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This Insane Skyscraper Shouldn't Be Built Around Central Park -- But It Should Exist
Geege Schuman stashed this in Architecture
Stashed in: Design!, Awesome, New York
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Sun and Wu's skyscraper would first involve digging down 100 feet or so into the ground of Central Park, and then surrounding the new lower Central Park with a new massive building along its seven-mile stretch. The building would be lined with a wall of glass, "creating an illusion of infinity" when you viewed it from across the park. Central Park would be reborn as a sort of wilderness at the center of the city—presumably with many favorite areas, such as Belvedere Castle, destroyed by the development. "In the heart of New York City, a New Horizon is born," say the designers, forgoing to mention how it would tear apart the very center of Manhattan.
I can see why the neighboring streets wouldn't want this.
It obscures their view of the park.
Reminds me of the new Apple spaceship building.
Meanwhile, in Iceland ...
"New York Horizon" was given first prize at eVolo's latest skyscraper competition, and you guess the judges chose it for inventiveness over practicality. Practicality as in snow storms?


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- 22.5"h
- 600 Total Watts
- 6 Lights
- Incandescent Output
The Minka 4256-208 is a Medium 6LT Chandelier Light Fixture in the Seco Oro Bronze Finish With Variegated Gold with Pearlescence GlassThis light fixture is from the Seco Oro Collection and is Underwriters Laboratories (UL) Approved for Indoor Locations. To view further details of this Minka Lavery Chandelier, see Light Fixture Features above.
The Minka Lavery 4256-208 Seco Oro collection Chandelier Lighting in Seco Oro Bronze uses Incandescent light output and brings Rustic style. This item is 22.5"H. The total wattage is 600 and the voltage is 120 volts. The Minka Lavery 4256-208 requires 6 bulbs (not included). Additional Information: Shade-Variegated Gold with Pearlescence Glass.

subset: commoncrawl


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best of craigslist > new orleans >
To the redheaded MILF jogging in the park Sunday morning, apologies - m4w
Date: 2010-02-22, 11:08PM CSTI hope you realize that my perving was directed at you and only you, and absolutely no part of it was meant for your young daughter (niece? juvenile jogging companion?).
As implied, I enjoy the perks of jogging at Audubon, and one of those is a bit of ogling on the sly. It helps me forget that it's been too long since I was jogging regularly, and I usually wear sunglasses to keep my baser proclivities to myself.
You are stacked, I like redheads, my sunglasses were missing...you see where this is going.
Anyway, I must congratulate you on getting your young companion to to run completely concealed behind you, only to emerge at what was, for me, the worst possible time.
Do you practice that? It must be the best ogle-stopper in the business.
I swear, when she popped out from behind you, my libido panicked and imploded in about a nanosecond, and it took effort not to loose a cry of "Dirty pool!"
Well played, MILF.
On a side note, any mention of Audubon Park will forever remind me of Randy Newman's song, "New Orleans Wins The War," which describes his childhood spent in that city before moving back to Los Angeles.
Momma used to take me to Audubon Park
Show me the ways of the world
Here comes a white boy; there goes a black one
That one's an octoroon
This little cookie here's a macaroon
That big round thing's a red balloon
And the paper down here's called the Picayune
And here's a New Orleans tune:
Baby baby baby baby baby baby baby..."


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His Girl Friday
Release Date: 15 March 2004 | Certificate: Universal, suitable for all
Featuring: Cary Grant, Rosalind Russell and Ralph Bellamy
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Falkland Islands
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A journalist hands in her notice to quit and opts to spend her days with a pompous fiance. But her editor, a former husband, has other ideas and sets out to keep her on the team and win her back.
12 Chapter Points
Release Date: 15 March 2004
Certificate: U - Universal - Suitable for all
Actors: Cary Grant, Rosalind Russell, Ralph Bellamy, Gene Lockhart, Helen Mack, Billy Gilbert, Porter Hall, Regis Toomey, Alma Kruger, Roscoe Karns, Edwin Maxwell, John Qualen, Cliff Edwards, Abner Biberman, Frank Jenks, Clarence Kolb, Frank Orth and Ernest Truex
Directed by: Howard Hawks
Region 0
Running Time: 92 minutes
Production Year: 1940
Main Language: English
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Red Ribbon Week Products
Red Ribbon Week is America's oldest and largest anti-drug campaign observed during the last week of October each year. You can recognize Red Ribbon Week products by their red color. This noble cause started in California after a Drug Enforcement Administration agent was kidnapped and killed by those involved in the world of drug trafficking.
To this day, Red Ribbon Week is nationally recognized. You can help to spread the word about drug prevention by participating in events and handing out Red Ribbon Week promotional items.
|Copyright © 1996 - 2017 Motivators Inc. Promotional Products All Rights Reserved.


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Immigration to Hungary
Immigration is happening everywhere in the world, every single day. The amount of expatriates, refugees, immigrants of all kinds and tourists grows by tens of millions annually, as people seek to spend time with each other, to work abroad and to live elsewhere. Immigration to Hungary is increasing on an annual basis.
To cope with this movement, Hungary has set up an immigration and visa regime to manage and monitor the flow of people from all over the world. The visa systems are usually complex and difficult to navigate. They also allow little interaction with immigration officials, meaning that applying for your own visa is a very confusing process!
Therefore, if you are planning on immigrating to Hungary for any reason, why not let a professional immigration lawyer handle your case? hngary.com does exactly that, for hundreds of immigrants of all types. Work visas, partner visas, retirement, business, investment – so the list of reasons goes on. But whatever your immigration needs, hngary.com is the place to be. Get a quote from us today!
hngary.com has ample experience to lead you through the Hungarian Residency Bond Program as well as obtain an EU Blue Card. Please enquire with us about these two options.
We also offer other immigration services for you such as accommodation, business registration and travel arrangements. Translation and interpretation is also available. Immigration to Hungary does not have to be difficult and arduous – simply make use of a professional service like ours.


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- GW Home
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News Archives
Solving the Proton Radius Puzzle
August 28, 2014
Three of GW's physics faculty, Evie Downie, William Briscoe and Andrei Afanasev, are leading the way in solving the "Proton Radius Puzzle," along with more than 45 researchers from around the globe participating in the MUon proton Scattering Experiment (MUSE) Collaboration. GW was awarded a $277,000, 18-month grant in July 2014 from the Department of Energy (DOE) and the National Science Foundation (NSF).
Back to School: New Academic Year Kicks Off
August 25, 2014
The 2014-2015 academic year officially began on August 25th and brought with it a distinctly new feel to the Virginia Science and Technology Campus. Innovation Hall is now home to over 180 accelerated Bachelor of Science in Nursing students from the GW School of Nursing (SON) and 150 pharmacy doctoral students through our partnership with Shenandoah University.
UNIConnect Donates Lab Management Software to GW's Computational Biology Institute
July 25, 2014
Utah-based software firm UniConnect said this summer it will donate UniFlow, its laboratory process management software, to GW's Computational Biology Institute. UniConnect's UniFlow provides tools for researchers to manage complex lab processes and large quantities of omic data.
Metro Silver Line Opened, West Falls Church Shuttle Service Affected
July 24, 2014
The West Falls Church shuttle service to the VSTC has been replaced by the Wiehle Express, due to the opening of the new Silver Line.
State Senator Jennifer Wexton Visits Campus
July 24, 2014
Senior campus leadership, including Ali Eskandarian, Dean of the Virginia Science & Technology Campus (VSTC) and Jean Johnson, Dean of the GW School of Nursing, welcomed Senator Jennifer Wexton (D-Leesburg) to the Campus in late July.
Educators Break Out of the Classroom Into Local Businesses
July 18, 2014
GW's Teachers in Industry Project provides insight into demands of the 21st-century work environment. During the three-week long program, the 19 local high school teachers attended externships at local businesses partnering with the program and looked for ways to better prepare their students for future careers in industry.
Introducing GW's New Director of Virginia Government Relations
July 10, 2014
GW welcomes David Baker as the new Director of Virginia Government Relations.
GW Professor Diana Burley Named 2014 Cybersecurity Educator of the Year
June 20, 2014
Diana L. Burley, a professor in the Graduate School of Education and Human Development at The George Washington University, was named the 2014 Cybersecurity Educator of the Year at the 18th Annual Colloquium for Information Systems Security Education (CISSE) in June.
Pay it Forward: Inspiring High School Girls to Pursue Careers in the Biomedical Sciences
June 17, 2014
The GO GIRL (Genomic Opportunities for Girls In Research Labs™) educational outreach program, recently held on campus June 17-20, 2014, is designed to provide hands-on laboratory experience in molecular biology and genomics to rising 10th, 11th and 12th grade young women enrolled in Loudoun County Public Schools (LCPS). The girls have the opportunity to explore laboratory techniques commonly used in forensic and research laboratories using state-of-the-art research facilities at GW.
GW Researchers Introduce New High-Energy Rechargeable Batteries
May 14, 2014
While electric vehicles offer many advantages—including reducing greenhouse gas emissions and the country's dependence on imported petroleum—at least one barrier stands in the way of their large-scale adoption: "range anxiety."
