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The Moment of Truth (3 of 9) by Jeff Strite
This content is part of a series.The Moment of Truth (3 of 9)
Series: Whose Line Is It?
Jeff Strite
John 18:28-19:22
OPEN: Two psychiatrists were at a convention. As they visiting, one asked, "What was your most difficult case?"
The other replied, "I had a patient who lived in a pure fantasy world. He believed that an uncle in South America was going to die and leave him a fortune. All day long he waited for a letter to arrive from an attorney. He never went out, he never did anything, he merely sat around and waited for this fantasy letter from this fantasy uncle. I worked with this man eight years."
"What was the result?"
"It was an eight-year struggle. Every day for eight years, but I finally cured him... then that stupid letter arrived!"
APPLY: That letter was "truth"
It was the truth a man had waited for - for over 8 years.
But until that letter arrived – at least as far as psychiatrist was concerned – "truth" didn't exist
Truth was a fantasy
Truth was the fabrication of a "mentally challenged" individual who needed to be cured
And even when that "truth" turned up in the mailbox – he was still uncomfortable with it
I. Many people have difficulty with the idea of "Truth"
ILLUS: According to a survey done by Barna Research back in 1995
About 3/4 's of all adults in America rejected the notion that there are absolute moral truths. Most Americans believe that all truth is relative to the situation and the individuals involved. Similarly, at least 3/4's of our teens embrace the same position regarding moral truths. Not only did more than 3 out of 4 teenagers say there is no absolute moral truth, 4 out of 5 also claim that nobody can know for certain whether or not they actually know what truth is.
For these people – truth is a fantasy. It doesn't exist. Or if it does exist – nobody knows for certain what real truth is. Nobody knows what it looks like.
ILLUS: Some have compared the search for truth to the story of the Hindu blind men who were standing around an ele ...
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Actors: Brooklyn Lee - Kurt Lockwood
Categories: Mature / MILF - Redhead - Kissing - Tattoos - Fingering
Source: bskow
Description: After some drama Brooklyn Lee gets fucked in the bathroom
Published on 2015-08-17
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subset: commoncrawl


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Chapter 4 p. 7
Mara made it a week before the first bout of cabin-fever hit her. When she couldn't
shake off her restlessness, and she still couldn't emerge from the cave because of the
continuing storm, Mara snapped. She wove some straps, attached it to a basket, and
spent the next few days wandering around the far reaches of the cave system. When
her packed food ran out, she returned to satisfy her hunger. For the rest of the long
season, Mara would spend her time either creating new objects for her home, exploring
the cave, taking very long baths in the hot spring, or walking into the dark woods
when the weather permitted. Mara began talking to herself more than usual, since it was
hard to hold conversations with Kaze, and she spent most of the winter thinking. No,
remembering was the better word for it. Mara spent the winter going back through her
memories of her entire life. Some of the ones, especially from when she was little, seemed
different from before. If she tried though, she could go back and sift through everything
that had happened in her life, day by day, and Mara knew, somehow, that what she was
remembering is what had actually happened.
In this slow fashion, the season passed and the celestial twins once shattered the grey sky
to once again warm the earth below. The spring melted into another hot summer, and
Mara had begun working on digging out, so she could carve out, one of the windows
planned for the cave. She succeeded by the time winter came again, without any word or
appearance from Joshua. Sunlight from the new would grace the main cavern for a few
hours during the winter days, making the season more bearable for Mara. The cold season
passed with her enforced hermitage driving her to various creative endeavors. With
spring, Mara began planting, and digging out another planned window. Her loneliness
sparked her curiosity about the world around her. Remembering what Joshua had told
her almost two years ago, she sent Kaze out to find the people of this earth and be her eyes.


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The Williamsburg Rotary Club welcomed Page Hayhurst, Executive Director of the Virginia Living Museum, as guest speaker. She noted that this is the 50th Anniversary.of the Museum, which was founded by the Warwick Rotary Club and the Junior League of Hampton Roads in 1966 to connect people to nature through educational experiences. Today the Museum has welcomed more than 8 million visitors and has taken a leadership role to educate them about ways to conserve valuable natural resources. The VLM has introduced visitors to 250 species native to Virginia. It has an extensive natural history collection, a planetarium, and observatory. President-Elect Carol Beers (left) presented Page with a certificate stating the donation in her honor of a children's book to the Williamsburg Regional Library.
This item was posted by a community contributor.


text:
People say it's optional. I'm curious how many people use the command line regularly. Or I just wanted to post a silly poll, either way.
Printable View
People say it's optional. I'm curious how many people use the command line regularly. Or I just wanted to post a silly poll, either way.
If I am on a Unix system and being productive, I'll always have at least one terminal window open.
I worked on mainframes, for my home PC I went from DOS to W2K, I prefer a command line interface.
You'll probably find this a fairly one sided poll.
Only when everything fails that is no GUI nothing only a blinking cursor. Happen to me once and lost in CLI and format the whole thing. So I think I better start learning. Just in case.
I use it daily most of the time. On my Mac, I keep it ready to use as well. :popcorn:
I use it at least once every time I turn on the computer. I suppose I've just got into the habit of using it. It's handy to know for when stuff crashes.
i prefer gui but i use it if i have to
All the time. I use commands and script so much that I ended up creating a Firefox extension, called FoxRunner, that allows to run commands from forum posts, send selected text from web sites as variables to scripts, run commands from the status bar and context menu. So basically, my Firefox sidebar is always open with FoxRunner.
I use it since I was once familiar with it, and sometimes I compile from source when there's a really new project out I wanna' examine a bit. But for the most part, I never use it, just know how to use it, and I'm grateful it's not watered down.


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Starwood Expands in Africa
Tuesday November 12th, 2013 - 10:15AM
These are shortcuts to your favorite social networking and bookmark sites. Add this story to your Facebook page, del.icio.us, DiggIt, and many others!
STAMFORD, CT—Starwood Hotels & Resorts Worldwide, Inc. has signed three new Sheraton hotels, marking the entrance of the company into Mauritania, Guinea and South Sudan by 2017.
With these signings, Starwood is on track to increase its African portfolio by over 30% with more than 15 new hotels set to open over the next five years. This growth will add more than 5,000 guestrooms to the continent.
"Africa is home to many of the world's fastest growing economies, and there could not be a better time to expand our footprint here," stated Frits van Paasschen, president and CEO, Starwood Hotels & Resorts. "With increasing stability, vastly improving infrastructure, rapid economic growth and a booming mobile industry, this is Africa's shining moment and we are committed to being a part of it."
The signings of Sheraton Nouakchott in Mauritania, Sheraton Conakry in Guinea and Sheraton Juba in South Sudan bring the Sheraton pipeline in Africa to six new hotels, joining three currently in development in Dakar, Senegal; Annaba, Algeria and Tripoli, Libya.
The Sheraton Conakry Hotel is set to open in 2015. Owned by Palma Guinea S.A, the hotel will be IFC green-certified and offer 282 guestrooms, all-day dining and specialty restaurants, a lobby bar as well as an outdoor swimming pool with a bar and grill. It will also feature more than 1,100 sq. m. of meeting and function space, including a ballroom.
The Sheraton Juba Hotel, which will also open in 2015, is owned by Tuscana National Limited. With 235 guestrooms, it will also offer an outdoor swimming pool, restaurant and sports and conference facilities.
The Sheraton Nouakchott Hotel, opening in 2017, is owned by Société Nationale Industrielle et Minière (SNIM). Located in the central business district of Nouakchott, the hotel will be designed with Mauritanian-style architecture and will feature an all-day dining restaurant and a specialty restaurant, a bar, an outdoor pool as well as more than 1,500 sq. m. of meeting space.
Starwood currently operates 37 hotels in 15 African countries, representing more than 10,000 rooms.
Tags: Starwood Hotels Resorts • Sheraton • Africa • Mauritania • Guinea • South Sudan • Frits van Paasschen • Hospitality • Brands • Openings •
A big thank you to all of our readers who so graciously helped with the content of this issue by responding to my invitation to take a walk with Hotel Business down memory lane: a 25-year hike. We heard from Vimana's Steve Belmonte who was featured in our first issue when he was with Ramada, as well as RLHC's Roger Bloss, who was, at the time, with Economy Lodging Systems. And then there's Jonathan Tisch, who has been at Loews the whole time. I also received a few letters, sharing stories of the past.
