text:
Abe's Penny Micro-Magazine
Abe's Penny
Limited Edition Art Journal of new photography and literature featuring photography by Sanford Biggers and text by Anike Robinson.
Agnieszka Kurant: exformation
SculptureCenter Publications
SculptureCenter is pleased to present the first solo exhibition in the United States by Polish artist Agnieszka Kurant. Kurant's work explores the hybrid status of objects and the ways in which rumors and fictions become phantom capital and enter into social, economic, and political systems of the contemporary world. This publication, featuring text by Diedrich Diederichsen and Curator Mary Ceruti, accompanies the exhibition.
Aki Sasamoto: Delicate Cycle
Working at the intersection of performance and sculpture, Sasamoto creates object scenarios out of narratives and actions. For her exhibition in SculptureCenter's lower level galleries, her first solo show in a U.S. museum, Sasamoto has created a new body of work in relation to the site. This fully illustrated publication includes texts by SculptureCenter Curator Ruba Katrib and Jody Graf, a New York-based writer and curator, with a contribution by Sasamoto.
Anthea Hamilton: Lichen! Libido! Chastity!
Anthea Hamilton features new and existing works for her first solo museum exhibition in the United States. Investigating cultural appropriation and pop culture, Hamilton mines countercultures in music, fashion, and design (such as disco in the 1970s) and their entrance into the mainstream. Hamilton questions the representation of cultural phenomena through popular media in her sculptures and videos.
Araya Rasdjarmrearnsook
SculptureCenter is pleased to present Araya Rasdjarmrearnsook, the Thai artist's first retrospective in the United States. The exhibition is accompanied by a catalog featuring texts by Ruba Katrib, SculptureCenter Curator, and Arnika Fuhrmann, a scholar focused on the aesthetic and political modernities of Southeast Asia.
Ariella Azoulay: The Civil Contract of Photography
Zone Books
In this compelling work, Ariella Azoulay reconsiders the political and ethical status of photography. Describing the power relations that sustain and make possible photographic meanings, Azoulay argues that anyone—even a stateless person—who addresses others through photographs or is addressed by photographs can become a member of the citizenry of photography. The civil contract of photography enables anyone to pursue political agency and resistance through photography.
Photography, Azoulay insists, cannot be understood separately from the many catastrophes of recent history. The crucial arguments of her book concern two groups with flawed or nonexistent citizenship: the Palestinian noncitizens of Israel and women in Western societies. Azoulay analyzes Israeli press photographs of violent episodes in the Occupied Territories, and interprets various photographs of women—from famous images by stop-motion photographer Eadweard Muybridge to photographs from Abu Ghraib prison. Azoulay asks this question: under what legal, political, or cultural conditions does it become possible to see and to show disaster that befalls those who can claim only incomplete or nonexistent citizenship?
Drawing on such key texts in the history of modern citizenship as the Declaration of the Rights of Man together with relevant work by Giorgio Agamben, Jean-Francoise Lyotard, Susan Sontag, and Roland Barthes, Azoulay explores the visual field of catastrophe, injustice, and suffering in our time. Her book is essential reading for anyone seeking to understand the disasters of recent history—and the consequences of how these events and their victims have been represented.
Better Homes
Better Homes (April 22-July 22, 2013), a group exhibition of artists examining the construction of the interior, is accompanied by a full color publication with a text by SculptureCenter Curator Ruba Katrib and a contribution by poet Ariana Reines.
Featured artists include: Jonathas de Andrade, Neïl Beloufa, Keith Edmier, LaToya Ruby Frazier, Robert Gober, Tamar Guimarães, Anthea Hamilton, E'wao Kagoshima, Yuki Kimura, KwieKulik, Paulina Olowska, Kirsten Pieroth, Josephine Pryde, Carissa Rodriguez, Martha Rosler, and Güneş Terkol
Cercle d'art des travailleurs de plantation congolaise
Sternberg Press
Cercle d'art des travailleurs de plantation congolaise (FR/ENG), edited by Eva Barois De Caevel and Els Roelandt, offers a first report on the activities of the CATPC in Lusanga. A unique gathering of individuals, an atelier, and an experimental test garden, the CATPC is an exceptional contemporary practice for rethinking postcolonial power relations within the global art world.
Cercle d'Art des Travailleurs de Plantation Congolaise
The Cercle d'Art des Travailleurs de Plantation Congolaise (CATPC) is an art collective founded in 2014 in the Democratic Republic of the Congo. First molded from clay and then cast in chocolate, CATPC's sculptures are made collaboratively and their materials refer back to and overwrite the exploitative economics of global trade. So far plantation labor has funded the art world; here art funds the emergence of a new type of post-plantation. The CATPC reinvests profits from sales of these artworks in self-owned agricultural production throughout Congo, provoking questions about the division between those who should work on plantations and those who are allowed to reflect on this.
Plantation workers Djonga Bismar, Matthieu Kilapi Kasiama, Cedrick Tamasala, Mbuku Kimpala, Mananga Kibuila, Jérémie Mabiala, Emery Mohamba, and Thomas Leba, ecologist René Ngongo, and the Kinshasa-based artists Michel Ekeba, Eléonore Hellio, and Mega Mingiedi are the CATPC's leading personalities. In collaboration with their sister organization the Institute for Human Activities (IHA), founded by Dutch artist Renzo Martens and active in the Congo since 2012, CATPC is currently building the Lusanga International Research Center for Art and Economic Inequality (LIRCAEI) on a former Unilever plantation in Lusanga, Democratic Republic of the Congo.
Cosima von Bonin: Who's Exploiting Who in the Deep Sea?
Who's Exploiting Who in the Deep Sea?, Cosima von Bonin's first solo museum exhibition in New York City, examines the German artist's fascination with the sea. Commonly evoked in her works, but rarely made explicit, the ocean is an organizing thematic for this show that focuses on a selection of her sculptures from 2000 onwards.
David Joselit: After Art
Princeton University Press
Art as we know it is dramatically changing, but popular and critical responses lag behind. In this trenchant illustrated essay, David Joselit describes how art and architecture are being transformed in the age of Google. Under the dual pressures of digital technology, which allows images to be reformatted and disseminated effortlessly, and the exponential acceleration of cultural exchange enabled by globalization, artists and architects are emphasizing networks as never before. Some of the most interesting contemporary work in both fields is now based on visualizing patterns of dissemination after objects and structures are produced, and after they enter into, and even establish, diverse networks. Behaving like human search engines, artists and architects sort, capture, and reformat existing content. Works of art crystallize out of populations of images, and buildings emerge out of the dynamics of the circulation patterns they will house.
Examining the work of architectural firms such as OMA, Reiser + Umemoto, and Foreign Office, as well as the art of Matthew Barney, Ai Weiwei, Sherrie Levine, and many others, After Art provides a compelling and original theory of art and architecture in the age of global networks.
Erika Verzutti: Swan with Stage
Erika Verzutti presents a new body of sculptures and images in her first solo exhibition in New York City. Working between synthetic and organic materials, Verzutti creates hybrid objects and situations that interrogate relationships between forms and bodies. The exhibition is accompanied by a catalog featuring a text by Ruba Katrib, SculptureCenter Curator.
Gabriel Sierra: Numbers in a Room
Gabriel Sierra has created a new group of work in SculptureCenter's lower level galleries for his first solo museum exhibition in New York City. Working site-specifically, Sierra follows the architecture and design logic and functions of interior spaces. Using narrative as a guiding principle, he creates frameworks that reconfigure the scale and geometry of the space and its objects.
Hi, what are you doing? J' ...chillin' ...
Rona Yefman
Sommer Contemporary Art
How Does it Feel?
Inquiries into Contemporary Sculpture
SculptureCenter & Blackdog Publishing
SculptureCenter's series of books titled Inquiries into Contemporary Sculpture is a dedicated examination into what working sculpturally means today. This three-part book project takes an earnest look at what constitutes, excites, entangles, and necessitates ideas and questions around sculpture now. The second volume is titled How Does it Feel? and examines sensory aspects of contemporary sculpture that go beyond the visual. The publication circles sculpture?s affective range and bodily evocations.
How Does it Feel? is co-published with Black Dog Publishing, London, UK and edited by Mary Ceruti and Ruba Katrib with contributions by: Tauba Auerbach, Alexander Dumbadze, Casey Jane Ellison, Lawrence Abu Hamdan, Gelitin, Liz Glynn, Rochelle Goldberg, Ruba Katrib, Josh Kline, Adriana Lara, Lars Bang Larsen, Lynn Hershmann Leeson, Chus Martínez, Jeanine Oleson, Magali Reus, Aki Sasamoto, Jenni Sorkin, Jennifer Teets, Anicka Yi, and Mika Yoshitake.
In Practice: Fantasy Can Invent Nothing New
Annual open-call exhibition for emerging artists with a focus on the production of new work. The title of this exhibition, taken directly from Freud's lecture on dreams, is a sentence stopped midway. He completes the thought by stating that the creative process of the mind can only regroup elements from already existing sources—that any one creative fantasy is a work of translating what one knows of reality into an imaginary space. The exhibition, organized from proposals for new work submitted through SculptureCenter's annual open call, borrows from the operation of the dream composite—what Freud termed "condensation"—to foreground practices that employ the means of combining and blending often contradictory elements into a collective image. The artists in the exhibition each propose fantastical places or narratives that are differentiated by distinct material approaches.
In Practice: Material Deviance
Annual open-call exhibition for emerging artists with a focus on the production of new work. Informed by encounters with the quotidian, unassuming stuff of life and its circulation, the artists included in Material Deviance connect material and bodily processes with social and infrastructural ones. The artists look to irregularities, glitches, gaps, residues, and altered states - either found or enacted - as a means of accessing the latent histories of materials in order to expose underlying systems of power, regulation, value, and control. While these systems inevitably shape the movement of bodies through the world (both at the level of the individual and the social), the works on view reveal the cracks where counter-movements and improvisational modes of being and perceiving are possible.
The exhibition features newly commissioned works by Lauren Bakst & Yuri Masnyj, Olivia Booth, Kim Brandt, Crystal Z Campbell, Danielle Dean, Ilana Harris-Babou, Jesse Harrod, Candice Lin and Patrick Staff, Virginia Lee Montgomery, Kate Newby, Barb Smith, Marian Tubbs, and Jessica Vaughn.
In Practice: Material Deviance is curated by SculptureCenter's 2017 Curatorial Fellow Alexis Wilkinson.
Inquires Into Contemporary Sculpture
3-Book Set
SculptureCenter & Blackdog Publishing
SculptureCenter's series of books titled Inquiries into Contemporary Sculpture is a dedicated examination into what working sculpturally means today. The project takes an earnest look at what constitutes, excites, entangles, and necessitates ideas and questions around sculpture now.
This 3-book set includes each volume of the series so far: Where is Production?, What About Power?, and How Does it Feel?
Inquires Into Contemporary Sculpture is co-published with Black Dog Publishing, London, and edited by Mary Ceruti and Ruba Katrib.
Judith Hopf Limited Edition Tote Bag
Related to her sculptural work in Puddle, pothole, portal, Judith Hopf has created this limited edition tote bag featuring some of her charming sheep. Printed on Eco-friendly canvas.
Liz Glynn: RANSOM ROOM
RANSOM ROOM, Liz Glynn's first solo project in a New York museum, is a continually evolving installation exploring the ramifications of cultural destruction.
Magali Reus: Spring for a Ground
SculptureCenter is pleased to present a new body of work by Dutch-born, London-based artist Magali Reus. Spring for a Ground is Reus' first solo museum exhibition in the United States. The exhibition is accompanied by a catalog featuring a text by Ruba Katrib, SculptureCenter Curator.
Magali Reus: Spring for a Ground / Particle Of Inch / Halted Paves / Quarters
Mousse Publishing, Milan
In the spring of 2015, Magali Reus (born 1981 in the Hague, the Netherlands; based in London) opened the first in a series of four exhibitions of new work co-commissioned and presented by SculptureCenter, New York; Hepworth Wakefield, England; Westfälischer Kunstverein, Münster, Germany; and Fondazione Sandretto Re Rebaudengo, Turin, Italy. The culmination of these collaborative projects is documented in this publication, marking an important chapter in the evolution of Reus' work.
Michael E. Smith: -
SculptureCenter is pleased to announce Michael E. Smith's first major solo museum exhibition in the United States. The exhibition presents new works created specifically for SculptureCenter's lower level galleries. These new sculptures and videos further Smith's investigation into the complex existence of things. The exhibition is accompanied by a catalog featuring a text by Ruba Katrib, SculptureCenter Curator.
Michael Taussig: Mimesis and Alterity
In Mimesis and Alterity Taussig undertakes and eccentric history of the mimetic faculty. He moves easily from the nineteenth-century invention of mimetically capacious machines, such as the camera, backwards to the fable of colonial "first contact" alleged mimetic prowess of "primitives," and then forward to contemporary time, when the idea of alterity is increasingly unstable. Utilizing anthropological theory, Taussig blends Latin American ethnography and colonial history with the insights of Walter Benjamin, Adorno and Horkheimer. Vigorous and unorthodox, Taussig's understanding of mimesis in different cultures deepens our meaning of ethnography, racism and society.
Rochelle Goldberg: The Plastic Thirsty
SculptureCenter is pleased to announce the first solo institutional exhibition by Rochelle Goldberg. Born in Vancouver, Canada, she is currently based in New York City. This fully illustrated publication contains an essay by SculptureCenter Curator Ruba Katrib.
Rossella Biscotti, David Douard, Radamés "Juni" Figueroa "Juni" Figueroa, and Jumana Manna
SculptureCenter presents new work by four artists, Rossella Biscotti: The Undercover Man, David Douard: )juicy o'f the nest, Radamés "Juni" Figueroa: NAGUABO RAINBOW DAGUAO ENCHUMBAO FANGO FIREFLIES, and Jumana Manna: Menace of Origins, each artist to have a solo project in an U.S. institution for the first time.
Sanford Biggers: Sweet Funk - An Introspective
Brooklyn Museum
New York-based artist Sanford Biggers challenges and reinterprets symbols and legacies that inform contemporary America. This exhibition, a focused selection of thirteen pieces, is Biggers' first museum presentation in New York. It also marks the Brooklyn debut of Blossom (2007), a large-scale multimedia installation that incorporates references ranging from lynchings to Buddha's enlightenment under the bodhi tree. The book features illuminating essays by Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art at the Brooklyn Museum, and the noted critic Gregory Volk.
Simon Gikandi: Slavery and the Culture of Taste
Princeton University Press
It would be easy to assume that, in the eighteenth century, slavery and the culture of taste—the world of politeness, manners, and aesthetics—existed as separate and unequal domains, unrelated in the spheres of social life. But to the contrary, Slavery and the Culture of Taste demonstrates that these two areas of modernity were surprisingly entwined. Ranging across Britain, the antebellum South, and the West Indies, and examining vast archives, including portraits, period paintings, personal narratives, and diaries, Simon Gikandi illustrates how the violence and ugliness of enslavement actually shaped theories of taste, notions of beauty, and practices of high culture, and how slavery's impurity informed and haunted the rarified customs of the time.