GW School of Nursing Lends Simulation Lab to Loudoun County School
May 06, 2014
GW School of Nursing is committed to community service and supporting the nursing profession. As part of this, the SON Skills and Simulation Lab often hosts various groups. Most recently, the SON sim lab hosted a group of students from the Loudoun County School of Practical Nursing (LSPN) at C.S. Monroe Technology Center-the Loudoun Governor's Career and Technical STEM Academy.
Public Information Meeting Held About Lexington Drive/ Riverside Parkway Extension
April 29, 2014
The Loudoun County Department of Transportation and Capital Infrastructure held a public information meeting April 28 at the GW Virginia Science & Technology Campus about the Lexington Drive/Riverside Parkway extension to Loudoun County Parkway/George Washington Boulevard.
Science, Technology and Engineering Made Fun for Loudoun County Students
April 28, 2014
Students launched ping pong balls across the room while participating in one of the 12 workshops at the eighth annual Science, Technology and Engineering (STE) Day at the George Washington University Virginia Science and Technology Campus (VSTC). The campus hosted 130 students from 11 Loudoun County high schools. The VSTC campus also welcomed Virginia Secretary of Education Anne Holton, who spoke to the students on the importance of science, technology and engineering education.


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Images courtesy Carlos Everett. The most enthusiastic car nuts among us understand the urge to learn all we can about the history of our classic cars. Why did the original purchaser choose this color, those options? What personal touches did subsequent owners bestow upon the machine? Where has it b ... Read more
Photo by the author. How many of us have done this? You owned a car you really cared about, but circumstances dictated that you had to sell it. Though photos would be great remembrances, you wanted something more – an actual piece of the car. It didn't have to be expensive or important ... Read more
Photos courtesy Tom Guarr. In researching the stories we publish in our print magazines, we often uncover fascinating tales associated with the origins of a particular car's history or the path that led its owner to become so enamored with it above all others. It happened again recently when ... Read more
We never know what gems we'll find uploaded in the Reader's Stories section of MyHemmings.com. When we read the tale, "Reunited with Lincoln Mark V," shared by Michael Scott Bricker, we knew that we had to alert our Hemmings Blog readers to it. If you're a big softy l ... Read more
My grandfather's Oakland Pontiac dealership, sometime in the 1930s. Photos courtesy Kurt Ernst. Fate or free will? Depending upon who one asks, a path in life is either predetermined long before birth, or the product of environment, upbringing and education. In my case, perhaps it was a bit o ... Read more
All photos courtesy and copyright Charlie Beesley. Before the motorcar became a reality, most Americans never ventured more than a few miles from home. In 1890, a farmer who lived, say, eight miles from town faced a four-hour round trip by horse and buggy. That changed with the Ford Model T. Most f ... Read more
Sam Kriger's parents, Jim and Barbara, had a grand plan for their honeymoon. Right before their June 12, 1955, wedding, they'd trade in Jim's 1948 Chevrolet convertible on a brand-new Chevrolet – a 1955 Bel Air two-door convertible painted Neptune Green Metallic over Seamist ... Read more
Every now and then we need a reminder that we're in the collector car hobby as much for our appreciation of older cars as well as for the old-car experiences we share with others. My Hemmings member vince311 provided that reminder recently with the story he related about the 351-powered 1970 ... Read more
I think the time has come to introduce you to Charlie Beesley. I've known him for about a decade now, and he never fails to astonish me every time he sends me another batch of car pictures. Charlie wrote me initially around 2003 and in his letter mentioned that he'd managed to put toget ... Read more
My father's maternal grandfather was an entrepreneur in my hometown; not only did he establish a bakery and a dry goods store, he built the brick Western Avenue Garage, which he rented out to local mechanics. We found some neat late-1910s-early 1920s photos of this garage – which was ... Read more


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Due to the incredible strains put onto small neighborhood restaurants and the current economic environment, we are sad to say this very popular neighborhood favorite has no choice but to close it's doors. Once a very successful neighborhood meeting place (beginning as Mumbles in 1974!), we have absolutely enjoyed all of the great relationships that we have formed over the years.
The Feldman family would like to thank all of it's loyal patrons for their 42 years of support.
Please visit our other restaurant, East of Eight on 23rd street between 7th and 8th avenue – sa,e great food, service and prices!
WEBSITE: eastofeighthny.com PHONE: (212) 352-0075.
Our catering business "Benjamin Catering" is still up and running through East of Eight as well. Please visit benjamincateringny.com or call Anna at (855) 741-1369 or (646) 345-1248 or call Kim at (646) 623-5328.
Thank you again for all of your support,
The Feldman Family


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my collection
about the artist
essays and reviews
Donald Sultan Reviews
Written by Steven Henry Madoff, contributing editor of Art News; Published on occasion of the 1999 exhibition "Donald Sultan: In the Still-Life Tradition" held at the Memphis Brooks Museum of Art
In the jewel-case light of the picture, the lemon sits. Its skin weighs. Its flesh glows from within, evidence that nature's bounty is a distribution of miracles. For those, at least, who can afford such miracles at their tables. The picture proposes that one of light's properties is to enumerate, as if seeing were an instrument of arithmetic, so that we may count each object brought forth from the larder. Now look, the image suggests, and wonder at the sumptuousness of these parts: not only the outsized cup, as if carved by a sunbeam and ornamented with gold, that gives Willem Klaf's painting is name, Still Life with a Nautilus Cup, but also, there among the trappings, the lemon, its skin half unwound, its fruit faceted, gemlike, to tell you, viewer, that he who can afford this picture owns such things, in the light of faith, from the wealth of his own work.
In still life, the arrangement of domestic objects means that they can be held in a hand, moved here and there to become a composition. They are inventory and invention, over which the artist and his patron hold power. They are in the dominion of realism, bound to the notion that description is a gift of fact. Though fact may be, like the objects in the picture, instrumental, put to use. So the great flourish of 16th century Dutch still-life painting was, in the argument of its Protestant and bourgeois beliefs, an emblematic art of material plenty: meticulous, triumphal, yet, in the vanitas tradition, an assertion of time's scythe - an allegory taught on a table top with a skull and burning candle, a flower with petals falling or a soap bubble floating, frail. Each one is about brevity. Each one holds more gravity than all the tonnage of life's trophies.
You can hear that dark note in the Dutch name, stilleven, life that is not animate but stilled. Its transitory sense echoes back to the Greeks and Romans whose mosaic art first snared domestic things and laid them out in flattened space - pieces of fruit or crumpled paper - and called them, from the Greek, asarotos oikos (unswept house) or rhyparographos (images of litter).
Now another picture, a great jump in time, and in that leap, in the contrail of this jet surging forward, imagine the history of three centuries of still life: from Flanders in the 1550s, when Peter Aertsen first pushed his religious subject matter to the back of his paintings so that the most common things could hoard the front: a tumult of vegetables and meat. And here are the exacting scientific fetish flowers exquisitely detailed by Jan Brueghel the Elder, called Velvet Brueghel, painted for his patrons as the 16th century ends. Now tumbling in this image-wash, back to the 15th century, Hans Memling's vase of flowers on the verso of a portrait, blossoms to evoke the purity of the Virgin.
Or rush ahead again to the last years of the 1600s, to Caravaggio, whose revolt against the lavishness of the Roman Church is seen in the simplicity of his Basket of Fruit, with its drama of lightness and dark. How spare it seems beside the heaped boards of the Northern Europeans. Caravaggio, of whom a contemporary writes, "It required of him as much craftsmanship to paint a good picture of flowers as of figures," which is a canon blast that collapses the traditional hierarchy and raises nature morte up beside religious art and history painting.
Zurbaran is also here; so internal an artist and Caravaggesque. Consider his own image of fruit, his Still Life with Lemons, Oranges and a Rose, which, too, is of a different order from the Dutch: his bounty not massed but winnowed, his fruit almost rising, lifted by light, its luminousness scrubbed clean of the worldly. Zurbaran's is a painting of the Counter Reformation, rigorous and reduced. Yet in this same pulse of time, Rubens' supremacy in the Baroque style rules with grandiloquence; a sensuous exuberance pushed by his followers' hands toward the decorative that seems becoming in the next century, the 18th. Still lifes cover furniture, are placed above doorways. Even Chardin's work, so masterful yet as soft to the gaze as plumped down cushions, is used for a fireplace screen, as if the still life has itself been absorbed into the tableaux it pictures. And only then in the 19th century, with Goya and Manet, does something break. Goya's blood-heavy cuts of meat draped one of the other with the perfect off-handedness of casual violence. Manet, whose brush captures the immediacy of a world changing as the 1860s accelerate into our own century. From his hand, in a few strokes, come stalks of asparagus, lithe, fresh, as if to say here is the rude candor of modern life.
