text:
think WMFU on acid.
February 25, 2015 · Print This Article
Our friends at the PMI want you all to do this by March 1st… BECAUSE IT WILL CHANGE ALL OF OUR LIVES. Also we are super excited about this.
VERSION FESTIVAL 15: 100 Watts
Festival is: April 23-May 3, 2015
Submissions are due: March 1, 2015
For the past 14 years Version Festival has introduced innovative projects that tackle local social and urban issues. The festival highlights projects and people that engage public interest and promote the cultural use of public space.
Attention radio producers, audio alchemists, activists, DJs, podcasters, record labels, ham operators, bands, storytellers, spoken word artists, time travelers, poets, librarians, art critics, educators, performance artists, and sound editors! Imagine you have a radio station. What will you do with it?
Think about it! Because just recently the FCC granted the Public Media Institute, our nonprofit corporation, a license to build a low-power FM station to serve our community and up to 2.3 million Chicago listeners. We are in the process of raising funds to build the station – it's our most ambitious media project to date.
So, this year VERSION is an on-air laboratory and campaign to create the kind of radio station we believe our city needs. Our station will be a conduit for musicians, artists, thinkers, critics, activists, and instigators from Chicago and around the world, and so our festival will serve as a beta test for producing and experiencing these essential sounds, ideas, and programs. We need your help to decide what these are. This CALL FOR SOUNDS!!! is an invitation for YOU to create a show, a sound, or an experience, for live broadcast on the airwaves and the internet.
In addition we will transform our gallery, the Co-Prosperity Sphere, into a studio for recording and broadcasting live events and programming. We will also record and broadcast live music, performance, and weird shows from clubs and spaces throughout the city. Everything presented at VERSION will be aired online, and then rebroadcast when our station is built and the transmitter and tower are installed.
We seek programs in these categories:
MUSIC: live or prerecorded DJ sets or musical performance, of all kinds
RADIO ART: programs made by musicians, artists, and critics, of all kinds
NEWS AND PUBLIC AFFAIRS: locally-produced news and public affairs programming (including documentaries)
TALK: talks, discussions, or educational broadcasting for special audiences, the general public, or your neighbors
GUIDELINES: If you want to be one of our regular DJs, consider VERSION your audition. We are accepting applications for regular shows on a monthly or weekly basis, short series, or one-offs in 30, 60, or 90-minute increments. (Shorter pieces may also be considered.) If you have a special idea requiring physical space, consider using our gallery or else please indicate the facility, time, and date you desire.
Please include the following in your proposal (incomplete applications will not be considered as earnestly):
Title of your program:
Length of your program:
Your name:
Your email:
Your telephone:
An associated URL:
A link to your program materials (this can be as simple as a Spotify playlist, an iTunes podcast, or an MP3):
A paragraph description of your program (100-250 words, in MSWord):
Produced by the Public Media Institute, a non profit 501(c)(3) arts organization, Version is an annual springtime arts festival that brings together hundreds of artists, musicians, and educators from around the world to present some of the most challenging ideas and progressive art initiatives of our day. The festival showcases emerging trends in art, technology and music.
For the past 14 years Version Festival has introduced innovative projects that tackle local social and urban issues. The festival highlights projects and people that engage public interest and promote the cultural use of public space.
THANK YOU for your time!!
See you at VERSION 2015!
Why do I give a shit about art?
February 25, 2015 · Print This Article
Zona MACO and Material, the fairs that ran more or less concurrently the first week of February here in Mexico City, helped synthesize a number of threads floating around in my mind since arriving here. Those threads: Boris Groys's essay "On Art Activism," published in e-flux shortly before I moved, a talk by Donna Haraway that a friend e-mailed to me, and the thought, in general: why do I give a shit about art? Do I even?
We arrived at Zona MACO an hour before it shut. I was surprised that I was there: a few days earlier, in an impassioned speech to Andrew Choate, I had said something like, you know, this fair is in this posh neighborhood that you have to own a car or a chauffeur or have a chauffeur who's driving your car or whatever to get to, it's only accessible to the very rich, fuck the rich and fuck their art, they can keep it. So anyway, there we were, at MACO, the phenomenal lighting making the average MACO-goer's Lacoste polo shit look gorgeous and my oil-stained clothes look ratty as hell. We moved fast, visiting only galleries where one of us knew somebody. I didn't think about anything or really look at anything: Maurício Ianês at Y Gallery was visually striking but maybe a little hamhanded, but then again given the subject matter maybe it's ok to be hamhanded, maybe nothing else will ever work; Debora Delmar Corp at DUVE Berlin was actually kind of beautiful in person, although I guess I can see why some jackass gave it "worst of MACO," because, I don't know, no marble? no expressionist lines? who cares, I'm sure that guy would prefer a show of staircase pineapples thickly streaked with paint or blood in a really emotional way; at Chert, Petrit Kalilaj was a little scattered, but also maybe hilarious and heartbreaking; I heard a funny story at Gaga and wondered how Labor won the 1800 Tequila prize and what that meant—how it would affect my life. Then we left past an army of art handlers ready to pounce.
A few hours earlier I had been at Material, the satellite fair that first happened last year. I had no thoughts at Material, either, I was too hung over and tired. I didn't have the coffee I needed until after I left. I talked to people, which I usually don't. I talked to Aaron Harbour and Jackie Im and liked how weird and gross but also really appealing Chris Hood's paintings were; I talked to Steve Kado at Kunstverein Toronto and was totally freaked out by how similar his speech pattern is to another Canadian I know; I talked to Travis Fitzgerald and Josh Pavlacky at American Medium, who were extremely congratulatory and very friendly about a performance I had done at Bikini Wax the night before, two stories above a great video by Skip Arnold—not the one below. It was also the only show/booth/experience I spent more than ten minutes in during the entire week. Anyway, I didn't talk to anyone at Queer Thoughts, but I wondered if their desk was intentionally positioned in their booth such that you couldn't really look at David Rappeneau's drawings without putting your ass in someone's face. Everybody I talked to, well not everybody but a sizeable sample, mentioned that both sales and attendance had been slow, and either Travis or Josh said something like, "I don't know why they even call this an art fair, they should call it something else." For this sizeable sample, it seemed like the opportunity and experience to meet other people interested in similar art, to talk and hang out and party or decide not to party, was as or more important than actually selling anything. Then again, everybody needed to sell things.
I guess it's kind of like how it's more fun to have a drink with your friends than go to your mind-numbing day job. Or how it's more fun to have a drink with your friends than stab yourself in the eye. How it's more fun to have a drink with your friends and talk with them like they're people you want to talk to than it is to have a drink with your friends and talk to them like you want them to buy something from you. People who I either knew or had established a friendly-level acquaintanceship with apologized for "giving me the spiel," which I identified with, having worked for a year selling wine, which involves a similar kind of activity.
Wine is vastly more enjoyable, or more able to be enjoyed, if you know what the hell is going on with it: where it came from, what grape(s) it's made out of, what year it's from, what things taste like from that place, from that grape, from that year. It helps also to know how it was made, using what process, where the winemaker used to work. You have to spend time reading, learning, tasting, feeling like an asshole for not knowing, feeling like an asshole for knowing, that kind of thing. It's certainly possible to have a good time with a glass of wine knowing nothing at all, but in order to have a great time, to have an interesting perceptual experience or a moment where you feel like you are suddenly the fucking king of everything, a feeling which wine is uniquely qualified to deliver, you have to know stuff. Sometimes it's also nice to know little narrative bits, too, you know, how these winemakers make a big deal out of paying their grape-pickers fairly, or how this is the only woman wine-maker in her region, so on and so forth, but this sort of narrative is usually reserved for the selling of wine, by winesellers like I used to be, and is usually delivered in the same tone of voice, with the same cadence, as the art spiel.
Which I guess is why I've been wondering: what differentiates a photograph from a bottle of wine? A painting from an antique chair? Why do I think that an artwork is different, exists on a "higher" plane, than a humidor? A year ago, I badmouthed an LA gallerist for having a side business selling antique furniture. I perceived the proximity of the antique furniture practice and the gallery practice as some kind of affront, some kind of insult to art. Like art belongs in a different moral/ethical universe than chairs, or wine, and treating it as if it were the same kind of lifestyle commodity is somehow dirty. Now I'm not so sure. Maybe it's a good dirty.
