text:
"When I got to the point that I recognized, or could say about my work that it's multidimensional – plus add in the word experimental – I was at peace...."
More Elizabeth >> http://elizabethrileyprojects.com/
Courtney Hammond/Dashboard Co-op: How would you briefly describe yourself with regard to your art?
Elizabeth Riley: Being able to combine 2-D video media in the form of video stills, as well as other materials, and live video, has been a way for me to cross a bridge to a new time and at the same time present/offer this bridge to others through my art. As humans we live in the life of the mind and of the body, and we live inside ourselves and as a projection of ourselves in the life around us, and in an extended sense wherever the mind can go. For me the combination of materials, both material and immaterial, allows an expanded vocabulary that gives the ability to explore and push boundaries, to find new answers or responses, and to build an art practice.
When I got to the point that I recognized, or could say about my work that it's multidimensional – plus add in the word experimental – I was at peace with the difficult thing it often is for an artist to put into words: their primary intentions.
Dash: In these multidimensional sculptures, you often use video as a base, or the focus, even if the viewer needs to search to find it. Talk to us a bit more about the importance of video usage in your work.
ER: I've felt myself to be a person, in some ways, unattached to history. Perhaps this is because of my specific quality of mind or perhaps because of the nature of growing up female in the era I did. Men were seen to be the makers of history and women often were excluded from this role. I carry with me the experience of much wonderful art of the past and present. This, along with stepping into the arena of video, provides new material and an open stage. Also, video itself, at least with camera in hand, is the capturing in its immediacy of the raw material of the present. There is freedom and openness in this aspect of initiating new moments.
Dash: What is your most favorite experiment of all time in the history of the world?
ER: The ever-increasing empowerment and societal change in status of women. Thanks for asking! Men are wonderful humans as well (when they are wonderful), and have accomplished incredible things, but I can't wait to see how the world changes as women continue ever increasingly to be part of the dialogue and make new ground as decision makers.
Dash: What would you consider a failed experiment or non-success?
ER: It goes without saying that one is stimulated to new developments in work by engaging in the world, and by the amazing art, exploration, and commitment of others. Failure would be in not reaching out in the direction of all this.
Dash: How many video screens do you own?
ER: Many. Not enough.
Dash: Anything else?
ER: I was told Dash artists are encouraged to be "wild." That's the best, and not as common a prompt in the art world as one would expect.
"...collaboration is a sort of reckless action to relinquish some of that hard-fought control many artists protect with their lives."
More of Dave's art >> http://www.thesculpted.com/
Lee Deigaard/Dashboard Co-op: What made you decide to be an artist?
Dave Greber: In the past, I tried to be a filmmaker but I didn't like how my videos communicated within the context of other films, or even how rigidly films are consumed in a traditional theater. I'm more comfortable with how my ideas are framed within the context of fine art. Viewers can spend their own time with the work in a gallery and engage with it environmentally. Meanings are more fluid and personal; it's more like exploring "real life." Also, in a fine art setting, the viewer inherently expects that the work they are experiencing is going to expand their consciousness somehow. I love people approaching my work like that and playing with that expectation.
Dash: What's the role of collaboration in your work?
DG: For me, collaboration is a sort of reckless action to relinquish some of that hard-fought control many artists protect with their lives. To introduce an element of chance – and live by it – is fun and healthy. I need to work with people. Pretty much all of my art involves a few collaborators (formal or casual). At the very least, I have to bounce ideas off of people I trust, and take their advice, especially if they are naturally intuitive people who are not necessarily artists. I hope this keeps my level of arty-elitism relatively low.
Dash: What's a flame-haired Quaker from Philly doing in the sin-soaked den of iniquity that is New Orleans?
DG: I think you just answered your own question.
Dash: How does place and/or time inform your work?
DG: I like to be inspired by my environment like these women.
New Orleans' spirit is sparkly and scary, exuberant and tragic: like an iridescent, drunken, psychopathic Dragoness whose only priority is to celebrate every day like it's her last. I don't think my work would look the same if I started making artwork somewhere else. But at the same time, I hope my work is not too obviously regionally specific. I'm very interested in the archetypes, universals and commonalities that all cultures share.
Dash: What are the 5 commandments of Greber?
DG: Commandments
I. Stop looking for answers. You are The Answer.
II. We all have a direct connection to the source of creation. Access it regularly through art-making and all forms of psychonautic exploration.
III. If you choose to engage in our culture, remember that most of our culture is designed to blind us of commandment #1, to restrain thought and spirit, and to turn you into one of their zombie soldiers. Don't identify your self with your culture or you will forget who you are.
IV. Culture is not your enemy. It's just a highway where ideas travel. Bad ideas are like self-reproducing sports cars. Good ideas are not as fast, aerodynamic or evolutionarily successful (like a chaste monk stumbling up the interstate). To be a successful communicator in the digital age, identify and use viral ideas like a grizzly hitchhiker. Hijack the sports car and crash it into the bridge. I dont care - i luv it.
V. Be patient and don't get discouraged. Know that you will never win, and that there is nothing to win anyway. Smile :)
Dash: Do you have any advice for young artists?
DG: Don't please people by talking down to them.
Dash: What do you see as the new frontier in art?
DG: The artistic applications of augmented reality are pretty amazing. Making art unbound by the limits of physical space, budget, or institutional support: It's like the evolved form of installation art. That's the future right there, bruh.
"It is a flaw that I shouldn't ignore but I like how I see things, so I'm gonna ride this until the wheels fall off."
Frank's Art >> www.paperfrank.com
Dashboard Co-op/Romy Maloon: Can you talk about about how art history has influenced your work? How are you positioning yourself by using iconic artists like Warhol, Herring, Basquiat?
Paper Frank: I always admired how those artist were celebrities back in that renaissance period. Basquiat and Herring were young and partied a lot and knew everyone, such as I do. its just a matter of time at this point.
Dash: You mention having poor eyesight as an influence for your painting style, can you elaborate on this?
PF: I see everything as shapes and color. I'm nearsighted, but when I draw and paint it helps me see things easier, like shapes to build a picture. It is a flaw that I shouldn't ignore but I like how I see things, so I'm gonna ride this until the wheels fall off.
Dash: What art work/installation/ideas are you working on currently?
PF: I'm currently working on a few installations for Art Basel 2013 and a collaboration project with Emory, Southwest Airlines, and Forever Family, and looking forward to this Dashboard project.
"I can often begin a project with a formed idea or an assumption, but I've learned to quickly drop this assumption or any specific ideas as soon as possible...."
More of Chris's Art >> www.chrisofchambers.com
Craig Cameron/Dashboard Co-op: Tell me a bit about your work, your ideas, and what inspires you to make art?
Chris Chambers: I am generally compelled to make work that interacts with manufactured objects and manufactured experiences through media artifacts. This is most often in the forms of printed books, encyclopedias, magazines, VHS recordings – usually things that contain information that is obsolete or are themselves functionally obsolete. I spent a lot of time in my adolescence involved in mediated experiences (television, films, comic books, etc.) and its sort of a world to itself. Its its own environment. I'm really drawn to this, in that these things still exist in one physical form or another, but have little to no contemporary use or appeal.
Dash: When you are working on a video do you ever run into challenges such as finding the right clip, or the right sound piece? How does that affect the concept or content within your work?
CC: Whether its video images, static images, or objects, it is very, very easy to find things that are interesting in some way, whether it's just the image itself or its cultural context or its use or manipulation within whatever mediated context it originally exists in. The difficult part comes about sticking the pieces together, finding meaningful relationships (whether formal or content-wise) between objects or images. Sometimes then it becomes a lot of gentle nudging, a lot of staring, a lot of flipping through pages, a lot of skimming through footage.
Dash: Do you find a clip or piece of a video and build from that, or do you come to a project with themes and ideas already formed and it's a laborious process of finding the piece that's just right?
CC: It's usually a building out of something I've found. I can often begin a project with a formed idea or an assumption, but I've learned to quickly drop this assumption or any specific ideas as soon as possible, because they tend to be hindrances beyond their initial function of beginning a sort of dialog between myself and the object or media.
Dash: Do you listen to the audio of a video when you're looking for clips to use?
CC: The audio is actually the primary aspect that I'm paying attention to. I will sometimes choose a segment of video based on whatever is going on visually, but what will most often dictate its use is the audio.
Dash: What are you working on now? Can you give us an insight int the direction that your work is heading?
CC: I have a couple of larger projects that I'm developing for early next year, one for a group show at the Zuckerman Museum in Kennesaw in April and another with Dashboard in February. I have ideas about where my work is headed but can't really say where it is actually headed.
"We should all try to bravely overcome the mundane."
More Zopi >> http://www.babeability.com
Beth Malone/Dashboard Co-op: You're an interdisciplinary artist; which aspects of art-making get you going the most?
Zopi Kristjanson: A good idea is like a feather. You pick it up and are all "oh, that's kinda nice," but if you really look at it from multiple angles, develop it through different media and share it with others, the idea gains weight and validity. You can create entire lil' universes like this, expressed through music, film or via your tumblr page.
My 9th grade teacher said people are much better off when they master one thing, but whatever lady, the dilettante approach works best for me. I'm just well-versed enough in a few disciplines to provide basic instructions to people with the expertise to help me fulfill my vision. Unless I'm sketching my dog on a Sunday afternoon (which I have mastered), I need others to make the real shit happen. So with the tunes, I write the lyrics and perform, but the music is made by actual musicians.
Dash: I like looking at art-making and exhibition making as an opportunity to do research on subjects and materials that I'm incredibly curious about. What types of themes and tension points are you learning about through your work?
Zopi: Well practically speaking, I'm leaving town in three weeks for a long time and maybe forever, but am dedicated to continue working with an Atlanta-based crew. I see it as an opportunity to play with my collaborative approach. I'll have several people working on a production that I'm mostly removed from and yet will hopefully maintain my artistic intentions. It'll be severe loss of control, but that's sorta exciting for me. Surprise!
Major themes I'm into are the usual suspects: Beauty,Time and Death. Did you know that Sarcophagus literally translates to "flesh-eating?"
Also, I read about 3-D printing in a magazine and it sounds neat. For the Dash show, I plan on using this new medium to play with the idea of approaching immortality through technology.
Dash: You collaborate lots. What's your role in collaborations?
ZK: I am the impresario and also originator of the basic ideas, themes and aesthetic behind the collaborations, but the work is without a doubt completely shaped by the people I'm working with. Plus, I choose people to partner with not based solely on talent or expertise, but also for personal reasons that are related to the theme of the work. So, just working with some of the folks becomes part of the piece.
Dash: Rapping is tha shit, sis. Tell us how hard it is and why you do it?
ZK: Ma-ha-han, it ain't easy. I'm a novice a.k.a. Chicka D., but I love the struggle in trying and I'm beginning to think that's what it's all about (plus rhyme, metaphor, story-tellin' and delivery).
You gotta put up a good fight in spite of scary obstacles. That's why a wealthy boy from Buckhead wouldn't be able to rap. But I'm from the mean streets of Dunwoody, ya heard?
Dash: You create moments of escape for your audiences; is that on purpose? If so, why do we need to slip away for a bit?
ZK: Aside from the famous and enlightened, people are mostly repressed and fearful. So, experiencing satisfied desire through fantasy or escape, especially when there's music, women and colored lights involved, is pretty key. We should all try to bravely overcome the mundane. Just don't shoot anyone please.
Dash: Your stage presence is confidence-soaked. Is that how you are in real life? What does performing mean for you?
ZK: It's so tricky to have any clue how you're being perceived, but I tend to feel mostly awkward during the day, with a few moments of self-assurance here and there.
I usually create an alter-ego for the stage. It makes it so much easier to put yourself out there and give a more vulnerable, emotionally charged performance because, hey – it's not yourself! Props to the folk-singers that can bear their hearts and true identities. That shit is scary.
Dash: Who are ya, where ya from, what ya do?
ZK: I'm Zopi Kristjanson, a.k.a ZigZagZig, born in Ottawa and raised in the A. I make tunes, videos and performance pieces with lovely ladies and a talented crew.
"I find beauty in not just the mundane, but often the dark, the unknown."
Dustin's Art >> dustinthomaschambers.com
Beth Malone/Dashboard Co-op: Do you manipulate light and subject matter to create your work or do you wait for moments of perfect storm-ness?
Dustin Chambers: I've always thought of photography as an improvisational art. In the same way that jazz musicians react and move to tempos, keys, and rhythms played by their bandmates, a photographer reacts to light, moment, and composition of a scene in the same way. To photograph a scene purely is nearly impossible. That it is being filtered through my lens presents inherent bias in my photographs, but by not physically altering scenes, the photographs can at least be purely filtered through my eye. In that sense, I'm giving a realistic sense of my personal reality.
Dash: Why photography over a time-based medium like video or narrative film?
DC: Capturing a single, perfect, all-telling moment in a photograph is much more personally rewarding. I studied film and I love film, but I've never been able to write a script, even a really short one. I just don't have a mind creating fleshed-out fiction, but I like to think of myself as a collector, using my photography to collect props, characters, and scenes of my unfinished fiction.
Dash: What are you trying to capture or show the viewer through your work?
DC: I do so many different kinds of photography: journalism, editorial, commercial, fine art. Ultimately my interest lies in taking untouched reality and presenting it in a way that others might not see. I find beauty in not just the mundane, but often the dark, the unknown.
Dash: Favorite things to shoot?
DC: I think anything that I've never experienced before. I like weird things, situations I'd never find myself in unless I had a camera, but situations that are nonetheless completely normal to the people inhabiting them. That could be the fringes of the Vegas Strip, hair care conventions, a recording studio filled with weed smoke, desert suburbia in Utah, a civil war reenactment, a film set, or Downtown Atlanta.
Dash: People like to know what kinds of equipment our artists use. So how bout it?
DC: I'm boring. I use a Canon 5D Mark II. I want to get back into film, but isn't that what we all say? Sadly, I spend a lot of time in front of my iMac.
(Editor's Note: Dustin Chambers ain't boring.)
Dash: Who are ya, where ya from, what ya do?
DC: I am Dustin Thomas Chambers! I was born and raised in Atlanta proper and went to college at Appalachian State University. My main gig is Assistant Photo Editor/Staff Photographer at Creative Loafing. I also help direct the media production for Living Walls: The City Speaks. Aside from that I do freelance photography for The New York Times, Adult Swim, and Jezebel to name a few. I work a lot, but I love my work. So long as I keep meeting good people, seeing interesting things, and learning about the world, I'll be doing this forever.
Dash: Anything else?
DC: Not until this year have I considered myself an artist, so while the process feels similar, the mindset is very different. And it feels good. (Editor's Note: Dope.)
"I like any space that challenges me with its benefits."
More of Jason >> www.jasonpeters.com
Mike Black/Dashboard Co-Op: When did you decide to fully pursue art as a career?
Jason Peters: Once I applied to art college, though I still have a little way to go to fully have a full on career.
Dash: Why do you make art?
JP: Hard to say why, feels like I have too. Sometimes objects speak to me or I find them peculiar. Additionally, the space/environments I choose affect me, and give me a sense of something, but I cannot put my finger on it. To create environments that challenge perception and preconceived ideas of our surroundings and our expectations of them. I want to create work that deals with these thoughts.
I mentally draw in my mind what might work and go back and forth before building anything. I want to see what I create in my mind in the flesh. I have a sense that things might work but have to get them into this world to see if they still make sense when you can interact with the thought. Dealing with the object outside of your mind, suddenly the work takes on a life of its own too. Art for me always creates more questions to follow.
Dash: What kind of artist are you – concept-driven, process-driven, or material-driven?