The contrail is enormous, the paintings awash: the Flemish, the French, Italians, Dutch, Spaniards, the Germans; the schools of floral painting; the allegorical codes invented, rigidified, then lost in the historical stream. What has happened is this: the point of still life has changed. With modernity, its purpose shifts from serving Christ's church and the moneyed class to serving painting itself and the artist's temperament. Here is Van Gogh's Lemons on a Plate and a Carafe, a vibration of a few recognizable forms so densely put down, so willed and ecstatic, that they are about the punishing beauty of paint and the mind that sees it so. The code is hugely personal, neither more nor less than the signs of Church or State, but other. And with this shift, it is no surprise, as Meyer Schapiro says, that "the painter's habitual selection comes in time to stand for the artist and is recognizably his." Schapiro is speaking specifically of Cezanne, who is here, too, in the great stream. His apples, pears and wine bottles, tables and cloths - traditional furnishings of the genre. Yet in the countless refinements of his motif, our own modernism is given direction: a psychological art in whose objects is held the whole struggle of rendering what the mind apprehends through time and feels through the eye. From this, the Cubist still life, which presses the notion that art is as much about its workings as its subjects; that the avant-garde carrying out this program does so to shock convention - to borrow David Foster Wallace's words, to be "a broom to the system."
But now the leap ahead, from Kalf's lemon to this one, more than 300 years on. Another glass and table, a lemon's peel drifting down like citrus ribbon. Like Kalf's and a thousand other specimens of the genre, a sense of fealty: he who prospers. Yet here the image is flattened out, spare, formally hierarchical. Roy Lichtenstein's Still Life with Glass and Peeled Lemon. You can hardly call it delicious, can you. The glint and succulence have given way to something far less sensuous: a visual essay on the means of the image, on the economy not so much of social class (though this is implicit) but of paint and line. The intricacies of the lemon's flesh are hardly necessary for so reliable a sign. Color is no more than a rudimentary exchange with the viewer: yellow = lemon. It is not felt, it is equated. What we learn is that still life is a tradition used now as a picture machine. It's an apparatus to pump out propositions about what painting is. At least in the hands of someone as smart as Lichtenstein, whose work epitomizes the lesson of Pop art that the world is utterly transformed by commerce. There is no need to shock the system, and Pop hardly did.
Everything in postwar America has the gleam of the packaged good. The agony of the Second World War, the outpourings of angst, are replaced in the early 1960s by a world in which deep feeling gives way to the glancing glamour of products, driven by the euphoria of the Kennedy years, of America's global rise. Lichtenstein's crisp, brightly colored image is the right package for the times, this precision-built parcel. What does it contain? An index, a still life of artfully arranged references: about the genre of still life itself; about an absence of depth in the image that tips its hat to Cubism and collage and says that the painting is less about pretending to be a window through which you look and more about the window itself. And it is about the chameleon-like fluidity of style: how Lichtenstein's benday dots quote from the look of comic strips, which are then imposed on any other style, any other history, and become his own style, his own surface. His benday dots work like a trademark, the instantly recognizable package, the perfect product. They tell us immediately that his picture is about being a thing that pictures. A very modernist thing, indeed, obsessed as modernism is with its techniques, its processes, its materials. But then the story of modern art could be told as the story of still life. The self-consciousness of modernism so visible in Lichtenstein's painting had become by this point the condition of all advanced still life – and would continue to be.
Which is how we get to these paintings, Donald Sultan's. It is part of his story that his own lemons came about as a response to a small Manet of the same subject, which Sultan saw in a retrospective at the Metropolitan Museum of Art. The line is long – not for the show, but for the tradition. Sultan enters here. The fruit beckoning. Now, as our century winds down, against a black so deep that it is the pure idea of backdrop, his lemons appear to thrust forward. They are enormous. The picture is eight feet square. Echoes of ovoids, spheres, nippled shapes, the weight of flesh, of fruit, a presence. Now look again. The sense of product, of industrial goods, invades the image. It is the image. If you step close enough, first looking out for the watchful guard, you can smell it: the picture's black background is tar, a sealed package. Its wrapping is blunt matter, but it also enwraps an idea, the Pop notion that culture prefers sensation to sentiment, prefers surface to depth. It carries its modernist legacy forward, fascinated with its material identity, with its means for representing.
A picture about a thing that pictures - Lemons, April 9, 1984. But we're far from done with this tar; and there are the vinyl tiles the tar is spread on and the plaster that is the ground, the body, of the lemon's forms. Sultan's picture-package contains its own freight of emblematic signs as codified as Dutch vanitas, but it is more about these material properties than about the subjects that emerge. Richard Serra's heavy abstract shapes, monumental accretions of oil stick, are in the weighted blackness of Sultan's tar. There, in the industrial tiles, echoes call from Donald Judd's notion of "obdurate materials," which was Minimalism's rallying cry: the ding an sich, the unalloyed thing itself of matter. And the grid of those tiles repeats no less than the chanted repetitions of pure geometric forms in Minimalist sculpture. Sultan's plaster: its physical way of filling a shape pushes the object forward, turns it into an icon, which is what happens to the idea of still life when Warhol focuses on an object, isolates and magnifies – Marilyn silk-screened, the sculpture Brillo Box. Or plaster again, in the hands of Claes Oldenburg, whose early sculpted still lifes of food are farther out as a reference, but are in the inevitable orbit of Sultan's eye and interests. No less for Oldenburg's wickedly enlarged forms.
Now look at these other pictures by Sultan. The images are invariably centered on the plane. They are enlarged, often cropped (add photography to the underlying debt of influence). From the grit of tar, a svelte surface is built, and the forms themselves, so reliant on black to set them off, have a purchase on elegance that resides in the simplicity and flatness of the shapes. Color, in fact, is subordinate to drawing, used less for nuance – to mold a form in space out of preternaturally graded hues, as Cezanne did – and more for the percussive impact of its graphic charge. Flowers and Vase, August 12, 1985: its silhouette of green and terra cotta playfully abuts solid form against the broken mass of leaves. There is darkness against light, curves against the rectilinear rigor of the tiles. The grid and the image accommodate a two-headed beast of postwar art – abstract Minimalism and the reprise of figurative painting. The tension (and self-consciousness) is explicit, and the physical heft of the picture, along with the large-scale drawing, thrusts into the viewer's space.
You see it again and again. In the stark sumptuousness of Oranges, February 27, 1987, whose strategy is to interpolate orange fruit and fruit shown as velvet negative space. Sultan invokes Man Ray, whose Rayographs were the most whimsical little still lifes: solarized black and white photographs that reversed the order of light, negative forms where the eye naturally sees positives. But then black and white are often plenty for Sultan. In Gladiolas in a Chinese Pot, December 2, 1988, in Hollyhock, January 17, 1991, the reduction to this spare palette is a showcase for the drawing itself. In each of these paintings (and many others; it is intrinsic to the way Sultan works), the drawing lures abstraction, pulls it into the figurative shape: the serpentine forms o the pot, the labile stack of black, loose oblongs that say "hollyhock." And then there is the cropping at top and bottom that emphasizes the age-old message of the nature morte painter, that he moves the domestic thing as he wants; he holds dominion. Only here, in Sultan's work, the still-life artist marshals a few means to enforce an effect of almost brutal mass. For all the elegance, there is something in the enormous enlargement that admits grotesqueness. The sense of the overwhelming plays out in the fact that anything so large that is stood too close to looms, becomes at its periphery unfocused, therefore abstract, ungraspable.
It is a curious strategy to take the intimacy of still life, that comfortable arrangement of the graspable, and turn it into the sheer physical mass, into the dominating thing. But in the historical stream, in the aftermath of Abstract Expressionism, of Pop and Minimalism, it has its pretzel logic. And how fitting, then, that Sultan's imposing package, so austere and lush, suggests this thing as property – shuttling us back to Dutch still life and its cozy material trophies. Only now, of course, the objects of the still life – the expensive flowers, the gilded goblets – are not so much the boast as the picture itself is: grand, seductive, to fill a wall big enough that only the bourgeois could afford it. There is no struggle, as there was once between earthly pleasure and a stern God. No, after all, this art after Pop, where goods have taken on the power of a shallow but continual solace. It seems impossible that the warning, the mortal stress of the vanitas, could exist in the vocabulary of the still life today.
Yet for all the moral and stylistic shifts in the conjugation of still life, the lexicon has hardly changed. The genre is about repetition. The same objects again and again, even back to the Greeks, before still life was still life. The forms studied, invested in, a meditation. How much this was so with Chardin's countless, beautifully limp hares, his copper and crockery. Of Cezanne getting at the truth of nature a thousand times through an assembly of apples and folded cloths. Morandi no less, with his earthen palette and small legislature of bottles, tells us through innumerable presentations, about the stillness of time in which objects become more than themselves, become talismans. The repetition in Sultan's pictures is no different – a selection of things, a way of working that comes to stand for the artist. Over and again, he uses the same s pace; the same materials; the same format; his colors unmixed in the stead of illusionistic ambient light. Flowers, fruit, vases, objects of the house; expiring things stilled, caught, yet now without an underlying homily.