CBRE Forecasts 8th Consecutive Year of Occupancy Growth »
LE: Upper-Midscale, Upscale Top Chain Scales with Most Projects
Dream Hotel Group Plans to Triple Portfolio by 2022
The Wick Is Latest Adaptive-Reuse Project for Tribute Portfolio
Laurus Spearheads Sale of Hilton Garden Inn in PA
PwC: Lodging Outlook Remains Positive Despite Slowing Growth
Kimpton Makes Its Debut in Europe
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Apartamentos Turisticos Covadonga is located on the Seville-Huelva highway (A 49), on the service road between the Megaocio and Factory Bormujos shopping centres. It is a modern apartment complex built in 2008; located in the business and commercial centre of Bormujos (Seville), and just 6 kilometr...
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Hotel Bouzov is located in Bouzov. Hotel is located on the square of the picturesque town of Bouzov, directly beneath the fairytale castle of the same name. The hotel offers 20 rooms with basic amenities. The meeting room can cater for meetings, weddings, parties, events and seminars. Our room serv...
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Is this restaurant good for breakfast?
Is this restaurant good for lunch?
Does this restaurant serve alcohol?
Does this restaurant have tables with seating?
Does this restaurant have waiters and waitresses?
Is this restaurant appropriate for Kids?
Is this restaurant romantic?
Does this restaurant accept bookings?
Is this restaurant good for dinner?
Is this a Caribbean restaurant?
Thanks for helping!
It is appropriate to the island simple atmosphere , the food has a good flavor , sandwiches and chips are sufficient to satisfy an average man, the buffet is not always on time.
I am not sure who the woman was that served us was wether the owner or someone that just worked there but we were treated very badly! She was rude and slow.we ordered fresh grapefruitjuice which was the worst we had had on the island.We felt soinsulted and with the grapefruit juice being as bad as it was we just...
A Restaurant in Dominica at the see sells oversea pork, salmon from Alaska, beef from the US..,
Rather strange that it advertises with local food...
The waitress could not recommend anything...
There is much better local Restaurants, small ones in Calibishie!
We had several great dinners at Calabash while staying at Sea Cliff Cottages outside Calibishie. The fresh mahi-mahi and local tuna were great, and well-prepared, as were the bbq ribs (excellent quality with a tasty sauce). The view from the deck above the restaurant is fabulous -- perfect at sunset.
Try the homemade ice cream - just like grandma's!
Unfortunately the mangoes were out of season and also the calaloo. But we did have saltfish and bakes for breakfast, as requested.
Great service, food and view at this laid back place!
We were the only couple there during a downpour and we asked the owner if she had music by "Adele"..and she turned on the music and her husband/boyfriend stood up from their dinner and started dancing..It was magic to us
The Lunch was good, the view spectacular! Service very good, this is what lunch should be like everyday!
Good local food. Definitely one of the better restaurants in the Calabishi area
I'd been here in January, and went back recently - nothing had changed....the service is fabulous, friendly and caring; the food always home-cooked perfect; plus they have a balconied open top floor to enjoy the gorgeous sunsets and of course the savour their nearest view to the tip of Guadeloupe, Isles de Saintes, and see lights twinkling on the pancake...
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My Mask
I'm stripping down the mask I've been holding up for the last few years.
This is greatly inspired by Hank Green's (or hankschannel on YouTube) video, 'Terrified'. I greatly recommend watching it, the link is in the guidance.
People say 'Just be yourself' all the time, as a way of living life - be yourself, ignore the 'haters'. While I agree with this and occasionally do it, I don't know how.
How can an individual know who he or she is? My immediate answer to this is that they be honest and don't pretend to be someone you're not. But now, I realise it's a lot deeper than that. I've been trying to find myself for almost 3 years now, with no luck. I know what I like and dislike, yes, but I still don't know what's deeper than that. I keep finding things out about myself, things that I thought I previously knew.
Then there's all the influences we have. Television, music, magazines, culture, society's standards. All these things influence how we live our life - some for the better, for example, music for me, and some for the worse, like the standard of society.
I realised at the end of last year that I have been holding up a mask and hiding myself from some people, only letting it down when my arm gets tired. Okay yes, I've still got the same personality - but my life had become so messed up that I couldn't even tell my best friend, who I've known for 10 years, some things because of three reasons:
1. I'm afraid that if I show my true self, with all the messed up parts, she'll judge me and treat me differently.
2. If I do tell her everything, I'm scared that, not only will she judge me and treat me differently, but she might show those feelings to me, and hey! I've lost a best friend!
3. I care about her. A lot. I don't want her to go through the same things as me, because it's so horrible. I want to protect her from that.
I also think I've been hiding myself because if someone judges me and doesn't like me, they don't like the mask - but they have no opinion on me.
I know that everything I've said is, well, bad, and I know I shouldn't have done it, but I honestly couldn't help it. I'm not going to say why my life was messed up, but I will say that I was crying myself to sleep every night, for a long time. And the only reason I've said that, is because, to be honest, if anyone reads this, I'm expecting hate.
So, that's my mask. Pulled apart by a neuron forest and dissected like Vesalius did it. Then put back on for another day, much more aware of how and why.


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|Message view
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|DO NOT REPLY [Bug 14392] - Make version information more available
|Mon, 11 Nov 2002 13:43:07 GMT
DO NOT REPLY TO THIS EMAIL, BUT PLEASE POST YOUR BUG RELATED COMMENTS THROUGH THE WEB INTERFACE AVAILABLE AT <http://nagoya.apache.org/bugzilla/show_bug.cgi?id=14392>. ANY REPLY MADE TO THIS MESSAGE WILL NOT BE COLLECTED AND INSERTED IN THE BUG DATABASE. http://nagoya.apache.org/bugzilla/show_bug.cgi?id=14392 Make version information more available ------- Additional Comments From firstname.lastname@example.com 2002-11-11 13:43 ------- With the capabilities of <condition> it would be rather simple to write the equivalent of a "minimal_ant_version". And making the version information available as properties would still allow older ants to cleanly run and abort with a fully qualified message. See the following example (please look only at the logic - I'm writing this out of my head and it may not be completely syntactically correct - and yes I know it will abort with ant 1.4.1 because of the <fail if>): <project default="compile"> <target name="checkversion-init" unless="ant.version.major"> <condition property="ant.is.ok"> ... </condition> </target> <target name="checkversion" depends="checkversion-init" unless="ant.is.ok"> <fail> The version of ant you are using is not recent enough to execute this build.xml file. You must use a version of ant that is at least 1.6.1. </fail> </target> <target name="init" depends="checkversion"> ... </target> <target name="compile" depends="init"> ... </target> </project> This should run as is (once the ... are filled in) even with ant older than 1.4.1, and at least display the full text of the fail message. This does point out that there would probably have to be enhancements made to the <condition> task to allow for inequality checking, as there doesn't currently seem to be a way to say if version.major = 1 then if version.minor >= 6 then if version.revision >= 1 then set ok else set error endif else set error endif else if version.major > 1 then set ok else set error end if endif A <version> test as part of <condition> might be very useful - a generic method for inequality checking of a dot-separated (probably should be configurable as to the separator) list of numbers. For example: <condition property="within.range"> <and> <version minimum="1.6.1" value="${ant.version.full}"/> <version maximum="1.6.3" value="${ant.version.full}"/> </and> <condition> -- To unsubscribe, e-mail: <mailto:firstname.lastname@example.com> For additional commands, e-mail: <mailto:email@example.com>
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|2011-08-13, 20:28
|Link #21
Waiting for more taiyuki!