JP: A sadistic-masochist. Okay, that's a little extreme, though I feel we all have a little of both in us. I usually come up with labor-intensive ideas, which in turn are limited in time for making them or deinstalling them. Once it's over I go back out and do it again. In the end I feel I am a problem solver to take idea, material, and process and attempt to make them sing together in the tune of my choice.
Dash: How do you choose your materials, and what is it that draws to you to the ones you choose?
JP: I am drawn to multiples for sure, things that are mass produced though very particular, as one can see looking at my work over the years. Though location and surrounding effect this too. For instance, I would of never used fluorescent tubes if I have not been in Salina, Kansas where Phillips Lighting is located, and asking them for materials. Chairs came from being surrounded by them constantly and then feeling the urge to redefine their use for something else than just sitting. I try to stay open to any materials in hope to create a bigger language in which to express myself and my work.
Dash: What is your preferred material?
JP: Any material that helps with expression and excites an idea.
Dash: Do you prefer the public or gallery setting?
JP: I like any space that challenges me with its benefits, though I might lean to public areas.
Dash: Does being a Brooklyn-based artist have an effect on your work?
JP: Not really, I feel you either like the city or you do not. It does make it easier to throw things out, and since a lot of the work I do is recycled or found, once they serve their purpose they go back to the waste/consumption stream they came from.
Dash: Do you work any non-art jobs?
JP: I make a living doing design/build and fabrication of work for artists.
Dash: As a current working artist, where do you see the art world headed? What's working and what's not?
JP: I feel now that "anything goes," there is a little bit of a turn back to the basics and less flashy spectacle.
"I've been interested in creating images that seem to have a multiplicity of time and place."
George's Art >> www.marciawoodgallery.com
Courtney Hammond/Dashboard Co-op: You're the owner and co-creator (alongside Jessamine Starr) of the Good Food Truck, a represented artist at the Marcia Wood Gallery, a member of Sunday Southern Art Revival and a well-accomplished art handler and fabricator. How did you find your way to such a diverse background?
George Long: StarrLong is a custom fabrication business that my wife, Jessamine Starr, and I started in 1996. The recession hit Starrlong pretty hard. So we created something new, using aspects of our other business but making sure it allowed for creativity and innovation – essentially, The Good Food Truck. Then in 2002 I started a series of gallery works called "8x8s" for my first solo show with Marcia Wood. Before that, my work consisted of temporal sculptures and atmospheric installations. Around the same time, two groups called Tindel Michi and The Brothers Tummy were scheduled to have a sort of "face off" art show, a battle of the collaborative groups. But instead we starting telling stories, bad jokes, making art and becoming the Sunday Southern Art Revival.
Dash: How does this diversity of knowledge inform your work?
GL: Ideas come first then I make choices on which material, method, and venue will best facilitate the idea.
Dash: What made you decide to recently tap into digital media?
GL: It's been a natural progression. I wanted to be able to show small movements and sequences. I've been interested in creating images that seem to have a multiplicity of time and place.
Dash: These repetitious images, are they symbolic in any way?
GL: The boys are archetypes, they represent our experience and the birds represent potential. I like to work with what I consider loaded symbols, allowing for multiple meanings.
Dash: Which do you love more and in what order – the beach, space, men in rollerblades?
GL: The beach, rollers, space, Blade, men.
"Play makes being vulnerable more palatable."
More Andre >> https://vimeo.com/andrekeichian
Craig Cameron/Dashboard Co-op: You are a fairly recent graduate of Agnes Scott College; how was your experience there and how did it help you develop as an artist?
Andre Keichian: My experience at Agnes Scott was wonderful. There, I was able to consider the issues so pertinent to my artwork through a liberal arts education –blending critical questions from the humanities with my studio practice. The art department was comprised of a faculty of five women, all of whom were inspirational teachers. The department was small, but theoretically strong, and it fostered the conceptual basis of my art. Because it was small, I had to learn to be a resourceful artist.
Dash: I understand you create work based on identity, issues that are personal through a playful means, and I'm wondering if you could expand upon that notion of playfulness in your work. Is it tool of access or means to create work, to get you where you need to be, or does it carry more meaning within the context of your work?
AK: The playful element of my work permeates both the content and process of my art making. I like to use play in conjunction with the more serious aspects of identity that I explore in my aesthetics. Play makes being vulnerable more palatable. It also renders intense experience more accessible. In particular, I think play is integral to queer life. Queers know how to live in and relish the ludic, as a form of survival.
Dash: Your video and performative work has a communal or collaborative point of view, do you try to make work about your identity or a larger societal identity? Does it transition from one the other?
AK: For me, my work has been radically influenced by feminist performance art and installation. So I find my identity, and really any identity, to be inextricably bound up with larger sociopolitical contexts. Working collaboratively only strengthens the connection that exists between the individual and collective. In the past, my art has been pushed both formally and conceptually through collaboration with others in my artistic and social communities. Presently, collaboration takes form through installation.
Dash: Do you ever come across situations where you have difficulty defining the line between you and your work?
AK: Because I expose myself, my body, and my history, I do often feel vulnerable in my artistic practice. I don't think that's a bad thing. But the aesthetic medium, often through video, creates a place of distance that enables me to do things that I otherwise wouldn't feel comfortable doing in person. I like the indeterminacy of being exposed and, at the same time, being distanced from my art. The mediums I choose afford me a safe place to explore myself as an abstraction.
Dash: Do you reach into your past for themes, subjects, and inspiration? Do you make work based on things you're experience now, or is it a combination of both?
AK: I think that our lives are an ongoing palimpsest. So I often feel the weight of my personal history as motivation for ideation and for the conceptual framework that often precedes my studio practice. I use my art as a process that helps me to aestheticize my own negotiation of where I am, where I have been, and where I would like to go.
Dash: With a given project or piece of art, do you know if its going to be a video, performance, or body of photographs? Does you start with one and maybe see ,through trial and error, that another format would address it better?
AK: For the past five years, I've been formally committed to exploring video. That has taken the form of video as performance, as improvisation, and as one-take documentation. Lately, I've been more focused on installation—on thinking of how to expand video beyond its conventions. So this phase has been incredibly "trial and error." And I've found it to be fascinating how much I've been able to transform my practice through giving myself over to repeatedly trying to capture what I've done in the video as a photograph rendered with my own brushstrokes of silver-gelatin emulsion.
"...performance came to mind as a replacement for my former use of machines."
More Martha >> http://www.marthawhittington.com/
Dashboard Co-op/Craig Cameron: Tell us about yourself, where you're from, and how you came to Atlanta.
Martha Whittington: I was born in Gainesville, Florida. My family were corporate gypsies, moving every few years following the electronics industry. I lived in Philadelphia for a few years after graduate school, but then returned to Georgia due to an illness in my family (a Southern daughter's duty).
Dash: Tell us a bit about your work and how your work changed or progressed over the course of your career to this point?
MW: During graduate school at the Tyler School of Art in Philadelphia, my work moved from purely formal and processed-based installations to kinetic, immersive environments using the technology of the time (old school analog). I learned that when you motorize something, everyone thinks it's great. During my working artist project exhibition preparation, I decided to challenge myself, remove the machines, and see whether the work could stand alone and manipulate and activate the space without the use of motors. In investigating the industrial revolution when labor transitioned from hand crafts to machines, performance came to mind as a replacement for my former use of machines.
Dash: Your work brings attention to the methodical means of process and labor, when did your fascination or appreciation for that begin?
MW: Having been raised in an upper middle class family, in my rebellious nature I sought out jobs below our "social standing" rather as an act of defiance. I have painted creasote onto fences in the burning sun, cleaned toilets at Epcot, cut three acres of grass with a weed whacker, and much more. Hard physical labor which seems endless is nonetheless meditative and challenging, almost devoid of intellectual analysis. This is the fascination.
Dash: How do you maintain an active studio practice?
MW: In between naps.
Dash: Where do you draw inspiration from?
MW: I will notice something like an object, a tool or a device that I had not noticed before. I will research it and will find out everything about it. I will find a story, a history, or an antiquated manual on how to make something. Right now I am using a 1940 boy's book by Popular Mechanics. In this way, I find simple yet intricate ways to make things.
"I embrace play. There's a 'letting go' in my practice with materials"
More of Kevin's Art >> hello.kevinbyrd.com/
Craig Cameron/Dashboard Co-op: Tell us about yourself, your work and how to came to start creating artwork.
Kevin Byrd: I went to school for architecture, and have done design and art direction for much of professional career. A passing trip through Marfa, Texas exposed me to the work of Donald Judd, John Chamberlain, and Dan Flavin. Their ideas about site-specific art, materials, and production methods ignited my imagination and passion for art. Their influence ultimately became a leaping-off point to exploration in emerging production methods around laser-cutting and 3-D printing.
Dash: I'm interested in learning about the materials you use. How did you came to discover them and are they connected to your background?
KB: I've been working with a number of different types of plastics, acrylic and urethane lately, but wood, other household elements, and industrial materials are definitely at the core. I came across urethane through knowing and working with industrial designers. It's primarily used in industrial roto-molding. Moving between mediums has always fascinated me too. I think you can learn something from working in one medium that can then inform another. This multidisciplinary approach comes from my time in design and architecture.
Dash: Your works seems to be material driven and about your experiences using and those elements. How does this play into your overall endeavors or artistic intent?
KB: I generally avoid metaphor. Material is the narrative. It's pictorial. My curiosity in industrial materials, geometry, and construction details have informed much of my work.
Dash: Your work is minimal and clean. Is this an aesthetic choice or does it play a larger role in what you are intending to convey?
KB: In reduction there's a truth uncovered. It's probably my modernist background at work :)
Dash: I'm interested in learning how much control you relinquish with your work to allow for experimentation.
KB: I embrace play. There's a "letting go" in my practice with materials, where absolute author control is given away. You become open to the material having its own say-so. The serendipitous nature of this process creates work that has unexpected results. Much of it fails. I try to embrace these failures and iterate. For me, pursuing art has meant un-learning design, freeing oneself from utility and precision and planning in many cases. Knowing when to let go, and having the fearlessness to try something new is difficult, but ultimately I find it pushes the work forward.
Dash: Can you discuss your interest or perspective on creating in a collaborative atmosphere?
KB: I bring the same openness to collaboration as I do to my art making. There's a peace you must commit to – that working with other great minds can lead to unexpected results. Sometimes it's not pretty, but sometimes it's greater than you could have ever imagined. I let go of my ego, and become open to learning through others, responding to their insight and work. I try to release preconceived outcomes. It's hard, but I'm learning. Someone mentioned to me once that when artists collaborate, there's a new artist that's created that may be blend of identities or it may be a new identity all together. I think that rings true.
"I have a strong opinion because I care so much. I'm a blue collar girl from Detroit"
More of Lindsey's Art >> www.lindseyawolkowicz.com
Erica Wilson/Dashboard Co-Op: Drawings vs. objects?
Lindsey Wolkowicz: The drawing is the core of everything; of my process it's the thing that has developed the most. It has time, energy, education. But there are things that drawing can't do. When I was younger I was trying to make the drawings do everything – then they'd fall apart. The expectations of these drawing exceed their capacity – as drawings. They'd then smash into bits; they would become overloaded, bloated, cement; they stopped breathing because there was just too much weighing on them.
This is where the objects come in. I feel confident at making objects, but also a bit naive. They are less graceful than my drawings. This allows me to have some innocence and some play, allowing the child to come out. The drawings have just gone too far for me to be innocent or naive about them. I'm too educated about it. I have too many rules, too high of expectations. My relationship to drawing is too complicated to just let it be fun or play. Whereas I feel that I know less about making objects so it can have that openness to it. It can fuck up and that's okay…. the drawing isn't allowed to fuck up anymore.
Dash: Now the work with Dillion (Dillon Paul), the performance work?
LW: Coming from a performance background - you're taught to send everything outward. You're taught to consider your audiences' experience before you're taught to consider your own. You're creating an experience for them that is generally multidimensional. There is sound and space and movements; it's not a singular experience.
As a painter you're taught to grab everything and pull it inward into your own little space and resolve it all by yourself, without input from anybody. Yes, you have conversations with others but it's still your job to resolve it. Ultimately, with performance, even if you are on the stage alone, there are these other components - a collaborative element is a must
Whether we like it or not, as painters, we are self-satisfying. Yes, we do consider the audience when resolving particular issues –does this do what I need it to? Is it translatable? Is it clear and concise? Is it whatever? But once we hang it on the clean white wall in a gallery we are saying, "This is resolved, talk amongst yourselves."
A performer is out there performing and they are getting whatever back at the exact same time they are executing. With Dillion, I'm a stubborn ass and I am very much a formalist in a lot of ways. There are a lot of rules in my work, I love rules. The moment something moves outside of what I feel is successful I'm a hawk about it, circling looking for the solution.
Dillion's process is often a mirror of mine – she is seeing the same thing but from a very different perspective and it's healthy for me. I respect it. She can help me be grounded in so many ways, and she is one of the few that can. We have a similar history in the way we think about and approach the work but we do have different ways of approaching the same ideas. This performance with Dillion has allowed me to make work that I otherwise couldn't make on my own. It has allowed me to take the figure outside of my work and it becomes something that I couldn't necessarily control in the same way.
The lack of control has been a relief. There are surprises; things I wouldn't do in a million years if I was in control.
Dash: In the drawings I recognize the feet. I have seen those feet in your performance stills.
LW: In the drawings, Dillion has been the primary figure for years. She has Rodan feet – strong feet. She is incredibly feminine yet the musculature of her figure from dancing allows a certain amount of androgyny. It's this very strong body that is feminine - but it's not about being a woman, or a woman's body. I create the environments and she reacts to them. Dillion's approach to performance is often about the mechanics the engineering of it. Can I put weight on this? How much? Strength vs subtly; it's an experiment constantly finding boundaries.
Dash: So how do all of these approaches come into play with your overall process?
LW: When I make things, they come about in groups. Different facets of the same thought in a way they are meant to be together. It's not always possible but I take a thought, an idea, to a place of conclusion then I'm done with it. Then there is a gathering time and a new texture or thought that I need to follow to its conclusion. It's a new relationship and you take it all the way through. I do like that feeling of I've seen it all the way through, I'm done. I like the feeling of being done. It keeps me from feeling like I'm recycling ideas - I feel satisfied I can let this go and move on to the next thing.
Dash: Art school, Yay or nay?
LW: If you choose to go to art school, be ready. You're making a choice to engage in something that has long history, social and critical history. If you want to step in the ring, bring your gloves and be ready to fight. But in the same sense if you choose not to step in the ring, I'm not going to hit you. Next to my family, my work is the most valuable thing in my life, so you want to throw around that you have education about art, then be ready to go - bring it!
Dash: If you could be an intimate object for one day what would it be?
LW: A rock 'n' roll guitar or ... no wait, a SPOON!