In "On Art Activism," Boris Groys draws a distinction between the aestheticization art performs versus the aestheticization design performs. For him, design takes the tools—a hammer, a speech, whatever—of the status quo and makes them more attractive, more usable. Now you, too, can get rich making videos on YouTube advertising our products! That kind of thing. Art, on the other hand, takes the status quo and presents it as a relic, as something already dead, useless. For Groys, this lends art a degree of political agency insofar as it treats the status quo, which is always impossible to imagine ending, as already over, a fossil. In Donna Haraway's conception of our current epoch, the "capitalocene," ruled and primarily defined by the processes and logics of capitalism, the production and exhaustion of fossils is paramount. What for Groys is the possibility of political action for art against the status quo, is for Haraway is the very fuel for the status quo. I'm tempted to believe them both: while art has the potential to cause problems within the status quo, it is ultimately an integral part of it, consumed, traded by, conferring status upon a small superrich class that controls the vast majority of the globe's wealth, right alongside furniture (also a part of Zona MACO), boutique alcohols (also a part of Material), and so on.
I'm wondering, actually, if maybe this idea that art has some kind of actual political efficacy, that it can "change the world," is maybe the last vestige of the sort of 18th/19th century romanticism that moved art somewhere—up, definitely—different than, say, furniture or wine, that it delivers something different, something more, something to do with morality, something to do with ethics in a conception of "the world" that assumes it to be homogenous, somehow able to benefit uniformly from a single given action or idea that moves—ineffably, certainly—from the particular to the universal, a movement governed by a set of rules, standards of taste, beauty, and judgment, that it was assumed every "good" work of art, or "good" person, could be shown to follow.
At the outset of "On Art Activism," Groys dismisses claims that activist art is bad because it is "bad art" — that is, it looks bad or doesn't exhibit technical mastery. "In the twentieth century," he writes, "all criteria of quality and taste were abolished by different artistic avant-gardes—so, today, it makes no sense to appeal to them again." If MACO and Material made me feel anything, it is that I hope that the avant-gardes of the twenty-first century can make equally obsolete the idea that an artwork can or should have some kind of ability to move itself and/or its viewers into some kind of universal realm of political agency, because there is no "universal" any more than there is "the world," and any politics that depends on the universal—"the world"—is necessarily self-defeating. I hope that we can forget the Enlightenment and become total fucking idiots or squids or cyborgs or really anything non-Enlightenment-human, and try something else, because that shit did not work at all.
Something's Happening in Pullman
February 24, 2015 · Print This Article
Guest Post by Kate Ingold.
When I tell friends and colleagues that I'm going down to Pullman to see art, I get one of two responses: 1) What's Pullman? or 2) That's so far away! Let me address both of these responses before moving on: 1) Pullman, nestled near I-94 and Lake Calumet, is one of Chicago's most significant and interesting neighborhoods, the site of of a 19th century labor strike with national implications, and a place of such architectural and historical significance that it will likely be made a national park by the year's end [President Obama named The Pullman Historic District Chicago's first National Park on Feb 19th – Ed.], and 2) it is only 12 miles south of the Loop, easily accessible by Metra or by car (and I suppose by bike, if you're feeling energetic). But what about the art?
A number of years ago my friend JB Daniel, a conceptual artist and accidental community organizer, opened up the foyer of his late-19th-century Pullman row house to artist friends to make installations. The smallish space, lit by a transom above the front door, includes the area from the building's modest entrance to the stairwell it faces and the two doors to the row house's first floor guest room and studio. JB named the space "MOSNART," or "transom" backwards, and welcomed the public for the opening of the installation only, though he encouraged visitors to come and peer into the windows during the time the installation remained up to see the art from the outside. Local, national, and international artists have presented work in MOSNART, from sound installation (Jenny Roberts' "Now and Here"in 2010) to video (Noel Hennelly in 2012, Rosa Gaia Saunders in 2013) to art objects (Gwen Gerard in 2009, Laura Davis in 2010, among others) and textile installation (Jens Brasch's "inside/out upside/down" and my "Night Telegram/Water Speak," both 2009). Over the years, the MOSNART project has grown and JB has found other sites in Pullman for artists to work, including one of the grand rooms in the former Hotel Florence (where Atlanta-based artist Gyun Hur installed a stunning "carpet" made of pulverized funerary silk flowers in 2011), the center of the burned-out market square (see Matthew Hoffman's current "Go For It" installation, up since October 2014), and the administrative clock tower building of the factory itself (Carrie Iverson's recent "Groundwork"), where the famed Pullman train cars were built.
It is easy to forget that we were once a nation in near constant labor turmoil. Workers stood up for their rights in powerful, sometimes violent ways against the corporations and oligarchs who were exploiting them. Chicago was at the epicenter of this turmoil more than once: during the legendary Haymarket Affair of 1886 (whose actors were either anarchist terrorists or martyrs, depending on who you ask), which resulted in the deaths of seven policemen and four strikers, followed by the state-sanctioned deaths of four others, and during the three-month-long Pullman Strike of 1894, which perhaps is most notable for the federal reaction to the strike, the defending of the corporation by the National Guard on orders of President Cleveland.
George Pullman built Pullman Town in his utopian vision of the perfect company town: workers were housed in cutting-edge homes designed to be energy efficient and light-filled, with air moving easily through the spaces to make the workers as happy and unstressed as possible. In the center of town was a market and a multi-denominational church, along with stores and schools and a library, each and every building owned and managed by the Pullman Palace Car Company. Workers lived in apartments and homes that reflected their status within the company, with managers and other administrators living in single-family homes close to the factory and skilled hand workers living in smaller homes and multi-family buildings farther away from the work site. There were no options outside of the Pullman-owned and -run facilities, yet still the town went along relatively trouble-free until the stock market crash of 1893, when Pullman could not maintain his mandatory 6% profit on the town without cutting wages, making it impossible for workers to feed themselves and their families. By 1899, two years after George Pullman was buried in a lead-lined coffin embedded in concrete (to avoid reprisal by his former employees), Pullman Town was annexed by the city of Chicago and the company town was no more.
Why the detour into history? Because it is against this history, or in conversation with it, that the art happens. The history of the neighborhood and the buildings themselves are present with every installation, whether the artist is directly confronting that history or not. Matthew Hoffman's "Go For It" installation, currently on view, is a massive text piece placed in the center of the burned out market square just blocks from the old factory. Crafted in wood with plastic laminate sides, the three-dimensional script reads as both a directive and, perhaps, a tongue-in-cheek, pollyanna wish for the rebuilding of the market square, or even the company town itself. While Hoffman's work is unabashedly and purposely optimistic (see his ongoing "You Are Beautiful" project), this installation has an edge because of where it is.
While I'm not sure if Hoffman intended that edge or if he meant only to empower Pullman residents to go after their dreams (which the piece certainly could do — it's joyful!), Carrie Iverson, an Oakland-based glass artist, printmaker, and poet, embraced the history and confronted it head on with her recent installation, "Groundwork," made with her husband and fellow artist Jeremy Scidmore, Portland-based artist Nathan Sandberg, and artist/master metalsmith Kelly Ludeking. The project, which began in September 2014 and was uninstalled in December 2014, had several parts: a community iron pour on the factory grounds, a community iron-tile-making workshop, and an installation within the factory's administrative clock tower, a building that has the empty, hollowed-out feeling of a ruin after it was ravaged by a significant fire in 1998 and later stabilized, though not rebuilt, by the state of Illinois.
Iverson's work is driven by research and often engages the public. For "Groundwork," she organized the first iron pour on the factory grounds since its production heyday (executed by Chicago artist Kelly Ludeking), and invited the community to participate with her and her collaborators both in the spectacle of the pour itself and in the making of artwork for the installation. Community members designed their own tile molds and attended to the pouring, then later had their work presented in the clock tower building. But "Groundwork" was not just about community involvement; it was also about the history of labor and industry and decay present in Pullman itself. While researching the project, Iverson discovered that the historic Pullman train line ended near her studio in Oakland, CA. She found the end-point and made aluminum casts of the train tracks intersecting and ending, a literal tracing of the very ground the train cars made in Pullman had traveled. In Chicago, she installed them on a brick wall at the back of the clock tower building's large atrium facing the community-made iron tiles. Placed in a grid with the subtle cross-hatch pattern of the tracks interlocking across the work, the installation echoed Carl Andre's metal tile floor sculptures, but more significantly connected the artist with Pullman in a visceral, labor-intensive way.
Along with the aluminum tiles, Iverson also installed a lectern made of protruding glass plates scattered in a brick-like pattern and a metal table with three twig-like metal objects. Set in the main atrium of the building, the glass plates quickly collected dust from the crumbling infrastructure, becoming a ghostly, ephemeral ledger recording the coming and going of shadow and light, not unlike the ledgers that once recorded the timecards of the factory workers in the clock tower building. Taken with the relic-like objects on the adjacent table, the installation became something of a shrine to the collapse of utopian capitalism.
