text:
At Staten Island University Hospital, our physicians have earned a reputation
for excellence and innovation in education,
research and patient care. Our doctors are
renowned in their fields and lead
exceptional teams of nurses, technicians,
clinicians and support staff that deliver
advanced, compassionate care
to their patients.
Learn More
Staten Island University Hospital provides complete medical
and surgical services in inpatient and outpatient
settings at both our North and South site locations.
Read on to learn more about the full range of
services offered at SIUH, including
locations, contact information
and descriptions of programs.
At Staten Island University Hospital, we strive to provide
the best health care for our patients. We also seek
to make their stay as comfortable as possible.
That's why we provide many helpful
resources for patients and visitors
to help them navigate our
hospital with ease.
Would you like to visit someone who is a patient at Staten Island University Hospital? If so, we welcome you. Family and friends
can play a key role in the healing process
for patients. You can serve as a
companion, advocate and be a
participant in their care.
Staten Island University Hospital is part of the Staten Island community. In addition to providing state-of-the-art healthcare services, we educate our
neighbors by sponsoring
health-related community
events and support groups.
Learn More
Providing quality health care for our patients is our greatest priority.
In order to do this, our hospital family is committed
to the education of our medical caregivers.
We provide accredited training and
educational programs for physicians, nurses,
allied health professionals and technicians.
The following is a summary of experiences residents will have over the course of 3 years in pediatric training at Staten Island University Hospital. The program allows for flexibility as long as training requirements are fulfilled.
The PL-1 Year
In the first year (PL-1) of training, a foundation of basic knowledge in pediatrics is established. Under supervision, residents have direct responsibility for the care of all of the patients, including the initial history and physical, progress notes, all procedures, diagnostic information, all orders and communication with parents.
Residents learn the characteristics of normal growth, development, health maintenance, anticipatory guidance as well as variations of normal. With a broad experience in inpatient and outpatient pediatrics and neonatology, residents learn the characteristics and management of the more common illnesses encountered in neonates, infants, children and adolescents. In addition, first year residents directly supervise third and fourth year medical students assigned to them.
The following is the curriculum for the year
The PL-2 Year
During the second year of training, residents have greater exposure to pediatric subspecialties. They learn the pathophysiology and management of the more complex conditions encountered in pediatrics. In addition, residents learn to understand and manage multiple system disease and more serious, life threatening conditions during their various ICU rotations. With this advancement in knowledge and demonstrated clinical competence, residents are given greater supervisory responsibilities as seniors over first year residents and also care for the most critically ill patients.
The PL-3 Year
The third year of training is one in which the pediatric experience is rounded out. Third year residents rotate with additional subspecialty services and expound on subjects briefly considered before. During this year residents improve and refine their clinical skills and judgment. Third year residents assume a still greater role as the supervising senior in the hospital. With their greater fund of knowledge they are expected to be educators of other residents, medical students, and ancillary personnel. Having formed a very solid foundation in general pediatrics, residents can now pursue their postgraduate plans with the assistance and advice of the chairman, program director and faculty mentors.
In addition, during all three years of training, residents will have half-day continuity clinic sessions once a week.
North Site
475 Seaview Avenue,
Staten Island, NY 10305
Phone: (718) 226-9000
South Site
375 Seguine Avenue,
Staten Island, NY 10309
Phone: (718) 226-2000
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text:
Microsoft Store Sales and Customer Support:
0508 149 421
If at any time the LiveChat support option is not available, please check back after a few minutes (this is subject to agent availability).
If your enquiry relates to your Xbox or Surface device, you can also visit Surface support or Xbox support. Please note that product support may not be available 24/7.
We're here to help
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Store sale and customer support:
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For products bought elsewhere:
0800 800 004

subset: commoncrawl


text:
|Posted by Matt Mayberry on January 31, 2004 at 00:59:42:
I am getting ready to put in a bathroom and utility tub in my basement. I wanted to know the best way to go about venting this branch. Would it be sufficent to vent into a three inch horizontal run that comes from the second floor of the house (three floors up in relation to the basement) I would use the pipe as combonation waste/vent pipe. I heard of this being done before with sucess. The alternative for my application would be very time consuming and expensive.
|Replies to this post


text:
Professor Bumm's Story Machine
Show type: Edinburgh Fringe 2007
Fringe favourites Professor Bumm and Doctor Whee are back! Whose Line Is It Anyway? meets Jackanory in this smash hit improvised comedy for kids, fresh from the West End and BBC1's The Slammer.