Gikandi focuses on the ways that the enslavement of Africans and the profits derived from this exploitation enabled the moment of taste in European—mainly British—life, leading to a transformation of bourgeois ideas regarding freedom and selfhood. He explores how these connections played out in the immense fortunes made in the West Indies sugar colonies, supporting the lavish lives of English barons and altering the ideals that defined middle-class subjects. Discussing how the ownership of slaves turned the American planter class into a new aristocracy, Gikandi engages with the slaves' own response to the strange interplay of modern notions of freedom and the realities of bondage, and he emphasizes the aesthetic and cultural processes developed by slaves to create spaces of freedom outside the regimen of enforced labor and truncated leisure.
Through a close look at the eighteenth century's many remarkable documents and artworks, Slavery and the Culture of Taste sets forth the tensions and contradictions entangling a brutal practice and the distinctions of civility.
The Eccentrics
The figure of the "eccentric"—a term for Russian circus performers used in the early 20th century—refers to the clowns, magicians, and acrobats who were the forerunners to the comic actors that inhabited the newly created space of film. A mode of popular entertainment that links ancient and modern technologies, the structural, emotional, and cognitive effects of the circus operate as an abstract framework for this group exhibition and performance program. This fully illustrated publication contains texts by SculptureCenter Curator Ruba Katrib and curator and writer Mark Beasley.
Thirty-Three Stories about Reasonable Characters in Familiar Places
Iman Issa
Written by the artist, the book Thirty Three Stories About Reasonable Characters in Familiar Places (2011) comprises a series of vignettes that examine events occurring in highly specific sites. The book was presented in the space for Short Srories, Part One: Iman Issa and Ben Schumacher.
Time Again
Time Again is accompanied by an exhibition catalog featuring texts by Richard Aldrich, Moyra Davey, Jacob King, William E. Jones, Isla Leaver-Yap, Fionn Meade and Steve Roden. With a special contribution by NOVEL.
Tue Greenfort: Garbage Bay
SculptureCenter Publications
SculptureCenter is pleased to announce the first US solo exhibition of Danish artist Tue Greenfort, whose interdisciplinary practice deals with the overlap of public and private realms, natural and cultural history. The exhibition is accompanied by a full color publication with a text by SculptureCenter Curator Ruba Katrib and writer and curator Adam Kleinman.
What About Power?
Inquiries into Contemporary Sculpture
SculptureCenter & Blackdog Publishing
SculptureCenter's series of books titled Inquiries into Contemporary Sculpture is a dedicated examination into what working sculpturally means today. This three-part book project takes an earnest look at what constitutes, excites, entangles, and necessitates ideas and questions around sculpture now. The second volume is titled What about Power? and looks at the contemporary intersections of power and sculpture. From ritual to monument, sculpture has been embedded within various power dynamics, whether political, spiritual, erotic, or otherwise.
What about Power? is co-published with Black Dog Publishing, London, UK and edited by Mary Ceruti and Ruba Katrib with contributions by: Rosella Biscotti, Gregg Bordowitz, Tom Burr, María del Carmen Carrión, Herman Chong, Dominic Eichler, Malik Gaines, Gordon Hall, Anthea Hamilton, Jörg Heiser, Andria Hickey, Candice Hopkins, Chris Kraus, Margaret Lee, Jumana Manna, Araya Rasdjarmrearnsook, Carissa Rodriguez, Katy Siegel, Susanne Winterling, Emiliano Valdéz, and W.A.G.E.
Where is Production?
Inquires Into Contemporary Sculpture
SculptureCenter & Blackdog Publishing
SculptureCenter's new series of books titled Inquiries into Contemporary Sculpture is a dedicated examination into what working sculpturally means today. This three-part book project takes an earnest look at what constitutes, excites, entangles, and necessitates ideas and questions around sculpture now. The first volume is titled Where is Production? and looks at the increasingly multifaceted modes and sites of production in contemporary sculpture. What does "production" encompass today, and how does it inform and lead sculptural practice?
Where is Production? is co-published with Black Dog Publishing London UK and edited by Mary Ceruti and Ruba Katrib with contributions by: Ei Arakawa, Darren Bader, Nina Beier, Carol Bove, Ian Cheng, Brian Droitcour, Tue Greenfort, Camille Henrot, Miki Kaneda, Ruba Katrib, Michelle Kuo, Pablo León de la Barra, Shahryar Nashat, Gabi Ngcobo, Trevor Paglen, Pavel S. Pys, Joao Ribas, Karin Schneider, Claire Staebler, Francesco Stocchi, and Fred Wilson.
Novel ~ Issue Two
Issue Two contributors include:
Karolin Meunier, Cyprien Gaillard, Mark Leckey, Barry MacGregor, Johnston and Stephen G. Rhodes, Emily Wardill, Paul Chan, Anna Barham, Melanie Gilligan, Nathan Hylden, Karl Holmqvist, Nicholas Byrne, Ryan Gander, Simon Denny, Michaela Eichwald, Oscar Tuazon, Henri Chopin, Ed Atkins, Christoph Buchel
Novel draws together artists writing, texts and poetry that oscillate between modes of fiction and criticism. A cacophony of voices, that is the primary condition of writing, seek to break the habitual methods of representation and productions of subjectivity. Disconnected from any unitary theme these texts coalesce around writing as a core material of a number of artists exploring language and fiction. This fiction acts as a speculative force, no longer defined by what is said, even less by what makes it a signifying thing, but perhaps as a mode that exists parallel to the visual. Here, art writing is an apparatus for knowledge capture, informed by theory, film, politics and storytelling; writing as parallel practice, different, tangential; writing as political fiction; writing as another adventure on the 'skin drive', renegotiating unfulfilled beginnings or incomplete projects - that might offer points of departure. Amidst the insinuated narratives and materialised visions there is a concern for writing and the impossibility of fiction which is at stake. Novel asks us to think of writing as something distinct from information, as at least one realm of cultural production that is exempt from the encompassing obligation to communicate.
Puddle, pothole, portal
Puddle, pothole, portal is accompanied by a full-color publication with texts by Ruba Katrib; Spyros Papapetros, Associate Professor of History and Theory of Architecture at Princeton University; an English translation and reprinting of Serge Daney's 1988 text, "The Last Temptation of the Toons" and a visual essay by Camille Henrot. The publication will be available at SculptureCenter and through ARTBOOK | D.A.P.
Ursula von Rydingsvard: Working
SculptureCenter / Prestel (2011)
This beautifully produced catalog surveys the past thirty years of Ursula von Rydingsvard's immense abstract sculptures, often shaped from cedar beams. Published by SculptureCenter and Prestel to accompany the exhibition Ursula von Rydingsvard: Sculpture 1991-2009.
A Disagreeable Object
SculptureCenter (2012)
A Disagreeable Object (September 15-November 26, 2012), a group exhibition of contemporary artists exploring surrealist impulses, is accompanied by a full color publication with a foreward by SculptureCenter Executive Director Mary Ceruti and an essay by SculptureCenter Curator Ruba Katrib.
Featured artists include: Alisa Baremboym, Alexandra Bircken, Ian Cheng, Talia Chetrit, Martin Soto Climent, FOS, Aneta Grzeszykowska, Camille Henrot, Alicja Kwade, Charles Long, Sarah Lucas, Ann Cathrin November Høibo, Matthew Ronay, Pamela Rosenkranz, Michael E. Smith, Johannes VanDerBeek, Andro Wekua, Susanne M. Winterling and Anicka Yi.
Knight's Move
SculptureCenter (2010)
A survey of new sculpture in New York, Knight's Move is accompanied by an exhibition catalog featuring profiles of the nineteen participating artists, a curator's essay, and design by Chad Kloepfer.
Uri Aran, David Brooks, Carter, Nikolas Gambaroff, Tamar Halpern, Alex Hubbard, Esther Kl™ Daniel Lefcourt, Joanna Malinowska, Ohad Meromi, Virginia Poundstone, Cassie Raihl, Erin Shirreff, Alexandre Singh, Matt Sheridan Smith, Mika Tajima, Tom Thayer, Sara VanDerBeek, Allyson Vieira. Curated by Fionn Meade.
Lara Schnitger: It Ain't Gonna Lick Itself
Anton Kern Gallery (2005)
This publication accompanies the Lara Schnitger exhibition held at Anton Kern Gallery, New York, Sep 8-Oct 9, 2005. In conjunction with the installation Blacks on Blondes held at Triple Candie, New York, Sep 11-Oct 9, 2005. Foreward by Lisa Mark.
Charta (2006)
For the past 10 years, John Lovett and Alessandro Codagnone have been working collaboratively as Lovett/Codagnone. Their performance work and video installations explore power relations, both as manifested in explicit cultural signifiers like S/M and in clandestine or unconscious practices. Previous photography-based collaborations displaced gay subcultural signifiers into suburban environments or urban public spaces. In more recent works, the audience is confronted with an appropriation of theatrical fallout, scripted communication that makes up patterns of interaction and dysfunction within family structures. The complexity of human dynamics is explored and re-delivered, often through the distilling of a pose that demands intensity and endurance. Lovett/Codagnone™strenuous performances convey uncomfortable and complex relationships in which the only constant is ever-shifting power roles.
SculptureCenter Tote Bag
Our signature cotton tote bag now available in black and burgundy. Please specify color choice in Customer Notes when placing order.
Dance Beats for Baby
Mike Kelley
Compound Annex
A Voyage of Growth and Discovery
Mike Kelley Presents
Dance Beats for Baby
with BABY IKKI
Audio CD with 14 tracks
Mike's World
Blanton Museum of Art (2007)
Mike's World takes a tightly focused view of a single Michael Smith performance persona, "Mike," as it has developed over the course of many years and through innumerable presentation formats. The character Mike functions metaphorically as a kind of ever-hopeful Candide, adrift in a world of rapid technological advances that he seems incapable of fully comprehending, and stymied by the depersonalization and isolation that have accompanied late twentieth-century life. Ironic in its sharp personification of failure, but also hilarious and poignant, Smith's work mirrors our most human concerns about competency and comfort. Underscoring the hybrid nature of Smith's art, the works reproduced in this colorful paperback book also highlight his last decade of video and installation collaborations with artist-director Joshua White. With contributions by Michael Smith, Jay Sanders, Mike Kelley, Ingrid Schaffner and Regine Basha.
Alice Aycock, Sculpture and Projects
The MIT Press (2005)
"In Alice Aycock: Sculpture and Projects, Robert Hobbs examines the development of Aycock's work over twenty years and her negotiation-along with other artists who came of age in the early 1970s-of the transition from modernism to postmodernism."
Tom Burr: Extrospective, Works 1994-2006
JRP | Ringier (2006)
Edited by Florence Derieux. Texts by Stuart Comer, George Baker, Cerith Wyn Evans.
"Tom Burr (born in 1963, in New Haven, Connecticut) is an American artist whose work--photographs, drawings, sculptures and installations--revisits the formal vocabulary of the avant-gardes of the 1960s, in particular Minimalism and post-Minimalism, and mixes together pop iconography, homosexual culture, underground aesthetics, musical, cinematographic and literary influences and contemporary architecture and design."
Christian Tomaszewski
On Chapels, Caves and Erotic Misery
Kerber Verlag (2007)
"Christian Tomaszewski creates imaginary rooms in which mysterious events might happen. These rooms speak of unfulfilled dreams, wishes and longings. The project On Chapels Caves and Erotic Misery began in 2004 in the Luxe Gallery in Łódź and the Kunstsammlungen Chemnitz and there are to be new versions for the Kunstforum Ostdeutsche Galerie Regensburg and finally for SculptureCenter in New York City 2007."
Print-Out #1
SculptureCenter / Blankbox Projects (2007)
Print-Out #1 was produced by SculptureCenter under the curatorial direction of resident curator Sarina Basta. Print-Out simultaneously acts as a publication and a limited edition, where the reader acts as the editor and a participant in its production. There are four components, an expansive grouping of texts from exciting contemporary artists and writers, image based works, music and readings in CD format, and Quicktime video. Readers are encouraged to print out the texts and images of their choosing.
Print Out is organized by Sarina Basta and Paul-Aymar Mourge d'Algue
Vito Acconci, Cory Archangel, Katia Bassanini, Olaf Breuning, John Giorno, Gareth James, Marie-Eve Jetser, Carl June, Jutta Koether, Maria Mirabel, Olivier Mosset, Paul-Aymar Mourgue d'Algue, New Humans, Nils Norman, Frederic Post, Seth Price, Wilken Schade & Co., Shirina Shabazi, Reena Spaulings, Kelley Walker.
Make It Now: New Sculpture in New York
SculptureCenter (2005)
Make It Now: New Sculpture in New York, a survey exhibition of recent sculpture by New York-based artists, from May 15 -- July 31, 2005. Resulting from extensive research and over two hundred studio visits, this exhibition identified specific new directions in sculpture today. This current generation of artists is locating new currency in art historical styles and aesthetic conventions, from the Baroque to minimalism, from the Classical to Pop. Revisiting traditional forms, these artists use a broad range of materials with invention and provocation and share a practical idealism about art's ability to address belief, politics, identity and human nature. Forward by Mary Ceruti. Essay by Anthony Huberman.
Architectures Of Gender:
Contemporary Women's Art In Poland
National Museum in Warsaw (2003)
Architectures Of Gender: Contemporary Women's Art In Poland, the first group show of Polish art to be mounted in New York since 1976. Conceived and designed specifically for SculptureCenter by one of Europe's foremost curators of contemporary art, Aneta Szylak, it is also the first major introduction of contemporary Polish women artists to the New York public. Many of these artists have never exhibited in
the United States before.
Izabella Gustowska, Elzbieta Jablonska, Katarzyna Jozefowicz, Agnieszka Kalinowska, Katarzyna Kozyra, Zofia Kulik, Natalia LL, Dorota Nieznalska, Hanna Nowicka-Grochal, Paulina Olowska, Anna Plotnicka, Jadwiga Sawicka, Dominika Skutnik, Monika Sosnowska, Julita Wojcik, Karolina Wysocka
Jimbo Blachly: 2002 SculptureCenter Prize
SculptureCenter (2003)
For About 86 Springs, Jimbo Blachly exhibited work that explored aspects of landscape and natural history, themes that are recurrent in his work. Based on the book Springs and Wells of Manhattan and the Bronx New York City at the End of the Nineteenth Century by James Reuel Smith (published in 1938 by the New York Historical Society), About 86 Springs reflects on a dialogue between nature and time through sculpture.
Alan Finkel: SkyCube
SculptureCenter (2001)
The 2001 SculptureCenter Prize was awarded to artist Alan Finkel. Rather than mounting a gallery exhibition, SculptureCenter and Finkel hosted a reception and open houses at SkyCube, Finkel's live/work space on the Lower East Side of Manhattan. SculptureCenter also published a catalog, titled SkyCube, documenting three decades of Finkel's work with a beautiful series of texts by Arlene Raven. SkyCube is simultaneously a work of art and architecture and showcases Finkel's practice which often involves gentle interventions or quiet arrangements. Finkel collaborated with architect Michael Schwarting on this project over three years.
Grey Flags
SculptureCenter (2006)
Grey Flags, a catalogue published in conjunction with the exhibition of the same name curated by Anthony Huberman and Paul Pfeiffer. Comprised of nineteen artists with significant individual differences, Grey Flags assembles a group of works that not only resist categorical branding, but also go on in different ways to challenge the very terms of the "arts-apparatus."
John Armleder, Lutz Bacher, Helen Chadwick, Tacita Dean, Claire Fontaine, Liam Gillick, Piero Golia, Michael Krebber, Jonathan Monk, Gabriel Orozco, The Atlas Group / Walid Raad, Allen Ruppersberg, Seth Price, Wilhelm Sasnal, Karin Schneider, Shirana Shahbazi, Kelley Walker, Apichatpong Weerasethakul, Mario Ybarra Jr.