Within the atrium and the large room adjacent to the south, Nathan Sandberg placed several fields of white picket-like obelisks covered in the reflective glass beads used on highway stripes and medians. The "pickets" referred to the picketing of the workers, perhaps, but also to the inherent danger of working in the factory, where workers were killed and maimed routinely, and also to the danger of living near the train tracks themselves, particularly near crossings. Set together in a grid and of varying heights, they rose out of the damaged concrete floor like cautionary tombstones. In a room north of the atrium, Jeremy Scidmore installed neon triangles and pyramids that glowed like electric fires in the corners of the building: a pink-red pyramid covered a pile of debris stacked on a wooden pallet; a yellow triangle framed two leaning stones where the brick wall met the floor. The sculptures acted as remnants of the fire that consumed the interior back in 1998, and also as signifiers of the hobo fires that once burned along train lines across the United States, as well as the fire of the molten metal needed to make the train tracks and the train cars themselves, and even the iron that poured at the site in "Groundwork."
Last summer, JB installed an interactive piece on the side of the Hotel Florence to ask a deceptively simple question: "What is your vision of a contemporary utopian community?" He painted the concrete side of the hotel that faces 111th Street with blackboard paint and printed the question on the top of the blackboard, inviting neighborhood residents and visitors to answer with the bundle of chalk he left on the ground. George Pullman built Pullman Town to fulfill his dream of what a utopian community could be. Over the decades, the factory shut down and the neighborhood has faced issues of development, stagnation, and decay. One commenter scrawled under the question a simple statement: "Your utopia could be my nightmare." JB's installation, and his ongoing MOSNART project, open Pullman up to discussion and inquiry, fulfilling a contemporary utopian dream by questioning the very idea of it.
You're The Top…
February 17, 2015 · Print This Article
Moving to a new town is disorienting. The streets do not yet make sense. The grocery store has strange foods. The restaurant chains arrange themselves differently. The art world shifts and morphs, revealing new opportunities, expansive possibilities, and gaps to be filled.
I recently moved from Minneapolis-Saint Paul to Chattanooga, Tennessee. I am adjusting to the differences in climate and landscape. I am discovering the differences in the art scenes between the two cities, reframing my understanding of what the art world is in Chattanooga and its relation to other cities I know. Every city has its advantages – an established collector base, commercial and independent art spaces, funding for the arts and artists, less commuting time, cheaper rent, lower cost of living, nicer weather. No city has everything. The established notions we have about the art world and its centers of power seem unshakeable. New York City exerts a magnetic pull on artists, collectors, arts appreciators, and people looking for the newest trends; Los Angeles has a different yet very present attraction.
Artists are more mobile now than ever, moving between cities, traveling to make and show work. The boundaries between cities and regions of the country are fluid. This mobility reveals the privilege of the people who can move within it, and it opens opportunities for reexamining the hierarchies we have created and reinforce. What happens when a small town in Arkansas opens a lavish museum? Do the art fairs in Miami attract artists to live there year round? Is Austin a major contemporary art center because of the other cultural activity that happens there? Will artists seek out Asheville when they no longer remember Black Mountain?
Andy Sturdevant's interactive performance seminar, U.S. Cities Contemporary Art Rankings, investigates the notion that the art world is static and unchanging and questions what we value in contemporary art and how we prioritize it. Andy visited Chattanooga in January to ask students, artists, and community members to rank the top 125 metropolitan statistical areas into five tiers – Major and Secondary National Contemporary Art Centers, Major and Secondary Regional Art Centers, and Important Local Contemporary Art Centers. The exercise of making these rankings explicit and public revealed much about how we form opinions and how Chattanooga fits into conversations within the regional and national art world.
Before cities can be ranked, the conversation begins by establishing the criteria for an attractive contemporary art city. The criteria for the crowd in Chattanooga was similar to other city's criteria and included: a significant number of artists, art schools, economic opportunities for artists, arts infrastructure, and press coverage of the arts.
Starting in the middle of the list, we worked down, debating which cities fit on each tier. The definitions of what constitutes the tiers developed slowly, as the lower tiers accrued meaning and complexity with each new town. Individual voices prevailed. Participants shared their experiences at Virginia Beach or Eugene, and their recounting of great galleries or vibrant artist run spaces easily swayed the votes.
Working up from the middle, placing the cities became increasingly complex. The looming specter of the top cities by population (New York and Los Angeles) weighed over discussions as the second and third tiers filled with Minneapolis, San Francisco, Atlanta, Baltimore. The debate grew increasingly heated as Detroit and Miami were both placed in the second tier before we ended with LA and New York and the final list. I did not agree with all of the decisions – the heartbreak of democracy. I wanted a deeper discussion of potential top sub tiers (1A, 1B…), but that conversation and others about the relative locations of other cities will continue to happen here. The power of Andy's performance seminar lies in the conversations it generates, in the room and long after. The iterative nature of the list making keeps the debate alive, allowing differences to develop and for the list to shift over time.
Chattanooga was Andy's seventh and smallest city to create its own Rankings. As he says, "The discussions of the city's place in relation to neighboring cities of equivalent size were very interesting, and quite unlike discussions in, say, New York or Chicago. It felt very much like the sorts of casual, bar-based conversations people have about their various towns and scenes outside the large art centers. Which is how the project began in the first place."
We live in a rapidly changing world. The internet and easy travel have dismantled the hierarchies we thought we knew. We do not expect all flowers to grow in the same soil. We need sun and shade, the right balance of moisture, and careful pruning to cultivate many blossoms. The art world needs and already has that diversity; we must look in and beyond the assumed centers to find it. We should not mistake the most visible or assumed conditions for a thriving contemporary art center for the ideal conditions for every location.
Moving to a new place is not a final judgment about access to and participation in the global art world. The perceptions and assumptions about those places are malleable. U.S. Cities Contemporary Art Rankings has transformed the way I think about the art world, my place within it, my new home, and how mutable that list truly is. We are all agents of transformation, and our towns move up and down the formal and mental lists of contemporary art centers based on our actions, our words, our ability to demonstrate that art and artists thrive in different circumstances and different conditions. Chattanooga's conversation will continue in bars, at openings, in the streets, as we make the art center we envision, as we prepare the soil, sun, and water we need to thrive.
A Conversation with Bridget Donahue
February 13, 2015 · Print This Article
Bridget Donahue is standing in her own gallery of the same name overlooking the Bowery. Bridget Donahue is a space longer than it is wide, with two rooms. One room is a long spacious stretch; the second, smaller room also serves as an exhibition venue referred to as the Office. Works for the first exhibition are arriving in staggered shipments, and with each arrival, fresh anticipation of how the artworks will exist together in the cleared rooms. The gallery floors are a soft wood newly exposed and sanded; previously carpeted in a past life when the space was an industrial workroom. On February 19, the doors open for the first time to the public with a solo exhibition by Lynn Hershman Leeson. Just months after Bridget left her previous position as a director at Gavin Brown's enterprise in late 2014. Prompting the move was a frank curiosity: a desire for the ability to choose who and what to show.
Bridget and I discussed her beginnings as an archivist in Gladstone Gallery. Her favorite place to be was in the archives. When offered a promotion in the gallery, Bridget desisted, deciding instead to stay in the archives. And to this day, Donahue opened her own gallery with the archives in mind – a return to the research sparked by artists' interests, and in the articulations voiced by viewers. Talking casually, I ask what one of the greatest excitements will be in opening Bridget Donahue. She replies "…a new audience will walk into this space, connected by and bringing with them a conversation pertaining to the work in this room."
Lynn Hershman Leeson, Hero Sandwich Series: Rowlands/Bogart, 1980, Hand-painted silver gelatin print, 102 x 76 cm
Erin: You mentioned to me that you began your studies in anthropology, and by way of textiles, transitioned into visual art. Can you describe the change of interest?
Bridget: I moved to New York with my sights set on working with textiles. A friend pointed me towards NYFA's job listings and the post for Archivist at Gladstone Gallery caught my eye. I was already familiar with the gallery through my research and love for artists such as Alighiero e Boetti, Rosemarie Trockel and Thomas Hirschhorn. I applied, got two interviews and the job. Looking back to that time, I had no idea how important it was to land a job at such an important gallery. I was an absolute sponge to all printed matter around me. Barbara Gladstone has an impeccable archive and library. That job was a gift. It changed the course of my professional life in all ways.