Join Date: Jan 2004
Sakuga fans must be in heaven with this title. It was really nice animation.
|2011-08-14, 08:39
|Link #23
Senior Member
Join Date: Aug 2011
Awesome!!! That was my first impression of this anime movie. Adrenalin filled, action pumped "street" racing with amazing soundtrack that blends in perfectly. The best part of it all is when the put the "nitro" to the test, now that are some crazy speeds!! Mind blowing, awesome adrenaline racing that keeps you glued to the screen. Although at 13th minute I had a flashback at Ganta from Deadman wonderland, the kid was a spitting image. Never mind that now. The Redline on Roboworld was a challenge JP gladly accepted, but that is one weird place and there's nothing easy about this race. Mind blowing till the very end!
|2011-08-17, 16:00
|Link #24
cho~ kakkoii
Join Date: Nov 2003
Location: 3rd Planet
How come there are not more of you cool people making noise about this movie? It came out you know and there is even a fansub for it. Thank you Umee. All of you folks who are lead-footed and only abide by the posted speed limit when the cops are around the corner, you should be talking crazy in this thread while frothing from your mouth. The dude was driving a car that had 80 mm thick cylinder which can put out 35000 horse power. I mean, come on! It got a hero with awesome hairdo. It got overlords who wears black trench coat. It got a guy who needed to cry to win a brawl because crying makes him stronger. It got death ray weapon. It got immortal biological creature secretly raised. It got hot chick who actually showed balls. No, she doesn't have balls. That was a figure of speech to lament on her gutsyness. The ending song rocks! And it has speed. Crazy, crazy kind of speed. The animation is handled by Mad House who were attuned to the kind of stylistic drawing necessary to bring out the content of the movie to full bloom. I loved it so much. Some screens:
Now if you are a safe driver who is always abiding by the speed limit even at the dead of night where the traffic is virtually non-existant, (NYC doesn't apply) then you are exempt from watching this movie. Also be advised, it will increase your adrenaline level to the point you might temporarily suffer from high heart bit rate. So please don't be alarmed if you are affected by such phenomenon while engrossed in this movie. Use discretion. Ask your mom if you need to.
Also, it is imperative that you have a good sound system to enjoy the movie at its utmost effect. Popcorn is essential. Soda is not recommended. Drink water.
|2011-08-17, 16:21
|Link #25
Join Date: Nov 2008
Location: Somewhere between heaven and hell !
Unfortunately , it didn't sold well in japan , 1000 DVD , 2000 Blu-ray , this is poor for a movie of this quality.
Dunno for the other country , but at Paris , they'll show this movie in cinema.
|2011-08-17, 16:35
|Link #26
otaku against own will
Join Date: Jan 2007
Location: Argentina
Age: 30
Amazing movie wasn't it? It doesn't really do anything new but it does everything great. The characters, the story, the music, they all come together in one awesome package full of adrenaline.
The animation is just mind-blowing, the best I have ever seen, it makes every other animated movie look like crap. You have to see it to believe it, no words will make it justice.
|2011-08-17, 20:20
|Link #28
Waiting for more taiyuki!
Join Date: Jan 2004
Spoiler for ending:
|2011-08-18, 08:09
|Link #29
Join Date: Nov 2008
Location: Somewhere between heaven and hell !
Well , if you're talking about to make senses etc.... you're missing the ploint completely.
It's the animation , the quality of the anime , the plot is standard that's all , nothing new for the plot yes , but the animation is on the top for all things you saw until now !! And you won't be able to see it a lot when you look at the current japanimation. Takeshi had fun to make it , he just wanted to show us such brillant animation with this crazy story which fits what he wanted to do ! It's totally assumed
|2011-08-18, 08:39
|Link #30
Senior Member
Join Date: Apr 2009
Location: UK
Age: 26
I really liked this film since it was quite funny and crazy. It also gave some hilariously good lines and awesome moments. Yeah it may not be the most sophisticated story but it's still pretty cool. I'd give it a 7/10.
|2011-08-18, 10:22
|Link #31
Senior Member
Join Date: Mar 2010
|2011-08-20, 16:00
|Link #35
Kana Hanazawa ♥
Join Date: Jun 2007
Location: France
Age: 30
Definitely worth watching for the eye candy. Or should I say worth watching only for the eye candy? The plot was pretty craptastic.
I did enjoy the colorful characters and the setting, however. I like that kind of craziness.
|2011-08-20, 22:38
|Link #37
Stüldt Håjt!
Join Date: Nov 2009
Location: On the corner
Age: 27
Plot was decent. Basic setup around big feelings. It hit home for me like Tengen Toppa Gurren Lagann.
I'm not a racing/cars fan, but the themes in this movie felt familiar. Something about longing for times past and having real integrity in today's world really resonates with me.
I guess the feelings evoked by this movie are somewhat similar to reminiscing about the old days of Group B rally racing. Man vs. machine and what it takes to reign over the other.
Spoiler for Group B craziness:
Could this movie be described as cyberpunk?
|2011-08-21, 02:22
|Link #38
Senior Member
Join Date: Oct 2009
The romanticism of all dream chasers is an unparalleled character trait for me. The ending shot of all the racers sweating their asses but with huge smiles on their faces showed no one had any regret. Having the satisfaction of consuming your very best effort for a goal can only be boasted by an extremely tiny faction of adults in real life, which only makes these fictional characters the more inspiring. I often yearn for the feeling of winning an extremely competitive swimming race back third grade, a rush and relief that I haven't felt again even after doing things that undoubtedly would impress others.
The plot doesn't need depth; it provided the stage, which the character used to deliver the theme concisely and stylishly. The resonance might not echo with everyone, but we can all agree JP is the man.
|action, sci fi
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Entangled: Threads and MakingPosted: April 5, 2017 Filed under: Uncategorized Leave a comment
There are two major subsets of the art world which have grown in visibility in recent years: 'women in art' and 'contemporary crafts'. For reasons below, a venn diagram of their relation would be heavy on the overlap. Add another circle labelled 'domestic production' and you might find textiles in the central corral. Given that women-making-textile-based artwork is the subject of a current show, Turner Contemporary in Margate has hit a timely, thematic sweetspot.
If nothing else, textiles are the thread that binds together a group of artists whose previous point of comparison has been merely making art of any kind in a man's world. Louise Bourgeois and Anni Albers both used textiles, as have Annette Messager and Susan Hiller. And then, as this show also demonstrates, there are the many many talented women who have been overlooked for making art that was just too homespun for contemporaeneous tastes.
Sidsel Paaske is a jewellery maker, for example, and never before shown in the UK. Working from an enamel kiln which she built in her kitchen, she got serious about beads, and the belief that one of her statement necklaces could have occult, protective powers. She collected materials from the natural world, both in her native Norway and from her travels all around the world. The results, be they made with bone, feathers, or even lizard skin, have a look that is at once primitive and sci-fi.
There is also something macabre about the sculpture of Christiane Löhr. The German artist made her Horse Hair Column on site after several visits to local stables in search of source material. The installation is breathtaking in a literal sense – you feel as if a sigh could tear it down. And yet it spans floor to ceiling becoming invisible as it goes. When you think of the bold statements of male minimalists, you realise that a whisper can be as powerful as a shout.
But this talk of whispers and of magic is liable to entangle this review in some of the stereotypes around women's art, stereotypes which may be responsible for the way in which the art system has overlooked so many of the forty five artists on currently on show at Margate. "Excellence has no Sex," as the post-minimalist Eva Hesse famously said. Her abject cheesecloth and masking tape sculptures sit around on their raised dias and, despite hinting at body forms, defy you to ascribe them a fixed gender.
Susan Hiller, meanwhile, has worked with canvas and likewise has no interest in being either cosy or pretty. In the 1970s the American-born artist made an attack on painting, by cutting up canvases to make sculptural blocks, or by stitching them back together to make grids. Too messy to be considered minimal, Hiller waded into the world of conceptual art where there is hardly any sex, and as little desire. Her painting blocks are among the driest works in the show.
There is more pain than pleasure in the work of Louise Bourgeois. HAND is an oversized red glove with coarse stitching that resembles the suture of a wound. The materials may be fabric and wool, but the presentation (within a vitrine on four steel legs) is as grave as a museum exhibit. The work has an uncanny power and, if you consider the hand in question to belong to any given artist, the evident dismemberment is a bleak comment on the power of the creator.
In 1930s Germany, for example, was no place to be an artist and when the Bauhaus school was shut down in 1933, Anni Albers went through her own symbolic castration. But a consoling thought about fascistic regimes is this: one of Albers tapestry designs from 1926 gave rise to a fresh piece of work in 1967 (by German artist) Gunta Stölzl and still has the power to seduce in a show in 2017. This particular example of women's work long outlived several dictatorships, and may yet continue to thrive.