Starring Andrew Jones
, Ciaran Murtagh
, Ciaran Murtagh


text:
From New York, with love xox
26 Montauk
From New York, with love xox
26 comments:
- Eve.H said...
It looks so great and relaxing you must have had an incredible time there :) All your pics are so beautiful especially the one with rays of sun coming out from clouds ;) Hope you´re having a nice Monday.
xo Eve.h
- 10 September 2012 at 04:01
- paisleysummer said...
Beautiful sunrays on the water.
Yallingup....now that brings back memories x
- 10 September 2012 at 06:56
- Eliza Jane said...
We both had beach getaways this weekend! Your photos are marvellous! x
- 10 September 2012 at 09:48
- Sam said...
Hi my dear friend, Thanks so much for your insight on my post, really appreciate it. If were not for you, I'd never have know the natural beauty that is Montauk. Serenely beautiful pictures of what seems to be a very relaxing vacation. Two stand out to me in particular - the first picture of the lighthouse and the 4th one with the sun rays through the clouds. Award-winning photo material!
- 10 September 2012 at 10:10
- Lucent Imagery said...
Sounds like a lovely way to farewell summer. Some truly gorgeous photos in here beautiful lady. x
- 10 September 2012 at 20:06
- Chocolate, Cookies & Candies said...
I've heard Montauk before but know very little about it. I've got a friend who's from Long Island but now resides in the UK. Must ask him more about this place.
Absolutely breathtaking photos!
- 11 September 2012 at 05:06
- rolala said...
It's been years since I've been to Montauk and I don't quite recall it being so lovely. It's nice you got there before summer ends.
I'm not surprised KK was just as gorgeous in person. Are you getting used to the NYC celebrity encounters yet?
I've been feeling better lately. Thanks for asking sweetie.
Rowena @ rolala loves
- 11 September 2012 at 21:19
- PAPS said...
nice get away.
- 12 September 2012 at 02:33
- the dreamer said...
Such a beautiful place! I can't wait for summer here in Australia.
Sarah x
- 12 September 2012 at 09:02
- EverythingPrettyGirls said...
I am embarssed to say, but I've never been to the hamptons! I thought I was ready for Fall.. but these pictures are making me sad that Summer is ending.
AND... let's definitely get drinks soon! Fall will be less hectic and we will be more available in the city... let's plan something! Maybe in October?
xo Julia, everything-pretty.com
- 12 September 2012 at 15:29
- Sunny & Star said...
The pics make it look amazing! It looks so beautiful and relaxing. I would love to spend the weekend or week there!
Jessica @ Sunny Days and Starry Nights
- 12 September 2012 at 20:10
- THE ALTERNATIVE WIFE said...
What a way to say goodbye to summer! Montauk is just fabulous and beautiful. Glad you had a great time. Now onto fun fall times in the city :) xoxo
- 12 September 2012 at 23:30
- Jenee C. said...
What stunning photos. I can't wait till it's warm enough to visit the beaches here. Hope you had the best time, and only 3 hours from NYC? How perfect!
xx Jenee C.
- 13 September 2012 at 00:29
- LoveT. said...
Great Place ,love the Photos :)
i´m a new Follower
Lovely Greetings from Austria ♡
- 13 September 2012 at 01:17
- Meredith Sledge said...
These are some of the coolest pictures I've seen in a while. Love them!
- 13 September 2012 at 13:43
- Heather said...
That first photo is so idyllic. Reminds of time spent in Maine with my mom. I love the look on your hubby's face; contentment that can only be found at the beach.
Heather @ Find That Warm Fuzzy Feeling
- 13 September 2012 at 14:50
- trishie said...
Looks so pretty! I especially love the first pic of the sunset and lighthouse.
