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By Edward M. Gómez
In his "New Objectivity" works of the 1920s, the German artist Otto Dix took a piercing view of his fellow beings, as revealed in his first-ever U.S. show.
Nearly a century ago, much of Europe waited with trepidation for war to break out. In August 1914, the conflagration that would become World War I finally erupted, and the German artist Otto Dix was one young volunteer who eagerly headed to the front. An avid reader of the works of Friedrich Nietzsche, the 19th-century philosopher who had championed an ideal "superman" or "overman" who would overcome the limitations of mere humanity as it had evolved thus far, Dix would soon find his illusions shattered. In the words of the German art historian Matthias Eberle, the drawings Dix "jabbed on paper at the front [were] images not of supermen but of sub-men." The war taught Dix, as he wrote in late 1914, that, "while the sensations of the heart and the systems of the mind may be refuted, there is no refuting the world of objects—and the machine gun is just such a 'thing.'"
This "sobering realization of the power of things," as Eberle put it, lay at the very heart of a new style of art that arose in defeated Germany after the war. It became known as "Neue Sachlichkeit" (meaning "New Objectivity"). Characterized by precise technique and harsh satire, the style seemed to offer a postwar antidote to the wild, deformed imagery and primitive, joyous energy of Expressionism, an earlier style that numerous German and Austrian artists had embraced. Neue Sachlichkeit took its name from the title of a 1925 exhibition at the Kunsthalle in Mannheim, Germany, that featured works by such artists as Otto Dix, George Grosz and Max Beckmann, some of whom had previously worked in an Expressionist vein.
That show's organizer was interested, he wrote at the time, in artists who had "reaffirmed their loyalty" to "positive, concrete reality." At least for a while, those whose works he presented became indelibly associated with Neue Sachlichkeit's trenchant outlook and sometimes unsettling sensibility. Christian Schad was another leading artist who was associated with Neue Sachlichkeit, but only some of Beckmann's paintings may accurately be tagged with that same label. For the most part, though, Beckmann's oeuvre defies the Neue Sachlichkeit classification.
In his version of this kind of art, Dix tended to depict his human subjects—female nudes, businessmen and figures from the Weimar era's nocturnal demimonde—with a candor that presented them as deeply vulnerable, pathetic, grotesque, ugly or worse. In Dix's work of the 1920s, reality did not only bite—often it could startle or even repel a viewer, too.
Now, the art historian Olaf Peters, a professor at Martin Luther University in Halle-Wittenberg, in eastern Germany, has curated Otto Dix, an exhibition on view through August 30 at the Neue Galerie Museum for German and Austrian Art in New York. (After its New York run, the Montreal Museum of Fine Arts will present Otto Dix from September 20, 2010, through January 2, 2011.) In the show's catalogue, Peters notes that Dix's works, more than those of "almost any other German painter…have influenced our visual impression of the Weimar Republic." Recall the bony woman sporting a monocle and a severe haircut who languidly holds a long cigarette aglow in Portrait of the Journalist Sylvia von Harden (1926), a well-known Dix tableau that is now housed at the Musée National d'Art Moderne in Paris. That iconic image and others like it served as vital references for director Bob Fosse's 1972 film Cabaret, whose superbly evoked atmosphere of decadence and eccentricity owed much to such emblematic visual records of an era in which a war-battered Germany succumbed to the rising power of the Nazis.
In the late 1920s, Dix himself noted that, as a painter, he was interested in "a heightening of the forms of expression that are in essence already found in the Old Masters." For him, he emphasized, "the object is primary….For that reason, it has always been a question of extreme importance whether I get as close as possible to the thing I see."
The son of an iron-foundry worker and a seamstress, Dix was born in a village to the west of Dresden in 1891 and began taking drawing lessons in primary school. He served as an apprentice to a house painter and landed a place in the Royal School of Arts and Crafts in Dresden, where he studied until he joined the military. During the war, Dix fought as a gunner and, miraculously, still managed to produce hundreds of gouaches and drawings, including self-portraits and images of soldiers, trenches and bomb-blasted craters in the landscape.