But then, these pictures are of their times. Like Schnabel with his broken plates, like Kiefer with his straw and mud, in the early 1980s Sultan found the need to reinforce the rich palpability of things on the picture plane after Spartan Minimalism, after the ethereal abstractness of Conceptual art. In his more recent images of dominoes there is a metaphor – mine, not his – for still life: the play endless, the repertoire limited at heart, but the combinations mathematically huge, going on. What a curious turn that the physicality of these pictures was one pointer toward the installation art of the 1990s that is surely, though oddly, a tributary off still life's swollen river. Not that there weren't purely sculptural precedents, from Picasso's absinthe glass to Duchamp's ready-mades, all the way up to Haim Steinbach's Formica shelves of detergent boxes that were made at the same times as Sultan's work. In this last decade, installation art has been a hallmark, as all sorts of unswept things have found their ways into tableaux small and large, from the scattered, abject dolls of Mike Kelley to the post-Pop collections of stacked six-packs of Cady Noland. It is as if still life has undergone this generative change, yet more protean, producing solid objects where once there were images alone.
Sultan's pictures – with their weight and scale, with their sculptural mass, with their polyglot references to the past – are a marker on that road down which still life goes. They're swept up now in the contrail as it twists, the picture machine pumping, as it moves along.
Written by KK Kozik, artist and freelance art critic; Published in the November 1993 issue of Cover
Though he classifies the finishing of a painting as among life's sad moments, in his studio surrounded by the silent sentries that in a week will comprise his most recent show of paintings, Donald Sultan relaxes and reflects. Surveying his studio, it is apparent that a recent stint as resident artist at Paris's Centre National d'Art et de Culture Georges Pompidou has not so much impressed itself on Sultan's work as complimented three of its pre-existing conditions: Luxe, Calme et Volupte. A goldfish painting recalls Matisse, monumentalized fruit, Cezanne. It's a strain of vision that has evidenced itself in Sultan's work before, his Lemons probably the most notable examples. Discussion of the related ambience of Like Water for Chocolate and Tampopo starts the ball rolling.
Donald Sultan: Everyone wants to make movies. There's only two things left to do in America – make movies and sell blue jeans.
KK Kozik: Now there's a quotable quote. So where does making paintings fall into that formula?
DS: Well, making paintings is what I do. There are a few other things people do.
KK: But the audience is so, so small.
DS: It always has been for paintings, and I think it's okay because I actually still maintain that anybody who does anything creative has to, so it does influence everything even though not that many people look at it. But you'd be surprised how many people look at it compared to the old days. With all these museums open all the time, people go. Whether they actually look is another thing. Now it's like when they tried to make churches "relevant." They were afraid they were losing all their parishioners. Now the museums are being billed as having singles nights. But, as long as it's all settled into nice little departments where everybody is congratulating themselves, art's power is limited. Without people like Jesse Helms, we wouldn't have half the shows we have now. When you have these kinds of battles, it only makes art stronger and more interesting and it's a free society. If you do things to piss people off, you shouldn't be surprised when it works.
KK: What about beauty….beauty and pleasure, is that a tired question? You know, "what people think about in France."
DS: I think you think about them here too but you just don't get very much of it. Oh, I think it's a rhetoric problem. I don't think they really have much relevance, those kinds of things. It always sounds great if you say, "I'm not into beauty," but of course, they spend as much time fussing with their hair as anybody. I don't know what it means…. The whole idea of beauty is, I mean, isn't early Dylan singing beautifully? I mean the whole concept of beauty, if you really think about it, is a perfect marriage of expression and method. They're married. What you want to say, you say the way you say it. It's married together, the means and the thing are the same. You listen to Robert Johnson sing and there's not a cliché in the line. It's very beautiful. And Mozart, of course, is beautiful and Mondrian is beautiful and Rousseau is beautiful and Duchamp is beautiful. Craft is another thing. Each thing has what is beautiful. Beauty is a very sophisticated problem. There are degrees of beauty. What is beautiful is a very complex notion. I tend to think that the whole notion of beauty is one that is not up for ridicule, and it's not up for exultation, really. It's something that you develop for yourself. I don't think one should have to worry about it or work against it. If people say, "That's beautiful," well, that's their problem.
KK: How about what's great?
DS: Greatness is the same thing, it's the same problem. When you are a kid, certain things are great but when you get older you realize that there are even greater things and that shifts. The more you know, the more greatness seems elusive. It's easy for greatness to manifest itself to a mundane intelligence, but, for refined intelligence or experienced intelligence, greatness is a very complicated question. You could say Alexander the Great is great but what about the Eskimo who can make a shoe with a little knife. If you need a pair of shoes, that's great.
KK: So, what do you think about?
DS: I think I approach pictures by concept. I do a picture by a concept of what is it I want to do, what is it I want to say. I want to make this particular thing and then I go about doing it and as I'm doing it it develops into something. I never quite know what it's going to be. I work it out as I'm doing it. But then when it's finished, or, what determines it's being finished, is the point just before it goes over the edge of being tired.
KK: Would the concept be as general as "I'm interested in round things" ?
DS: Yeah, more or less. I think I've always been kind of discovering imagery as I go along. One thing generally is always an extrapolation of something previous. I look around and I say, "Well lately I've been doing round things," but, you know, it's not so much that that was the point. It's just that the fish eyes can be this, or if I turn this around or if I make the oranges elongated it can be this, or if I make this shape and do it this way it will be a walnut. But you know they're not really so much about walnuts as they are about working on the image, making it look like the thing so much that it's abstracted. For me it's all still about systems as well, systems of imagery. Everything is repeated over and over again. It's not a particularly unique thing in itself; it's a thing that I repeated just like linoleum tile or like squares or circles.
KK: That is more like an element of abstraction rather than an element of visual language.
DS: I think of myself as an abstract artist. I was thinking the other day as I looked at a magazine and it was very thick – so much in the magazine. I was thinking that it really gets to the point that everybody's enterprise, no matter how intense, is kind of reduced to an abstraction. It doesn't mean anything. On the one hand you'll have people out there really working to do something and they'll have a little picture and then next to that is someone advertising a bottle and they'll have all the space in the world. Everybody's enterprise is reduced to something throwaway. One of the reasons I make and have always made every painting in a show of a different image is so you have to deal with these images one at a time so you can't say, "Oh that's the domino show." I might make 20 fish paintings in my life, but it doesn't mean I have to make them all at once. I do use materials – plaster, linoleum – over and over and the same colors, too.
KK: Do you rhapsodize about what you do? It's a fairly constrained project and one assumes you must be really fascinated by what lies within those bounds.
DS: Yeah, but I don't see them as boundaries because I don't know how far they can go.
KK: Oh, I don't mean it as a chain-link fence that prevents you from doing anything else, but your project is essentially the same today as….
DS: Well, I think basically everybody has a vision of things and, no matter what happens, you are basically the same person. No matter how far you reach with it, you know, you don't mistake yourself for somebody else. That's why I always like when people would say years ago about Roy, "The guy's just doing the same thing." He's doing Lichtensteins, right? That's who he is. If he could so somebody else's thing, he would, but he can't. I don't know of anyone who has changed radically who's been that interesting.
Donald Sultan
by Tom Breidenbach
With such unlikely materials as tar, vinyl, Spackle, and Masonite, Donald Sultan builds up his thoroughly elegant paintings, which monumentalize such ephemera as the swirling of smoke rings or a glimpse of two birds landing. Other subjects are only somewhat less transitory, such as the close-up still lifes featuring elephantine black eggs placed amid ripening apples or within checkerboard patterns of yellow roses of half-ripened tomatoes. In these, Sultan seems concerned with the impressions made by organic surfaces, whose contours and colors he often renders with a delicate-looking, waxy opacity. The overall effect of his work, however, is more surreal than naturalistic. The dark, portentous eggs appearing in half of the ten paintings in this exhibit are largely responsible for this. Varying in size from work to work, their surfaces alternating between convex and concave, flat and spherical, the eggs ultimately read as both abstract and real. They seem totemic, physical and metaphysical realms. One wonders if they might not even be the fruit of Lop Lop, the wraithlike bird of Max Ernst's later painting.
The new work seems generally starker than much of Sultan's previous efforts, which, while unique and complex, still seemed to woe something of their vibrancy to Warhol's Pop. This element seems pared down here in favor of purer painterly effects, especially in the black-and-white Smoke Rings April 2 1998 and Smoke Rings Feb 22 1999, where the artist's seemingly frenzied manipulation of tar and Spackle achieves a sense of space that verges on the foreboding. Such eerie intimations are mitigated by the artist's use of geometry in these paintings, all of which are square. The six largest (ninety-six by ninety-six inches) are each assembled of four smaller squares; the surfaces of Birds June 11 1998 is divided equally into sixty-four brackish squares whose rigidity sets off the randomly shaped splotches in the painting's leaden background. This linear geometry also accents the globular look of the large apples in Apples and Eggs Feb 1999 and further emphasizes the almost pupil-like nature of Sultan's mysterious eggs. In these hazy, lush works, it's as if mathematics itself has become a fecundating principle.
Another tension enervating Sultan's work involves the juxtaposition of the unwieldiness of his chosen media, which obviously require great effort to be combined and manipulated, with the gracefulness of his results. The larger pieces are mounted on the wall with bulky plywood-and-dowel platforms that - along with the fact that his work sometimes seems more sculpted than painted - contribute to their almost Herculean aura. Yet rather than an end in itself, this muscularity seems aimed precisely at constructing remarkably refined surfaces, where sunset-colored passages might float amid the gloom mottled shadows swarm the interstices between objects. It is the surfaces of these objects, their "skin," whether flushed or nacreous, that in part balance the weighty plasticity of Sultan's work on the side of the ineffable.