text:
In this final chapter of the epic adventure, Perseus comes face to face with his greatest challenge ever... and the life of his infant son, and every other life in the kingdom of Argos, is at stake! Have the gods abandoned Perseus in his hour of need? For the first time without divine aid, Perseus must make his stand, prove his mettle, and confront the surprising twists that await. Although his heroic stature in the annals of legend is secure, his destiny and his legacy may be in doubt.
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Prices and availability are subject to change from the time and date that you print this page.
For Customer Service, please call 800.967.6696
Product Description
victorian lite. Airy rattan accent slicks up a nouveau take on tradition. Handwoven of natural rattan, breezy seat and back keep things light, framed in solid mahogany lacquered hi-gloss white. Fluid, modern curves wink at Victorian lines, from soft slope down the arms that hug in a wrap-around swoop, to subtle curve of legs. Coordinating cushion pops in graphic contrast, woven of black linen/poly.
- Frame: Mahogany wood painted white, finished with hi-gloss lacquer
- Seat/back: Handwoven rattan
- Rattan color and weave gauge may vary; each is unique
- Foam cushion is covered in linen/poly weave
tayabas cane side chair and black cushion
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text:
ED Magedson – Founder
Ripoff Report
SojagInternet Canada
Sojag Inferior product Internet
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Corporate Advocacy Program™
We purchased 2 Sojag hardtop gazebos from Costco and have so many holes in the top from rain and small (very small) hail that the gazebos look ridiculous. I have also tried to find a contact email and/or accessories section to purchase mosquito netting and clips. I have had no luck. Very dissatisfied with product, company and access to accessories which are not available in my area (Missouri)! I would not recommend them to anyone!!!
This report was posted on Ripoff Report on 06/06/2013 01:50 PM and is a permanent record located here: http://www.ripoffreport.com/reports/sojag/internet/sojag-inferior-product-internet-1056996. The posting time indicated is Arizona local time. Arizona does not observe daylight savings so the post time may be Mountain or Pacific depending on the time of year.
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News, Events & Stories Tagged Zerodent
Zerodent, No Repent
From Gonerfest in Memphis to RTRFM's Shady Lane. On Saturday 26 November we're taking over Badlands […]more
Shady Lane
Roll up for Shady Lane – a 12-hour street party at Badlands Bar, featuring a pre-65 […]more
Zerodent are Goners
Goner Fest has celebrated punk and garage rock from around the world in Memphis, Tennessee. It […]more