After the armistice, Dix returned to Dresden, where he studied at that city's art academy. Later, he moved with his family to Berlin, then back to Dresden, where he became a professor of painting at the art school. First, though, in 1924, the Berlin-based art dealer and publisher Karl Nierendorf, who played a key role in establishing Dix's position in the German art world, issued the artist's limited-edition print series Der Krieg (War).
Consisting of 50 etchings depicting bomb-crater fields, dead and wounded soldiers, horses' carcasses and marching, battle-weary troops, Dix's vivid portrayal of the horrors of war is gripping and gruesome. With its images of men whose faces have been ripped apart by shrapnel, skulls infested with worms and terrified city dwellers fleeing for safety as airplanes sweep down to bomb their homes, Dix's disturbing portfolio has been compared in its intensity and technical sophistication to Francisco Goya's print series The Disasters of War (circa 1810–20; published posthumously in 1863).
Edvard Munch, the Norwegian Expressionist painter who had strongly influenced the German Expressionists, had once stated that he did not believe in "art which is not the compulsive result of man's urge to open his heart." By contrast, even though it was consciously rooted in and had assimilated the collective tradition of such German Old Masters as Albrecht Dürer and Lucas Cranach, Dix's art seemed to spill forth from a ripped-open gut.
Dix approached his human subjects objectively, with a combination of a detached observer's dispassion and, at the same time, a probing sense of psychological insight. His humanistic sensibility informs his portraits of prostitutes and maimed soldiers, even if it might be harder to discern in his images of female nudes with ghoulishly colored skin and sagging breasts and of women victims of sex-related murders.
Peters notes that during the Weimar period, "lawyers, doctors and other members of the upper middle class" commissioned and purchased Dix's paintings. "Even when some of these sitters were not pleased by his gaze, they supported him because of the extraordinary quality of his art." Museums also bought his works. Peters says, "That was quite surprising, since his art was highly controversial in its time." Still, he points out, because Neue Sachlichkeit was both an avant-garde and a popular movement, "a lot of works by these artists entered private and public collections," especially after the 1925 exhibition in Mannheim helped make them well-known.
The exhibition Peters has assembled includes such memorable Dix paintings as The Artist's Family (1927) and Portrait of a Young Girl (Erni) (1928), which seem to channel the refined brushwork and precise draftsmanship of the German Old Masters whose work the artist admired, as well as Portrait of the Lawyer Dr. Fritz Glaser (1921). The subject of this anguished-feeling painting was a Dresden-based Jewish arts patron, one of Dix's most avid supporters. Glaser's slumped posture, ghostly countenance, tense hand gesture and lost look in retrospect seem to presage the calamity that would before long befall Germany's Jews in the run-up to another war. The Neue Galerie show also features numerous self-portraits, as well as the vibrant Portrait of the Lawyer Hugo Simons (1925); the detailed Portrait of the Laryngologist Dr. Mayer-Hermann (1925); Reclining Woman on a Leopard Skin (1927), a portrait of a red-lipped figure in a come-hither pose; and the dazzling Portrait of the Dancer Anita Berber (1925), which Peters describes as "without a doubt the icon of the Weimar Republic."
A nearly full-figure image of a notorious entertainer around whom, it was said in her time, "everything turned to scandal," Dix's picture shows Berber standing with her right hand on her hip in a high-necked, long-sleeved dress of cool scarlet against a fiery-red background. (After the Nazis came to power and purged Germany's art community, they confiscated this painting and labeled Dix's art "degenerate"; the artist only managed to reacquire the work in 1963 from a Munich art dealer for the price of 18,000 marks.)
For a while, Dix and his wife were friendly with Berber, who had not even turned 30 when she died in 1928. Film directors, well-known artists like Grosz, prostitutes and Berlin's most famous transvestites attended the dancer's funeral. Peters notes: "An entire era went down with the aimlessly wandering Berber," a kind of "taboo-violating tramp who had devoured both men and women." If, with her antics, the controversial artist had tried to "gloss over the loss of meaning and values" so many Germans had felt after World War I, that kind of exercise in decadence as a nostrum for a society's aching soul "was replaced beginning in the late 1920s," Peters points out, "by the athletic, healthy female members of the Hitler Youth," who became more visible in Germany as the Nazis' influence increased.