National Socialism spurred Hannah Ryggen to make a tapestry with an enduring sense of agony. '6. oktober 1942' is a monumental piece which narrates with the execution of a theatre director the day after the dress rehearsal of his pollitically charged production of The Wild Duck by Ibsen. This is the first time this memorial has been seen outside of the UK, but you get the feeling that if Ryggen had had a Y chromosome, this cri de coeur could have been another Guernica.
"Oil paintings were initially poor man's tapestries, so it has a long and distinguished history," says Kiki Smith of this medium, as interviewed by show curator Karen Wright in the catalogue. But it is peace rather than war which Smith depicts in her soulful tapestry, Sky. A female nude reaches from the earth to the heavens as a sextet of doves flutter past and moths crawl towards the starlight. This image has the power of a pleasant dream to impart a good mood that stays with you for the visit.
Costume is another aspect of women, threads and making. Along with the jewellery here by Sidsel Paaske, we find a tapestry jacket by Arna Óttarsdóttir, a ballet costume by Sonia Delaunay and a tutu by Annette Messager. The latter is suspended from the ceiling and buffeted by a fan. So it spins and pirouettes in a way that Little Dancer Aged Fourteen, by Edgar Degas fails to. One is reminded of the oft quoted proviso of another celebrated feminist, and anarchist, Emma Goldman: "If I can't dance, I don't want to be part of your revolution." The 21st century has seen something of a revolution in attitudes to women in art, and this show partakes in it, and binds the visitor fast to its progressive agenda.
Entangled: Threads and Making can be seen at Turner Contemporary until May 7 2017.
Where culture sinks in: a look at Hull 2017Posted: March 17, 2017 Filed under: Uncategorized Leave a comment
At time of visit, the city of culture franchise was barely a month old and already the statistics were out in force. In the run up to 2017, Hull attracted £1 billion in terms of investment, with £100 million spent on cultural infrastructure. Job creation is up 12 percent since 2012. Those are just the measurables.
For each statistic there are countless moments in which locals encounter something new and feel better about the place they call home. Such experiences are largely invisible, but head to Victoria Square on any day of the week and you will see the culture-effect in effect. The audience for Hull 2017 can be found posing for photos with a 75-metre long fibre glass wind turbine blade.
Blade (2017) is an artwork by Nayan Kulkarni, which dissects the town centre at a height of some six or seven foot. With the shade of a white whale and the shape of a near-weightless wing, this piece cannot be ignored by even the most casual visitor. And, as a readymade B75 rotor blade, made here by the Humber Estuary, the installation sets the stage for renewable cultural energy.
Ferens Art Gallery is already seeing the audience figures go spinning round. Reopening after a £5.2 million refurbishment, 50,000 art lovers came through the doors in just two weeks. By comparison, January 2016, in its entirety, saw Ferens welcome just 10,000 to its dozen grandiose galleries. The new draw is a pair of contrasting exhibits: one which centres on an altarpiece from the early 14th century; the other which lines up five of Francis Bacon's notorious screaming popes.
Neither showing would have been possible were it not for the refit, which has brought the humidity, heating, lighting and condensation up to acceptable standards. The altarpiece is an exquisite gold-ground panel painting by Pietro Lorenzetti which Ferens acquired for over £1 million. The gallery has put it on show together with loan works by Cimabue, Giotto and Duccio. Find yourself in this hallowed space and you are reminded that culture is a serious, non-mercantile business at heart.
Meanwhile, with his reputation for nihilism, the paintings by Bacon are also unlikely advertisements for economic regeneration. But this is a rare chance to see a number side by side, and a curatorial coup for a city of just a quarter of a million people. Whatever his views about cultural tourism, here is another serious artist. He threatened to destroy at least one of these portraits, and it was all his friends and patrons (Sir Robert and Lisa Sainsbury) could do to persuade him to save it.
In some ways he would be more at home in Humber Street Gallery alongside the scurrilous shows by Sarah Lucas and COUM Transmissions. This new contemporary space opened on February 3rd and converts an old fruit warehouse into a three storey visual arts hub that would be a fine addition to any of the UK's larger cities. The designers have left the floors and fixtures in a rough and ready state, which befits the idea of culture as a commodity for import and export here on the dockside.
COUM were a performance art collective founded by Genesis P-Orridge and Cosey Fanni Tutti, who employed music, hallucinogens, participation, obscenity and street theatre to liven up Hull (and also further afield) in the late 1960s. COUM were so good at what they did that, on several occasions, police intervened, and a conservative MP stood up in Parliament to brand the group, "wreckers of civilisation". So once pariahs, they are now famous locals. This is one of the most edgy shows you are likely to see in a publicly-funded art festival, so make the most of it.
In the ground floor space, walls are bright yellow for three sculptures by former yBa Lucas. The work was previously seen in the British Pavilion at Venice in 2013, so it's a great opportunity for less travelled Brits to actually see it. Worth the wait, it is also worth the chance to compare and contrast with the show upstairs as it also features nudity and crude wit. Lucas has made plaster sculptures of women from the waist down, given the provocative poses upon unwanted pieces of furniture, and stuck unlit cigarettes into various orifices.
The bar at Humber Street Gallery also features a reclaimed and much loved local landmark. Dead Bod was a piece of graffiti which sprung up on a coal shed in the 1960s on the dockside. With the outline of an eponymous dead bird in paint over corrugated iron, it is not the prettiest example of early street art, but for several decades seafarers have relished the sight of it as they returned to the shore. When the coal shed was removed to make way for a Siemens factory, Dead Bod was much missed. So locals from all walks of life, will now have a familiar introduction to the often challenging waters of contemporary art.
Hull has also offered a show that unites lovers of contemporary and traditional art. At the University of Hull, Michelangelo was hung alongside Michael Landy, and visitors had the opportunity to get close to many of the great masters of classical and modern art, closer than paintings will usually allow. Lines of Thought was a show dedicated to drawing and, as drawing is an intimate medium, this wonderful exhibition offered instant familiarity with many greats who have never been shown in East Yorkshire before.
There is more to come. Before the end of 2017, Hull will host more public art and more exhibitions: these include Offshore, a major show about visual art and the sea, and, from September, the much talked-about Turner Prize. There will, of course, be many more visitors through these gallery doors, many more selfies next to monumental sculptures, and many more pounds rung through the tills of coffers of local hotels and restaurants. From the earliest of signs, the event is a success.
But let us offer some balance, in the words of poet Philip Larkin, who worked as a librarian at the University here for 30 years. In an early letter from his new home, he wrote: "I'm settling down in Hull all right. Each day I sink a little further." It's a nice bon mot, but Hull 2017 should attract both visitors and settlers. If you come here and sink a little, it's only because the city has depth.
Hull is UK City of Culture 2017. For full listings and event details please see the festival website.
Jean Tinguely, Study for an End of the World No.2 (1962)Posted: February 22, 2017 Filed under: Uncategorized Leave a comment
In these end times, it is worth remembering we have been here before. We have had more than 70 years to get used to the idea of nuclear weapons. In 1962 the psychic shock was fairly raw.
As in rock music, fast food and situation comedies, the USA led the rest of the world, the deserts in its Southern states serving as a blank canvas for numerous spectacular tests.
In the interests of public entertainment, if not safety, the Las Vegas Chamber of Commerce saw fit to publish a calendar of detonations and a list of the best viewing sites.
And in that sense they beat this artist to the punch. Tinguely's first staging of the end of the world was brought about in the early sixties; his earlier Study, No.1, took place in 1960.
How do you follow a mushroom cloud with a piece of fine art? Tinguely's answer was to step up his interest in kinetic and self-destructive mechanical junk sculpture.
Together with his partner (French artist Niki de Saint Phalle must get some credit) he scoured a remote junk yard for components. It seems anything was fair game: toys, a toilet bowl, a trolley.
In metal hardhat and goggles, Tinguely was arguably as keen to control his own image as that of his soon-to-be explosive artwork. Now both artist and creation were ready for broadcast on NBC.
Were it not for the televisual audience there would have been few witnesses. There were shelters for camera crew and press; the sculpture was too dangerous for the public.
It was also dangerous for TV execs. The sight of a configuration of functionless objects, which spring into pointless life for an 18 minute performance must have had serious commercial fallout.
And then the fuses were lit. The sketchy YouTube footage is linked above. Better footage can be seen in Tinguely's largest ever retrospective right now. And yet we fail to get a sense of it.