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Economics Degree at Contra Costa College (CCC)
Request Information
- Admissions & Requirements
- Tuition & Fees
- Course Schedules
- Financial Aid Eligibility
- Student Services
Contact Information
General Contact
- FAFSA School Code: 001190
- Phone: (510) 235-7800
School Reviews
School Map
Request more information about the economics program by clicking on the links below:
- Admissions & Requirements
- Tuition & Fees
- Course Schedules
- Financial Aid Eligibility
- Student Services
Economics Degree
The economics program at Contra Costa College prepares students for careers as a consultant, financial analyst, market analyst, public policy analyst, purchasing manager, and research assistant. The program focuses on the systematic study of the production, conservation, and allocation of resources in conditions of scarcity, together with the organizational frameworks related to these processes. Program courses include: economic theory, micro and macroeconomics, comparative economic systems, money and banking systems, international economics, quantitative analytical methods, and public policy issues. Get more details below including other California colleges that offer economics degrees.
Learn more by requesting information now!
Students Enrolled in the Economics Program
Get more details below regarding enrollment, academics, and school demographics. CCC offers an associate's degree program in economics.
Students by Gender (2010-2011)
Students by Race (2010-2011)
Career Options for GraduatesStudents who have completed the Economics program at CCC, have entered into some of these more popular career paths listed below:
- Description:
Conduct research, prepare reports, or formulate plans to address economic problems related to the production and distribution of goods and services or monetary and fiscal policy. May collect and process economic and statistical data using sampling techniques and econometric methods.
- Career Outlook & Projects ():
According to the BLS, economists employment is expected to grow at a rate of 6.1% from 2010 to 2020
- Salary & Wages
- Oakland-Fremont-Hayward, CA Metropolitan Division
- Total Employment: 190
- Average Hourly Rate: $46.79
- Average Annual Salary: $97,330
- San Francisco-San Mateo-Redwood City, CA Metropolitan Division
- Total Employment: 380
- Average Hourly Rate: $61.14
- Average Annual Salary: $127,170
- Oakland-Fremont-Hayward, CA Metropolitan Division
Survey Researchers
- Description:
Plan, develop, or conduct surveys. May analyze and interpret the meaning of survey data, determine survey objectives, or suggest or test question wording. Includes social scientists who primarily design questionnaires or supervise survey teams.
Economics Teachers, Postsecondary
- Description:
Teach courses in economics. Includes both teachers primarily engaged in teaching and those who do a combination of teaching and research.
Source: Job descriptions, estimated salary and wages, and projected job growth are taken from the Bureau of Labor Statistics (BLS).
Other schools offering Economics Programs in California
Economics programs are available at the colleges and universities listed below.
C = Certificate or Award | A = Associate Degree | B = Bachelor's Degree | M = Master's Degree | D = Doctor Degree (Ph.D.,M.D.,...)
|University of California - Berkeley
Berkeley, CA
500 students completed this program
Programs Offered
|University of San Francisco
San Francisco, CA
36 students completed this program
Programs Offered
|Saint Marys College of California
Moraga, CA
7 students completed this program
Programs Offered
|Mills College
Oakland, CA
10 students completed this program
Programs Offered
|San Francisco State University
San Francisco, CA
59 students completed this program
Programs Offered
|California State University - East Bay
Hayward, CA
34 students completed this program
Programs Offered
|Sonoma State University
Rohnert Park, CA
35 students completed this program
Programs Offered
|Canada College
Redwood City, CA
Programs Offered
|Stanford University
Stanford, CA
150 students completed this program
Programs Offered
|Santa Rosa Junior College
Santa Rosa, CA
16 students completed this program
Programs Offered