After Adolf Hitler seized power in 1933, Dix was dismissed from his teaching job in Dresden. He then produced The Seven Deadly Sins, an oil-on-tempera painting in which, to disguise the politically critical nature of its themes, Dix took an allegorical turn. In this picture, he depicted Hitler in the role of Envy, riding on the back of Avarice. (The artist did not paint in Hitler's famous moustache until after World War II.) Later in his career, Dix painted landscapes and continued to exhibit his work publicly, even during the Nazi era. He was drafted to serve in the German army during the final months of World War II and was taken prisoner by French forces in early 1945. After he was released, he returned to his home near Lake Constance, in southern Germany. He died in 1969, after having received numerous honors.
Peters notes that Dix "never developed a big following" in the United States, even though some of his paintings "were exhibited in Pittsburgh as early as 1927 and again in 1931 at the Museum of Modern Art in New York." However, Peters says, the Nazis' rejection of his work, the chaos of World War II and the rise of abstract art after the war "relegated him to the background, and unlike Beckmann and Grosz—the Berlin painter with whom Dix is often linked—he did not immigrate to the U.S." Peters recalls that it was "only in 2006, when the Metropolitan Museum of Art in New York presented the critically acclaimed survey Glitter and Doom: German Portraits From the 1920s, did Dix begin to emerge again in the U.S. Out of some 100 works on display in that exhibition, 53 were by Dix." Remarkably, the show that is now on view at the Neue Galerie is Dix's first-ever solo exhibition in North America.
The German-born dealer Eva-Maria Worthington, who founded Worthington Gallery in Chicago in 1970 and specializes in the work of German modernists, says, "It's interesting that, after the Soviet Union collapsed and Germany became reunified, some experts assumed that modern-art admirers in the former East Germany would go for Picasso or other Western European art that they had not had opportunities to see. Instead, it turned out that many became interested in those early 20th-century German modernists whose themes felt closer to their own lives."
Nowadays, prices for available works by Dix are wide-ranging. His more inexpensive etchings can still be found for under $10,000; more costly are unique works like a 1925 charcoal-and-pencil preparatory drawing on tracing paper for a portrait of patron Fritz Glaser and his family. That piece sold for more than $2.5 million in a Christie's New York sale in late 2007. Jane Kallir, a co-director of Galerie St. Etienne in New York, which specializes in German and Austrian Expressionism, among other fields, explains that the most coveted works by artists like Dix and Grosz date from the late Teens and the 1920s, and their one-of-a-kind pieces, like superb watercolors from that era, can fetch six-figure prices. Regarding Grosz's works, Kallir notes, "The more desirable watercolors from this [Berlin] period are his street scenes," which can command those latter, higher prices. By contrast, she adds, Grosz's photo-mechanically printed lithographs can be found in the $1,500–2,500 range, while the artist's regular, limited-edition prints can sell for $4,000–5,000. At press time, one of Grosz's female nudes, a 1927 watercolor on paper, was listed for sale in a May 5 Christie's New York auction. Its estimated sale price was $20,000–30,000.
Peters notes that, unlike Grosz, who, among Weimar-era artists, is considered to have been the hardest-hitting political and social critic of his time, "Dix always denied or played down the political significance of his art." As a result, Peters adds, "Dix was not collected as much as a political artist, as was Grosz. Still, it was quite something to be painted by Dix, since he was merciless; he was the most popular and important portrait painter of the 1920s in Germany, rivaled only by Beckmann, who was more metaphysical." Peters explains that Dix, in positioning himself as the heir and exponent of a German art-making tradition that dated back to late-medieval times, "played an important role in fusing avant-garde tendencies, a recognition of the growing, significant role of photography in art and that art-historical tradition."