- 13 September 2012 at 22:54
- Vanisha @ Vanishas Life In...Australia said...
I love the light in the first set of photos. So inviting! I need me some sand, sun and sea! xoxox
- 14 September 2012 at 07:56
- Mandy@OrangeAutumn said...
These pictures are gorgeous!! It looks like such a great time!
- 14 September 2012 at 11:46
- About Last Weekend said...
Gorgeous piccies, they make me so happy. Loving that shot of lime in the beach houses too
- 15 September 2012 at 17:29
- Lindsay K said...
Love the sun rays over the water- such happiness.
It's funny that Montauk is having such a moment these days. It's fashionable now! We go to Sag Harbor during the summer- I'm keeping my fingers crossed that we'll get out at least one more time before summer's end.
- 15 September 2012 at 20:35
- Erin Edwards said...
So happy I found your blog! Fashion, Fun, Travel, New York and you are from the country where I am planning my next big adventure....Australia. Keep up the great work!
The Fashion Fairy
- 16 September 2012 at 19:25
- EverythingPrettyGirls said...
Ah, so gorgeous! Especially that first photo. That's framable!!
- 17 September 2012 at 15:13
- miss b said...
Lovely photos - the sand dunes remind me a little of the ones about half an hour from where I live.
- 17 September 2012 at 15:40
- Punctuation Mark said...
I've always heard its a really cool place... I'd love to spend one summer there in the very near future!
- 17 September 2012 at 15:43
- Stephanie G said...
absolutely dreamy, love sunsets/sunriese..
steph / absolutely-fuzzy.com
- 18 September 2012 at 04:48


text:
Mix No. 6 Often Cuffed Wedge Bootie
Sorry, this item is sold out!
Looks like you've got more shoe shopping to do - have fun!
Looks like you've got more shoe shopping to do - have fun!
Item # dsw12prod4060027
Put some edge in your wedge with the Mix No. 6 Often. This lace-up wedge bootie is sure to be your favorite go-to style this season.
- Faux suede upper
- Foldover cuff
- Adjustable laces
- 3½" covered wedge
- Synthetic sole
- Imported
By: topello
Location: Austin
December 01, 2012
"Very comfortable and just the right heel height."
By: MelBorg
Location: Miami
November 27, 2012
Great Buy!
"The color is great, and the design and price are even better. They look great with skinny jeans, leggings, stockings, dresses... I definately recommend this shoe."
By: Jojonessx3
Location: Atlanta, GA
November 21, 2012
Sadly Disappointing
"When I first saw these shoes I was in love but when I got them it was disappointing...The color is about 2 shades darker than what the picture.I also have difficulty with my shoe size because I'm and 8.5 or 9 depending on the shoe. I chose and 8.5 which fits but the shoe is tight and stiff all around. I'm not sure if you can break that in but very stiff.Based on other review I decided to try them on and wear them around my house to make sure I liked them. If not I could return them without being scuffed. At first I thought "Hey, not bad" and after five minutes my feet were throbbing.The only thing I liked is that the lace goes around the ankle to make sure it's not loose I guess.I hate to give it such a bad review but my feet still feel weird from trying them."
By: priskillet
Location: California
November 17, 2012
Mix No. 6 Often Cuffed Wedge Bootie
"I never do online shopping, but these booties were so irresistible (and not available in either of the two DSWs I live near), so I gave in and purchased them online. I'm usually a 6.5 or 7 for shoes, but because this is a wedge, I went for a 6.5 (because my feet tend to slide down toward the front).The taupe color in person is slightly darker than what I see online. But I do like the faux suede material. The shoe laces are a little "waxy" so I have to double-knot them or else they constant get loose and undone. The booties are hard to get into because of the laces and because they're a bit snug around the ankles.I wore these only once so far (all day doing grocery shopping, errands, etc) and the balls of my feet were throbbing by mid-day! The arch support is absolutely horrible! Unfortunately, I cannot return them because they're too scuffed at the bottom. But hopefully some shoe inserts may help."
Click anywhere to close this.