subset: commoncrawl


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We're puppy parents, once again
Mar 18, 2014 | 2 Comments
By Nancy Carlson
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This was a very difficult time for us.
We now own 4 dachshunds. I am glad to find someone who has the same kind of "fun" mind as I do for dogs names. Only one of ours has a "normal" name. His name is Baxter. He turned 13 this last Christmas Eve. Here is where the fun comes in. Our next doxie is named Carrots...he is 10, then we have Biskits, he is 6 and the last one is Pickles and he is 7. So, don't feel alone with the "funky and oh so cute" names. I love some of the choices you are looking at and can't wait to see pictures of your newest family member.
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• Letters to the Editor - Nov. 21, 2014 (2)


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Boards & Commissions Factsheets
WOOD - TIKCHIK STATE PARKBoard: Wood-Tikchik State Park Management Council
Board identification number: 109
Department: DEPARTMENT OF NATURAL RESOURCES
Authority: AS 41.21.163
Status: Active
Sunset date:
Requirements: No Legislative Confirmation or Financial Disclosure required
Prohibitions: None
Term: 3 years
Description: The commission consists of 7 members appointed by Governor from three nominations submitted by each of the following: (1) Village Council of Koliganek; (2) Village Council of New Stuyahok; (3) Village Council of Aleknagik; (4) City Council of Dillingham; (5) Bristol Bay Native Association. In addition, the Commissioner or designee of the Department of Natural Resources and the Commissioner or designee of the Department of Fish and Game serve as members.
Function: The council develops management plan for park with advice and assistance of Department of Natural Resources, monitors plan implementation.
Chair: No provision.
Special facts:
Compensation: Standard Travel and Per Diem.
Meetings: 3 times per year (spring and fall); 6 days maximum
For further information and to reach individual members, contact:
Bill Berkhahn
Area Ranger
Wood-Tikchik State Park
P.O. Box 1822
Dillingham, AK 99576
Phone: (907) 842-2641, FAX: (907) 269-8907
Wood - Tikchik State Park Roster


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Extreme Beer Fest. March 20 & 21, 2015 in Boston, Mass. Join us!
The wait is over! Download the BeerAdvocate app on iTunes or Google Play now.
Get 12 issues / year of BeerAdvocate magazine for only $9.99!
Funny things your BMC friends say when given craft.
Discussion in 'Beer Talk' started by nquigley16, Dec 29, 2012.
Page 9 of 15
Page 9 of 15


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view bio »
The Tennessee Department of Education and local officials haven't been able to pinpoint just who is responsible for moving a Thursday school board meeting behind closed doors.
The Hamilton County Board of Education met with school administrators and Tennessee Education Commissioner Kevin Huffman after his address to the Chattanooga Rotary. They were discussing an upcoming grant that Hamilton County likely will apply for to start a School Innovation Zone, which would target low-performing schools by allowing greater flexibility in how schools operate.
A public notification was distributed before the meeting, as usually occurs with other board meetings.
But as the meeting was starting, reporters were told by Huffman spokeswoman Kelli Gauthier that the meeting was closed to the media because officials were discussing a competitive grant application. When asked, Gauthier couldn't cite the law that allowed them to circumvent the Tennessee Sunshine Law and close the meeting.
Gauthier addressed reporters and shut the door, but said she was only repeating information she'd been told. She said the decision to close the meeting was made by local officials.
"The commissioner had been invited to speak at the meeting, and it was neither his decision nor mine that it be closed," she said in a Friday email.
But Hamilton County Schools Superintendent Rick Smith and school board Chairman Mike Evatt both said they didn't ask that the meeting be closed. On Thursday, Smith said Huffman made the call to hold the meeting behind closed doors.
Smith couldn't be reached for comment on Friday.
Evatt said he was under the impression that Gauthier, a former reporter for the Times Free Press, asked that the meeting be closed.
"All I did was walk into the room," he said. "I didn't close anything. We did not ask for it to be closed."
And the meeting didn't contain any confidential or sensitive discussion, Evatt said.
School board attorney Scott Bennett couldn't be reached for comment Thursday or Friday.
Kent Flanagan, executive director of the Tennessee Coalition for Open Government, said state law is very restrictive when it comes to closed sessions of public bodies.
The Sunshine Law operates on a presumption of openness, he said.
"All meetings are open unless they can cite a specific statute that gives them legal reason to close it," he said. "There are only a handful of reasons why a school board can close a meeting."
Kevin rejoined the Times Free Press in August 2011 as the Southeast Tennessee K-12 education reporter. He worked as an intern in 2009, covering the communities of Signal Mountain, Red Bank, Collegedale and Lookout Mountain, Tenn. A native Kansan, Kevin graduated with bachelor's degrees in journalism and sociology from the University of Kansas. After graduating, he worked as an education reporter in Hutchinson, Kan., for a year before coming back to Chattanooga. Honors include a ...


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Dr. Dre (left) has the right prescription for making money. He landed on top of Forbes magazine's Hip-Hop Cash Kings' list by earning $110 million in the last year. Dr. Dre raked in the money between May 2011 and May 2012, largely from the sales of his "Beats by Dre" headphones, which sell for $100 and up. Sean "Diddy" Combs came in second with $45 million, and Jay-Z earned $38 million to finish third on the list of the 20 top hip hop businessmen/entertainers based on earnings.
Dr. Dre is Hip Hop's Top Earner
Filed under: Articles


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Perfect Fry Overall Customer Rating:
If you're in need of a ventless countertop fryer in your foodservice establishment, you'd be hard pressed to find a better option than a Perfect Fryer from Perfect Fry Company. Having sold over 10,000 countertop fryers since their opening in 1989, Perfect Fry has established itself as an innovative manufacturer of ventless deep fryers and frying equipment in the foodservice industry. Read more
Perfect Fry fryer parts and accessories are made to give you the most out of every purchase. These parts and accessories are great as replacements or add-ons, maximizing utility and versatility.
Perfect Fry ventless countertop fryers offer convenience and power in a simple compact footprint. They're specifically designed for use in areas where overhead vents can't be used so any business can fry popular sides.