The veteran New York dealer Richard L. Feigen, who has long handled the work of distinguished Old Masters and modern masters, too, including Beckmann and Grosz, observes: "Whatever movements they may have been associated with, many German artists' paintings of the 1920s, like those of Dix, Beckmann and Grosz, remain powerful, probing and compelling statements about the human condition."


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AMSBIO has been working with the variability of the cellular microenvironment and how it affects the physiological relevance of cell culture. Factors contributing to this variability include: organ specific stromal cells,
growth factors, proteoglycan and protein composition, and stiffness or tensile strength of the basement membrane extract or extracellular matrix. Matrices from AMSBIO not only support cells and cell layers, but also
play an essential role in tissue organization that affects cell adhesion, migration, proliferation, and differentiation.
These aspects can be studied with kits from AMSBIO incorporating their wealth of experience in this area. Cultrex® Basement Membrane Extract (BME) is a soluble form of basement membrane purified from
Engelbreth-Holm-Swarm (EHS) tumour. The extract gels at 37°C to form a reconstituted basement membrane. Major components of BME include
collagen IV, entactin, and heparan sulfate proteoglycan.
These extracted proteins can be used in multiple applications, under a variety of cell culture conditions, for maintaining growth or promoting differentiation of primary endothelial, epithelial, smooth muscle and
stem cells. BME can also be utilized in cell attachment, neurite outgrowth, angiogenesis,
in vitro cell invasion and in vivo tumorigenicity assays. The new BME 2 is a proprietary formulation that has a
higher tensile strength than our original BME 1.
In their recent publication in Cell, Dr Meritxell Huch, Prof Hans Clevers et al. have
used Cultrex® BME 2 reduced growth factor (organoid growth matrix) to enable long-term (>1 year) organoid cultures of genome-stable bipotent stem cells from
adult human liver. These results open up new experimental avenues towards the use of human liver material expanded in vitro for use in disease modeling, toxicology studies, drug testing, regenerative medicine and gene therapy.
Liver diseases (ranging from genetic inherited disorders to viral hepatitis, liver cancer, and obesity-related fatty liver disease) are the twelfth-leading cause of death in the United States. Failure in the management
of liver diseases can be attributed to the shortage of donor livers as well as to our poor understanding of the mechanisms behind liver pathology. The value of any cultured cell as a disease model or for cell therapy transplantation depends on the fidelity and robustness of its expansion potential as well as its ability to maintain a normal genetic and epigenetic status.
This research by Huch, Clevers et al. shows that:
Liver Organoids Grown on BME 2 (RGF):
Figure 1: Long-term culture of Human Liver Organoids on BME 2 RGF. (Clonal cultures obtained by seeding sorted cells at one cell per well)
(Image courtesy of Meritxell Huch, Gurdon Institute, University of Cambridge, UK)
Figure 2: Marker Expression in Human Liver Organoids on BME 2 (RGF). Confocal image stained for ECAD and the hepatocyte marker HNF4. Nuclei
counterstained with Hoechst. (Image courtesy of Meritxell Huch, Gurdon Institute, University of Cambridge, UK)
Figure 3: Differentiation of Organoids into Hepatocytes (liver cells) on BME 2 (RGF). Expression of hepatocyte genes in human
liver organoid after 11 days on differentiation medium (DM). Immunofluorescence for albumin (ALB, red) and ZO-1 (green); nuclei counterstained with Hoechst (Blue) (Image courtesy of Meritxell Huch,
Gurdon Institute, University of Cambridge, UK)
Dr Meritxell Huch is based at the Gurdon Institute, University of Cambridge, UK; and Professor Hans Clevers is Professor and Director of the Hubrecht Institute and President of the Royal Netherlands
Academy of Arts and Sciences. Professor Clevers co-authored the seminal 2009 paper by Sato et al. on mouse organoid culture;
and Dr Huch won the 2013 NC3Rs 3Rs Prize for the advance with the most potential to reduce the use of animals in science for her earlier work growing "mini-liver" organoids from adult mouse stem cells. Using the new method,
cells from one mouse could be used to test 1000 drug compounds to treat liver disease, and reduce animal use by up to 50,000. (See video below of Dr. Huch talking about this research, courtesy of the National Centre for the 3Rs):

subset: commoncrawl


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About this Business
From Our Editors
Third-pound burgers of char-grilled ground chuck. Flame-kissed steaks accompanied with Yukon gold mashed potatoes. Slow-cooked, hand-pulled pork slathered with homemade barbecue sauce. The menus at Maddox Grill and Bar read like the great American cookbook. For a bit of regional variation the chefs prepare everything from Dungeness crab cakes to spicy, Cajun-style gumbo. All of this warm, homespun cooking complements the dining room's cozy ambiance. Exposed ceiling beams and polished wooden tables gleam in the light of the red-domed pendant lamps that dangle overhead. To keep patrons warm on the inside, the bartenders pour tipples of single-malt scotch or amber-hued tequila and diligently mix specialty cocktails using the bar's private hadron collider.