Written by Edward Leffingwell, art critic and curator based in New York; Published in the July 2003 issue of Art in America
Donald Sultan's massive new poppy paintings extend beyond the familiar address of fruit and flowers that preceded them. The largest of these physically intense, enveloping works are painted on grids of ordinary vinyl flooring tiles that are attached to six 4-foot-square panels of masonite, which are in turn fixed to plywood panels, cradled on stretcher bars and bolted snuggly into place. The vinyl-tile surfaces are then covered with the tar on which Sultan draws the poppy images. The floral forms are excavated and filled with a drywall mud that, when cured, is painted with vividly hued enamels. Sultan next introduces a seductive black rayon flocking, the texture of which suggests the pollen on the anthers at a poppy's heart. He selectively torches the surrounding areas of tile, gouging and scraping to produce rhythmically obsessive, vertical striations into their surfaces, creating an abstract ground in the process.
The three largest paintings in this show are horizontal in the manner of landscapes and huge at 8 by 12 feet. Their titles characteristically include the month, day and year of their making--a diary of their production. In one of these large paintings, Aqua Poppies Dec 10 2002, the pale blue enamel blooms overlap each other, overflowing the painting's support at the outer edges. The contours of the petals are as smoothly defined as the surface of enamel paint, which appears to have been burnished and then sanded to mitigate its reflective property. Where the painting's six panels meet, the edges are smooth.
The irresolution of figure and ground in the energetic Red Poppies Nov 20 2002 is intensified by an overall deployment of flowers, virtually filling the support. Small areas of distressed tile become the figure, leaping in arabesques across the painting's expanse. Truncated patches of flocking ornament the painting's delicately ragged edges that in turn suggest the texture of a poppy's crepe-like petals. The four sections of the smaller, square-format White Poppies with Flocked Center March 3 2002 and Yellow Poppies Dec 15 2002, complete the exhibition's reductive spectrum, the ground of the latter painting composed of a thin wash of tar. Several intimate studies of poppies in flocking on handmade paper reflect the muscular achievement of the larger works, while four larger charcoal drawings of oranges on leafy branches, two of them with flocking, further instruct the viewer in Sultan's formal interplay of figure and ground.
© 2010 bill lowe gallery |
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So, You Didn't Get A Scholarship. Here's Why You Shouldn't Panic.
When I graduated with my Bachelor's in 2011 with over $25,000 in debt, the last thing I wanted to do was go on to graduate school and take out more loans. I was a Millennial fresh out of the higher education system and I was ready to enter the working world. After all, I had been promised since elementary school that college meant a good job relatively quickly.
As many of you probably know, that's not exactly the way it works anymore. The Bachelor's degree is, to a great extent, like the new high school diploma, and unless you've got a ton of internship experience or a good network, trolling the online job postings can be an exercise in futility.
It certainly was for me, even with my club work, 3.89 GPA, and living really close to NYC. Eventually I escaped this cycle of joblessness by joining the Peace Corps, and after I returned, I knew that I needed to get my MPA. Why did I need to get my MPA? Well, for one thing, my time doing project work in a foreign country made me realize that there were legitimately valuable things a graduate degree in administration could teach me. This is my first piece of advice to frustrated grads with their bachelors fresh in hand. Have you thought about what you still need to know? And what opportunities can you take to learn and grow to figure out what you don't know?
If after some volunteering, interning, etc. you've figured out your learning gaps, then applying for a graduate degree makes sense. What's more, going for that graduate degree makes sense even if you don't get any scholarships or financial aid from the institution. That's right. Graduate school, if you know what you want to do with your life, is worth taking out loans for, especially if you've been accepted to Rockefeller College.
To put it bluntly, being enrolled in this school is a whole different ballgame, networking wise. I've been attending for a mere 10 months, and I've already been offered three paid internships at a living wage. This is not unusual. Rockefeller students are highly sought after, and the school has well-established connections in the Capitol region and beyond that make the transition from school to work that much easier. So, if you just got word from your short list that the only aid available to you is Federal loans, don't panic. Ask to talk to the Career Services department at each of your top choices and ask them what their internship program is like. Be direct, explain your situation, and make sure to inquire about the percentage of students currently working. Nobody likes to go into more debt. But if it means a virtual guarantee of gainful employment, you might decide that it's worth the further investment in yourself.
What Makes Rockefeller College Stand Out?
I know what you guys are probably thinking. I'm an admissions person. My opinion is bias, and I have a vested interest in telling you all about how Rockefeller College is the place to be. Let me be the first to admit that Rockefeller College and I get along. But there are distinct reasons for this, which I've allowed my fellow students to expand upon below:
1. Rockefeller College Understands That You Have Stuff (Like Work) To Do
Many schools say that their curriculums are worker-friendly, but first year MPA student Melissa Krug chose Rockefeller because we stood out head and shoulders above her other choices in this way. When I asked her why she chose Rockefeller, she told me that "The fact that I could be a part-time student is a huge plus because other programs could not accommodate full-time working professionals." There are two major ways Rockefeller achieves this accommodation: A part-time track as well as winter and summer courses and night class options. It is totally doable to work a nine to five and then roll in for your 5:45pm class!
2. Rockefeller College Won't Break the Bank (For In-State or Out-of-State Students)
The average cost of attendance per year here at Rockefeller for a full-time, in-state Masters student is $12,517. For out-of-staters, it's $23,857 – the lowest cost out of the top 25 MPA programs in the country! International students enjoy similarly low prices compared to other schools, owing just $25,059 per year. Rockefeller College also gives out a select number of in-house financial awards each year. I think my friend Rob said it best: "I could pay the tuition myself without any more loans. In this day and age, the value of that alone is priceless.
3. Rockefeller College Is Flexible and Offers a Broad Range Of Degree Concentrations
We've already talked about Rockefeller's accommodation of professionals. But Rockefeller also does everything we can to meet prospective and current students halfway. We understand, for example, that you are more than just one aspect of your application, and review all of your materials holistically. We also provide a variety of concentrations including Nonprofit Management, Health Policy, Financial Management, Global Affairs, and more. As one first year MPA student said when I asked him about his choice to come here, "Rockefeller College accepted me for who I really am."
4. Rockefeller College Does all of its Career and Internship Placement Services In-House
Here at Rockefeller, you will have exclusive access to our Career Services office, which is responsible for by-appointment resume critiques and hundreds of job and internship placements each year. The Career Services office is also responsible for bringing in working professionals to talk with current students on a weekly basis and organizing numerous networking events and career fairs throughout the year. All these efforts are not in vain. In fact, Rockefeller College has a 98% job placement rate upon graduate – and yes, these are jobs in a relevant field of work.
Don't Just Take Our Word For It Though…
If you'd like to learn more and meet with current students, faculty, and staff, come visit us! Email firstname.lastname@example.com to schedule an appointment.
How to Ask for a Letter of Recommendation
If you're currently a student, then you're probably split between enjoying your winter break and agonizing about all the school and work applications you have in the mix. (We won't talk about the spreadsheet currently sitting on my desktop. It's color-coded to the point where it would blind you).
One thing that really stresses applicants out is making the ask for letters of recommendation. I've been doing this for one thing or another for about ten years and I still get squiffy about it. Below are a few tips for making these asks as painless and efficient as possible:
1. Choose your recommenders wisely.
Before you fire off fifty emails, ask yourself the following questions: Do I have a positive relationship with this person? Have I asked about their family/publications/life lately? Are they able to accurately and enthusiastically speak to my qualifications for whatever I am applying? You don't want to pick the same recommenders for everything. If you're applying for a summer job painting murals at an art museum, your finance professor should not be your first choice, for example. What's more, you should try to pick people with whom you have a rapport—nobody likes getting emailed or spoken to only when a person wants something. At the very least, open your email with a salutation and well wishes.
2. Ask WELL in advance!
I personally feel anxious if I ask any less than three weeks in advance for a letter. It is so important to give your recommender enough time to do their letter justice. Believe me, they get read, and admissions committees can always tell if a writer was rushed.
3. Know what you're applying for—and clue your recommender in.
Don't annoy your recommender off the bat by linking them to a giant website for the university or organization you're applying to. Take the time to write a short paragraph describing the program, the position you are hoping to get, when the deadline is, and what you hope they might highlight in their letter.
4. Attach your resume and whatever additional documentation your recommender asks for.
These additional documents may vary. I once had a recommender ask me to write my own draft and have them sign! Even if you feel like the recommender is asking for more than necessary, just remember they're doing you a favor and forward it all along.
5. Don't forget the follow-up.
Make sure to send a thank you note or a small gift to everyone who does end up writing you a letter, even if you don't get accepted to whatever you applied for. This small gesture significantly increases your rapport with the person and increases the chances that they'll say yes if you need another letter from them down the road. Also, if you do end up getting accepted to something, mention this in your note. There's no better feeling then knowing you helped someone achieve their goals.