text:
|Project Title
|Principal Investigator
|1/5-Elucidating the genetic architecture of autism by deep genomic sequencing
|Gibbs, Richard
|Baylor College of Medicine
|2/5-Elucidating the genetic architecture of autism by deep genomic sequencing
|Daly, Mark
|Broad Institue, Inc.
|Human autism genetics and activity-dependent gene activation
|Walsh, Christopher
|Children's Hospital Boston
|3/5-Elucidating the genetic architecture of autism by deep genomic sequencing
|Buxbaum, Joseph
|Mount Sinai School of Medicine
|Neural and phenotypic correlates of autism risk genes
|Bookheimer, Susan
|University of California, Los Angeles
|A systems biology approach to unravel the underlying functional modules of ASD
|Iakoucheva, Lilia
|University of California, San Diego
|Genetic study of restricted repetitive behavior in autism spectrum disorders
|Kim, Soo-Jeong
|University of Florida
|4/5-Elucidating the genetic architecture of autism by deep genomic sequencing
|Schellenberg, Gerard
|University of Pennsylvania
|5/5-Elucidating the genetic architecture of autism by deep genomic sequencing
|Sutcliffe, James
|Vanderbilt University
|Genomic profiling and functional mutation analysis in autism spectrum disorders
|State, Matthew
|Yale University
|Biological correlates of altered brain growth in autism
|Vaccarino, Flora
|Yale University
|IACC Strategic Plan Objective
|Coordinate and implement the inclusion of approximately 20,000 subjects for genome-wide association studies, as well as a sample of 1,200 for sequencing studies to examine more than 50 candidate genes by 2011. Studies should investigate factors contributing to phenotypic variation across individuals who share an identified genetic variant and stratify subjects according to behavioral, cognitive, and clinical features.
IACC Recommended Budget: $43,700,000 over 4 years
14 projects
11 projects
14 projects
7 projects
6 projects
|3.S.A. Funding: The recommended budget was partially met, and is approaching the recommended budget.
Progress: Progress has been made on this objective through the funding of several GWAS and sequencing projects. The current number of 6,000 GWAS subjects falls short of the goal of 20,000, but the number of whole exome sequences far exceeds 1,200, and could also reach 6,000 in the next year. Whole exome sequencing has identified 7-10 candidate genes, and promises to move closer to the goal of 50 in the future. Progress is being made in CNV studies. Overall, the work is on target.
Remaining Gaps, Needs, and Opportunities: More subtyping and genotype-phenotype work outside of syndromic forms of autism, as well as natural history studies, are needed.


text:
The Book of Kells and the art of illumination
Press preview 12pm 24 Feb 2000
The Book of Kells is one of the world's most precious works of art. In the words of Dr Bernard Meehan, Keeper of Manuscripts Trinity College Dublin, "The Book of Kells can be numbered among a handful of works of art known by repute to all, and is featured in all general histories of the treasures of European art".
The Book of Kells is a superbly decorated manuscript copy of the four Gospels- Matthew, Mark, Luke and John. In 1953 the Book of Kells was divided into the four Gospels and it is the Gospel of St Mark, regarded as the first of the Gospel texts to be written, that is in Australia and forms the centrepiece of this major exhibition. The exhibition also comprises 55 other precious illuminated manuscripts. "It will be a thrill and a surprise to visitors to see the high quality and beautiful illuminated pages of the many manuscripts which are on loan from collections in Australia and New Zealand", said Dr Brian Kennedy, Director of the National Gallery of Australia.
Between the 7th and 9th centuries there was a great flowering of Irish culture and the Book of Kells represents the artistic zenith of that period. The Book of Kells is the work of dedicated Irish monks containing 340 folios, written and decorated on vellum. It has been in the care of Trinity College Dublin since 1653. It is particularly auspicious that the Book of Kells should leave Ireland and come to Australia in the year 2000, a year that marks the second millennia of Christianity.
This exhibition looks at the Book of Kells in a dual perspective. Emeritus Professor Margaret Manion of The University of Melbourne, said: "It is a powerful artistic expression of the Christian faith, and secondly, it portrays the history of the illuminated manuscript which flourished up until the 16th century with the advent of printing." The Book of Kells will be housed in a purpose-built display case. This will be the only opportunity for Australian audiences to view this magnificent masterpiece of ancient Irish culture.