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In this episode of Keep It Real Fridays, Brian, Noble Stylz, Kellenah and a couple of concerned artistes vent about the conduct of some of the presenters of a local radio station. What is an opinion and what is trashing a brand? Who is the custodian of Hip Hop? Who should improve? We will let you decide.
Also, on this episode, we have MuccBoy, who shows his skills, again, we will let you decide.


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There are many smokers who have quit smoking successfully with the electronic cigarettes. If you are a chain smoker then you must have observed the effects of smoking. You must have felt the heart burns many times; also the urgency to smoke might drive you crazy that create hypertension or poor teeth and foul odor coming out of mouth. It might be noticed by a child some times. There are many other health disadvantages related to it. In Surrey, the electronic cigarettes are easily available. You can buy them to quit smoking today.
You will also not encounter any problem in finding the vaping accessories from Surrey as they are easily available here. You can get a range of following accessories:
Vape tanks: This is the part of the e-cigarettes where the vaping liquid is filled. It also contains the heating coil and the wicks.
Vape coil: It is mainly the wire that is wound like a spring and it is replaceable. An absorbent material is used that absorbs the vaping liquid that is heated with this and the smoker inhales these vapors. It is the main part of e-cigarette.
Batteries: These cigarettes come with different types of batteries. There are replaceable batteries available as well as rechargeable batteries available. The cigarettes with replaceable batteries work better than the rechargeable ones.
Vaping liquids: These are the main contents that produce smoking effects. These liquids are available in many flavors. These liquids are formed by propylene glycol, vegetable glycerin, natural or artificial flavors and nicotine also (if required).


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Prices, specials, features and availability subject to change.
We're using the experience and knowledge gained from building and managing apartments--and listening to residents--to focus on providing the important amenities you expect, for a better price. That is what Tall Oaks Apartment Homes are all about...a great place at a reasonable rate.
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Cats Allowed. Pets Accepted. Dogs Allowed. Call for service animal policy.
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This salad makes a great light meal that still packs enough flavor and protein to fill you up.
Yield: 4 servings
- 4 coins fresh ginger
- 2 sprigs coriander
- 4 scallions
- 1 carrot, halved
- 1 1/2 pounds skinless chicken breasts halves, on the bone
- 4 cups chicken broth
- 2 cucumbers, seeded and diced
- 1/4 cup jicama, peeled and diced
- 1/2 cup cilantro leaves, roughly chopped
- 1 cup grape tomatoes, halved
- 1 scallion (white and green), thinly sliced
- 1/4 cup toasted peanuts, chopped
Low-Fat Ginger Dressing, recipe follows
1 head Boston lettuce, leaves
Put the ginger, coriander, scallions, carrot, and chicken breasts in a medium saucepan. Cover with the broth, and bring just to a boil. Lower the heat to very low and cover. Poach the chicken for 20 minutes or until firm to the touch. Remove the pan from the heat, uncover, and cool the chicken in the liquid, about 30 minutes. Bone and pull the chicken into bite-size pieces. Save the broth.Toss the chicken with the remaining salad ingredients and toss with the dressing. Wrap about 1/3 cup of the salad in a lettuce leaf. Serve 3 to 4 lettuce leaves per person with a wedge of lime.