Getting Ahead of the GRE
Around this time, our office gets inundated with questions about the Revised General Test-also known as the "SAT for grad school" or the GRE. Below are a few tips for demystifying this application hurdle:
1. Most graduate programs require the GRE—but it's worth it to ask about waiver policies. At Rockefeller college, the vast majority of MPA applicants and all PhD applicants are required to submit GRE scores along with their applications for study. However, we do consider applications for GRE waivers if an applicant has five or more years of work experience in a supervisory role, preferably in a quantitative field. Before you look up GRE time slots, email the admissions offices on your short list and ask about their waiver policies.
2. When you email, don't ask about minimum score requirements—ask about average scores of acceptance. Many schools, in an effort to review applications holistically, do not have a specific minimum score requirement. However this does not give one much to aim for when taking the test. A good policy is to inquire about the average scores of people who are accepted into the program (don't forget to specify that you want the average scores for writing, quantitative, and verbal). This will give you a solid standard to work with when preparing for the test. And in speaking of preparation…
3. Yes, you do need to study. Many people are so overwhelmed by the testing scope of the GRE that they take a "what I know is what I know" approach. While we understand that being tested on your entire vocabulary and all the math you've ever learned is daunting, studying will almost definitely improve your chances of success. What's more, there are productive, concrete ways to study that do not require reviewing every spelling test and math exam you've ever taken. We're particular fans of the GRE study guides put out by ETS, the testing company that creates and administers the GRE. Getting one of these books is a productive and relatively inexpensive option to brush up, plus they're chock full of practice tests.
4. For schools who require the GRE, it isn't the only thing they look at, but it plays an important role when considering an applicant for admission. We here at Rockefeller have found that your GRE score, especially on the quantitative section, tends to be indicative of your future success in the program. The Master of Public Administration program in particular is heavy in the kind of math the GRE tests for, and so we use your score as a road map for your math competency.
5. Whatever you do, start early, stay informed and follow up. You would not believe how many applications for GRE waivers we get two days before our application deadline. Still more people submit applications without being aware they have to take the test. If you're applying for the fall, now is the time to start investigating the GRE requirements of the schools on your short list. If you have to take the test, making a first attempt as early as possible will take some of the pressure off, give you more time to study, and give you time to take it again if your first scores are less than ideal.
We hope these tips make the GRE a little less mysterious and daunting of a prospect. And please, if you feel we've forgotten any vital GRE hacks, comment below with your two cents.
Knowing Your Application Strengths and Weaknesses
If you're considering graduate study in the fall, you've probably already started thinking about the application process and where you might like to go. This is often an overwhelming process, especially if you're in a group of friends who are all applying at the same time. The temptation is to compare yourself to other people, and these comparisons can either bring you down or build up a false sense of confidence.
Just remember, nobody knows you better than you know yourself. Also, you're probably a stronger candidate than you think you are. Below are a list of common (and less common) application strengths and weaknesses:
- A Well Written Personal Statement
Everyone knows this counts of course. But it is truly rare to find a well written, cogent personal statement free of errors that answers all of the application prompts. Taking the time to make this document polished and communicative of who you are can set you apart big time from the crowd. (Trust me, I read dozens of them a day).
- Some Leadership Experience
A good undergraduate track record is important, but often departments will forgive a less-than-stellar GPA if you can demonstrate considerable leadership experience. If you coach a team sport, are on the board of a school club, or even if you've babysat your whole life, these circumstances all speak to your ability to manage others and to work under some kind of pressure—so don't write them off!
- Good Recommendation Letters
A lot of applicants seem to think that the letters of recommendation are not as important as other facets of the application. This simply isn't true. If someone who has known you professionally or academically for a significant period of time writes a glowing recommendation, we pay attention. (And similarly if the recommendation is lukewarm, we can tell and we will wonder why). Make sure you have a frank conversation with your potential recommenders before they write for you, so that you have a better idea of where you both stand.
- Low Test Scores
How much test scores matter entirely depends on the program and the school to which you are applying. For Rockefeller though, we generally look at the GRE. For the MPA program. We consider anywhere within the 64th percentile for quantitative and 58th percentile for verbal to be competitive. The average score on the writing section is 4.5. Before you sign up for a million test dates, look up the ranges of generally accepted GRE scores on your short list of schools so that you have a better idea of what to aim for.
2. Incomplete Materials
You would be surprised how many applications are delayed or disregarded simply because the applicant did not follow instructions and/or promptly answer follow-up emails about missing materials. This kind of lack of attention to detail speaks volumes about your professional competency and can be an unspoken criteria of admittance, so make sure to read application directions thoroughly and do things right the first time.
- Lack of Any Work Experience
For sure, there are plenty of students who go right from undergraduate to graduate school and may not have begun their careers in earnest. However, looking at work experience is just a more formal way for admissions committees to ascertain whether or not you have any leadership experience. We encourage you to put down all of your work experience even if it's not related to your field of study, especially if you used these jobs to put yourself through Undergrad. That shows good goal setting and dedication to your education.
We hope this post got you thinking about your own candidacy pluses and minuses. Stay tuned for more articles on how to make your applications the best that they can be.
Do's and Don'ts of the Grad School Fair (From People Who Know Their Stuff)
It's that time of year. Apples, colorful leaves, jack-o-lanterns…and Graduate School fairs. Along with your hoodies, all of you seniors are probably starting to feel the warm, slightly claustrophobic pressure of your uncertain future closing in around you. Don't worry, you're not alone, and going to graduate school fairs to see what higher education has to offer is a great place to start sorting out your plans.
Below is a list of top "Dos" and "Don't's" of the grad school fair as identified by seasoned admissions professionals here at Rockefeller:
Pro Tips
- Come to the event looking presentable. It's a terrible cliché to say "dress for the job you want," but as long as you do that (and don't say it), then you're golden.
- Bring a few copies of your resume. Or at the very least, write legibly when filling out information request cards. You would be surprised how much interest goes unanswered due to illegible handwriting.
- In speaking of resumes…make sure the copy you're giving is up to date and approved by someone with an eye for the resume format.
- Do a little homework. At the very least, check the registration web page and see which schools are attending. Make a "must visit" page and target those tables so that the fair proper isn't so overwhelming.
- Understand your own interests. It's good to know the most important criteria for schools you might attend. For example, geographic location, program offerings, or faculty research in a particular area may all be important to you, and you should be able to articulate that during the school search.
- Be prepared with questions. Don't be afraid to talk to the representatives, that's what we are there for.
- Keep an open mind. Remember, the most valuable part of the grad school fair is the opportunity for in-person interaction with admissions staff. You might learn about a program you didn't know existed, or start considering a school you've never heard of, and that's okay. It might be the best decision you ever make.
- Clustering. Don't treat the grad fair like a bar with your friends on Friday night. Break away from your friend circle and express interest in programs and schools directly to get the most out of your experience.
- Inappropriate email addresses. Try to stick with something that is a version of your name. It makes it easier if we have to transcribe it and it looks far more professional. Your email is not the place to be unique or cute.
- Pajamas/Sweatpants. Not wanting to wear a full suit is one thing. Showing up looking like you just rolled out of bed is quite another. If formality really makes you uncomfortable, at least consider something with buttons and/or collars.
- General cluelessness. If you have no idea what programs you're interested in, what a school does, or where it is, this does not give a good impression.
- An "I'm in it for the stuff" attitude. Walking up to a table and grabbing a pen or a treat without demonstrating any willingness to interact with an admissions officer is just plain bad manners. (And besides, if the treats are good, the school just might be too).
We hope these tips prove helpful to you as you embark on your grad school search. And please, if you feel like we missed any particularly important ones, comment below and make your case.
Why Choose An Out-Of-State School? We Asked Someone Who Made The Move!
Deciding to leave one's state for school can be a scary decision. This week I sat down with Adelaide Hurlbert, a fellow graduate assistant in my cohort, to pick her brain about why she chose to make the move.
Adelaide is originally from Inman, South Carolina. Inman is a small town, and she knew that wherever she ended up going for higher education she wanted that "small town feel." Adelaide decided to go out of state for her undergraduate degree and chose Ursinus College in Collegeville Pennsylvania because it offered a strong gymnastics program. Even though this was far from South Carolina, she enjoyed her undergraduate experience and the surrounding area.
"The school itself was so small it felt like its own community, and then Collegeville was another small town." she said of Ursinus. "It wasn't a huge culture shock going from one to another."
Her positive experience branching out for undergrad meant that when she was ready to look for master's programs, out-of-state schools were on the table. She had majored in Media and Communications at Ursinus and was looking to compliment this skill set with more quantitative and management capacities.
With these goals in mind, she attended a grad school info fair to begin her search, a strategy she highly recommends.
"It's far less confusing to sit down face to face with someone and discuss my options, rather than sifting through a bunch of overwhelming information on a website."
We here at Admissions heartily agree, and in fact it was at the Idealist fair in Philadelphia where Adelaide met Kara Pangburn, our Director of Admissions. Kara discussed her educational goals with her one on one, then told her about some brand new program concentrations here at Rockefeller.
"I just felt like when I met Kara, this was it. This was a good match! I just want to go here!"
Of course as most of us know from applying to undergraduate institutions, only one college on the short list becomes where we actually attend. Adelaide finally decided on Rockefeller College because they offered her a competitive funding package and its location in the State Capitol is a great place to locate internships and jobs. She also caught wind of our fantastic career services office, which ultimately set Rockefeller apart from any in-state considerations.