text:
ED Magedson – Founder
Ripoff Report
EMF GroupInternet USA
EMF Group EMF Group, emfgroup.co Worst Company EVER!!! Don't do ANY business with them! Internet
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Fix it the right way.
Corporate Advocacy Program™
Worst company ever. Don't do ANY business with them. Provided them with some work, but never got paid. Their emfgroup.co is not coming up anymore. STAY AWAY FROM THEM!
This report was posted on Ripoff Report on 07/29/2013 10:04 AM and is a permanent record located here: http://www.ripoffreport.com/reports/emf-group/internet/emf-group-emf-group-emfgroupco-worst-company-ever-dont-do-any-business-with-them-i-1070954. The posting time indicated is Arizona local time. Arizona does not observe daylight savings so the post time may be Mountain or Pacific depending on the time of year.
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DAVID BENTLEY has quit Spurs… for Russian also-rans FC Rostov.
The Tottenham misfit will spend a year on loan at the club, who are currently
13th in the 16-team Russia league.
Seven-cap midfielder Bentley had knee surgery last October after picking up a
serious injury while on loan at West Ham.


text:
Self-storage company CubeSmart (CUBE) has been increasing its dividend since early 2011.
The quarterly dividend payout rose from 2.5 cents a share in 2010 to 13 cents a share in January and April.
This gives CubeSmart the best dividend growth rate among the self-storage stocks, but it carries an asterisk. CubeSmart slashed its dividend twice during the recession.
The current dividend works out to an annualized yield of 2.9%, which is the lowest vs. three other storage stocks in the Finance-Property REIT industry group.
The three other stocks are ExtraSpace Storage (EXR), Public Storage (PSA) and Sovran Self Storage (SSS).
Apart from the best dividend growth rate of the four, CubeSmart has the best up-down volume ratio — 1.7 which is well above the neutral 1.0.
CubeSmart is working on a first-stage base.
As a stock advances, it pauses to consolidate. A breakout from a first- or second-stage base is more likely to work than those from later-stage bases.
The stock cleared an 18.18 buy point in a handle April 15, but there were three drawbacks. The market was in correction; volume didn't meet the desired 40% minimum increase; and the handle was low in the base. Research shows that a breakout from a low handle is more likely to fail.
However, CubeSmart could get a second shot. The stock is sketching a new handle with an 18.76 buy point.
Funds from operations increased 32%, 10% and most recently 25% in the past three quarters. Revenue stepped up 19%, 14% and 17% in the same period.
Demand for storage is tied to people moving, discretionary spending and the general economy. Rates for storage units have been rising, CEO Chris Marr said Friday, as he discussed the latest results. The entire industry is doing well, Marr said.