The camera lingers on a burning armchair. But safe in their all-American homes, we may never know how many viewers felt the heat of this detail, as noted in the catalogue.
It was just a study, mind you. As the end of the world continues to unfold in a way that looks quite different to that of 1962, we are reminded of Tinguely's words.
"You can't expect the world to end the way you want it to," said the anarchic sculptor. We can only speculate about the piece of avant garde software code that could form Study No.3.
Jean Tinguely, Machine Spectacle, can be seen at the Stedelijk Museum, Amsterdam until March 5 2017. My visit was at the invite of the museum and the airline KLM, whose informative new art history page can be found here.
Diary: a flying visit to AmsterdamPosted: January 30, 2017 Filed under: Uncategorized Leave a comment
Since Amsterdam is most famous for narco-tourism and legal sex work, it is the perfect city to get high on art and get in bed with a famous airline in return for a 24-hour trip there.
KLM had got in touch to publicise a new art history primer which sits quite comfortably on the pages of their website, devoted to the charms of a destination which they call a "cultural giant".
Fourteen painters are featured here together with a readable introduction to the Golden Age and a gentle canal ride, which brings a Google streetview-like experience to the waterways.
My trip was at a higher pace. I flew one morning from Heathrow and back the following afternoon. My hotel was in the Canal District and my smartphone led me to the museum district.
Trams in Amsterdam are pretty straightforward and many locals will be only too happy to break out their fantastic English language skills and direct you around this manageable city.
But with only three hours until closing time I faced a tough choice, as readers may no doubt imagine: the Rijksmuseum or the Van Gogh Museum or the Stedelijk? Each worth a day or more.
But since I had a free ticket to the latter, I went with this modern art space and was thrilled by a pair of exhibitions of Jean Tinguely and Jordan Wolfson. Review of the former to follow soon.
There was too, too much to see at the Stedelijk and their permanent collection is notably well curated, in a series of just-so rooms according to style, or school, or reputation.
Stedelijk has a wealth of paintings by Malevich and, since we are in the land of De Stijl, allows you to draw the obvious comparisons between the Russian painter and Piet Mondrian.
The Netherlands also have a stake in the Abstract Expressionist movement. Also on show at the Stedelijk are some fine De Koonings, one getting lots of attention from a giggling/stoned couple.
Since alcohol is my drug of choice, it was nice to get to the bar in my hotel. But slightly alarming that the bottle I ordered was eight percent proof. To be mopped up with a meal at a nearby cafe.
Checking out early the next day offered the chance for some more culture. On a recommendation from @hindmezaina, my first stop was photo museum Foam. Hiroshi Sugimoto has a show there.
By shooting waxworks of historical personages and dioramas of stuffed animals, Sugimoto plays with photography's truth claims. And everyone must see his interiors of art deco cinemas.
Perhaps it was a planning failure, but I left the Rijksmuseum until last. My schedule gave me just an hour here. But given the calibre of painting from the Dutch Golden Age, a little goes a long way.
Naturally the Night Watch by Rembrandt was a spectacle. Naturally the Vermeers were luminous. But newish to me was Jan Steen who paints with a Hogarth-like sense of narrative and comedy.
So that's where my own Amsterdam narrative ends. The trip home was uneventful and the art memories will stay with me. So, thanks KLM. I have no criticismisms of this trip.
What's left for art in 2017?Posted: January 2, 2017 Filed under: Uncategorized 2 Comments
The vital importance of visual art, in this emerging plutocracy, is without doubt. Even though, for most politically engaged artists, it can seem like swimming against the popular tide.
But the cultural reversals of 2016 are, in fact, just a reaction against the false promise of aesthetics. They are anti-art, anti-intellectual, anti-fashion, and opposed to all forms of sophistication.
What went wrong? We enjoyed eight years of the most presentable US President in history. And no matter how little you liked Cameron and/or Blair, their smooth brands offered a certain surety.
Well, I don't believe that BrexTrump had much to do with political realities. Nothing does, when you live in a corporate owned mediascape. It was rather a rejection of a certain bad look.
Please don't ascribe authenticity to these populist politicians. Their deceptions are numerous and notorious. They have done away with political craft, the actual honesty of rhetoric and oratory.
In short, they have killed statesmanship or statespersonship. They have killed the gravity which art, via countless portraits and busts, has so often ascribed to the powerful: to popes, kings, gentry.
Who can maintain gravity, as the world spins faster and faster? Who can pretend to pre-eminence when already several billion are a click away? What matters if the context for any action is chaos?
It would be ridiculous to think that art could restore politics, on either side of the Atlantic, to former glories. Since the glorious few have led us to this, it would be neither possible nor desirable.
But the shallow figures who dominate world politics now have ushered in real 21st century fascists. Wherever they were all hiding, there is certainly a role for art in the fight against this.
They may have their baseball hats and their double breasted blazers, but underneath the trappings of normality, Trump, Farage, and their ilk are naked. They do not yet have their Leni Riefenstahl.
So in a world where perception is everything (and hasn't it always been everything?) visual art is the most potent creative endeavour in which we can engage. Artists can dress power up, or down.
And when you throw in ceremonial drama (performance), when you throw in a few flags (pop), and some party political ads (video) you realise that in fact there can be no power without art.
This must be why an event such as the Turner Prize will always fuel tabloid ire. The political relations bodied forth by a quiet Helen Marten installation are surely antipathetic to shitty gold elevators.
In short, contemporary art has never had a clearer challenge. It is time to accede to the visual realm, to make it new, to make it more powerful than the guys writing the cheques for it.
Because seriously, plutocrats will always be the like the uninteresting patrons who paid to appear on their knees in renaissance altarpieces. Let art ensure history pities our new leaders, rather than fears them.
Interview: Suzanne TreisterPosted: September 26, 2016 Filed under: contemporary art | Tags: algorithms, drawing, drugs, high frequency trading, Liverpool Biennial, narrative art, outsider art, Suzanne Treister, the holographic universe, video art Leave a comment
The time tested way of introducing a story ("Once upon a time…") is little help when writing a blog about art. And so faced with the most narrative-driven work in this year's Liverpool Biennial, I don't know where to begin.
HFT The Gardener is a multi-faceted piece display which comprises of some 174 works on paper and a (roughly) 10-minute film. There's a fiction in the film, made concrete by the drawings. So the drawings, although quite loopy, fall into a non-fiction category; it's complex.
In short, Treister tells the story of a high frequency trader who undergoes a breakdown and looks to psycho-active plants to generate algorithms to plug into the banking system. He is fired, as you might expect. But then he becomes an outsider artist and the drawings in this show are his colourful plant diagrams, which he sells to rich bankers.
The artist was good enough to speak with me at the launch of this show and I asked her how it came about. "I was interested in high frequency trading. I was interested in these ideas of the holographic universe. I was interested in psycho-active drugs," she tells me.
Following that, "through thinking about them all and wondering where it might go," Treister made the connections which rounded out her show. As for the film script, it remains a trip to compare with one of the hallucinogenic plants which star here.
It took a lot of "fine-tuning" says the visionary artist. "The plot expanded, contracted, then needed to come back around and reference itself in certain ways. So I was constantly working on it, to form it."
But however much Treister worked on this voiceover, it pales beside the maniacal energy which must have been needed to research more than 90 narcotic plants and translate their biological and chemical properties into intense and detail rich diagrams.
"Work ethic," says the artist in response to this. "But you know novelists are the same. They have an idea. They gradually develop the plot. Then they've got to spend about two years sitting there every morning. They've got to get up and get a certain amount done".
But if the show really is a novel, it is Moby Dick rather than Pride and Prejudice, the sort of novel which freights in a wealth of technical detail. Each plant has its Latin name, its medical effect, its equivalent as abstract pattern and its correspondence to a stock on the FTSE index.
HFT The Gardener is not, however, an instruction manual for drug use. "I'm not suggesting a mass free for all," says Treister of her 92 psychoactive plants. "These are plants that have been carefully used for centuries in many parts of the world for ritual purposes. They need to be taken seriously and there could be an enormous amount to learn from them if research was able to continue unrestricted."
Unlike South America, we don't have a culture which facilitates drug-induced vision quests. We do, however, have a crazy financial system where a dose of peyote could hardly make things any worse; you could happily leave reality behind for an hour spent at this show.