Erin: The first exhibition at Bridget Donahue will be Lynn Hershman Leeson, followed by a benefit for Dancing Foxes Press, and then Susan Cianciolo, the selection moving from multimedia to publishing to fashion. Is there an indication of the gallery's focus between these upcoming artists?
Bridget: All of these exhibitions share the same core value – I'm deeply impressed and inspired by the artists and projects. I wholeheartedly believe in them, in all they do, for as long as they've been doing it. I could not fashion a better role for myself than to contribute to the success of their future.
Erin: Can you describe the difference in the role of creating a commercial path for an artist whose career you are helping to facilitate from the beginning, versus an established artist whose career you are renewing?
Bridget: For me there is no difference from the standpoint of my own conviction. For artists who have been working longer there is more material out there to discuss and more people have formulated opinions. I'm looking forward to rewriting some of the words around peoples' practices, offering a new perspective, and seeing what people think in 2015. I may have more to say about this after I've done it!
Erin: Moving from Gladstone Gallery, to D'Amelio Terras to Gavin Brown's enterprise, to now your own space, can you describe the most rewarding aspects of representing artists? As well, can you trace a consistent focus that you have maintained between all three experiences?
Bridget: The consistent focus has been to listen to artists, to learn from them and to also learn from the people who are interested in their work. It's an experience like no other to have a full picture of an artist's output. To know who their supporters are, who they look up to, who they learned from, who they are inspired by…that sends me off on myriad other paths of research and curious investigation. That's how I formulate what I want to learn about, what I want to see more of, and that is the main objective of my gallery.
Erin: You also help organize exhibitions for Cleopatra's, a Brooklyn nonprofit space, and the current curatorial team for this year's Looking Back – The 9th White Columns Annual. Do you see a difference in the value of curating within the collaborative environment of Cleopatra's as opposed to your own space? And has that difference changed from the difference between your involvement in Cleopatra's and your participation at Gavin Brown?
Bridget: I absolutely see the difference in the value of working with the group; it challenges you to look and think about things you may not otherwise stop to study. Cleopatra's changed as we all matured in our day-jobs-turned-careers. We want different things from it now; we have a greater appreciation for its distinct attitude. It is a labor of love and commitment to making projects among peers who are connected to one another through a community – people who we want to cheer on. In our recent – and really first published press mentions – the New York Times and New York Magazine, the writers have variously nodded to this spirit of Cleopatra's. It's taken almost seven years of our doing Cleopatra's for that to be fully articulated. It feels good and celebrates our resistance to turning that project into something different than it is. I'm very proud of that.
Erin: What is most daunting in opening your first gallery in this city?
Bridget: I am most daunted by the mystery of whether or not it will work.
Susan Cianciolo, installation view of Run Retrospective, 2003, francesca kaufmann, milan


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New guidebook for New Caledonia's birds
By SCO, 26 Jul 2012
A new guidebook has been published by SCO (BirdLife in New Caledonia) which gives a concise description of the breeding, migratory and sea birds found within the Pacific country. Oiseaux marins, côtiers et des zones humides de Nouvelle-Calédonie byNicolas Barré, Olivier Hébert et Frédéric Desmoulins brings to the amateur naturalist vital information needed to identify and learn about birds of New Caledonia, supplemented by information on threats and conservation measured needed. To find out more, please click the following link: http://sco.over-blog.org/article-deux-nouveaux-livres-sur-les-oiseaux-84637876.html Subscribe to The BirdLife Pacific Quarterly E-Newsletter

subset: commoncrawl


text:
William Mustain
Associate Professor
Ph.D., Illinois Institute of Technology (2006)
Current Research
- Unconventional electrocatalyst supports
- Non-noble metal oxygen reduction catalysts
- Anode catalysts for direct borohydride fuel cells
- Electrochemical conversion of atmospheric CO2
- Room temperature carbonate fuel cell
Special Activities
Member: AIChE
Current Research Group
|Ph.D. Students
|M.S. Student
|Undergraduate Students
|Sujan Shrestha
Ying Liu
Neil Spinner
Roli Kargupta
|Mark Williams
Gregory Ryan
|Tigran Avetisian
Molly Chhiv
Michael Ignatowich
Michael Kek
Andrew Earl
Sasha Asheghi
Joseph Rotchford
Jeffrey Timbro
John Varconda
Research Statement
Dr. Mustain's electrochemistry research group at the University of Connecticut is interested in the development of novel electrocatalyst materials for energy conversion and storage. Several extramurally funded projects are underway in this area, including the design and characterization of nanostructured carbon and non-carbon supports for oxygen reduction and hydrogen evolution catalysts, borohydride oxidation catalysts, and high capacity anodes for Li-ion batteries. In addition, the Mustain group recently invented the first electrochemical catalyst that is able to directly convert CO2 and O2 mixtures to carbonate anions under fully humidified conditions, which has allowed for the development of two new electrochemical reactors: (1) room temperature carbonate fuel cells; and (2) electrochemical conversion reactors that are able to convert methane to syngas at room temperature with almost no energy cost. In each system, the Mustain group takes a bottom-up approach, designing both the surface chemistry and microstructure of the active material and support to yield high activity, high stability electrodes. This work has recently yielded a slough of publications as well as significant interest from both industry and federal agencies. Recent sources of federal funding for the above work includes the US Department of Energy, NASA, and the National Science Foundation.
Previous Positions
|Assistant Professor, Chemical, Materials & Biomolecular Engineering, UConn
|Postdoctoral Fellow, Georgia Institute of Technology
Awards & Honors
|Illinois Institute of Technology Young Alumni Award
|Invited Alumni Speaker for Collens Scholarship Program Benefit Dinner
|Illinois Institute of Technology Outstanding Teaching Assistant of the Year Award
|Hamid Arastoopour Excellence in Education Award
|Illinois Institute of Technology Graduate Research Fellowship
|1998 – 2002
|Illinois Institute of Technology Heald Scholar
Recent Publications
J.A. Vega, S. Shrestha, M. Ignatowich and W.E. Mustain, "Carbonate Selective Ca2Ru2O7-y Pyrochlore Enabling Room Temperature Carbonate Fuel Cells – Part I. Synthesis and Physical Characterization", Journal of Electrochemical Society In Press, DOI: 10.1149/2.028201jes (2011).
J.A. Vega, N.S. Spinner, M. Catanese and W.E. Mustain, "Carbonate Selective Ca2Ru2O7-y Pyrochlore Enabling Room Temperature Carbonate Fuel Cells – Part II. Verification of Carbonate Cycle and Electrochemical Performance", Journal of Electrochemical Society In Press, DOI: 10.1149/2.029201jes (2011).
J.A. Vega, S. Smith and W.E. Mustain, "Hydrogen and Methanol Oxidation Reaction in Hydroxide and Carbonate Alkaline Media", Journal of the Electrochemical Society 158 (2011) B349-B354.
N.S. Spinner and W.E. Mustain, "Effect of Nickel Oxide Synthesis Conditions on its Physical Properties and Electrocatalytic Oxidation of Methanol", Electrochimica Acta 56 (2011) 5656-5666.
J.A. Vega, S. Smith and W.E. Mustain, "Effect of Carbonate on Oxygen Reduction, Hydrogen Oxidation and Anion Exchange Membrane Chemical Stability", ECS Transactions 33 (2010) 1735-1749.
J.A. Vega, S. Smith, C. Chartier and W.E. Mustain, "Effect of Carbonate on Anion Exchange Membrane Conductivity and Hydrogen Oxidation for AEMFCs", ECS Transactions 28 (2010) 103-109.
J.A. Vega, C. Chartier and W.E. Mustain, "Effect of hydroxide and carbonate alkaline media on anion exchange membranes", Journal of Power Sources 195 (2010) 7176-7180.
J.A. Vega and W.E. Mustain, "Effect of CO2, HCO3− and CO3−2 on oxygen reduction in anion exchange membrane fuel cells", Electrochimica Acta 55 (2010) 1638-1644.
J. Vega, C. Chartier, S. Smith and W.E. Mustain, "Effect of carbonate on oxygen reduction, hydrogen oxidation and anion exchange membrane chemical stability", ECS Trans., 33 (2010) 1735.
J.A. Vega, C. Chartier, S. Smith and W.E. Mustain, "Effect of Carbonate on Anion Exchange Membrane Conductivity and Hydrogen Oxidation for AEMFCs", ECS Transactions, 28 (2010) 103.
S. Shrestha and W.E. Mustain, "Properties of Nitrogen-Functionalized Ordered Mesoporous Carbon Prepared Using Polypyrrole Precursor", J. Electrochem. Soc., 157 (2010) B1665.