Low Fat Ginger Dressing:
- 1 lime, juiced (about 2 tablespoons)
- 1 tablespoon freshly grated ginger
- 1 tablespoon soy sauce
- 1 teaspoon Asian chili paste
- 2 teaspoons Southeast Asian fish sauce
- 1/4 teaspoon kosher salt
- 1 tablespoon broth from poaching chicken
- 2 tablespoons extra-virgin olive oil
Whisk the lime juice, ginger, soy, chili, fish sauce, salt and broth in a small bowl. Gradually whisk in the oil, starting with a few drops and then adding the rest in a steady stream, to make a dressing.


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After suffering through a few of the worst years many of us have ever witnessed in the construction industry, most everyone could benefit from some positive news. But is now the right time to start feeling cautiously optimistic? Can we finally let our guards down and allow ourselves to believe that anything more than a "pockets of growth" theory will play out in 2010? In other words, has the overall market finally bottomed out and left us with no place to go but up?
Unfortunately, it appears we must all hold our optimism in check for a little while longer, as the worst may not quite be in our rearview mirror just yet. Even if the residential market improves, as most analysts project it will this coming year, it seems the fragile non-residential market sector is still going to drag us down a bit further. This line of thinking is shared by most all of the construction economists, research firms, and associations we continuously monitor.
The most bullish industry forecast for 2010 comes from McGraw-Hill Construction, which is forecasting an 11% increase in the total contract value of project starts next year. The largest percentage gains are projected for the residential sector (+30%). But keep in mind, these improvements in residential are based on growth projections from historically low levels. Other market sectors showing signs of life include highways and bridges (+13%), environmental public works (+18%), and other public works (+11%). Unfortunately, the only non-residential sectors for which this group expects slight growth potential in 2010 are the health care (+5%) and other institutional buildings (+3%) categories. The group is forecasting a slight overall decrease (-2%) for the non-residential category.
FMI Corp. is less optimistic in its overall projections for 2010. This group predicts a slight improvement in the construction dollars put-in-place residential (+3%) and non-building structures categories (+5%), but is significantly down on the non-residential category (-16%). In fact, it's forecasting double-digit declines in some key categories, including lodging (-35%), office (-25%), commercial (-29%), amusement and recreation (-19%), and manufacturing (-35%).
Although the Associated Builders and Contractors association is also forecasting declines in most of the non-residential categories it tracks (up to 19% in some categories), the group does predict slight improvements in the health care and power markets. However, two sectors alone are not strong enough to offset the further declines it's projecting in lodging, office, commercial, education, and manufacturing, which results in an overall projected decline of construction dollars put-in-place next year of -7.2%.
Forecasts from the U.S. Department of Commerce and Portland Cement Association pretty much mirror the forecasts noted above.
While I would like nothing more than to report on only the positive aspects of these forecasts, it wouldn't do anyone any good to sweep this information under the rug and simply hope for the best. Although specific market segments will grow in size next year, allowing some of us to breathe a little bit easier, don't expect a widespread return of excitement and growth potential in the majority of market sectors. It looks like that won't happen until 2011.


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I on behalf of the FORGET FOR A MOMENT FOUNDATION, I would like to thank all the volunteers and companies who contributed to the launch of our foundation.
In late July 2011 the seed of an idea was born. Just one year later, this foundation is a registered charity with plans for a project that will positively improve conditions for the elderly, the sick, for their loved ones and their caregivers. Without the immense generosity of our volunteers, we never could have reached the point where we are today.