For more information about this work, head to the artist's website. The show runs until October 16 2016 as part of Liverpool Biennial, and can be found in the Exhibition Research Lab at The John Lennon Art & Design Building, Liverpool John Moores University.
Our City, How Do We Look? @ BPB2016Posted: September 14, 2016 Filed under: photography | Tags: BA photorgaphy, Brexit, Brighton, Brighton Photo Biennial 2016, Brighton University, fashion, non binary, old age, photography students, street photography, sustainable fashion, Together the People Leave a comment
Brighton Photo Biennial 2016 will look at the way photography fosters our understanding of style, the body, gender and subcultures. It is arguably the biggest visual art event on the city's calendar, and this year the month-long festival issued a call out to BA students on Brighton Uni's acclaimed photography course.
Four chosen artists, who appear to come from all walks of life, will feature in one of the busiest exhibition spaces in town. So if you're passing Jubilee Square, do take some time to take in Our City, How Do We look? I spoke with the talented group at local music festival Together the People.
Interview: Chynna Guyate
It is at once a comfort and occasional source of alarm that Brighton's sartorial flair extends to residents of all ages. So in putting together her show, Guyate has looked for "the elderly who defy age and disability and dress how they want to express themselves".
Brighton may be thought of as a city for young people to see and be seen in, but Guyate is drawn to those who have seen it all before . "These people need a voice," she says of her subjects, "Because they're just as great. That's why I picked up on the older generation"
While aware that it might sound like a cliché, the second year student was inspired by her own 91-year-old grandma, who was living with dementia. "Despite that she loved dressing up, styling; she had all these crazy clothes. I just thought, Good on you!"
Her show came together over three sun-drenched weeks this summer and Guyate recalls "going around and seeing who's about, clicking away". She staked out her subjects from cafes and soon learned how to get up the nerve to approach strangers in the street.
"These people were fairly rare," she points out. "So when you see them it was, Right, just got to go and do it." The result is a portfolio of straightforward portraits and glimpses such as you or I might catch of these older denizens one hesitates to call eccentric.
All the same, Guyate does report an encounter with a man festooned with keyrings, who was pushing his own wheelchair, and a woman on the beach playing a tambourine to the seagulls. "That was pretty interesting," she tells me with wry understatement.
Old people clearly have to work hard to achieve visibility. But Guyate finds in their "crazy colourful clothes", an intriguing reflection of our "crazy colourful city". Expect a crazy and colourful display during BPB16.
Interview: Jennifer Jackson
After several moments talking with Jackson, it seems there's more to gender than male, female, and trans-one-way-or-another. The third year photographer introduces me to the term non binary to describe a group of people who subscribe to neither gender norm.
"I use 'them' and 'they' pronouns rather than he or she," they advise me and their portrait-based show is about making visible a diverse non binary community which was a lot larger than Jackson at first expected it to be, even in a city with a vibrant LGTB scene like Brighton.
Not that one can make assumptions about the sexuality of people who might simply be gender queer: "There's a lot of people who identify very differently within it and express their non binary very differently," says Jackson.
Although on the boyish side of feminine, this photographer looks fairly conventional. "A lot of people who are more openly non binary might present in a more radical way," they say. So, the show is not short of telling details in clothing, modifications, tattoos, and hairstyle.
"But there are a lot of people who are non binary who are exactly like everyone else on the street," Jackson tells me. "Maybe very feminine, or very masculine. Other people are androgynous. So I think it's impossible to tell. It's just a feeling really."
Whatever the case, it is a feeling which is safer to express here in Brighton, as compared with the far flung northerly region where the photographer originates. "In Cumbria there are still difficulties in being accepted," they tell me. "I can't imagine anywhere being as accepting as Brighton is."
Interview: Sophia Wöhleke
Although Brighton has its share of fashion chainstores, it does more than most cities to redress the ecological and ethical balance. Look no further than the North Laine and London Road, where second hand shops encapsulate something of the spirit of this city.
Now in her third year, Wöhleke came from Marseille to join the BA in Photography and having done so she brings an outsider's eye to what seems to be a growing proliferation of thrift stores, upcycling workshops, leather workers and cobblers.
With an avowed interest in "sustainable fashion", Wöhleke makes clear: "We live in a consumerist society where little emphasis is placed on the durability of items. Brighton is a city where there is a trend of people going against that".
So the well-travelled photographer turned her lens on the retailers hitting back and stalked the city's most bohemian streets to find alternatives to Top Shop etc: "I wanted to look at it from a grassroots perspective while focusing mostly on little shops in order to gain an understanding of how people make a living without succumbing to the consumerist culture that exists elsewhere in Brighton".
Most businesses were open to participation in a student project. "The first place I photographed was an alterations place. The owner only opened the shop last year and she sometimes has to work nights to finish her orders on time," says Wöhleke. "She was open about how she works and didn't mind me photographing anywhere, she helped me out quite a lot."
Her industrious subjects were also open about their working environments; "I wanted to bring the different layers of the shop into the pictures because I wanted to get a sense of the amount of manual work and time that go into running small businesses like these".
Wöhleke uses a medium format camera to capture all that rich detail. Her only remaining challenge: finding room for a tripod.
Interview: Judith Ricketts
A show that combines fashion with the realities of Brexit may sound unlikely; the Leave campaign was marred by many things, not least the double-breasted blazers of its chief protagonist Nigel Farage. But third year Judith Ricketts is interested in both all the same.
Ricketts has responded to the referendum by finding EU nationals living in Brighton and taking their portraits in the city they have thus far called home. Subjects were invited to choose a location that had personal meaning and dress to represent themselves to the world.
The concerned photographer reports a general reaction of shock to the outcome. "People were saying they felt very much under the microscope," she tells me. "Because the vote was most focussed on immigration and before that they were part of the landscape".
Ricketts' interests in home and displacement may stem from her African-Caribbean parentage: "I was wondering how that moment in time changes peoples sense of belonging in a city, because one of the things about this city is, I think, it's always very, very multi-cultural."
The resulting show brings documentary up flush against a conventonal fashion shoot. But the photographer in question sees fashion as political. "It's a complete identity statement," she tells me, before adding: "Our identities are fluid. They change depending on who we are, who we are with, and where we live".
In the case of this show, subjects were persuaded to meet in town at seven or eight in the morning and talk about their experiences of the disaster known as Brexit. ("You have to make that connection really quickly!" Ricketts tells me.)
"Most people I photograph become my friends," she adds. "They become part of my own identity, because I use it as an opportunity to get to know different kinds of culture." This attitude, which realises we are in fact lucky to mix with different nationalities, is refreshing, even in Brighton.
Our City, How Do We Look? is a Photoworks/Together the People co-comission for Brighton Photo Biennial 2016. Work by all four photographers can be seen in Jubilee Square, Brighton, between 1-30 October 2016.
Drawing the line somewhere: writing for free about artPosted: September 7, 2016 Filed under: Uncategorized | Tags: art, Damien Hirst, exposure, free labour, interpretation, Jeff Koons, Murderme, Newport Street, passion, Untitled 1 Comment
Art Rules was a shortlived online experiment from the ICA and in 2013 I was one of many people asked for some wisdom. "Don't plan on getting paid or laid," I wrote. "The work is its own reward."
Well, Lucky pdf, an arts collective who are much cooler than me, wrote "Don't work for free". But I would contend we both have a point. The work is its own reward, yet has monetary value.
That is in essence the beauty of both writing and art. Surely nothing worthwhile is ever made with a price tag in mind. And so the art world is as full of freebies as it is full of art fairs and auctions.
We need hardly enumerate the perks of engaging with this system: free admission to galleries, free wine at openings, free press releases, free selfie opportunities and free reviews online.
Then a middle tier: blockbuster shows cost up to £20; catalogues can cost even more; editions will set you back three figures. But all of the above augment a pleasant middle class lifestyle.
The gateway comes next: work by 'name' artists costs between the price of a car and a house; at auction, you could spend millions; if accepted as a collector you'll become an art world VIP.
At this point you may want to loan one of your works to a museum, thus increasing its value. Or you may want to bequeath all your art to a provincial gallery, ensuring immortality: a good trade.