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Editor's notes
Fill your home with the sweet and earthy scent of this fragranced candle, featuring Byredo's Peyote Poem scent.
Product features
• Top: juniper berries, clove buds
• Heart: tonka bean, hyacinth, fir
• Base: vanilla, black amber, patchouli
• Burns for approximately 60 hours
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text:
Getting to Know the Bible
€ 6,99
Besorgung - Lieferbarkeit unbestimmt
November 2006
BeschreibungMany people would like to read the Bible but do not know where to begin since it is not the type of book you can just pick up and read cover-to-cover. To understand the various books of the Bible, we need to know the history of Jesus' people and their relationship with God. Father John Daley has prepared this brilliant little guide to help familiarize parishioners with the Bible. In this edition, short summaries of Old Testament literature are interspersed with detailed summaries of the Gospels and other New Testament books. A historical chronology has also been included and the dates that each book was written. Excellent for high school through adults.
Untertitel: Sprache: Englisch.
Verlag: LIGUORI PUBLICATIONS
Erscheinungsdatum: November 2006
Seitenanzahl: 64 Seiten
Format: kartoniert


text:
Mike Warren is a tenkara guide in the Driftless Area of South Western Wisconsin, and small streams of southern LaCrosse, northern Vernon and western Monroe counties.
From Mike:
I have been using tenkara USA products for about two years and integrated it into my guiding in 2013 as an option to western rigs. I have found that people truly enjoy the simplicity even those that have some deeper western rig experience. The skinny streams here are a perfect site to use the application. I was originally introduced to tenkara via some YouTube video and seeing your products in the Orvis catalogs. I ordered a "kit" through them as an alternative to what I had experienced fishing in the winters in NE Iowa to avoid line guide freeze and the general issues that come with winter fly fishing and western rigs. The following Spring I was hooked and continued to use tenkara more and more and found it was a wonderful way to catch more fish from given stream segments as there is far less water disruption, fewer spooked fish and more fun in tight surroundings. Now, I probably use tenkara 50% of the time when fishing myself and even more when guiding. Plus, I continue to be a tenkara sponge through reading, YouTube and experiencing things on my own…
I am now in my fifth year of guiding in the Driftless area. I started after recognizing that many people visiting the area fished only the most recognizable waters on the map and at locations with obvious and easy access points. It leaves plenty of other water to fish… I saw a small business opportunity and decided to guide a maximum of 20 days a year so as not to disturb my enjoyment of fishing AND not to conflict with my full time career in the golf industry as a 1099 contract sales representative and consultant. I now am moving closer and closer to semiretirement from that business and transitioning to guiding near full time during our May through September season. Although I will remain modestly active in golf most of my business is done in the fall and early spring in person and over the phone and via email etc during the summer. It is an easy balance and I am trending to do roughly 45/50 days in the streams in 2014 with a goal of 60/70 or more in 2015. I truly enjoy the interaction with people and helping them become better fisherman while having a great time myself. I try hard to make the experience unique, friendly and high end through more upscale meals and the use of exceptionally clean and well equipped SUV. Its a heck of a way to make a few dollars and as one of my clients recently
Mike Let's try to get a date on the books in September…..I'd love to hire you to take me fishing!! Call me this week at Butterfield CC.
I have been out with Mike twice and can say that he really knows the Driftless Area of SW Wisconsin. He is a really good teacher and a day with Mike includes a really good lunch. We will definitely hook up again.


text:
I've always been all about good food pairing, the beautiful unions between the totally strange or the absolutely expected, from peanut butter and jelly, goat cheese and preserved figs, potato chips and vanilla ice cream (seriously, try it), to rainbow trout and raspberry jam (apparently, it's a Canadian thing... or so Andrew claims, but it sure is tasty)... I love it all! Recently, I've been trying to set up of my new best friend with a variety of potential suitors, and that best friend would be the Banana Whip.
I'm guessing he's kind of a man's man, because as of yet, every option has worked amazingly well. I don't actually think it's possible for me to go wrong on this one! Whether it's been the banana whip with blended strawberries and spirulina, I've already raved about:
To my more recent plain banana whip topped with my superfood mix:
To Andrew's date, cashew, raw honey banana whip blend. But tonight, oh, tonight, a beautiful thing was made:
A banana whip (1 1/2 bananas), with its usual 3 strawberries sorbet (aka. Vitamixed), mixed in with 1 teaspoon of peanut butter, and topped with cacao nibs and a few chocolate chips. It was like a raw version of PB&J ice cream. Best dinner EVER!