S. Shrestha and W.E. Mustain, "Electrochemical Studies of N-Functionalized Mesoporous Carbon", ECS Trans., 28 (23), 27-37 (2010).
Y. Liu and W.E. Mustain, "Structural and Electrochemical Studies of Pt Clusters Supported on High Surface Area Tungsten Carbide for Oxygen Reduction", ACS Catalysis, 1 (2011) 212
|(860) 486-2756
|Mailing Address
|191 Auditorium Road, Unit 3222, Storrs, CT 06269-3222
|Office Location


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As a part of our journey, we have formed a non-profitable society - Green Geetabitan®. Our objectives are, through our various sincere activities, to serve Rabindra Sangeet-loving people, researchers, upcoming-singers and, to search and support new talents and students working in this field of culture in India and many more across the globe.
We cordially invite you to join our society. Your priceless support is what we need to make this project a comprehensive success for Tagore-loving people living round the globe. We have a huge work plan although fund is the major hindrance. You can help the society by accepting membership, donating small funds, standing beside us as a sponsor, helping us to find sponsors and extending your hand with your expertise as a team member. We highly appreciate your whole-hearted involvement in any sphere towards development of the society and other activities. Read more
গীতবিতান / রবীন্দ্র সঙ্গীত
বাণী, স্বরলিপি, পর্যায়, ইংরাজী অনুবাদ ও আরও অনেক কিছু
আমার হিয়ার মাঝে লুকিয়ে ছিলে দেখতে আমি পাই নি । তোমায় দেখতে আমি পাই নি । বাহির-পানে চোখ মেলেছি, আমার হৃদয়-পানে চাই নি ॥ আমার সকল ভালোবাসায় সকল আঘাত সকল আশায় তুমি ছিলে আমার কাছে, তোমার কাছে যাই নি ॥ তুমি মোর আনন্দ হয়ে ছিলে আমার খেলায়— আনন্দে তাই ভুলেছিলেম, কেটেছে দিন হেলায় । গোপন রহি গভীর প্রাণে আমার দুঃখসুখের গানে সুর দিয়েছ তুমি, আমি তোমার গান তো গাই নি ॥
Parjaay : Puja
Taal : Ektaal
Raag : Pilu
Written on : 1914 (25 Chaitra 1320)
Place : Kolkata
Collection : Geetimalya
Aamar hiyar majhe lukiye chile dekhte aami paai ni Tomay dekhte aami paai ni. Bahir pane chokh melechi,aamar hridoy pane chaai ni. Aamar shokol bhalobashay shokol aaghat shokol aashay Tumi chile aamar kaache,tomar kaache jaai ni. Tumi mor aanondo hoye chile aamar khelay- Anande tai bhule chilam,keteche din helay. Gopon rohi gobhir praane aamar dukkhosukher gaane Sur diyecho tumi,aami tomar gaan to gaai ni.
My eyes could not find you - As you had sneaked into my heart. Looking into my core I did ignore - As my gaze beamed outward. Involved in all my love, All my hopes and my woe, Despite you keeping close to my soul - I did never move near. You had been with me, As my joy while I played - Engrossed in merry making Easy times smoothly passed. Concealed within my heart You had composed on my lyric - Impregnated with joy and sorrow, I did not sing your song and flouted. - Translated by Anjan Ganguly You lay buried in my heart, I failed to see you I failed to see you. I cast my eyes outward, did not look within In all my adorations, all hurts, all aspirations You were with me; I did not run to you, You stayed in all my games as my delight – I forgot all in that happiness My days were spent in neglect, I remained immersed in the depths within In all my songs of joys and sorrows, You lent the time; but I failed to sing your song. - Translated by Ratna De
Aamar Hiyar Majhe... If you sing Rabindra Sangeet you may send us your song/recording to publish in this site. Please read how to send.


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Le Mélézin is situated in the ski village of Courchevel 1850, between the Bellecôte ski slope and pine forests. The hotel is conveniently located 200 meters away - walking or skiing - from the village center where all major facilities are available: ski lifts, ski passes, ski school, tourist office, banks and shops. Additionally, guests have the... more
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Blkmarket Membership & Resolute with Ellen Allien + Special Guest photo gallery
Roland Li
$50.001st release Friday + Saturday Combo Ticket
$55.002nd release Friday + Saturday Combo Ticket
$20.00Early bird
$25.001st release
$30.002nd release
$35.003rd release
Ellen Allien [Bpitch Control]
Eduardo de la Calle [Analog Solutions]
Taimur & Fahad [Blkmarket Membership
Connie [ReSolute]
Taking on the night this Friday, January 25th are the electronic maestros. With hard and heavyweight underground sounds Ellen Allien [Bpitch Control] + Special guest [Analog Solutions] + Connie & Elon [ReSolute] + Taimur & Fahad [Blkmarket] join forces for a quintuple-header of sonic destruction. Blkmarket Membership & ReSolute bring you the experience of a musical equation: rippling electronic beats and an exalting experience. The sum: a promise for nothing less than musical bliss.
Please send your RSVP to firstname.lastname@example.com with full names for location and other info
Fri, 27 Jan 2017
100 attending
Fri, 27 Jan 2017
82 attending
TBA - New York
Sat, 28 Jan 2017
353 attending
Sat, 28 Jan 2017
69 attending
Fri, 3 Feb 2017
158 attending
Fri, 3 Feb 2017
76 attending
Sat, 4 Feb 2017
184 attending
Sat, 4 Feb 2017
97 attending


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"Highly enjoyable, off the beaten track pub tour..." THE GUARDIAN
"We had a great time! We've been on a few London walks now and this was by far the best and most entertaining!" KAREN YOUNG, London.
The London Literary Pub Crawl, with Charles Dickens (Deceased!)
Visit the Public Houses and Taverns that inspired generations of writers and artists. And meet Dylan Thomas,Charles Dickens, Virginia Woolf, George Orwell, Anthony Burgess, T.S Eliot and others.
See where the giants of the literary world ate, drank, discussed, thought and worked. The pubs and taverns that inspired some of the greatest creative minds in the world - and still do.
This new and unique tour is artist-led and arranged by the not-for-profit charity The Maverick Theatre Company. It involves local writers and artists from London's West End and the UK TV and Film industry.
We are delighted to announce that the late Charles Dickens and occasionally the late Virginia Woolf have agreed to host the tour! It takes in not only the history of literature in London but some of its contemporary places and spaces too and looks at some key elements in our writers' lives.
Starting in Fitzrovia, and ending in Soho, our tour also includes those pubs and bars associated with the British Film industry and contemporary writers. So you never know who you might bump into...!
If you have a party of eight people or more we can design your very own 'branded' Literary Pub tour, any time of any day. Great for work parties and corporate functions, Book Clubs and Hen and stag celebrations. How about a Literary Office Outing Crawl? Call or email for details.
Student Specials..!
Those under 18 years of age are not allowed to buy or consume alcohol in the UK. But we're much more about the literature than the booze! So we do a 'student special' - touring the family friendly pubs and including theatres and other places of literary interest. There's a special rate for student groups here. (Min party of 10)
And please feel free to contact us for further details or if you are unsure about anything. We're here to share the Literary Love!
get london discounts with our new London Literary Pub Crawlapp!
More offers being added daily!
We've won a Society of London Theatre
Stage One Award!
NEW! Gift vouchers.
All content copyright ©2017 - NHA, Maverick Theatre and Literary London Ltd. Reg in England and Wales. No 08334532.
12 Fouberts Place, Carnaby Street, London, W1F 7PA.
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Island Escape Cruise Review by J.mjones1: White Lady
Overall Member Rating
White Lady
Destination: Europe - Eastern Mediterranean
Embarkation: Other
Have been on two cruises previously, Ventura and Thomson Destiny. Went on Island Escape as part of a stay and cruse package (stayed in hotel first). Reviews weren't great so wasn't expecting it to be fab but boy was I wrong.
The food, entertainment and staff were brilliant. The itinerary was brilliant.
One tip is to get the train to Rome, then a hop on hop off bus. So much cheaper. 12 e for return train and 20e for the hop on bus. Did the Puccini lake, villa and Pisa trip which was really nice. It was a 5 hour trip which is long enough!
Travelled with a teenager. We never saw her! Teenager club was great. Corsica and St Raffael, went for a walk around and then to the beach. Las ramblas in Barcelona a stone through from the ship.
Ship very laid back with no formal dress up nights which suited us. The only thing I would change is the fact that the two all inclusive restaurants are buffet. It would have been nice to have been served (although the More waiters do bring your drinks). Food is definitely same standard as other Thomson ships though.