Artists themselves meanwhile have to speculate to accumulate. At the very least they will need to buy materials. At worst, for their pockets, they'll manage to rent a studio or hire assistants.
Journos can get by with a laptop, a pad and a pen, and a voice recorder. Utilised to our advantage these will gain enviable invitations to press launches and press trips.
After that point, whether visual artist or art writer, you will want to sell work. This is as difficult as it sounds. We are legion and there are always pre-validated colleagues out there with more talent.
So I found myself coming back to that pearl of wisdom from Lucky pdf. It struck me as quite an important principle. Giving away art or giving away writing does no one any favours, surely.
And yet we have social practice, a genre of art which thrives off what is freely given. And yet we have blogs like this one, which never make a bean. And on social media, every darn thing is free.
I guess that moving forward, the approach should be: don't give away more than you earn. Be you an artist, writer or curator, you should try and come out of your professional activities in the black.
With that in mind, it's worth considering a new phenomenon: the crowdsourced gallery guide. Back in August I was invited by one of these to volunteer some commentary for a current London show.
The email, from a Michael Bouhanna from Untitled, captured my imagination because the featured artist was Jeff Koons and the gallery was Damien Hirst's. I have written on both, but who hasn't?
It can't even be said that the request came from either of the two great men. This untitled gallery guide was positioning itself as a public service, as a kind of digital intervention.
This was supposedly in response to the lack of clear interpretation which goes along with some of the work in Hirst's personal £100 million collection of art shown in his purpose built gallery.
But no matter how frequently I have worked for free, to promote myself or support an artist, I would never for a moment think that the Murderme collection or Newport Street Gallery needed my help.
In return Bouhanna offered the chance to join a community of 'passionate' art enthusiasts who may or may not attain VIP status at future shows or art fairs. That doesn't really appeal.
Indeed I found more community belonging on my Facebook wall where, being a blogger of the passive aggressive variety, I eventually cropped up to share my dismay at this cheeky request.
Writer Ben Street and artist Paul Brandford, who are both already VIPs to me, soon reported having similar experiences with Untitled. Bouhanna clearly spread his net far and wide.
The guide itself later arrived. One wonders if he paid the designer. Punters might be better off reading a broadsheet review and/or Mr Koons' Wikipedia page.
The episode just threw into relief a truth about the market in which art finds itself. The rich get richer and sometimes it gets rich off studio assistants, interns and on occasion art bloggers.
But the wonderful thing about blogging is this: you can pick or choose what you write about. I hope Michael if you are reading, you will understand why I chose not to write for you.
Interview: Sahej RahalPosted: July 30, 2016 Filed under: contemporary art | Tags: archaeology, Brexit, clay, Donald Trump, earthenware, film, Liverpool Biennial, performance, politics, rise of the right, Sahej Rahal, sculpture, Star Wars Leave a comment
The artist appears to have a simple and urgent proposition: to render the past absurd is to neutralise the rhetoric of the political right.
Without a golden age to hark about, no one can promise to make America, the UK, or India 'great again'. And we can instead progress to a state of internationalism, equal rights, economic parity and perpetual peace.
Rahal lives in Mumbai, but he points out that the whole planet is "kind of a scary place to be working, globally". He is, however, welcome in the North West, where for the duration of the 2016 Liverpool Biennial, his sculpture and film is being shown across three sites.
We met at Cains Brewery, a cavernous space for art enjoying a good year. It is however scruffy, and Rahal's work looks in keeping with the general state of repair. It is the first thing a visitor sees: nuggets of clay arranged on trestle-like tables; bits of scaffold, locally sourced, covered in clay; and black-box monitors which appear to emerge from the mess on which figurines breathe or practice with lightsabers.
"I'm a huge nerd and I obviously have all these Star Wars references", the artist cheerfully informs me. But like many contemporary sculptors, he aims both high and low, looking to Jorge Luis Borges for "vast metaphysical narratives", and for that writer's concern with "creating this itinerary of our culture".
In short, this itinerary is dystopian. The artefacts presented appear fresh from some archaeological dig. But what kind of half-formed world do they conjure up? A: it is a world run by idiots in which technology has failed us and we have forgotten basic craft skills. And that seems to me the worst of all possible worlds.
"I like the fact that these characters, or these objects of clay could somehow become like harbingers of something, you know?" Rahul tells me as we contemplate his pottery-based triage stations which all appear to somehow breathe in the light of the moving image work.
He also says: "I'm more interested in putting them together to form meaning… from these absurd things, which are beyond reason in a certain way. In that meaning-making ritual that people perform, how do we create allegiances? How do we create bonds across space-time?"
An interest in travel and time travel chimes in well with the 2016 Biennial, which is a nebulous animal in which Monuments from the Future is one of six official themes. You may find, as I did, that as you come across Rahal's work more than once, you build a picture of what might be becoming.
It is a picture of a primitive time around the corner. Rahal expresses concern about right wing governments that have followed the Arab Spring, the rise of presidential candidate Donald Trump, and the hate-filled effect of Brexit here in the UK.
If politics is performative, the artist has another highly political aspect to his practice. Rahul stages improvised, ritualistic performances which offer only "fleeting, fragmented glimpses" of a narrative, and which change gear according to pop cultural requests from his viewers.
"Even I don't have a bead on [these]," he tells me. "Essentially, what's interesting for me is that I'm also a viewer as well." One supposes that in these powerless times, we are all to a degree little more than viewers, even as we march, occupy, tweet or blog.
But perhaps in the light of our political horizons, we'll do well to maintain any civilisation at all.
Despite everything, Rahal is making the most of circumstances: "Earthenware has so much meaning to our origins so I'm drawn to that, but saying that it's also so much fun to just dive into clay and get mud all over me."
As well he might, since in Summer 2016 we are all up to the neck in it.
Liverpool Biennial runs until October 16 2016. I reviewed it for Culture24 here. See artist's website for more images.
Mark Leckey, Dream English Kid, 1964-1999 AD (2015)Posted: July 11, 2016 Filed under: Uncategorized Leave a comment
We can tell a number of things about Mark Leckey from this autobiographical film. So, the Merseysider grew up in the shadow of the Beatles, the A-bomb and the 1999 solar eclipse.
Dream English Kid is a life story made with footage found online. So we also pick up on memories of motorways, pylons, football crowds, nightclubs, London squats and sex shops.
One presumes, the national grid has found its way here through the phenomenon of nomative determinism. 'Lecky', a homonym for the artist's name, is of course slang for electricity.
To underline this, he compiles shots of MANWEB stores (the Merseyside And North Wales Electricity Board). Plus a sheet of paper with 'lekke' scrawled in childish hand.
As any Freudian will tell you it is precisely this type of slippery play which characterises the dream. And so the artist relates to YouTube as any good analysand would relate to his/her unconscious.
Both dreamer and fetishist, Leckey offers us several moments with a Hitchcockesque blonde in a corset; she teases out her hair as we focus on the mechanics of her stockings.
What is Leckey telling us here? Or when the camera pans across several shelves of blue movies in Soho? And was he aware of the traditional dangers of auto erotic dreaming?
From Saint Augustine to Alex Portnoy, sexual fantasy has been a central part of mental life. Though for a visual artist, blindness would be catastrophic, 'watching' the eclipse doubly dangerous.
Light and shade provide an equally dangerous contrast in a sequence of footage captured in Eric's nightclub in Liverpool in 1979, on a night legendary band Joy Division came to town.
Epileptic singer Ian Curtis can be seen risking a fit as he winds his arms up and down in the midst of a frenzy of strobe and cacophonous post punk rumble. Leckey was at the gig.
So the 23-minute film is as much a bildungsroman as a therapeutic confessional. Stark images of a sleeping bag on a lonely mattress in a bare room have the quality of a cocoon.
The artist pupates. Some more professional nightclub footage (1980s, big hair, with Cinzano Rosso as tipple of choice) pre-echoes his 1999 film Fiorucci Made Me Hardcore (another autobiography).
For me the most intriguing shot was the hands flicking through a record rack at Black Market Records in Soho. An album by The Shadows plays with the notion of chiaroscuro.
We also find Joy Division (Eric's!), Kraftwerk (motorways!), and the Beatles (hometown!). I seem to remember it was A Hard Day's Night, whose famous opening chord is sampled elsewhere twice.