Jeannine Lafrenière, Founder
Board of Directors
Lucie Mercier-Gauthier (March 2012 – present)
Guillaume Brunet (April 2017 – present)
Michel Gauthier (April 2017 – present)
Albert Mondor (April 2017 – present)
Amanda Estabrooks (May 2017 – April 2018)
Jasmine Vesque (March 2012 – February 2018)
Alexandre Lafrenière (April 2012 – April 2017)
Recording Secretary to the Board
Micheline Paquin (September 2017 – present)
Anne Chartrand (January 2014 – present)
Foundation's Spokesperson
Albert Mondor
Team Members of the Design & Technical Design for Our New Project
Albert Mondor, Project Coordinator, Horticulturist and Biologist
Daniel Moschini, ADSOL Advanced Solutions
Guillaume Brunet, P. Eng., Wallemi Living Wall
Jean-François Charron, Irrigation Charron
Jeff McDonald, Artist-welder
Justin Lefebvre & Thomas McCuiston, Toiture Nature
Web Developer
Adam Beaulne, Impeka (May 2018 – present)
Editor-Translator (French to English) (March 2012 – present) &
Board Director and Secretary (March 2012 – January 2014)
Sue Moerman
Coordinator of our Annual Charity Golf Tournament (2016)
Jill Mimeault
Coordinator of our Annual Charity Golf Tournament (2015 – 2014)
Mona Azzi
Facebook Page Administrator & Editor; Copywriter (September 2016 – present)
Tim Scapillato
Facebook Page Administrator & Editor (November 2014 – April 2016)
Anna Polspoel
Translator-Document Reviewer (English to French) (2013-present)
Yves Bouton
Document Reviewer-Editor (English) (2015-present)
Elliott Brown
Translator (English to French) (2012-2013)
Suzanne Cadieux
Contributing Photographers
Roberta London, Roberta London Photography
Jean Shum, Jean Shum Wildlife Photography
Law Firm
Dentons Canada LLP, the Ottawa and Montréal offices (previously Fraser Milner Casgrain LLP)
Resource Persons
Claude Vallée, Agronomist, Horticultural Teacher and Technology Innovation Coordinator, Project and Trials Manager, Institut de technologie agroalimentaire – campus Saint-Hyacinthe
Guillaume Brunet, P. Eng., Wallemi Living Wall
Paul Mitchell, President & Principal Architect, Mitchell Architects
Raymond Ippersiel, Former Director of MAGASIN de l'Abbaye Val Notre-Dame
Rick Dobbs, Facilities Coordinator, One Kids Place, Children's Treatment Centre
Cégep Heritage College Professors
Amanda Tripp, English Literature, and Facebook Page Co-administrator (December 2012 – May 2014)
Joanne Mullaly, NewMedia & Publication Design (2012-2014)
Marie Déziel, French as a Second Language and Document Reviewer (2012-2015)
Mark Molnar, English Literature and Document Reviewer (2012-2014)
Marketing Coordinator (Fall 2013)
Jane Kirchmann
Fundraising Coordinator (Fall 2013)
Mary T. Dear
Logo Design
Darren Ward, CREATURESFORHIRE
Domain name consultant
Bill Sweetman, Name Ninja
Graphic Designer for our banner
Annie Pellerin, Zone Eden
Printing Enterprise
Copie Service CD
Companies and Individuals who Allowed us to Publish Photos of Their Work
Aqua Design Group Inc.
Green over Grey – Living Walls and Design Inc.
GSky, Plant Systems, Inc.
Mitchell Architects Inc.
Mosaïcultures Internationales de Montréal, François Gravel
Mosaïcultures Internationales de Montréal, Gilles Proulx
NEDLAW Living Walls Inc.
Plant Connection, Inc.
Richard Johnson, Photography
Topiary Joe


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This weeks sketch over at Sunny Challenges & Creations, came together really well for me. It was a great sketch to work with and I can see it working well for a Christmas card. As well as the sketch this weeks theme is "For the Girls" so this card will be going to a special friend.
The cute rubber boot stamp is from the Happy You hostess stamp set, DSP Floral Distric. Colours used are Rich Razzelberry, Baja Brezze, Daffdil Delight and Whisper White.
I used my Simply Scored Scoring Tool to score the lines on the Baja Breeze card. This is now my favorite thing to do, it's so quick and easy to add a couple of score line to a card to add a bit something extra.
So i hope you can join in with the Challenge this week.
Sharing my Passion