It's been about 7 weeks since the semester started, and so I felt I had to ask whether or not Rockefeller was meeting her expectations. Adelaide reports that indeed, her graduate education is everything she hoped it would be so far.
"I especially love the small class size," she highlighted. "U Albany is a big university but Rockefeller is a small, comfortable learning environment. It feels like a small town within a big city and I still have the close knit feel that I appreciated at Ursinis. Also, there's Dunkin Donuts everywhere. And loads of coffee places!"
Lastly, I asked Adelaide if she had any advice for the grad school search.
"I think it's just as important to visit your grad school campuses as it is to visit your undergraduate campuses. Also, keep an open mind. Don't limit yourself to one state or think you can't hack living away from home. It's not as daunting as it sounds."
(PS—if anyone feels like taking Adelaide's advice and visiting Rockefeller College, follow the link below and fill out an online tour request form. We'd love to meet you!)


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Orioles, Guthrie poised for Camden Yards reunion
Associated Press | Last updated May 08, 2013
Jeremy Guthrie and the Baltimore Orioles are doing just fine without each other. Guthrie lost 60 games over a four-year stretch with the Orioles before being traded to Colorado in February 2012 for pitchers Jason Hammel and Matt Lindstrom. Now he's back in Baltimore for the first time, poised to face his former team Thursday night as a member of the Kansas City Royals. Revenge will not factor, simply because Guthrie harbors no resentment toward the Orioles. ''I'll just be excited to be on the mound here again,'' he said. ''Great ballpark with great fans. To be able to compete against friends and former teammates, it will be fun.'' Guthrie broke into the majors with Cleveland in 2004 and was used sporadically before being picked up by Baltimore on a waiver claim in January 2007. He immediately became the Orioles' workhorse, starting at least 30 games in five straight seasons for the struggling club. But after losing 17 games for the second time in three years, the right-hander was shipped to Colorado. At the time, and to this day, Guthrie believes the Orioles did the right thing. ''That's a trade I would have made in a heartbeat,'' he said. ''I don't think a person in the world would have blamed them for making that deal.'' Hammel immediately became the ace of the Baltimore staff. He played a huge role in the Orioles' playoff push last year and was their opening day starter this season. Lindstrom, meanwhile, went 1-0 with a 2.72 ERA in 34 appearances before being dealt in August to Arizona for Joe Saunders. And Guthrie? After going 3-9 with Colorado, he was traded to Kansas City in July. ''I didn't hold up my end of the deal for the Rockies, so for them it ended up being a very poor trade,'' he said. It sure turned out well for Guthrie, though. He went 5-3 with Kansas City over the final nine weeks of the 2012 season and this year is 4-0 with a 2.40 ERA. ''He's far better than I ever imagined he was,'' Royals manager Ned Yost said. ''He still has a great fastball at 93 mph, he can sink it, he can cut it. I just think he's comfortable in his surroundings.'' Guthrie loved being part of the Orioles, too, but appears to have finally reached his full potential at age 34. ''My time in Baltimore was a huge plus, just wonderful,'' he said. ''I was able to learn and got a chance to start in the major leagues, something I didn't get in Cleveland. So, I have very fond memories of all the time here. I gave everything I had and enjoyed every bit of it.'' After flopping in Colorado, Guthrie found happiness in Kansas City. He signed a new three-year, $25 million contract with the Royals in November. ''It was a place I wanted to go,'' he said. ''They gave me a very fair offer, so for me it was just a perfect scenario.'' Much has changed for Guthrie and the Orioles since that trade - all of it good. ''Jeremy did some good things for us here in Baltimore, and we were able to acquire some people that could help us through his abilities,'' Orioles manager Buck Showalter said. ''He's having a solid year, he's coming off a great start, so I wish him well - after he leaves here.''
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Hello, we are Susie and Jeff. Jeff is an Attorney and Susie is a Realtor in San Francisco. We have raised 7 children in this home and it has been full of friends, love and laughter. All the children have graduated and now live all over the world. So we felt like it was time to share this wonderful place with others. We feel exceedingly blessed to live in the beautiful San Francisco Bay Area. We take advantage of all that is has to offer. From our lovely location you can swim, boat, hike, bike, kayak, golf, horse back ride, and fish. You can also take advantage of all that San Francisco has to offer. In a matter of minutes you can be eating in San Francisco's world class restaurants, visiting her lovely museums or partaking of the glorious night life. We feel that this peaceful place is the perfect place to enjoy all that the Bay Area has to offer and then come back to your own piece of Heaven. We hope you and your family enjoy it as much as we have.


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Scoliosis is a condition in which the spine curves to the side, rather than running straight. Doctors often diagnose it during childhood and adolescence.
Children with scoliosis need regular monitoring while growing to provide proper treatment. In some cases, scoliosis can cause visible symptoms that can affect the self-esteem of many young people.
Visit UPMC HealthBeat for tips to manage childhood scoliosis:
In June of 2014, Kathy began feeling very tired at work, so she made an appointment with her doctor. After a series of tests, Kathy learned that she had nonalcoholic steatohepatitis (NASH).
NASH is a serious disease that causes inflammation and damage to the liver due to a buildup of fat.
Kathy started treatment at the UPMC Center for Liver Diseases.
After an extended stay in the hospital, Kathy received devastating news. Her disease had progressed, and she would need a liver transplant to survive. Her care team placed her on the liver transplant waiting list. But with 15,000 others also on the list, Kathy began to lose hope.
Kathy's son Jeremy has always been close with his mom. So, when she fell ill, he didn't even think twice about helping her. Desperate to save his mother's life, Jeremy began researching living-donor liver transplants. He decided to have tests done to see if he was a possible donor, and luckily was a perfect match!
With the support of their family and the UPMC liver transplant team, Kathy and Jeremy had a successful living-donor liver transplant. Today, both Kathy and Jeremy have recovered, and Kathy could celebrate a very special day with Jeremy — his wedding.
Learn more about Kathy's and Jeremy's living-donor liver transplant at UPMC.
UPMC Senior Services offers top-quality care to one of the largest elderly populations in the nation. We're one of the largest clinical geriatric programs in the country, and we also have the largest group of geriatric psychiatrists.
We strive to make this time of your life as rewarding as possible by offering care that best suits you such as:
Our partner, the Aging Institute, also offers plenty of resources to help you and your caregivers. You can access information on all senior programs, services, and events through UPMC and other government and public organizations.
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Turn-key resources for weekend programming, summer camps, retreats and more, including video episodes and a leader's guide with detailed instructions.
Includes exclusive footage from WOODLAWN with scenes starring Jon Voight and Sean Astin
Gives biblically founded perspective on the relevant topics of race and religious freedom, while also challenging each viewer to grow in faith and relationship with Jesus.
With teaching from Caleb Castille (who plays Tony Nathan in WOODLAWN), the Student Study speaks to teens – from one young person to another – about uniting together.
Weaves together true events from the past with scripture to spark revival in our hearts today and cast a vision for the future legacy we will leave.
ONE resources include the Journal, Leader's Guide, Small Group Study, Pastor's Kit and Movie License Event Kit.
In 1973, Birmingham was torn by racism and hate. God worked through the Woodlawn high school football team to unite the city and ignite a spiritual awakening. This revival was nothing short of miraculous. Could it happen again? ONE features powerful scenes and exclusive footage from the movie Woodlawn to discover the answer...it only takes one person to start a revolution. What if that person is you?
With teaching by Pastors Dave Stone and Tony Evans, ONE prepares your heart to experience and embrace a move of God.
A student version of ONE is also available as Small Group Study, Journal, Leader's Guide andThe Playbook by Tony Evans.


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Hello... professional video editor... photographer... camera operator... pre-production, field production, post production, any production you name it... I did it at one time or another. I have always had a love for movies. My home theater consist of the following...
60" Panasonic Viera ST60 plasma... love it!
PS4 as my gaming and Blu-ray
Onkyo TX-SR606 (yes I had to fix the HDMI capacitors) set up with 5.1 sound
Mirage Nanosat L,R,LB,RB,S and Polk Audio center channel.
Oh... and I love Jeeps.
Hello Scott and everyone. I am not much of a forum guy but found this one and discovered how informative it is. I stumbled upon it as I was doing research on the Samsung UN65HU9000 4K UHD 3D curved TV. I am now the proud owner of one and just got it installed. Now I yearn for knowledge & tips on optimizing the display quality.
Since my entire 36 year professional career has been in IT, I also love computers, servers, etc.
Another passion is continually learning about technology, tips, and experiences with setting up infrastructure that allows for music and video streaming.
Thank you for allowing me to join this group. I'm anxious to share my experiences and learn from others as well.
Hi all, new forum member. Designing the pre-wiring for what will be a home theatre in a spec house that is being built, so just trying to learn as much as I can about home theatre design, layout, etc.
Will spend the next couple of days viewing forum discussions and then will post a sketch and ask for some constructive feedback on my design.
Thanks in advance, Stefan.
Hey everyone… new to boards and glad to be here and hopefully add some points and information to the boards.