Most spooky is a comedy LP by Kenneth Williams called On Pleasure Bent. It was the title Leckey borrowed for his first monograph and a 2013 film which may have been a prototype for this one.
Of all the racks in all the lands, the artist came across this one. This is dream logic at someone else's fingertips, as the unconscious works through the dark, vinyl-like grooves of the mind.
Dream English Kid can be seen at Camp & Furnace throughout the 2016 Liverpool Biennial (July 9 – October 16).


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Narciso Yepes was one of the finest virtuoso classical guitarists of the twentieth century, generally ranked second after Andrés Segovia.
…The Burwell lute tutor states: "[On] other instruments we sing, but on the lute we speak". That is exactly what Bailes does, and in a very eloquent manner.
Compiled between about 1620 and 1650 by the Munich painter Albrecht Wörl, this manuscript collection of early 17th century baroque lute music includes dances and song settings by many of the earliest generation of lutenist-composers working in the 'new tunings' (accords nouveaux). Wörl's ability to notate the pieces he collected with accuracy seems to have been severely hampered by the rapid degradation of his eyesight. Because of this, and the fact that Wörl's lute book contains many unique anonymous works, this manuscript, which is full of beautiful music has been overlooked for far too long. Canadian lutenist Evan Plommer presents reconstructed and revitalized versions of 36 pieces in 5 different tunings for baroque lute, including Wörl's elaborations as well as those of his own making.
From the reign of Henry VIII and onwards, the lute and its practitioners enjoyed the patronage of the very highest English society. Henry played the lute himself, as did his daughter Elizabeth I, who during one period employed as many as five lutenists at her court. In 1603, when she was succeeded on the throne by James I, the tradition was maintained: with his appointment of John Dowland the king increased the number of royal lutenists, while his queen, Anne of Denmark, played the lute herself. This royal enthusiasm for the lute influenced the aristocracy, and an English style of lute music was established.


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Cosatto Giggle 2 Pixelate Travel System with Car Seat
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: Post-Game Talk:
Canadiens @ Rangers: "These refs suck"
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Glen Sathers Cigar
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Why are some people getting all righteous about the fact that the kicked goal wasn't the game winner and doesn't matter? As I see it, that goal happened with 3 minutes left in the game. Should it not count, the Rangers have a better chance of tying the game and getting to OT. Obviously you don't want to blame the loss entirely on the refs, but that particular call was bogus and it still would've been bogus if the score was 5-0 at the time. However, it was only 1-0 and the game was still within reach. Complaining about the officiating does not mean people are blaming the entirety of the loss on the refs. How could anyone not complain about the phantom call on Boyle and the even worse call on Kreider.
Overall, aside from not finishing, this game wasn't as discouraging as people are making it out to be. The fact of the matter is that our two best goal scorers aren't playing. We carried the play 5v5 and had a lot of chances and Budaj played VERY well. Just because he's a back up doesn't mean he's a sieve and should always be scored on at will.
I really liked Kreider's game. He was the best forward on the ice tonight. Richards wasn't as effective as he's been, which is a bit forgivable because he's being keyed on as the most dangerous player. It's too bad Kreider's shot in the opening minute didn't get a lucky bounce and go in off the cross bar, if it had, this would've been a much different game.
They just need to take the positives from this game and go onto the Island tomorrow and try and finally finish.
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Toni and the UK Glambs invite everyone to celebrate the release of Adam's debut CD at the London Hard Rock Café! It'll be a party with rock music all night long, but it'll also be a great opportunity for Adam's UK fans to meet and plan for Adam's future UK visit. Here are the details:
Saturday, 29th November, 2009
Hard Rock Cafe London
150 Old Park Lane
London W1K 1QZ, England
The Hard Rock has lots of variety on their menu, and they cater to vegetarians. For more details on the menu and the Café, check out their website here.
This is a great opportunity to let local radio stations and/or London rock magazines know what the UK Glambs are all about, so the more people, the better! This is a Glambs-sponsored party, but all Adam fans are welcome! Please feel free to share this invitation with fans on other Adam sites.
If you're interested in attending, please email Toni at email@example.com as soon as you can so she can make the appropriate party and media coverage plans.
Come on, UK – show your support for Adam! Let's make this a London rock media event to remember!!!


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VTech Toot Toot Drivers Advent Calender
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Natural Reflections Loungewear Collection for Ladies - Pants
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Grants to Texas Non-Profits for
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Grants will be awarded in Texas to non-profit organizations to support charitable causes benefiting Dallas County residents. Proposals may be for programs in one or more of the following areas: Arts, Critical Needs, Animal Welfare, Older Adults, Low...
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See pictures of artificial flower and brooch bridal bouqets.
February 14 is fast approaching and we can already hear stories of engagement rings buried in desserts and dropped in champagne glasses. That's why we're sharing some proposal ideas for Valentine's Day, because really, there's nothing romantic about the Heimlich maneuver.
So many things we can say about this real wedding – super cute, fun, rustic, yet stylish! From the Japanese influenced details to the gorgeous setting in the Spanish countryside to the fun photo booth idea – get ready to "aww" at these photos!
Modern times call for modern weddings! Take a look at which wedding etiquette rules are fine to not uphold for your big day.
In honor of 12/12/12, the last repetitive date we'll ever see (and also the countless weddings happening today), we've created a gallery of 12 different bridal looks for every month of the year and from 12 different Zankyou countries. Enjoy our editor's selection of wedding dresses, accessories, shoes and jewelry to inspire your own bridal look.
See pictures of wedding guest outfits and dresses by Zara.
See pictures of Bebe wedding dresses designed by 'Project Runway's' Rami Kashou.
See pictures of striped wedding dresses – a new trend from the Spring 2013 designer bridal collections.
See pictures of wedding dresses by La Sposa 2013 bridal collection preview.
See pictures of wedding dresses by Justin Alexander Preview 2013.


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In versions prior to Symantec Drive Encryption 10.3.2 (formerly know as PGP Whole Disk Encryption), GPT partitions were not supported.
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text: "The essence of the new museum is dramatically different," said Steve Hansen, Director of the Sioux City Public Museum. "The new lighting brings the museum into the modern age and that was our ultimate goal. Our team could not be more pleased with Hilferty's direction of the project and their decision to use LED lamps from Lighting Science."Click here for additional information on the Sioux City Public Museum project or Definity™ LED Lamps or call 1.877.999.5742. About Lighting Science Lighting Science Group Corporation (OTCQB: LSCG) is a global leader in the design and development of lighting solutions that are environmentally friendlier and more energy efficient than traditional lighting products. Lighting Science is on a mission to improve the planet and its people with award-winning, innovative LED lamps and lighting fixtures. Conceived, created and built by some of the best people in the lighting field, these products help save energy and reduce the carbon footprint without sacrificing light quality. Find out more at: http://www.lsgc.com or join us on Twitter, Facebook, LinkedIn and the Lighting Science Blog. SOURCE Lighting Science Group


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Volkswagen?s disastrous DSG failures has continued with the Chinese arm of the German car maker adding to a recall that triggered similar action in Japan, Singapore and Australia.
The People?s Daily Online reports that a further 3863 cars will join 384,181 vehicles recalled in China in April.
The first batch of cars covered under the recall were built in China, but the additional vehicles are imported models similar to those sold in Australia.
They include the Volkswagen Golf Variant, sold here as the Golf Wagon, as well as the Cross Golf and Scirocco 1.4T that have not been sold locally.
The manufacturer has recalled more than 500,000 cars in the Asia Pacific region this year, starting with the original Chinese recall.
Volkswagen?s decision to repair cars was ignited in a Chinese state media investigation that pointed to problems with the manufacturer?s seven-speed dual-clutch ?DSG? transmission.
An Australian spokesman for Volkswagen said at the time that ?the issues that they?re dealing with are specific to that market? and that there were no plans for the recall to spread to Australia.
But, following extensive reports submitted to Fairfax Media, the brand went on to recall 25,928 cars in Australia in June following considerable public outcry.
Local sales for Volkswagen dropped by 19 per cent last month on the back of the recall.


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An Alternative To Being Your Child's Friend on Facebook?
Though I don't agree with the reality of the situation, a lot of parents openly allow their children (12 and under) to create a Facebook profile. And though children technically aren't permitted on the site according to the Children's Online…Read More


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