Would I go again? Most definitely. Less
Published 08/26/13
Read more Island Escape cruise reviews >>
Read Cruise Critic's Island Escape Review >>
Cabin review: IN
Great Vacation in Europe
Christmas at Sea
Viking Sea - a new style of sh...
Fantastic Voyage
Excellent Cruise
2nd time
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Second chances and emotional reunions in the next "Long Lost Family"Posted by Brian Gallagher on July 24, 2014 in In The Community, Long Lost Family, United Kingdom, Who Do You Think You Are?
With the new season of Long Lost Family now in full swing and tissue sales at an all-time high, Davina McCall & Nicky Campbell continue to give us front row seats at some beautiful family reunions. In episode three we hear the stories of Richard Cue and Tania Bartlett. While both stories are different they Read More


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£64.80 - £82.80
Rated 4 out of 5 by 1 reviewer.
Rated 4 out of 5 by Farah As far as notes are concerned, I think the advertised pyramid is pretty much spot-on - what's not necessarily clear by reading it, though, is the amazing aptness of the name: this *is* olfactory paisley. Every single time my GF sprayed it, I got a different vibe (after a while, I stopped asking her "is it Paisley?" because I just felt dumb): it smells just like the fabric pattern, with several different colors very close to each other, always intersecting and bisecting without ever quite mixing down to a dull gray-brown. The end result is utterly fascinating and absolutely enticing - I wouldn't call it a classic just yet, but it's certainly one of the most interesting feminine (or possibly unisex, for the more adventurous) scents in the designer segment. March 2, 2014
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Stores »
how rare is a white spade? A locket on a real gold chain what a great gift
Everybody's always tryin to get mee lucky charms he he
pearl and gold vintage =)
We are a community of shoppers sharing our best finds from across the web.
© 2016 ThisNext, Inc. ThisNext is a member of BUZZMEDIA Entertainment, a division of BUZZMEDIA.


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unquestionably {Adverb}
zweifellos · unzweifelhaft · unbestreitbar · ohne Frage
unquestionably: decidedly · emphatically · definitelymehr (6)
Englisch-Deutsch Übersetzung für "unquestionably"
"unquestionably" Deutsch Übersetzung
unquestionably {Adverb}
unquestionably {Adv.} (auch: undoubtably, without any doubt, without doubt)
The first sustainable development projects are unquestionably those.
The credit for having made a good start unquestionably goes to you.
Unquestionably through an increase in employment and productivity.
That would unquestionably help the European textile industry.
Equality of opportunity between men and women on the labour market is unquestionably an important issue.
unquestionably {Adv.}
Firstly, we believe it to be technically wrong and politically surprising that the same legislative text covers both unquestionably dangerous products and cement.
unquestionably {Adv.} (auch: unarguably, incontrovertibly)
The use of geographical indications is a further issue that unquestionably creates a problem.
The present situation and the profusion of different guidelines is unquestionably very confusing.
It is clear that it is unquestionably incumbent upon us to find the fairest possible way of addressing the issue of some of the assets of Holocaust victims.
unquestionably {Adv.}
Kosovo, of course, is unquestionably our most difficult problem.
And I believe that one of them is unquestionably terrorism.
This is after all unquestionably a proposal for debate.
unquestionably (auch: undoubtedly, questionless, unquestionable)
All of this action was unquestionably led by European countries in order to achieve a unanimously approved Resolution.
One of the most serious problems we are going to face during this century is unquestionably the proliferation of weapons of mass destruction.
I therefore believe that we are unquestionably facing a new situation which deserves the attention and support of all of us in seeking a definitive solution to this problem.
Synonyme (Englisch) für "unquestionably":
© Princeton Universitydecidedly · emphatically · definitely · in spades · by all odds · unimpeachably
Beispielsätze für "unquestionably" auf Deutsch
Unquestionably, the European Union has to guarantee freedom for all its citizens.
One important area of focus with regard to policy is, unquestionably, security.
This agreement was unquestionably one of the key points of the 2002 budgetary procedure.
In fact, renewable energies unquestionably provide a way of achieving these objectives.
It is unquestionably the Member States that are in the dock.
Thus, peat is unquestionably a renewable source of energy.
The Baltic Sea is unquestionably part of the Northern Dimension.
The Muslim Bosnians are unquestionably Europeans, whereas the Christian Ethiopians clearly are not.
Unquestionably Galicia' s worst environmental disaster.
The situation in Mongolia is unquestionably serious.
The development of Algeria and better mastery of migration phenomena are unquestionably linked.
Unquestionably, sport is also of educational importance, as the report mentions.
It is unquestionably true that passive mastery of a language is far easier to achieve than active mastery.
Sustainable development is unquestionably one of the EU' s key objectives and a global challenge.
That is unquestionably a fundamental objective.
The answer is unquestionably to increase our growth potential, that is to say, to implement Lisbon.
For us, it is not so much an enlargement as a reunification with countries of an unquestionably European tradition.
I am confident, however, that Mrs Reding is already thinking along those lines and will unquestionably work on this.
Stability is unquestionably a public asset.
UBS clients and shareholders can rest assured that our financial, capital and funding positions remain unquestionably solid.
Neue Englisch-Deutsch Übersetzung vorschlagen
Kennst Du regionale deutsche Redewendungen? Oder weisst Du vielleicht eine gute deutsche Übersetzung für einen bestimmten englischen Ausdruck? Wenn ja, dann kannst Du hier Deinen eigenen Beitrag zum Englisch-Wörterbuch leisten.
Neueste Wortvorschläge von Nutzern: Schwimmhaut, Kaschemme, Luftbrücke, Taufzeuge, Waldläufer
Ähnliche Wörter
unpunctuality · unpunished · unpurified · unqualified · unqualifiedly · unquantifiable · unquenchable · unquenchably · unquenched · unquestionable · unquestionably · unquestioned · unquestioning · unquestioningly · unquiet · unquietly · unquotable · unquote · unquoted · unquoting · unratable
Bab.la bietet außerdem das Chinesisch-Deutsch Wörterbuch für mehr Übersetzungen.


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Check in from 15h / Check out prior to 11h
AmericInn Lodge & Suites Vidalia: Find photos, reviews, information, amenities and compare prices for 3 stars hotels in Vidalia, United States.
AmericInn Lodge & Suites Vidalia provides luxury 3-star accommodation in Vidalia. It has a day spa and a fitness centre.
Hotel description
Those staying at the property can wake up to breakfast each morning at AmericInn Hotel Vidalia before heading off to discover the local area.
The hotel is an ideal place to explore nearby Brewton-Parker College and the Vidalia Onion Museum, as well as everything the local area has to offer. Lyons and Mount Vernon are located an easy car ride from the property.
Hotel features
Fitness Room/Gym, Golf Course, Spa & Wellness Centre
Availability and Prices
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Hampton Inn Vidalia
3303 US Hwy 280 East, Vidalia
3303 US Hwy 280 East, Vidalia
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Japanese Flower Arranging - Ikebana SogetsuJanuary 25, 9:30am - 11:30am
Windward Campus, Hale Kuhina 115
The art of Japanese flower arranging functions as a path for the creative spirit. A gift of Ikebana is to look at flowers from a perspective that provides tranquility and peace of mind from within. Use your aesthetic awareness to assemble materials, choosing their most beautiful aspects, assemble them in a different order, and endow them with a value transcending that which they had in nature. Students are required to purchase or provide their own supplies. Optional text for purchase.
Instructor: Karen Kirk
Course Code: ART7000-002
Course Fee: $65
Dates: Saturdays, January 25 - March 8 (no class: 2/8)
Time: 9:30 a.m. - 11:30 a.m.
Meetings: 6
Event Sponsor
Career and Community Education, Windward Campus
More Information
Career and Community Education, 808-235-7433, email@example.com


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Bruins vs Blackhawks for the Stanley Cup. Who Takes the Finals?
- Started By Michael Walker
- Sidelines Senior Analyst
- 3 years ago
The Blackhawks needed 2OTs to overcome the Kings to face Boston in the final series starting Wednesday night. P Kane was the difference for Chicago as he scored the winning goal.
The Bruins are peaking at the right time as they smothered the Penguins in a 4 game sweep. Their stifling defense shut down the Pens Crosby,Malkin & Letang for the entire series. I didn't expect all three of them to be held scoreless for even a game.
Can the Boston Bruins shut down the Chicago Blackhawks Kane and company the same way?