text:
Big Catch Bass Fishing 2 Game Wii
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Big Catch Bass Fishing 2 Game Wii Product Description
Big Catch Bass Fishing 2 is the first fishing game for Nintendo's Wii console
which boasts Motion Plus technology and thus greater accuracy for a altogether
more authentic fishing experience.
Experience all the accuracy, excitement and tension of fishing without having to leave the comfort of your living room. Participate in one of the many gameplay modes and unlock the latest lures that'll help you catch the elusive Lunker.
Take your angling skills to the ultimate test and challenge the best fisherman online.
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text:
Thoraxklinik at Heidelberg University, Heidelberg, Germany
PURPOSE: We present first results of a knowledge-based computer-assisted diagnosis (CAD) system for white light bronchoscopy.
METHODS: Based on a query image, a lesion of interest is interactively marked. Using a similarity search between this lesion and the annotated lesions in a reference database a suggestion for a diagnosis will be provided. Our current reference database comprises 260 images of 173 patients. Within these images 305 image regions have been annotated by clinical experts. Theregions have been assigned to three diagnostic classes ("normal mucosa", "chronic bronchitis", "tumor"). A comparison of the system's classification performance applying and combining different color-extended textural features (cooccurrencematrices, sum and difference histograms, Gabor filters) was performed.
RESULTS: The best results could be achieved byusing statistical features derived from co-occurrence matrices of each color channel in the RGB color space. Classification rate for normal mucosa was 89%, for chronic bronchitis was 80% and for tumor was 72%. The maximumtotal classification rate is 80%.
CONCLUSION: CAD system could be applied later to diagnostic bronchoscopy technology as well as for teaching purposes.
CLINICAL IMPLICATIONS: The next step concerning the validation of the proposedCAD system will be an observer study in order to comparethe performance of physicians with and without the CADsystem.
DISCLOSURE: Heinrich Becker, No Financial Disclosure Information; No Product/Research Disclosure Information
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text: McLachlan vs. Brown — A rematch in HD 59 By Peter Marcus on July 18, 2014 A rematch in southwest Colorado's House District 59 is likely to end up being one of the state's most expensive legislative races, as Democrats will fight to preserve the seat against an onslaught of Republican and conservative third-party attacks. Democrat Mike McLachlan, a Durango attorney, is facing off once again against Republican Ignacio rancher J. […]This content is only available to subscribers. Login or Subscribe Share this:EmailTwitterFacebook Default, Legislative News, Peter Marcus, The Colorado Statesman


text:
According to Ken Rosenthal, the Cincinnati Reds will receive Wilkin Castillo and Micah Owings from the Arizona Diamondbacks as the players to be named later in the Adam Dunn trade. The first player included was Dallas Buck, a right-handed pitcher now pitching in the Florida State League for the Sarasota Reds.
Buck, a former collegiate All-American who helped push
Castillo, 24, was ranked by Baseball America as the 14th-best prospect in the
Owings, who may not be traded until the offseason and has yet to be officially announced, is perhaps best known for how well he can handle a bat. The former two-way star at Tulane was recently demoted to Triple-A, though, after going 6-9 with a 5.93 ERA in 18 starts with the Diamondbacks. He is still a nice player to grab who can turn into a solid back-end starter.


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text:
World of Wonder
How would you feel if strange beings landed here and invaded us? They're not here to stay, they want to take some of us with them. They transport us to a strange world full of beauty and wonder. Their incredibly complex and technologically advanced society only needs one thing to make it all work: Our help.
Being a slave is good. I like it. They're teaching me to speak their language already, and I've seen such amazing things since I've been here. A whole new world has been opened up before my eyes. I wish my parents and grandparents could see all of this. They would be so happy for me.
The small domicile they've given me is nice. It's a step up from the place I used to live. There's no comparison to the amazing palaces that they live in, but given where I came from, these cozy little quarters are delightful. And the technology they use is beyond belief. It seems like a privilege to be able to use these tools, and help them with their work. I don't understand everything, but I am so eager to learn. I would have considered most of this to be magic if I had seen it before, but every day I understand more.
I can still remember the first time I saw them, when they landed in their ships. Some people even thought they were gods descended from the heavens. But looking at the amazing crafts that they arrived in, I could imagine the tools and technology required to build such things. I got my first clues to the fantastic race of beings, the wondrous society that must exist. I was determined to be a part of it if they would let me. I was absolutely overjoyed when I figured out that they came to take some of us with them. Space on their ship was limited. I admit, I wasn't the biggest or fittest specimen of my race, but I made myself useful. I helped them communicate with my people. I used my head. They must have liked that. They took me along for the ride.
The trip was uncomfortable I must say. We travelled distances immeasurable by the units we knew. The strange food made some of us sick. The sheer claustrophobia of being crowded inside such a vessel caused some to lash out; even want to die. For sake of safety, everyone had to be restrained. The journey seemed endless. Some didn't survive. But in the end, as my eyes emerged from the darkness, I beheld what I had dreamt of the entire time. A shining new world.


text:
Our Customer Service center is the main point of contact for customers to ask questions regarding sewer bills, charges and rates, and our cost-saving programs for our senior and disabled customers or those looking to save money over the summer months.
NEWS TO KNOW: Did you know we're including a bill insert in this quarter's bill for Cleveland Water customers? It highlights our 2017 rate schedule, talks about the change to monthly billing, and explains how cost-saving programs may help you. Download PDF / View on blog


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Big Papi puts on a show, lifts Red Sox over Astros in 11th
David Ortiz hit a winning double with two outs in the 11th inning after lining a tying triple in the ninth and earlier moving into 20th place on the career home run list, sending the Boston Red Sox past the Houston Astros 6-5 on Saturday.
Boston's Jackie Bradley Jr. singled in the first inning, extending the majors' longest hitting streak to 20 games.
George Springer hit a grand slam and Carlos Correa a solo homer for the Astros.
Ortiz broke a tie with Ernie Banks and Eddie Mathews with his 513th homer.
Houston led 5-4 with two outs in the ninth when Ortiz hit an RBI triple just past diving center fielder Jake Marisnick. After sliding into third, 40-year-old Big Papi got up and pumped both fists toward his dugout following his first triple since June 15, 2013.
In the 11th, Xander Bogaerts singled with two outs against Michael Feliz (1-1) and advanced on a wild pitch before Ortiz hit a drive off the base of the center-field wall for his 600th career double.
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Sorry, there are no upcoming events
WEKFEST is an International automotive tour dedicated to showcasing communities. What started as a small meet in a Japantown parking garage has blossomed into a 6 city U.S. tour and a Japan show. Well known for its strict approval process for show cars and vendors, Wekfest has become a gathering for all youth cultures.


text:
2017 GUE Conference
We are happy to announce the 2017 GUE Conference will be held in Gainesville and High Springs, Florida on October 28-29! On Saturday we will host speakers at the University of Florida's Student Union and hope you'll like the change in venue from past Gainesville conferences. Sunday we'll be in High Springs for workshops at GUE's headquarters and diving at the local springs. The conference is also well-timed if you plan to attend DEMA in Orlando the following week.
We look forward to seeing you in Florida next year!
We're on the hunt for good suggestions for workshops and presentations! If you have a project or topic you'd like to present or a subject you'd like to see covered, we'd love to hear from you.
Privacy Policy © 1998-2017 Global Underwater Explorers