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Document Library
NIMS Compliance
The NIMS (National Incident Management System) will enable responders at all levels to work together more effectively to manage domestic incidents no matter what the cause, size or complexity. The benefits of the NIMS system will be significant.
The following documents will be helpful for the NIMS Compliance Implementation plan.
FEMA's web site on NIMS compliance http://www.fema.gov/
School Safety Center
The Washington State School Safety Center provides resources regarding homeland security and the public schools.
School Safety Center website http://www.k12.wa.us/Safetycenter/
National Strategy for Maritime Security
The National Strategy for Maritime Security was created to protect "all areas and things of, on, under, relating to, adjacent to, or bordering on a sea, ocean, or other navigable waterway, including all maritime-related activities, infrastructure, people, cargo, and vessels and other conveyances."
Helpful documents (in pdf format) for understanding the National Strategy for Maritime Security:
Recommended Reading
The Center of Excellence Homeland Security recommends the following article 'Changing Homeland Security: Ten Essential Homeland Security Books'. This PDF is an article written by Christopher Bellavita of HSAJ.ORG, published in Homeland Security Affairs.
Copyright © 2014 privacy policy
Center of Excellence Homeland Security, Pierce College, 9401 Farwest Drive S.W., Lakewood, WA 98498-1999


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"Time is so precious-do not waste it.''
"Begin the Day with God."
" Get in touch with God by Knee Mail."
R-S-A-C... Means- Remember someone always cares.
I hope that all is well with you this Monday morning . Don't you worry even one little bit. This day is going to be just as good as any other day of the week. If you need coffee or tea to get you started I will furnish that and all I will charge you for it is a great big SMILE now don't you think that is a bargain. Sit down here beside me and start talking, I'll have someone pour us a cup.
The photo above is of my cousin Dorothy and I, taken at her 90th Birthday celebration.
The picture below is a picture of me with all three of my cousins, Dorothy, Margaret and Edna.
Mary and I had the privilege of being at my cousin Dorothy's 90th Birthday celebration on Saturday afternoon 8/15/09. We had a very pleasant time talking over past memories. and looking over old pictures.
There were many pictures taken, I will try to show a few more later. DAD
I have kept in close touch with these three from our childhood.. First cousins are becoming scarce with me I don't have many more left.
Dad's Views and Tomato News
This above will show you an article that was too large to use in my blog. Dad.
In reading any of my Albums please use the SLIDE SHOW.
DO I HAVE YOUR SMILE THERE? IF NOT WHY NOT SEND IT IN. IT DOES NOT MATTER WHAT COUNTRY YOU LIVE IN, AS WE HAVE SAID BEFORE, A SMILE IS THE SAME IN EVERY Language.
posted by email@example.com (Sara) at Sara's Blog - 14 hours ago
We made it to our vacation spot, and got the dogs in the water. Oreo went in all on his own. He seems to like it. Misty went in for treats. I hope they get to swim for real as they get more comfortable in ...
It looks like Oreo and Misty are on vacation. I am so glad they got to go and that they took Jeff and Sara with them.
I am sure that it would be alright for you to look at their blog. Sara's Blog today. DAD.
Here is my thought for this Monday. 8/17/09.
" The reason that there are so many churches is it is easier to build a temple than to be one."
and this-
" What ? know ye not that your body is the temple of the Holy Ghost which is in you which you have of God, and ye are not your own ? "
This Bible verse right above was written to the Corinthian church. 1st Corinthians chapter 6 and verse 19.
We are still having very nice weather, Here is what AOL predicts for this day.
Today.. Monday 8/17/09
A mix of clouds and sun with a slight chance of thunderstorms this afternoon. Humid. High around 85F. Winds SSE at 5 to 10 mph. Chance of rain 30%.
With weather like this I should be able to finish my job of removing those tomato vines.
I hope that you will look in my side panel for the links to my Cams #1 and 2. They have been working good for the last month . Dad
I sure do need to end this, you don't need all this stuff on your Monday morning. But I will do my best to see you at 4 a.m. in the morning with a smile and I might have a cup of Starbucks.
© 2009 Dad's Tomato Garden Journal all rights reserved


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Burton Girls' Sweetart Pants 2013-2014
Product Information:
For the little girl who likes to shred with the boys, the Sweetart Pants will keep her warm and protected. Constructed of DRYRIDE Durashell™ 2-layer fabric and mapped with Thermacore™ insulation for ample warmth, these ready-to-ride pants keep out the elements so she stays happy all day long. The Room-To-Grow™ system ensures her Burton® Girls' Sweetart Pants fit for several seasons.
- Room-To-Grow™ system
- Velcro® closure handwarmer and back pockets
- Mapped with Thermacore™ insulation
- Fabric: DRYRIDE Durashell™ fabric
- Style: 11584100
- Burton
Country of Origin: VietnamWeb ID: 21173476
Customer Reviews:
Burton Girls' Sweetart Pants 2013-2014 2 2
Burton Girls Sweetart Pants The pants Fit her perfectly. I like that the pants have an adjustable waistband. February 5, 2014
Great Look and Fit Very pleased with my selection. The pants looked great on my granddaughter and she loved the color. January 24, 2014
1-2 of 2


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Faculty Directory
View by:
All |
Department |
Research |
FAAN Members
Full Time | Part Time | Tenured
View by Name: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Linda A. Dudjak, PhD, RN
Associate Professor
Acute and Tertiary Care
School of Nursing
316 Victoria Building
3500 Victoria St.
Pittsburgh, PA 15261
AdministrativeMy professional background includes over 20 years of practice as a healthcare leader with extensive operational experience in refining systems, leading change and developing programmatic initiatives across disciplines and institutions in both community and academic environments.
ResearchMy previous research interests were related to my clinical specialty in oncology and included symptom management and accrual to clinical trials. More recently, as the CoDirector of a Research Dissemination Core of a NINR grant, I have become interested in strategies to integrate research into practice through the implementation of an evidence based model of practice. Master thesis: Dudjak, L.A. (1987). The effects of two mouth care protocols on oral mucositis experienced by patients receiving external radiation therapy to the neck and neck area. Doctoral dissertation: Dudjak, L.A. (1997). Factors influencing patients willingness to enroll in a controlled clinical trial. Co Director, Research and Dissemination Core. Jacqueline Dunbar-Jacob and University of Pittsburgh, School of Nursing. National Institute of Nursing Research P30 NR03924. Years Inclusive 2004 – 2009; 20% effort. Total Amount of Award $1.5 M; direct costs/year $318,817
TeachingI have been a member of the School of Nursing faculty in some capacity since 1987; and in November 2008, accepted my current position as Associate Professor in Acute and Tertiary Care. My primary responsibilities are in the MSN Administration and Leadership Concentration; with teaching responsibility for selected courses, as well as the MSN Residency and Capstone Advisement. I am also the primary teacher for the didactic portion of a course within the BSN Program - Transitions into Professional Nursing. I have lectured regionally and nationally on topics related to the practice of oncology nursing, healthcare administration and leadership and the translation of research into practice.
ServiceWithin the School of Nursing, I am a member of the Admissions/Promotion and Graduation Committee. I am also an appraiser for organizations seeking Magnet Designation through the ANA Credentialing Center.
ClinicalMy clinical expertise is in the field of oncology having practiced as a clinical nurse specialist in radiation oncology for (3) years and in a NCI-designated comprehensive cancer center for (6) years. I have published and presented on topics related to oncology practice and have served as a consultant to organizations seeking to develop and/or expand programs in these subspecialty areas.
|University of Pittsburgh, School of Nursing. Pittsburgh, PA
|University of Pittsburgh, School of Nursing. Pittsburgh, PA
|La Roche College, Pittsburgh, PA
|Shadyside Hospital School of Nursing, Pittsburgh, PA
Professional Experience
|CNO, UPMC Horizon, Mercer County, PA
|Program Administrator, UPMC Presbyterian, Pittsburgh PA
|Director Inpatient Services, Pittsburgh Cancer Institute, Pittsburgh PA


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Welcome to the Mountain Top Bed & Breakfast
Mountain Top Bed & Breakfast, located 11 miles east of Camp Nelson in Ponderosa, offers a quiet mountain retreat in a beautiful, pine-covered setting for those who enjoy outdoor sports or simply sitting in front of the massive rock fireplace with a good book.
From the two available bedrooms each with its own private bath, guests look out on the peaceful mountain countryside. Guests have the use of a large, airy living room with satellite large screen TV, surround sound, VCR and DVD with a collection of movies.
Each morning Alvie serves a hot gourmet breakfast which can include a selection of Aebleskivers (Danish Pancakes), crepes, cheese blintz souffle, egg blossoms, chocolate scones, Ahwahnee creamed bananas, or Jose's oven pancakes.
After a day of hiking or cross-country skiing, guests return for wine, cheese and crackers served 4-5 PM. In the evening they enjoy hot homemade cookies, coffee, spiced cider or hot chocolate by the fireplace.
Bed and Breakfast guests can enjoy a relaxing soak in the spa while viewing a roaring fire in the stove nearby. Attached to the home, with its own separate entrance, is a self-contained rental cabin which can sleep up to seven people.
- 14 reviews of Mountain Top Bed & Breakfast in Springville


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Get 4 FREE Issues of PEOPLE
Eva Longoria and Harper Beckham! Jennifer Aniston and Coco Arquette! Find out which stars have famous godchildren
Credit: Dave Hogan/Getty; Inset: Fame
Updated: Monday Nov 04, 2013 | 02:30 PM EST
By: Brooke Showell
More from PEOPLE
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The Coldplay frontman and actor go way back, which is why the trusted friends are godfathers to each other's children – Pegg to Apple, Martin's 9-year-old daughter with wife Gwyneth Paltrow, and Martin to Pegg's 4-year-old daughter Matilda. "[Chris] sang a song for [Matilda] in Berlin when she was born," Pegg shared. "He dedicated one of the songs, and I was really chuffed about it."
Copyright © 2014 Time Inc. All rights reserved. Reproduction in whole or in part without permission is prohibited.