Thank you :)
Hi guys.. nice to meet you all
My name is Chris from Greece.
Im an IT guy but with Love to AV. I saw great info in this forum and i feel sorry that i havent spoted earlier.
Im glad im here..
Hello everyone, I'm George. Retired Disabled USAF Vet who volunteered (enlisted) in 1972 and served in Desert Shield/Storm. Been out a while now (since 1995) and currently own a Mitsubishi WD-65735 DLP TV. I just had the white dot issue fixed for free by Mitsubishi, they covered the chip, labor, and had the tech come to my home to do the job (about 30 minutes total). Very happy with the AWESOME 65" crystal clear and sharp image that its had for almost 5 years now (minus those bugs and white dots). Thanks for having the forum, it has been invaluable in finding the fix, and free resolution, with Mitsubishi!
Hi, sorry for my bad english. I'm here to share my love for home theater system and my knowledge!
Please feel free to ask me everything, I'll try to answer the best I can!
Hey Everyone,
I am here cause I love amazing sound and wanted to become part of a community so I can learn from and also share what little knowledge I have in the AV world.
Last year I bought an Yamaha Aventage 720 Receiver to replace my old RX-320 I believe it was. Now I am looking into setting up a true 5.1 system and replace my 2 Polk R-50 floor standers. I will be listening to some music on these but mainly for movies. I am A HUGE Star Wars Fan :). Thanks for creating this community and I am sure I will be getting to know you all as time goes on.
Just wanted to pop in and say hi. I look forward to the wealth of info here! Hopefully I can get some help building my new Home Theater!
I'm a bit late to this party considering I've been a member for months now but just noticed this welcome thread.😳
I'm a born music lover & was bit by the audio/ home theater bug after seeing Jurassic Park in dts when I was 15...been hooked ever since!
Right now I'm the proud owner of an amateur grade low budget dedicated theater room.
At some undetermined point in the future I hope to piece together a very high quality system & perhaps move up to a professional grade theater design.
My system is mentioned in a few of my other posts.
Sincerely, the frugal audiophile
hello all
i'm italian and i'm waiting the sony 55'x9005b .. tomorrow it will be come in my house :D
Hello, I am joining AVS because sometimes I read a message that I would like to post a reply to and add my 2 cents worth... I am a retired tech for avionics in the military and mail processing machines in the postal service. I enjoy free to air satellite, internet streaming devices, in home streaming over my network, and cord cutting in general. Currently, I am experimenting with HD TV Antennas. I have a Fracarro LP-345F, an HD-Stacker, a 91XG, and an original channelmaster 4228. I modified/reinforced the reflectors on both the 91XG and the CM-4228 with the addition of 1/2 inch steel mesh. That 5 dollar mod gave me added sensitivity and a better front to back ratio on each antenna. I receive TV stations from 3 markets: Fresno, Sacramento, and San Francisco. I get around 40 to 50 channels in each market area. The distance to my Fresno stations is about 70 miles, my Sacramento stations are from about 90 miles away, and the San Francisco stations are about 105 miles away. My next project is getting my best antenna over 40 feet above ground.
Howdy All!
I'm a long-time gamer that's obsessed with having a "cinematic" gaming experience- big TV, surround sound, etc. I'm currently looking into getting a gaming PC that also doubles as a HTPC. Everyone on this forum has been extremely helpful thus far- I think the AVS forums are a fantastic resources for novice home theater enthusiasts like myself!
Take care!
Good day all, just joined to get more information on the Optoma ML500.
Got a unit for free because it had issues and being a computer geek, everyone dumps their hardware at my place for me to fix and enjoy.
I am a home owner remodeling a bathroom and want to install two speakers and a subwoofer that I happen to have on hand to a old Sony receiver.
I have a Sony STR-AV320 am/fm receiver with A and B speaker outputs. I connected two in wall JBL SP6C speakers to speaker A outputs (left and right). I then connected an Acoustic Audio HD-S8 in-wall subwoofer to the right channel of speaker B. When I activate both speaker A and B I receive audio out of only one of the JBL speakers and audio out of the subwoofer. I I deactivate speaker B I lose audio in the subwoofer but now both the left and right speakers connected to speaker A outputs are emitting audio.
How do I get audio simultaneously out of the two JBL speakers and the subwoofer speaker? Thanks for any help you can offer.
I'm from the UK, but have enjoyed reading the forum for a while now and have learnt a lot. I'm not a techie so rely a lot on the people who know more than I do, but love AV kit and what it does. My current system comprises of:
Panasonic ZT65
Cambridge Audio 752BD
Pioneer LX55
Dual CS506
Sky + HD
Tannoy Arena 5.1
Isotek MIRA
QED Cables
The Panasonic has been professionally isf calibrated.
Panasonic ZT65 (isf calibrated) / Cambridge Audio 752BD / Sky+ HD / Pioneer LX55 / Tannoy Arena 5.1 / Dual CS506 / Rega Mini Fono / Isotek Mira / Antimode 8033 / QED + Audioquest Cables / Virgin Media 50MB Network /
Hello All
From Philly just a newbie and about to start build a simple home theater system.
Hello All,
I live in Norfolk, UK and I look forward to becoming an active member of the AVS community. I enjoy seeking information and advice on all things related to TV audio and video and sharing my experiences with technology.
Hello guys i am Andreas and i was just searching a problem of my projector and this looks like a really good site so i decided to sign up!
I'm a movie buff with a ridiculous blu-ray collection, looking to build a nice home cinema to watch them all in. Got some great tips so far.
Hi all
Since a few years I search a projector, now unable to purchase an Optoma HD23, which I hope will arrive this week.
I bought the Optoma because I think it is a good bet in 2D (I do not enjoy 3D movies)
I am preparing my audioroom to put the projector, at this moment I'm researching which screen should I get.
And this is what led me to join this forum.
I just bought a sharp 70" Q +
Pioneer av vsx 1123 K
Bowers and wilkins 684s. 2 each
Bowers and wilkins center channel
Bose 301s. 2 each
This is kind os mix and match but i got some great discount on new floor model items at bestbuy.
The tv is coming this thurs and will be installed by geek squad.
I dont have 7 speakers although this receiver is a 7 channel but my area is not that big. Want to buya blue ray 3d with 4k upscaling since the tv will also be able To upscale as well. I have very very little know,edge, any recomendations or recommended readings will be welcomed. Thanks!
Hi Everyone! Thanks for the warm welcome, Scott.. I'm in the Buckeye State!
I live totally off the power grid. Have been since '89 and ain't never gonna change. My shack operates totally on 12 v.d.c.. I avoid inverters at all cost. Everything I use on a daily basis runs directly from my battery. (8 - Surrette S-600's) I have 512 watts of solar panel that serves me just fine..
I love music and speakers! I build all kinds of crazy audio stuff that operates from some kind of battery. I have tunes everywhere! In the kitchen, In the bedroom, On the porch, Portable set-up for outside, ect..XM and I yardcast with a Ramsey FM Transmitter for tunes at the fire pit..
I have an LG projector in my living room that give me a 74" screen with surround sound. DVD player (HDMI) and audio via a Jensen Motor Home head. The projector has a digital tuner connected to an antenna system. Work fine, last long time..
See ya'll around the campus..
Hi - long time reader and finally joined. I look forward to interacting more now that I am a member. I am mainly a 2 channel guy with interest in home theater (mainly to avoid going to the movies and paying outrageous prices for the tickets and snacks while having to put up with people taking phone calls during the movie!). See you all around.
So this is why I am here as when I searched the web this forum came up on the list as I want to find out all about it.
Hey guys.
I'm an intermittent audiophile - when time permits! Anyways, I was stumbling across these forums as there is much interesting info and miles of information & comparisons.
Current system is a pair swan d2.1se with pioneer 1222k AV with class D. Definitely looking to pick up a center d1.1sec and subwoofer(s) in near future. Gotta love this stuff.
Hello everyone and thank you Scott for the warm welcome. I'm just beginning to get my feet wet with shooting video on a professional capacity, as well as editing, audio mixing, and other odds and ends. I happened to stumble upon this page in search of information regarding the difference between recording in AVCHD or MP4.
From what I've read so far on this forum, I'm glad I have found a place on the internet where I can rely on the information being exchanged/posted about things of this nature.
What I'm working with equipment wise: Canon XA20, Adobe Premiere Pro, After Effects, and currently taking suggestions for a solid PC based audio editing program (Premiere Pro is handling it ok for video purposes, but I'm also in the works of setting up a home recording studio with a client so I'll need something more geared towards music).
I'm working on gathering as much information as possible to put to good use, so thank you all for your help in advance!
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Vote For- Bay Area Top Chef contestant, Elizabeth Binder
hey all! local Bay Area Top Chef contestant, Elizabeth Binder, was THIS close to making the finale of Top Chef Season 10 in Seattle. She made it through the entire season, being eliminated on episode 14 and won Save A Chef against her competitor, Chef CJ. She is now in the running to win Bravo's 'Fan Favorite' Chef, where the winner receives $10,000! lets rally troops and fans to help her win- voting goes on from now until 4pm EST on Wednesday, February 27th. People can either Tweet #ChefLizzie, go to the website to vote: http://www.bravotv.com/