text:
If the match is half as good as the verbal sparring that's preceded it, Roger Federer versus Bernard Tomic should turn out to be an extremely entertaining contest.
This potential third-round meeting at the Australian Open was circled on drawsheets as soon as the names were filled in last week, particularly among the locals. It offered the mouth-watering prospect of the most respected athlete in Australia (that's Federer, polls show) facing off against Australia's best young tennis hope.
Suddenly, a match against Federer became an intriguing prospect.
Even Tomic was immediately excited about the draw. "That third-round meet is huge," he said. "If I get that opportunity get to the third round and play him, it will be an interesting match this time."
Did word of that make its way to Federer? In his pre-tournament news conference, the 17-time Grand Slam champ warned, "He will be making a mistake about thinking about me in the third round, because he also has to get there."
Then, asked whether Tomic could be in the top 10 in a year, Federer sounded his usual cautious note. "I think we should go step by step," he said. "Everybody wants to jump from -- what's his ranking, 60? -- to 10 in a year. It's hard to do. Ten is a big ask. Don't forget how tough the top-10 players are right now."
Tomic was playing the final in Sydney that day and was greeted on his first morning in Melbourne by headlines like "Federer warns it's tough at the top, Bernie," "Federer hoses down Tomic hopes" and "Tomic has 'work cut out.'"
"Well, I saw the papers this morning," Tomic said in his pre-tourney news conference. When asked about playing Federer again, he grinned impishly and said "If he gets that far."
If Federer supplied the kerosene, Tomic had just dropped a match into it. He then fanned the flames by keeping the "if" theme going before Federer's second-round match against Nikolay Davydenko.
"If I do play him, then I've got my serve, which is a weapon, that I can keep holding now against him," Tomic said after booking his third-round spot. "But he's got to beat Davydenko. It's not easy."
"If it is him, then what a match it is, you know? Ten out of 10 now with matches [won this season] -- I feel so confident. This is the perfect time to play him. I think, you know, I've got a good attitude to win. I've beaten a lot of good players over the past two weeks, especially Novak," he said. "I think I can do it, if he wins his match."
After getting to the third round, Federer doused the situation. "I think he's also been lured into it, to be honest," he said when asked about all the needling. "At the end of the day, you got to wait for the match.
"I think it's important to be confident to a degree, you know. It seems he has that. Now obviously we both have to live up to a big match, big hype, and then we can talk about it afterward, you know."
So the time for talking is over, and at 7 p.m. on Saturday in Melbourne, it will be time to play. The match is being dubbed "Weekend at Bernie's," and the rallies should feature the same clever, playful back-and-forth exchanges as their words leading up to it. Federer brings the most varied arsenal in the game, and Tomic has a beautiful array of shots he unleashes as unpredictably as his comments in interviews.
The two have played twice before, both times in Australia. Tomic took a set in their first meeting on grass in Davis Cup play in 2011, when Federer had just arrived from a five-set U.S. Open loss on hard courts, and Federer easily won their fourth-round Australian Open meeting last year.
How might it be different this time? Tomic points to his improved serve, which could keep the match close and help him achieve his goal of winning the first set -- something he believes will be key. Federer, however, remains stronger and steadier, especially as matches go deeper. Will the trashing mean no thrashing? The pre-match talk clearly raised the stakes, but less clear is its effect on the dynamic of the match.
On one hand, Tomic's best chance is to try to rattle Federer somehow. The "if he gets there" prequel was a good start, signaling that he intends to give as good as he gets. On the other hand, Federer is not easily rattled, and he will now be extra motivated to put the youngster in his place.
Another interesting question is which way the crowd will break. Both will have their supporters, but what will happen if the match gets close?
One person is determined to remain on the sideline.
"I'll stay very neutral in this," defending champion Djokovic said with a smile when asked about the encounter.
That won't be easy for the spectators when the old guard and the new start letting their rackets do the talking.


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ARPIISRBAS Anand
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Ashok and Rita Patel Institute of Integrated Studies and Research In Biotechnology and Applied Sciences is situated at New Vallabh Vidyanagar, Dist-Anand, Gujarat-388121, India. in Anand.
Courses Offered
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- M.Sc.
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Ashok and Rita Patel Institute of Integrated Studies and Research In Biotechnology and Applied Sciences - ARPIISRBAS Anand - ARPIISRBAS
With the generosity and kind gesture of Shri Ashok Patel and Mrs. Rita Patel (USA), Charutar Vidya Mandal (CVM) has been able to fulfill one more of it's dreams of integrated study of Biotechnology. Ashok & Rita Patel Institute of Integrated Study & Research in Biotechnology & Allied Sciences (ARIBAS) is the self-financed educational institution. It was established in June, 2005 and recognized as the first institute providing M. Sc. (Integrated) Biotechnology course in Gujarat. This institute is affiliated to Sardar Patel University, Vallabh Vidyanagar .The institute is set up with the generous donation of Rs. 3.3 Crores against the total project cost about Rs.10 Crores. The building covers 1,60,000 sq.ft. (>16,500 meters) area in six units for this purpose having three floors. The institute provides intensive training through hard working motivated full time faculty members. All infrastructural facilities have been developed such as state-of-art Laboratories: Molecular Biology & Genetics, Bioinformatics, Radio-isotope, Plant & Animal Tissue Culture, well-furnished Classrooms and well-equipped Library. The institute is organizing very effective Counseling of each and every student through personal care and individual attention. Interaction with Parents is also being carried out throughout the year to monitor and analyse the academic progress of the students. Various multi-disciplinary research projects with several reputed institutes and industries are under way.
Why join ARIBAS
The College has Excellent infrastructure Facilities.
5 Type Courses Available
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Special care is taken for students who are unable to follow English medium instruction or unsuccessful in progress with the other students of the class or suffer from absenteeism. Regular tutorial classes are arranged for these students. Apart from tutorial, remedial classes are also arranged for ATKT students. Expert councilors counsel students twice in a month and submit counseling report to concerned HOD. Record of students is prepared and parents were informed once in a month. Detail progress report is also send to home at the end of a semester.
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We have more than 130 latest computers with round-the-clock Internet availability. Whole campus of ARIBAS is Wi- Fi system enabled to benefit the students to access e-library (N-list) e-journals and e-books, particularly those who are doing their dissertation work. Hostel facilities are available to both boys and girls, on the campus as per the availability, providing good mess facilities.
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Mammalian or mechanistic target of rapamycin (mTOR) senses nutrient, energy, and hormone signals to regulate metabolism and energy homeostasis. mTOR activity in the hypothalamus, which is associated with changes in energy status, plays a critical role in the regulation of food intake and body weight. mTOR integrates signals from a variety of "energy balancing" hormones such as leptin, insulin, and ghrelin, although its action varies in response to these distinct hormonal stimuli as well as across different neuronal populations. In this review, we summarize and highlight recent findings regarding the functional roles of mTOR complex 1 (mTORC1) in the hypothalamus specifically in its regulation of body weight, energy expenditure, and glucose/lipid homeostasis. Understanding the role and underlying mechanisms behind mTOR-related signaling in the brain will undoubtedly pave new avenues for future therapeutics and interventions that can combat obesity, insulin resistance, and diabetes.
- mTOR
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- energy homeostasis
- Copyright © 2016 the American Physiological Society
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An Act to make provision with respect to Officers and Servants of Local Authorities serving in or with His Majesty's Forces and to make various administrative provisions with a view to economy in money and labour in connection with the present War.
[17th May 1916]
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C1Act extended by S.R. & O. 1918/548 (Rev. I, p. 896: 1918 I, p. 50)
C2Functions of Local Government Board under this Act now exercisable by Secretary of State: Ministry of Health Act 1919 (c. 21), s. 3(1)(a)(5), Sch. 1, S.I. 1951/142, 1900 (1951 I, pp. 1348, 1347), 1965/319 and 1970/1681
C3Words of enactment omitted under authority of Statute Law Revision Act 1948 (c. 62), s. 3
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text: Salo, or the 120 Days of Sodom (1975) Set in the Nazi-controlled, northern Italian state of Salo in 1944, four dignitaries round up sixteen perfect specimens of youth and take them together with guards, servants and studs to a palace near Marzabotto. In addition, there are four middle-aged women: three of whom recount arousing stories whilst the fourth accompanies on the piano. The story is largely taken up with their recounting the stories of Dante and De Sade: the Circle of Manias, the Circle of Shit and the Circle of Blood. Following this, the youths are executed whilst each libertine takes his turn as voyeur. What makes Salo so brutally shocking and disturbing is its uncompromised and blunt way of showing the acts of horror. It is a very quiet and slow film, mostly shot using static and still cameras, it feels more like a documentary than a fictional film. It's clear upon viewing, that Pasolini wanted to remind us all that violence should not be entertainment. As such, every act of violence and degredation is drained of all its possible energy and excitement, and shown in a sad, painful light. Nothing is sugar coated, nothing is softened. This film is an attack on our desensitized feelings towards violence. Yet, at the same time, the film purposely desensitizes us to certain acts -- Such as rape. We see it so much during the film that it becomes "normality" to us, we barely raise an eyebrow. Upon realizing this, one also realizes how the horrible acts shown in the film are possible, and it's a terrible realization. Salo continues to descend until at the end, when we are taken to the punishing grounds, where various rule breakers are tortured and murdered. This final sequence is the most harrowing and effective I've ever seen in a film. As the victims are tortured and murdered, each one of the fascist rulers take turns as voyer, watching from a second story window, far enough away to not hear the screams of terror and pain. And we watch with him. The film attempts to equate our viewing of this film to their viewing of the executions, after all, we're watching these acts for "entertainment", just as he is. And we distance ourselves from the acts in order to enjoy them, as he does by watching through binoculars far away. It's a savage and truthful attack, one that is impossible to deny. Also incredibly unsettling is the inherent joy that the villains (Heroes?) feel at their victims pain, sadness and discomfort. Sometimes even to the point of sexual arousal. There is a scene where a girl is crying because her mother died trying to save her from these people. She is completely naked as she weeps, to us, she's the picture of vulnerability and sadness, to the fascists, it's the most exciting thing they've seen all day. The fascists all stand and watch her weep with the utmost sexualexcitement. It is terrifying. It's scenes like these that set Salo apart from other "gross out" movies. Some of the most affecting and frightening scenes are ones where there is quiet, watching the expressions and reactions of people to the various horrible acts. Salo is a film of rage and sadness. It is a film that asks you to hate humanity, to hate what we're capable of; to look in the mirror and hate yourself. Then weep because nothing can be done about it. Extabit Links Code: http://extabit.com/file/28dt4u1xbrthc http://extabit.com/file/28dt4u1xbsm1c http://extabit.com/file/28dt4u1xbschc Netload Links : Code: http://netload.in/datei3OvlerYwk4/Salo_or_the_120_Days_of_Sodom_1975.idx.html http://netload.in/dateiqrbobqONYA/Salo_or_the_120_Days_of_Sodom_1975.mkv.html http://netload.in/datei0SnBzWBNPC/Salo_or_the_120_Days_of_Sodom_1975.sub.html