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Dominant Curve
Oil on canvas
129,3х194,3 sm
New York, The Solomon R. Guggenheim Museum
More works from 1936
More works from New York, The Solomon R. Guggenheim Museum
Comments & impressions:
2012#1. Belen, Sacramento
I have a print and not sure if it's original, how would I know that??13 April
2013#2. Art, Netherlands
When your print is not in the Solomon R. Guggenheim Museum you know that it is not original. All other prints are reproductions.09 July
Share the word or useful information about this picture. All comments are moderated. * - required.
Attention! All graphic, text and other materials on the site wassilykandinsky.net are intended for uncommercial using. All rights reserved.


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The pilot stated that he had no recall of the accident sequence. Ground witnesses saw and heard the aircraft make an approach to the runway from the river towards the south. The weather was described by one witness as clear with light winds of 2 knots from the west. Another witness stated that the winds were 25 knots from the east. The aircraft was observed to approach with the landing gear down, then the engine revved up and the pilot pulled up and turned left. One witness said the aircraft stalled, then descended to ground impact across the ravine. A pilot-rated witness said the engine sounded normal throughout the sequence. The dirt airstrip is on the west bank of the Colorado river and sits atop a small plateau bordered by ravines on the east, west, and north sides. The south end of the runway has rapidly rising terrain within 1/2 mile. The aircraft was found about 1,200 feet down the runway and 150 yards to the east of the runway center line and across a ravine. The aircraft impacted against the trunk of a 25-foot-tall tree on the opposite upslope side of the ravine. No discrepancies were noted during the engine and airframe examination and disassembly.
The National Transportation Safety Board determines the probable cause(s) of this accident to be:
Index for Sep1995 | Index of months


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When Work Isn't Working OutTuesday, December 16th, 2008
- If yes: then obey God, not man, and be ready to accept the consequences. In cases where you are being asked to do something unethical, your greater responsibility is to God and his values. Now, you might very well lose your job over standing up for what is right, but I am convinced that God will provide for you and your family. The material reward for living right and standing up for truth may not come immediately, but it will come. The immediate reward is obedience to God.
- If no: then obey your boss. If your boss has not asked you to do something unethical, just stupid, then obey your boss. Now, if you have a better idea or a more efficient way of doing the job, then lobby passionately and respectfully for it. Otherwise, respect and obey your boss.
- If yes: then you should probably move on. If you can afford to quit your present job, then you are free to move on and find another or better job. Before you become more bitter, too divisive and a liability to the company, it may be better if you resigned your position and began praying and searching for a different job.
- If no: then you need to make the most of it. If you cannot afford to quit because this is the best possible job you can find right now, or you need the money and the insurance, or you are too close to retirement or you are a few years away from being fully vested or you simply can't afford to relocate, then it is wise that you stay in your present position and make the most of it, with a good attitude (Unless God has given you clear direction to make a move). This will challenge many of you – if you cannot quit because this is the best possible job you can find right now, then you should thank God, and send your employer and boss a "thank you" letter for letting you remain with the company, especially in a struggling economy.
Popularity: 7% [?]


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A boy who is holding a fish in all of his profile pictures, all he talks about is how great the water was and how big a fish he caught. Usually accompanied with a comment like " i love fishing". Wears sun glasses on the back of his head, and fishing t-shirts. Will love going fishing more than he loves you.
wow, look at this picture of fish boy and the marlin he caught on sunday!
by alskdjf;eioy April 25, 2011
A loser, a very big loser
WOW what a fishboy! HAHAHA!
by King of all(even me) March 17, 2004


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I went into W H Lung recently (see my other article on asian/oriental food places in Manchester) and for curiosity's sake, I checked the small freezer located near the fresh vegetables. This normally contained ice cream, or during the Lunar New Year, snow skin mooncake but that day, it also contained boxes of mochi dessert! I say mochi dessert, as it's not actually ice cream mochi since it's made from coconut milk. They had boxes of just one flavour, but I figured I'd give the assorted flavours box a try first.
The box contains 6 mochi of different flavours:
- Chocolate
- Strawberry
- Black sesame
- Mango
- Vanilla
- Green Tea
Each one is individually wrapped (sorry, I ate the green tea one before taking this photo).
The mochi is really soft to bite into and not too cold on my teeth.
I quite liked the green tea flavour, so I'm looking forward to trying the other flavours. The box itself costed £3.60 which is fairly expensive for a dessert but not bad considering I don't think you can get ice cream mochi elsewhere. (If you can, let me know in the comments below).


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1100 10th Street
Suite 300
Greeley, CO 80631
tel: (970) 350-9811
fax: (970) 350-9805
M-F 8am-5pm
View Map
The Water and Sewer Department has a Cross-Connection Control Program. We are committed to keeping your water safe and free from pollutants and harmful substances that could affect your health. Our program focuses primarily on containment and prevention.
A cross-connection is any connection to the drinking water system that could introduce pesticides, fertilizers, used water, fluids, gases, or anything else into the water distribution system. Normally, water flows out of the distribution system under pressure. When a cross-connection exists, a drop in water pressure can cause a reversal of flow, allowing harmful substances to enter the public water system.
Common residential sources of cross-connection contamination include: irrigation systems, fertilizer injection systems, hoses connected to chemical spray bottles; chemicals in water beds, hot tubs, swimming pools, water features, aquariums, fountains, in-home water treatment systems, solar heating systems, and swamp coolers. Commercial and industrial sites also have the potential for cross connections. Cooling systems, boilers, solvents and chemicals used in manufacturing processes, liquid storage tanks, waste disposal systems, fire sprinkler systems, including applicable residential sources previously listed, also present potential hazards.
Below are some ways that you can keep the water system safe.
City Government | Residents | Business | Discover Greeley | Online Services | Privacy & Security Policy | ADA Policy | Contact Us© City of Greeley 1000 10th Street Greeley Colorado 80631 - All Rights Reserved.


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March 5, 2013
The Federal Transit Administration (FTA) and Federal Emergency Management Agency (FEMA) signed a Memorandum of Agreement (MOA) that outlines the roles and responsibilities of both agencies in providing federal assistance to repair and restore public transportation systems in areas that the President has declared a major disaster or emergency. FTA's newly authorized Public Transportation Emergency Relief Program was established by MAP-21 and the MOA is required to establish the relief program."After disasters hit, our federal, state and local partners must be able to move quickly and make the necessary repairs to our nation's transit systems, roads, rails and bridges," said U.S. Transportation Secretary Ray LaHood. "Today's announcement makes it easier for them to get to work, and DOT will continue to work closely with FEMA and our partners to ensure that emergency relief funds are available as quickly as possible to rebuild from Hurricane Sandy."The MOA is a key requirement that must be in place before the bulk of the FTA's disaster relief funds for Hurricane Sandy aid can be released, as prescribed by the Disaster Relief Appropriations Act of 2013 for the victims of Hurricane Sandy. A link to the MOA is available here."We can only be successful in responding and recovering from disasters if we work as a team," said FEMA Administrator Craig Fugate. "That means bringing together government at the federal, state, tribal and local levels, along with our partners outside of government. This partnership with FTA builds on an already strong relationship to ensure that our transit nationwide is more resilient.""More than one-third of our nation's transit riders were directly affected by Hurricane Sandy — triggering the worst transit disaster in history," said FTA Administrator Peter Rogoff. "FTA and FEMA worked quickly to get this agreement in place in order to bring much-needed relief to transit agencies that were hit hardest by the storm, to ensure that transit riders have the reliable service they need, and so that agencies have better resources to plan for and mitigate the impact of such disasters in the future."FEMA will continue to have primary federal responsibility for emergency preparedness, response and recovery in major disasters and emergencies. The new emergency relief authority provides FTA with primary responsibility for reimbursing emergency response and recovery costs after an emergency or disaster that affects public transportation systems and for helping to mitigate the impact of future disasters.FTA continues to work collaboratively with FEMA to conduct damage assessments and cost-validation work in the hardest-hit parts of New York and New Jersey, as well as other regions where transit was impacted.The Disaster Relief Appropriations Act of 2013, which President Barack Obama signed into law on Jan. 29, required the FTA to make available no more than $2 billion in disaster funds within 60 days of enactment of the disaster relief appropriation, which the agency is currently doing. The remaining funds required a MOA between FEMA and FTA and the establishment of emergency relief program regulations by FTA.With the MOA complete, the remaining disaster relief funds will be made available after FTA issues interim regulations, which is expected to occur in April.
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Factors in Transit Bus Ramp Slope and Wheelchair-Seated Passenger Safety Nearly 3 million U.S. adults are wheelchair or scooter users1, and as the population ages this number is expected to rise. Many wheelchair users rely upon public transportation to access work, medical care, school and social activities.
Mass Transit Capital Planning An overview of the world-class best practices for assessing, prioritizing, and funding capital projects to optimize resources and align with the organization's most critical immediate and long-term goals.
The Benefits of Door-to-Door Service in ADA Complementary Paratransit Many U.S. transit agencies continue to struggle with the quality of ADA service, the costs, and the difficulties encountered in contracting the service, which is the method of choice for a significant majority of agencies. One of the most basic policy decisions an agency must make involves whether to provide door-to-door, or only curb-to-curb service.
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Was our universe born in a wormhole in another universe?
(excuse me Sir, my brain is full!)
A long time ago in a universe far, far away a giant star is in its death throws. It has shone undiminished for billions of years, faithfully illuminating its corner of the cosmos but, its fuel finally exhausted, it collapses. Its quiet implosion concentrates all of its formerly colossal bulk into a tiny speck, a black hole that bends the fabric of the universe to such a degree that it tunnels into another reality and the star becomes a wormhole. Within the wormhole's womb, a seed of matter expands to become a whole new universe in which, one day, you will be born, live out your days and die.
This might sound pretty fantastic but a theoretical physicist believes that just such a scenario could answer some of cosmology's most annoying problems.
One of those problems is gravity. For decades scientists – including Einstein – have struggled to mathematically unite this force with the other fundamental forces (electromagnetism and the strong and weak nuclear forces).
Another problem is the messy reality that our universe is expanding at an ever increasing rate when, theoretically, its expansion should be slowing. The last is more of a question than a problem – what came before the Big Bang?
Big Bang theory maintains that the universe was born from a single point of hyper-concentrated matter (a singularity) and has been expanding from that point ever since. But how did that point get there in the first place?
The answer might lie in an idea first suggested more than 30 years ago – that the seed of the Big Bang was created by a dying star in another universe. This dying star created a black hole with a cosmological plughole at the bottom called an Einstein-Rosen bridge, or wormhole. This wormhole tunnelled from that universe, carrying the seed of our universe with it. In the theoretical reverse of a black hole, known as white hole, it spat the seed out, allowing it to expand to create the universe we know and love.
Despite the age of this theory, physicist Nikodem Poplawski, publishing in the journal Physics Letters B next month, has for the first time made calculations that prove that (on paper at least) such a scenario is possible.
It would answer all those irritating cosmological conundrums. If another universe existed before our own, we could trace gravity back to a time when it was united with the other fundamental forces and it explains the universe's continued expansion and even what came before the Big Bang.
'But what came before the Big Bang that formed the universe that created our Big Bang?', do I hear you ask?
Well, maybe it's just black holes all the way down