Franklin Steele of Bleacher Report has in in depth look at the championship series and an excellent breakdown of both teams.
Chicago in 7 and I will explain why:
Crawford is a much better goalie than the Penguin's duo of the last round.
Toews, Kane, and the rest of their top lines are peaking just at the right time.
Chicago will host 4 out of seven of the games.
Chicago's defense is much more equipped to handle power forwards than Pittsburgh (Keith and Seabrook are a shutdown line).
With no clear leader, Boston could falter like they did against Toronto.
I question whether Rask can keep his excellence up (never before has he had full duty).
and Chicago will be capping off their 36-7-5 record with a cup.
@Michael Walker, here is the big x-factor with this series
@Kale, Since the Penguins lost I really don't have a dog in this fight anymore. But I am anxious to watch what are probably the two best teams go head to head for the cup.
Steele's article had me absolutely convinced that the Bruins simply have more talent overall. David Krejci, Nathan Horton and Milan Lucic looked unstoppable against "my" Pens. He has the goalies as pretty much a wash. (by the overall numbers they are).
However, you make a pretty compelling argument for the Blackhawks as well. Now I don't feel very confident that either team will dominate, and it could be a low scoring 7 game series.
@Kale I don't see the Blackhawks winning this series at all. The Bruins could not be hotter and have more momentum than they do right now. While Crawford is a much better goalie than the less than stellar duo of goalies that the Penguins brought to the table, that will not have a significant impact on this series. The goalies of both teams are very similar in ability, and Rask is very hot right now.
@Michael Walker the Bruins do have much more talent all throughout their bench on offense and defense. While the Blackhawks have their star studded offense with Kane, Toews and company, Chara will be able to neutralize their offensive ability and he has shut down superstars in the past. However, the most important thing in the playoffs is momentum and the Bruins could not have more. The Blackhawks have limped through the later rounds of the playoffs compared to their expectation. The Bruins are firing on all cylinders and will win this series in 6.
@Ian Davis, It is beginning to look to me like this may indeed be a dogfight. You're more confident in the Bruins than even Franklin Steele, and you didn't even mention Krejci, Horton or Lucic.
Has anyone not been watching? Tuukka Rask is just about impossible to score on! I say Boston in 6.
Everyone is saying that the Blackhawks are peaking at the right time, I don't know, I feel like the Bruins are even more so! They have dominated these playoffs and I don't see them letting their collective foot off the gas. @Kyle Lindemann drops the great point of Rask. This is going to be a battle and I don't even know how many games this will go, but I'm taking the Bruins in 7, only because Chicago has the home ice advantage.
The greatest neutralizer in hockey is Goaltending. Even though Rask is young he is playing unbelievably right now. Chicago won their clincher 4-3 last night. They can't expect to give up 3 goals against the Bruins in the Finals and expect to win.
I think it will be a tight series. Boston is playing really well right now and Rask has been impossible to score against but I still think the Blackhawks take the series. Ultimately, they are a more complete team and they have the home ice advantage. Also, Patrick Kane and Jonathan Toews have started playing at an extremely high level and will be hard to stop in the finals.
@Kyle Lindemann, I picked the Bruins too! I'll even drink a Sam Adams! Isn't it funny how goaltending is bad in basketball, but is good in hockey? @Jordan Byers, you may be prophetic, and if so it will still be here that you said it when it's over and feel free to remind us.
Before the first series of the NBA playoffs were over I asked everyone to pick the two teams in the finals and the winner. I picked the Heat and Pacers, with the Pacers pulling an upset.
The Blackhawks were the best team in the NHL all season long, plain and simple. Their reward for such a special regular season, aside from winning the Presidents' Trophy with a whopping 77 points in 48 games, was home-ice advantage throughout their run in the 2013 Stanley Cup Playoffs. In recent years, home ice hasn't really mattered all that much. In these playoffs, it's been a huge advantage in just about every series across both conferences. Blackhawks will win if they use their speed and transition game in order to get the puck deep so they can play in the offensive zone. If you've heard this before -- well, it's because you have. This is the exact same recipe for success that the Blackhawks had against the Kings. If the Bruins are better in the neutral zone, Chicago will be in deep trouble. The Blackhawks have to win that area of the ice because success there leads to the type of offensive game they have to play.
X-factors : Kane-Toews and Hawks ''rolling in the deep style''
The Boston Bruins are going back to the Stanley Cup Final because they have a system of play in which they believe implicitly. That faith is the bedrock to all that they do. After surviving a first-round scare against the Toronto Maple Leafs, which featured one of the most improbable third-period comebacks in NHL history in Game 7, the Bruins have embraced their identity and sailed through the Stanley Cup Playoffs, losing once in their past nine games. Amazingly, they did not lose at all in the conference final against a high-octane Penguins club that entered the series as the highest-scoring team in the postseason. Pittsburgh left with two goals in four games -- neither by any of their superstars. Bruins will win if they play like they did against the Penguins. Essentially, the Bruins played a perfect series to bounce Pittsburgh in four straight. Boston received opportunistic offense, played patient and conscientious defense, got elite-level goaltending, excelled at penalty killing and kept its cool when Pittsburgh couldn't. The Bruins can do it again because all of those things are part of the foundation of the system for success, one that was validated with a Stanley Cup triumph 24 months ago. If they are hitting successfully on each one, they become a team with few flaws that is nearly impossible to rattle or break down.
X-factors : Tuukka time and Force (defensive+offensive)=Control of the neutral zone
The finalists are very similar in construction. Each features a goalie playing at an elite level, a varied defense corps capable of playing both ends of the ice, and a deep fleet of forwards that features a potential game-changer on each line. All in all, it appears to be a recipe for an unforgettable Stanley Cup Final. I will go with the Bruins but not with all my heart because Chicago is the favorite coming out of the gate and if they keep their "serve" -home adv- they maybe have a match point.
@Michael Walker, here is the big x-factor with this series. Both teams were stuck playing in their own conference during the regular season. Thus, it could be argued that the Blackhawks my not be completely for the Bruins physical grind it out style of play. I like the way the Bruins are rolling right now and they fund a way to a win like they against the Canucks two years ago.
@Ps Projekt, incredible breakdown of both teams. You did your homework and I really respect that. You leave me with no arguments against your logic. @Scott Whittum, I always look forward to your replies. You are way too often right. I know the Blackhawks are favored, but I believe the Bruins will pull it off. If they do, it should be Samuel Adams all the way around!
Bruins take Game 1 due to the 2OT game Chicago endured against the LA Kings. In the end, Chicago just has two many weapons on offense in Toews, Kane, Hossa, Bickel...along with the emergence of Duncan Keith from the point. After a quick stumble, the Hawks will take this series in six games.
I say Bruins in 7. It's going to be a tight series but I believe Boston has the better overall team. The only bummer is that the Bruins will win the Cup in Chicago, so unfortunately, they won't be showered with squid being thrown on the ice.
Call me a homer, but I really like this Bruins team. They may be the most complete team I have ever seen. They run four lines, have too many options on defense (Chara, Seidenberg, Boychuk, McQuaid, Ference, Krug, Bartkowski, Hamilton), and a stellar goalie. The Krejci, Horton, Lucic Line is looking unstoppable, Chara is playing maybe his best hockey in two years, and Tuukka Rask is making every play.
A lot of people argued that the B's wouldn't be able to control the high-powered Pens, but everyone stepped up and played at their highest level of the season. They got a jolt from Krug during the Rangers series and he has continued to play at a really high level for them.
What makes the Bruins really dangerous is that they can play several different styles of hockey. They have the ability to throw a finesse game at you and then come back with a hard-hitting game.
I know the Blackhawks are extremely talented but I don't know if they will be able to keep up with this Bruins team that has won 9 of their last 10 games and have gone 6-2 on the road during the playoffs.
I'm predicting Bruins in 6.
@Connor Meiselman: Another excellent analysis of the Bruins team! I know the Blackhawks are favored, but it's based upon the teams play during the regular season. As you guys so succinctly put it, this is not the same Bruins team that played the regular season. Teams either improve or regress in the playoffs. Both of these teams seem to have improved, but the Bruins more so.
You know someone named Homer is eventually going to join this site. That will be funny, every time he praises his home team.
Bruins!! All the way! From what I've seen, Boston has the game under control no matter the circumstances.
Definitely going to be a hard fought series. I'm going with Bruins in 6. I think they are playing their best hockey of the season right now and are the stronger team than Chicago at this point. Tuukka Rask is a better goalie than Crawford and I think that is what eventually makes the difference.
