Approved Partners. The full list of options available are below. Simply add your chosen option to your basket and proceed to checkout when you're ready.
You can purchase products supplied by Halfords and selected other suppliers on halfords.com.
Checkout is always via halfords.com and all payment will be taken via halfords.com. In checkout the products will be split into separate deliveries for each supplier.Showing 1 - X of our buying options
Price Seller Info Purchase


text:
About this project
I attend the New York Fashion Academy in Ballard, WA. Completing the certificate program at this school is no small feat. I am *just* about there, but I have one milestone left: Ball Gown. From the website:
'Students will design, drape, and make a pattern for an original formal ball gown.'
Making a ball gown is an undertaking to say the least and there are some points that make this project a little more... spicy:
- It's timed. 30 days from the time I put fabric on a form.
- It's a graduation requirement. No pass, no certificate.
- The pass/fail grade is assigned in front of my family, peers, strangers.
- This gown will take roughly 300 hours to complete.
- I will be working part time during the project so that I may continue to have a home, ha!
I've created three ball gown illustrations for review, and the one I will make has been selected by the panel at the school:
I'm turning to you, lovely reader, to make this artistic vision a reality. Materials in high-fashion are not what most would call 'economical'. Any funding above my goal will be directed toward outfitting my work studio, which will allow me to keep making unique clothing and art that is sure to delight. Plus the rewards are stellar!
Even if you're unable to make a monetary investment at this time, it would be awesome if you could link people to this project seven ways from Sunday.
Above all - Thank you so much for your consideration! This project is so close to my heart. I've worked hard to get here and this project will be my moment of truth. I do hope you will be a part of it.
If you would like to see more of my work from the school, please visit my website!
You can also peep at the video of the school fashion show I participated in here!
October 13, 2012
Yeah, it's crazy right? The material that I designed the dress around is $75/yard. As you can see from the design, I'm going to need A LOT. And that's just the fashion fabric! There is also lining fabric, thread, and notions. Oh, I'm making the head piece too. Add in a (discount) dress form @ $500 after shipping, half of my wages being absent for a 30-day period, rewards, taxes on the income from the kickstarter, plus their fees... This stuff adds up very quickly.
Support this project
Funding period
- (30 days)


text:
Ceramic Canister Set with Stainless Steel Lids - 4 Piece Black
This kitchen set by Anchor includes 4 ceramic storage canisters with stainless steel lids. Stylish and practical, store bulk foods without the use of plastics. Black style.
Buying this product = 39 Reward points for Members. Your cart will total 39 points = voucher of $1.95. Not a Member? Join at checkout to claim these points.
Customer ratings and reviews