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Play gameVisit PiggyPoo's game page
raincoil (View their submission) · 1 year ago
I did it, and the pig got big. You could make this into something pretty good, especially with the exploding poop mechanic. You could have it break through certain obstacles and allow the player to sort of grenade jump with it. Lots of possibilities from this point... In fact, if you're not going to make something like that, then I'm going to have to.
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text:
Men dozed. Children cried. Crowds jostled as passengers pushed to either enter or exit the bus. There was an abundance of activity in the small space which only served to make the confines seem all the more claustrophobic. The bus seemed about to burst at the seams so much activity was contained within its thin aluminum walls. Plastic, immovable windows stifled the passengers on this warm summer day and raised the temperature inside the bus astronomically. A man reading his newspaper pulled a white rag out of his pocket and mopped his forehead. Sweat already formed interconnecting lines down his bronzed face.
Michael Collins' day had been pretty normal so far. Work had gone well, nothing to exciting, and according to the newspaper, the Rays had moved into first place. Michael smiled smugly as he thumbed through the sports section, the newspaper limp in his hands. He mopped his brow again and took a quick look around the bus. Again, nothing unusual; babies crying, men talking on their phones, and a senior couple dozing in the heat were seated closest to him. He directed his gaze out the grimy plastic windows into the crowded street beyond and sighed. At least traffic is moving quickly he mused while listening to the steady drone of traffic.
Michael returned to his floppy newspaper and forgot about the world outside the crowded, hot bus. The drone of traffic was at a constant pitch punctuated by the throaty whine of motorcycles. Michael flipped another page but something outside the bus window caught his eye. He looked up from his paper to see a red and white sport bike pacing the bus outside his window. On board were two riders dressed completely in black; one appeared to be female. He was admiring the smooth lines of the sport bike when the rider in the back glanced at him. Michael couldn't tell much through the tinted visor, but it appeared the rider was looking straight at him. The rider looked back towards the driver and appeared to talk to him. After a brief conversation, the bike dropped behind the bus and disappeared.
Michael looked up as he heard the throaty whine returning behind the crowded bus. He looked out the window behind him but was unable to discern anything through the grimy plastic. Sunlight streamed through the window and turned the cars beyond into shadows. Michael shifted his seat to the shady side of the bus as the whine grew louder. He set his paper down on the nearby seat and gave an awkward smile to the man he had just moved away from. Suddenly the man's head exploded violently as he pitched forward onto the ground.
Everything turned upside down all at once.


text:
Originally written on Start 'N' Park Blog | Last updated 10/2/14
NASCAR Sprint Cup Series driver Kevin Harvick will look for back to back victories in the spring race at Martinsville Speedway when he climbs into the No. 24 Tide Chevrolet Silverado. Harvick has 15 Truck Series starts and has recorded three wins, two poles, seven top-five and nine top-10 finishes at Martinsville. The driver has led a total of 584 laps around the 0.526-mile paperclip-shaped Virginia track, including 248 of 250 last year to claim his 14th truck series victory. Should Harvick win this Saturday's 250-lap contest, it would be his second consecutive spring victory at Martinsville and three out of the last four. DOUBLE DUTY: Harvick will be one of two drivers pulling double duty this weekend. Harvick will log over 750 laps in both the No. 24 Tide Silverado and the No. 29 Budweiser Chevrolet SS. CHASSIS HISTORY: The No. 24 NTS team will utilize a brand new chassis (No. 017) this weekend at Martinsville Speedway. ON THE BOX: There will be a new face for NTS Motorsports on the No. 24 pit box this weekend, as Paul Andrews will call the shots for the race at Martinsville Speedway. Andrews, a Bangor, Maine, native is best known for his role in leading Alan Kulwicki to the 1992 Winston Cup (now Sprint Cup) championship. In his tenure as a NASCAR Sprint Cup Series Crew Chief he collected 12 victories and 30 poles. KEVIN HARVICK ON MARTINSVILLE: "Martinsville is one of those race tracks I always look forward to getting behind the wheel at each year. I've had a lot of success in the Truck Series at Martinsville so hopefully that trend will continue this weekend with NTS Motorsports." Catch the Race: Coverage of the Kroger 250 can be seen live on SPEED, Saturday, April 6, 2013, at 1:30 p.m. ET. MRN and Sirius Satellite radio (Channel 90) will broadcast from green to checkered flag.
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Ibis Sarlat
8, rue Gabriel Tarde
Sarlat-la-Caneda France 24200
Sarlat-la-Caneda France 24200
The modern facilities at the Ibis provide a welcome contrast to the nearby medieval town of Sarlat-la-Caneda, once nearly decimated by the black plague. But 14th-century lodgings didn't have free underground parking with an elevator, complimentary Wi-Fi or spacious and quiet rooms with air conditioning. The Ibis Sarlat does. After the for-fee breakfast buffet you can walk less than a mile to Sacerdos Cathedral, the Lantern of the Dead and more.


text: Fire Sense Porcelain Tile Fire Pit - $49.49 + $4.99 Shipping See Deal About this Deal For members Flag this deal Edit deal What's the matter? Choose a reason Dead deal Duplicate Bad link Spam Inaccurate No value Alive again Comments (2) krmills1 Nov 09, 2012 Very nice fire pit, I got one a few years back on clearance at SAMS Club for $75 and thought that was a great deal. Reply Cancel ArtemisDeals Nov 09, 2012 This is a very nice looking fire pit! Would look nice in anyone's back yard :) Reply Cancel Load More Comments


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text:
Took a short drive this afternoon
2 Attachment(s)
Ended up watching a group of hangliders launch. It is a reasonably good trail up to the top, but the forest Service had recently bladed it, so there was a lot of loose rock, got a little sporty in a couple of spots.
Nice! Looks great!
Where were you at NMRubi? If that was Rio Puerco, we've been there quite a few times. We have an 09' 4Dr Sahara Unlimited, they do wonders on the trail.
That is in the foothills right above Alamogordo, with my spotting scope I could see my backyard.
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