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The Jets 31-28 win against Miami was their best all around effort of season. Last week head coach Eric Mangini demanded his team put in a better effort in all facets of the game and that is exactly what they did. RB Thomas Jones made the running game a threat and the offensive line did a better job creating holes for Jones to run through and giving QB Chad Pennington enough time to make all his reads. The defense created a turnover and got pressure on the quarterback, while the special teams unit was able to control WR Ted Ginn in the return game and they even were able to put points on the scoreboard. When the Jets take the field against the Bills this Sunday, Gang Green will look to do the same things they did during last weeks win.
But one thing the Jets cant do on Sunday is take Buffalo lightly. Even though they are 0-3 and their morale might not be high, the Jets feel like the Bills are team they should be worried about. Buffalo presents challenges in all three facets of the game, which means everybody on the Gang Green sideline will have their work cut out for them on Sunday.
Look at the record of the teams they played against. Its a combined 8-1. You just cant say look at their record, you have to look at the teams that they have played. They have played against some excellent football teams, said WR Laveranues Coles. The stats and everything can be misleading about this team. We know we have a ballgame ahead of us.
Pennington agreed with the sentiments of his favorite target.
We understand that were not playing a 0-3 team. If you look at this team, their opponents are 8-1, combined. Were playing a team that plays extremely tough at home, Pennington said. Its so important to win these division games. You only have so many and your division record is so important.
On Sunday, Buffalo, who ranks last in the league in total offense, will have a quarterback making his first career NFL start. Third round pick and Stanford alum Trent Edwards will make his first NFL start on Sunday and that is something that worries the Jets defense.
You dont know what to expect. You can only go off of what he did in the preseason and what he did against New England, said Jets LB Jonathan Vilma. He is going to have different characteristics, different strengths and weaknesses.
Edwards connected on 10 of 20 passing for 97 yards and was intercepted once during his relief effort of Bills injured QB J.P. Losman in the Bills week three loss to the Patriots.
But Edwards will have some weapons around him. First round pick RB Marshawn Lynch has looked good running the ball this season and with the Jets problems defending the screen pass last week, its pretty much confirmed that Bills head coach Dick Jauron will call for screen passes toward Lynchs way.
But along with Lynch in the backfield, the Jets have to be worried about the Bills wide receivers. WR Lee Evans has gotten off to slow start this year, but last he owned the Jets. Evans caught 10 passes against Gang Green for 198 yards and one touchdown in two games. But along with keeping their eyes on Evans, the Jets defensive backs will also have make sure they know where WRs Roscoe Parrish and Josh Reed. Both have the ability to turn short passes into big plays.
Defensively for Buffalo their strength is the defensive line. Pro-Bowl defensive end Aaron Schobel and DE Chris Kelsay will look to keep Pennington under constant pressure all game. Last time these two teams met, Schobel had three sacks in the same game. Since 2003, Schobel is second in the NFL in sacks with 47. The leader is Miami Dolphins DE Jason Taylor, the same Taylor that the Jets shut down last week.
We have to be aware of where he is at all times. Just when you think you have him handled, you don't, and he's making plays, Pennington said. He does an excellent job of stripping the quarterback, so it's crucial that with myself that I maintain ball security and don't give him opportunities to swat the ball away and create turnovers for them.
If the Jets offensive can win the battle up front, Pennington should be able to pick apart the Bills young and inexperience defense. Buffalo is missing many regulars most notably promising rookie LB Paul Posluszny. Also starters CB Jason Webster, S Ko Simpson and LB Keith Ellison will miss the game due to injuries. Ellisons backup Coy Wire wont play either.
Their is a possiblity that this game could come down to a special teams play. And so far this season the Jets special teams has been hit or miss. Jets special teams has had it highlights early on this season (Leon Washingtons 98 yard kickoff return), but they have also had their lowlights (Ellis Hobbs 108 yard kickoff return). The Jets will need a consistent effort from its special teams, because Buffalos special team are one of the special teams unit in the NFL.
Returners and Terrance McGee and Roscoe Parrish are as dangerous any returners the Jets have seen this season. Parrish took punt back in their opener against Denver and McGee had electric 63-yard return in their loss to the Steelers.
They are a damn good special teams unit and they got the numbers to prove it, said special teams captain Brad Kassell. You look at their return guys, you look at their core guys, punters and kickers, all around they are solid.
Bottom Line : There is no doubt in anyones mind that the Jets are the better football team right now. Even though everybody in the organization says the Bills will be a challenge, but realistically they know that this is a game they must win and should win. The Bills are an injury riddled team who are forced to have a rookie QB make his first career NFL start. If the Jets offensive line can stop Schobel and Kelsay from getting to Pennington, he should be able to pick apart a injury riddled defense and good things should happen for Gang Green. Prediction: Jets 31-Bills 17.
Harder Than It Looks
Playing football games in Buffalo is harder than it looks according to some Jets players. For starters the weather in Buffalo is harder to prepare for than the game itself. The weather could be sunny and 80 degrees one week and another week it could be snowy and 20 degrees. Also the crowd in Buffalo is always in the game despite the record of there team.
Orchard Park is one of the toughest places that Ive ever played in. The crowd is always into the game no matter how the Bills are playing and no matter what their record is, said Jets safety Kerry Rhodes.
WR Laveranues Coles agreed with Rhodes. The energy in Ralph Wilson Stadium, they way the players play with passion always makes for a great ball game when we play Buffalo, said Coles.
Season Series
This will be the 93RD meeting between these two teams. Buffalo leads the regular season series with a 50-42 record.
Upcoming Milestones for the Jets
TE Chris Baker needs 63 more receiving yards for 1,000 career yards
LB Eric Barton need 3 more tackles for 600 career tackles
Coles needs 4 receptions to pass Brett Perriman for 81st on the all-time receptions list
DE Shaun Ellis needs 3.5 sacks to pass Mo Lewis for 5th all-time on the Jets sacks list
RB Thomas Jones needs 69 yards to pass Greg Pruitt for 76TH all-time
QB Chad Pennington needs 234 passing yards and 2 touchdown passes to pass Vinny Testaverde in both categories. Pennington would move to 4th on the Jets all-time passing yards list and touchdown passes list.
Injury Report
New York Jets
Full participation in practice
FB Darian Barnes (shoulder), CB David Barrett (thigh), LB David Bowens (hand), RB Thomas Jones (calf), TE Joe Kowalewski (shoulder), DT Sione Pouha (foot)
Limited participation in practice
WR Jerricho Cotchery (shoulder), CB Andre Dyson (foot), G Brandon Moore (shoulder), QB Chad Pennington (ankle), DT Dewayne Robertson (knee), S Eric Smith (thigh)
Did not participate in practice
LB Cody Spencer (illness)
Buffalo Bills
WR Sam Aiken (groin), CB Terrence McGee (ribs)
QB J.P. Losman (knee)
LB Paul Posluszny (LB), G Jason Whittle (hamstring), DE Ryan Denney (foot), LB Keith Ellison (ankle), LB Coy Wire (knee).
Game time is at 1:00PM on Sunday, local TV on CBS 2 and local radio on 1050 ESPN radio and WCRN 104.3 on Long Island. Be sure to check back to JetsInsider.com after the game for a complete recap!
The Jets season is in full effect and if you are a true Jets fan you dont want to miss a second of the action. Become a Jets Insider.com VIP and reap all the benefits of membership including daily practice reports usually posted shortly after practice ends, exclusive photos and the best Jets Insider Tidbits anywhere.
For the fastest and most complete coverage of the Jets, BECOME A VIP TODAY!
LIMITED TIME OFFER: Get a hot new Jets Insider.com 2007 edition tee shirt with every new yearly subscription. Offer is open only to new yearly subscribers and subscribers who switch from monthly to yearly.