@Andrew Mack, I certainly agree the bruins are peaking right now. I don't know if I could call Rask the better goalie as they are both at the top of their game right now. I think the Bruins forwards are the difference.
For all the people that are trying to claim the high powered offense of Kane, Toews and company please refer back to the discussion of the Eastern Conference Finals and wherever it says Crosby and Malkin you can substitute. Oh and then remember that those top lines were able to produce jack squat.
As far as the arguments of which team is peaking the answer is both they are both in the Stanley Cup freaking Finals meaning they both peaked at the right time.
The reason I'm taking the Bruins is because of their depth. They proved in their series against the Penguins that it's not always the superstars who win the games. In the Blackhawks deciding game they needed Patrick Kane and Duncan Keith. The Bruins needed a defenseman by the name of Adam McQuaid.
@Kale :
It doesn't matter if Crawford is better than the Pens duo when your team isn't able to score a goal it's pretty hard to win
See first paragraph for answer to Toew's and Kane peaking
Pittsburgh also thought they would be hosting four home games, tough to do when you only played four total games
Your point about their defense being better suited is valid, but the Bruins are too deep with their four lines who can produce and they don't rely on big names to score goals that Keith and Seabrook can consistently match up against.
The Bruins have leaders by the names of Zdeno Chara and Patrice Bergeron or how about future Hall of Famer Jaromir Jagr. Bottom line, leadership is not an issue.
Why would Rask falter now, he's been the go to guy all season and just played his best series, what about this coming series will be so different? If anything he has shined brightest when he was needed most. And here's my proof
Rask is just too good of a Goalie right now. He looks like a young Eddie Balfour out there.
@Kyle Lindemann I definetely agree that Rask is very hot right now, and he is coming into his role at just the right time. Also, just another point, I am getting very tired of commentators and others arguing that the Blackhawks can't be beat in this series because of their great regular season record. They have not played a team from the Eastern Conference this entire year. The Western Conference was significantly less talented than the Eastern Conference, and the Blackhawks will be startled when puck drops and they see the physicality of the Bruins.
-Crawford has let in some softies last series, but for the most part he looked pretty good. But Thomas Vokoun was not the reason that Pittsburg lost, he actually played pretty well
-Crosby's line was peaking in the Eastern Semi's before they ran into the Bruins and matching up versus Chara/Sidenberg and Rask, as well as great two-way centers like Bergeron & Krecji. Hawks have been mixing up the top lines a lot - Kane wasnt peaking until he exploded in game 7, not sure if his game matches up very well against the Bs
-will home ice be that big of an advantage for the Hawks? think back to B's winning game 7 on road in Vancouver
-The Bruins have multiple leaders in their locker room. Chara, Bergeron, Thorton, and Ference are all capable leaders just like Toews. Their coach is also arguable one of the best from a leadership standpoint. Leadership is the last thing you should try and use to poke holes in the Bruins' game.
-Rask may be young, but he has matured so much this postseason (no longer slams stick when he gives up goals), and was a starting goaltender for the Bruins in '09-'10 season. Hottest goalie in the playoffs right now = recipe for winning the cup (Thomas '11, Quick '12).
Bruins in 5.
I guess we'll find out tomorrow night who's still hot and who's not. Both teams will be well rested and most of them will have nagging minor injuries healed.
This is my first year of watching hockey, but you guys have really helped me get a grasp of the game. I'm already excited about the start of the finals and it's over 24 hours away!
The Bruins had seven days off between rounds two and three and were still able to stay hot, so I think they'll still be on the rampage. If they remain as hot as they have been ever since the end of game 7 against the Leafs, I just don't see any way Chicago can knock them down. The Blackhawks are a great team, but it's a huge challenge.
@Ally Harris, I agree. The oddsmakers in Vegas have the Blackhawks favored by 1 for game one in Chicago as they should. But just like you, I don't think so! The Penguins scored just 2 goals in the whole freakin' series against the Bruins. Should be a good game though with the Blackhawks rested.
I would like to think Chicago is going to take the series. But after game one and in the last series, Boston has been anything but bad. I believe Boston is going to take the series in 6 games, they are just too strong and defense beats offense any day, and Bostons Defense is incredible.
Well stated @Stephen Aitchison . I expect the Bruins to make offensive adjustments to match the defensive ones they made in game 1. I'm still sleepy!
Yeah! Eric Shulman and I are off to a good start! (It seems we are the only ones in this whole post to pick the hawks)
What a great game! Poor Tuukka too! The last 2 goals Chicago scored weren't his fault at all either! I enjoyed every minute of last night's game.
Kudos to @Kale and @Eric Shulman! (so far)
While I'm not a big hockey fan and am just starting to watch the game with some regularity, I can't say who I think will win. Reading all your comments though has given me some insight into the series. I just think that it would be best if the Boston Bruins won. After all that they have been through with the Boston Marathon bombings, I think the people of Boston deserve something to cheer about. I have no affiliation to either team, city, or state. Am I wrong for wanting that? Either way last night was a perfect game to watch to get someone like me to want to watch hockey. That 3OT was edge of your seat exciting.
@Jon Lau, there is absolutely nothing wrong with your reasons for wanting the Bruins to win. The first game was certainly an attention grabber no matter which team you're cheering for. I am a new fan of hockey much like yourself. Being here helps. These guys know what they're talking about, especially when it comes to the ins and outs of different teams.
It's going to be one hell of a series. Enjoy it and let's debate it!


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A visit to The Welsh Quilt Centre's new 2016 Exhibition at the Town Hall, Lampeter will certainly be Unforgettable. Historic Welsh Quilts and Costume from the collections of Ron Simpson, Jen Jones, and the Ceredigion Museum will take centre stage in the dramatic Courtroom Gallery. The exhibition features feature strikingly bold 19th Century Welsh Flannel Patchworks and the quintessential Welsh Hat.
Opening on Saturday 5th March, the exhibition will run until the 5th of November.
There is a recognisable signature to the Welsh quilting tradition that makes quilts from this part of the world unique. By setting the quilts amongst a backdrop of Welsh hats and costumes, the exhibition strikingly demonstrates how a working tradition can become beautiful works of art when created by exceptionally skilled workers. The quilts on show represent some of the very best ever made in the Welsh tradition. Many of them have never been seen before. For all these reasons, they will surprise and delight visitors!
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The exhibition has been designed by Gwenllian Ashley.
This exhibition is now closed
Canadian, Ron Simpson began collecting antique quilts whilst working in the theatres of both Canada and New York, and was responsible for the inception and initial success of what is now the Quilt Association in Llanidloes, Mid Wales.
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Time With Tony
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Thank You HQJune 28th 2009 7:33 pm
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We tried without success to send a thank you to HQ for the beautiful fireworks display. So we are using our diary to send a great big Fourth of July Thank You! We appreciate Catster so much and wish all a wonderfur Fourth!
Am I At The Beach?June 21st 2009 4:38 am
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Summer is officially here. Muppet the exclusive Interior Decorator came over last night and wallpapered my room. Now it feels like i am living at the beach! She painted a banner that makes me feel like jumping into the picture for a swim. Now my room is all set for some summer fun!
What A Wonderfur Week!June 2nd 2009 2:17 pm
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This has just been a fabulous week for me! Again I want to thank every fur who came to visit - it was so much fun! And I have a few more thank yous to add to my list:
With a Full Heart and a Full GiftboxMay 28th 2009 6:20 pm
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More thank you's! I have had more visitors coming by to say Concats and bring prezzies! It is so much fun to see everyone and it has made me realize how many wonderful friends we have on Catster.
OMC!May 27th 2009 4:28 pm
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Amazing ~ absolutely amazing!! I am overwhelmed by all my Catster friends who have come by to visit and leave gifts.
WHO ME?May 26th 2009 5:26 pm
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You just won't believe it!! The phone rang ~ and momcat started squealing "My Tony Are you sure it's Tony!" Oh my gosh, mom i promise i didn't do anything. I've been good all day. I even gave Anna my favorite seat in the front window.
Easter BlessingsApril 12th 2009 6:34 am
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~God bless you at Easter
A New Look For My RoomMarch 24th 2009 8:46 pm
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Anyfur who has dropped by to visit will have noticed my terrific new wallpaper. My sweet friend Muppet (who is now a certified wallpaper hanger) came over and helped us wallpaper and paint. she is also an Interior Designer, as you can tell because everything flows together so purrfectly.
March 14th 2009 8:07 am
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I wanted to add a couple more Thank Yous to my list -
WHAT? ME? A DDP?March 13th 2009 7:46 pm
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It was one of the few mornings mom didn't check out Catster before she left for work --
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