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Sustainability is a defined as a continuous pursuit, and not all businesses and individuals are necessarily at the same level of understanding or implementation. Whether your company is just becoming familiar with the concept of business sustainability or is a sustainability leader in an industry, there are sustainable performance improvements that can help move your organization along its continuous improvement journey. Determining the criteria and right-fit tools that will move the company up the sustainability learning curve are critical components in implementation success.
Most of the prospective clients that approach us are at the front end of the sustainability continuum. While these businesses often seek to quickly move up the scale, successful organizations identify and implement sustainable business process changes. The true value capture from business sustainability will come from the successful implementation of sustainability concepts and strategies into core business functions.
Take for example, Xerox, the company is building sustainability concepts into its traditional printing and office solutions offerings. They are helping companies like Procter and Gamble, a large print and paper user, implement lean sigma principles into their operations. The sustainable benefits P&G has seen include:
• 20-25 percent cut in operational costs
• 30 percent cut printer-related power usage
• 20-30 percent reduction in paper consumption
While P&G's implementation represents only one process flow in the larger organization, the implementation of a sustainable process change is helping to move the company further down the path towards business sustainability. The implementation of efforts to improve business operations that are aligned with sustainability concepts are part of the larger continuous pursuit of business sustainability.
Today's business leaders recognize that their response to on-going market changes and the implementation of sustainable business practices ultimately affects company profitability. At Taiga Company, our sustainability consulting works with clients to build a strong financial case for business sustainability.


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10 Alternative Titles for Congressman Paul Ryan
In a request made by the Romney-Ryan campaign via the Commission on Presidential Debates, moderator Martha Raddatz has been asked to refer to Representative Paul Ryan as "Mr. Ryan," rather than congressman, throughout the debate. It appears, however, that either the request was withdrawn or Raddatz will not be a stickler for this rule, scurrilously calling Ryan "congressman" twice in the first 2 minutes of the debate. Talk about biased.
And Joe Biden is even less bound by rules of decorum that would prevent him from revealing the embarrassing nature of Ryan's employment.
In order from least to most embarrassing, here are the possible salutations Biden will employ tonight…
1. Bro
2. Buddy
3. Paulie!
4. Dude
5. Your Randroidness
6. Vice Granny-Starver in Chief
7. Broski
8. Broham
9. Representative
10. Congressman
Photo by Justin Sullivan/Getty Images News/Getty Images
Tags: Debates, Joe Biden, Paul Ryan
About Us
Comedy Central's Indecision is the network's digital hub for news, politics and other jokes: we're here, we're everywhere. We're not affiliated with any television show. We're affiliated with ourselves.


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Watchfaces-charms carries of over 150 styles of watch faces (watch heads), hundreds more of amazing pewter charms silver charm and pewter beads as well as pendants and watch pendants.
Who is Watchfaces-charms? Well, we are one of the leading wholesale suppliers and direct manufacturers of top quality wholesale pewter bead, wholesale pewter charm, pendant, and wholesale jewelry making supplies, along with watch faces, heads, findings, and other tools and attachments.
Our company was established in 1973 and since then has dedicated
itself to servicing the needs of watch repair and jewelry making
professionals, artists, craftsmen, retail stores, and hobbyists.
We have a loyal customer base throughout the world and an outstanding
reputation within the industry. Make no mistake about it; you are
dealing with a solid, highly reputable company that truly values
it customers.
Our Internet store has just about everything you could need; from silver beads to pewter charms, to watch findings and jewelry making supplies? it?s all here online for you in one convenient location. You can purchase a single item or buy in bulk, and many of our supplies are available in silver, gold, and pewter finishes.
Prompt shipping worldwide, friendly service, large inventory, and
everyday low prices are just a few of the reason people elect to
do business with us. Another is the fact that our manufacturing
plant is located here in the United States? so they know they
are buying top quality ?Made In USA? products and supplies?
the fact that we offer discounts and wholesale pricing on high volume
orders for charms, beads, watch faces, and jewelry supplies helps
Thank you for visiting our website? you can place your order
online, or for more information and personal assistance use the
contact information below and we?ll be delighted to assist
Hours of Operation: (Eastern Standard Time)
Monday thru Thursday (10 to 4 PM )
Fridays (12 to 3PM )
Please email us before or after the hours above:
Customer service: firstname.lastname@example.com
CST-Central Standard Time is 2 hrs behind EST, Eastern Standard Time
PST-Pacific Standard Time is 3 Hours behind EST, Eastern Standard Time
© 2012,


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Russ Sanchez
HomeAway travel expert
It's funny to think that skiing – one of mankind's earliest forms of travel, first documented in Norwegian cave carvings dating to 5,000 BC – not only still exists, but is in fact more popular than ever. Ironically, what began as a necessary adaptation to travelling in snowy climes, has today become characterized as the recreation of choice for the super rich. Of course, the wealthy and titled aren't the only ones who can ski, and aren't the only ones who do – skiing's popularity is broad because it's primal. As one die-hard ski fan explained it to me, "It's the closest I've ever been to flying". Fair enough.
But then, that's old news to any of the world's millions of dedicated skiers, so let's get to the point: as addictive a past time as skiing is, it's also one of the most beholden to the whims of mother nature. And when spring's warmer weather starts to creep up the slopes, the happy-fun-ski-time party tends to come to a grinding (or slushing, as the case may be) halt.
Well, never fear – HomeAway is here, laden not only with some excellent options for late-season skiing, but a smörgåsbord of rental options in each location. Whether you want a luxury lodge tricked out with hot tub and sauna, or a tranquil, minimalist chalet with only pines and crags for neighbours, HomeAway's got you covered.
Spring Ski Breaks
Spring ski holidays in Austria: Salzburg
Austria is perfect for spring ski holidays, particularly sophisticated Salzburg. Thousands of enthusiasts take to the resort's slopes every year, whether for skiing, sledging or snowboarding! Winter sports have been rooted in Austrian culture since their inception. You're promised picturesque valleys and excellent conditions in the Alps, with the season typically running from December to March. Skiing aside, another famous Salzburg attraction is its hot springs, which can be found near Zell am See, a beautiful town in the Pinzgau region.
View chalets in Salzburg
Spring ski holidays in France: The Three Valleys
The Three Valleys, or Les Trois Vallées, are, quite literally, some of the best skiing in the world. Spilling into the Vanoise National Park, together they make up the largest skiing resort in the world – a whopping 600 kilometres of spectacular slopes, linked to each other with a network of lifts and runs. The area's eight resorts include Courchevel and Saint Martin de Belleville, two spectacular vista points. And while the ski season varies, the resort itself boasts of its spring skiing potential, and snow through April is typical.
View chalets in The Three Valleys
Spring ski holidays in Switzerland: Graubünden
Graubünden, in south-east Switzerland, inhabits a unique intersection of cultures: the locals speak German, but the tempo of life is undeniably Italianate. An eclectic and fascinating skiing region, it boasts over 2,200 kilometres of piste, 40 skiing areas, and peaks over 3,000 metres high. Graubünden is also one of your best bets for late season snow: the snow season is often expected, at most of the near resorts, to last through April. Of course, the breathtaking backdrop of snow-capped mountains also provides the perfect opportunity to relax: enjoy a sauna or jacuzzi, before (or, hell, while) indulging in a Swiss hot chocolate.
Spring ski holidays in Canada: Whistler
Whistler, widely regarded as one of the best skiing destinations in the world, makes for a can't-miss spring ski holiday, as its season generally runs from October to May. It spans over 8,000 acres of skiing area, a mix of high open slopes and woodland trails, and contains some of the most impressive vistas in Canada. A fantastic challenge for advanced skiers, it also provides a range of runs for intermediates and beginners. And don't miss Whistler Village, a pedestrian-only town renowned for its après-ski.
Spring ski holidays in Italy: Sondrio/Livigno
The Lombardy region of northern Italy is a great option for those seeking a spring ski holiday; particularly the Sondrio province, and its picturesque capital, also called Sondrio. There are many ski resorts to choose from in Lombardy, Aprica and Livigno being two of the best. Aprica is ideal for beginners, located 1,200 metres high and rich in wide, gentle slopes (although more challenging options are available). Livigno, meanwhile, located 1,816 metres high, is known for plentiful spring sunshine. Regional variations notwithstanding, the Sondrio ski season typically runs through late April.
View chalets in Lombardy


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How to communicate effectivelyBy Queena N. Lee-Chua
In all the conflict-ridden family business cases I handled in the past two decades, one issue is constant: poor communication.
In all the conflict-ridden family business cases I handled in the past two decades, one issue is constant: poor communication.
QUESTION: How do we handle this situation? Most family members are employed in our family business, and two siblings are not working as hard as the others. One brother in Human Resources always reports for work late (in effect, he works just half a day during the week, while the other siblings work 12 to […]
In a recent column, I discussed the tax and non-tax consequences arising from delisting publicly listed companies for non-compliance with the 10 percent minimum public ownership (MPO) rules of the Philippine Stock Exchange (PSE).
A most enlightened piece of legislation has been proposed by former President and now Pampanga Rep. Gloria Macapagal-Arroyo, with her son Camarines Sur Rep. Diosdado Arroyo as co-sponsor. The bill amends Republic Act 8187, otherwise known as the Paternity Leave Act of 1996, and proposes that married male employees should be entitled to paternity leaves beyond the current limit of four deliveries and in all succeeding deliveries of their respective spouses.
Among the basic needs of the poor living in urban areas, the one that makes the biggest contribution to enhancing their human dignity is decent housing. If we consider that food, shelter, clothing and education are among the most basic of their needs, it is shelter that is the most visible manifestation of the dignity of a human being. The poor can survive on rice, fish and vegetables and maintain their dignity vis-a-vis the well-to-do.


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Ellen Gondola had breast cancer. One day, years later, the Cooper City mom stood topless in an artist's studio and allowed her chest to be covered in paint, her cancer scars blanketed with bamboo and butterflies. She'd never felt so beautiful.
But Facebook called it pornography, inappropriate nudity, a violation of the terms of use. The social networking giant took her photo down, and the encouraging comments beneath it.