The exhibition has been made possible by the generosity of Trinity College Dublin and the collaborative support of the Irish and Australian Governments. Furthermore, we thank our sponsors, the Irish Tourist Board; APN News & Media and Independent News and Media PLC; the Seven Network; Aer Lingus; Quantas Airways; Waterford Crystal; Guinness Australia; Irish Distillers; Montblanc and Gateway.
For further information please contact the Public Affairs Office Telephone (02) 6240 6431, Fax (02) 6240 6561.
Revealing the Holy Land
Press preview 12pm 24 Feb 2000
Revealing the Holy Land: The Photographic Exploration of Palestine contains vintage photographs made between 1850 and 1880. This period is regarded as the golden age of travel and expeditionary photography. In the mid-19th century theological research and public fascination with travel to the Holy Land employed the newly invented medium of photography to satisfy the desire for accurate views of the Holy Land and to prove the historical truth of the Bible. The exhibition includes photographs from the 1868-69 Ordnance Survey of the Peninsula of Sinai taken by Colour-Sergeant James McDonald of the Royal Engineers.
Revealing the Holy Land features the colour lithographs of David Roberts, showing how the artist presented the region prior to the introduction of photography. By comparison colour photographs of the Sinai Peninsula by Neil Folberg display recent interpretations of the area.
Revealing the Holy Land - a travelling exhibition from the Santa Barbara Museum of Art, California - is made possible, in part, by grants from Ralph M. Parsons Foundation and the Dana and Albert R. Broccoli Charitable Foundation. The exhibits are drawn chiefly from the collection of Michael and Jane Wilson.
For further information please contact the Public Affairs: Telephone (02) 6240 6431 Facsimile (02) 6240 6561
The Antipodeans: challenge and response in Australian art 1955-1965
27 November 1999 - 5 March 2000
press statement 15 December 99
It is the fortieth anniversary this year of the exhibition The Antipodeans,
and with it the first publication of Bernard Smith's polemic The Antipodean
Manifesto. The exhibition and the manifesto appeared to unite a number of
figurative artists against the influences of abstraction on Australian art
and was a central and defining moment in Australian art this century.
The artists who exhibited as Antipodeans were Charles Blackman, Arthur Boyd, David Boyd, John Brack, Robert Dickerson, John Perceval and Clifton Pugh.
The National Gallery's exhibition will represent the period, and the debates, by showing art by members of the Antipodean group, together with works by artists who may be seen to represent 'the other side', i.e. abstractionists. These artists include Ian Fairweather, Ralph Balson, Godfrey Miller, John Passmore, John Olsen, Janet Dawson, Robert Klippel, Peter Upward and Tony Tuckson.
For further information please contact Deborah Clark, Assistant Curator, Paintings and Sculptures, Australian Art, telephone (02) 6240 6635 or Public Affairs, telephone (02) 6240 6431 or fax 6240 6561
Celebrate the diversity of Youth Culture
Press statement 5 December 99
To ensure that youth art and culture is represented in a relevant and dynamic form, a Youth Committee drawn from the ACT and surrounding region assists the Gallery with the planning, development and implementation of what has become an annual event at the Gallery. Sub-urban '99 includes
youth art
aerosol art
bands: All Systems Go, Bent Hen, Monkey Duck, Beanort
dj's Archie, DJP, Chris Fresh
spoken word performances: Tales of Lime Green Cat Suit extreme sport
break dancing
youth fashion
Rebecca Cartwright (Hayley Smith) from Home and Away will be special guest for the event.
Sub-urban demonstrates the National Gallery of Australia's commitment to fostering the creative and inspirational force of youth culture.
For more information contact Philippa Winn 02 6240 6632
Press statement 26 November 99
The Director and Council of the National Gallery of Australia have taken the decision not to show the exhibition Sensation: Young British Artists from the Saatchi Collection at the National Gallery of Australia next year.
As a publicly funded institution, the Gallery will not proceed with a show which has been the centre of a furore in New York over issues which have obscured discussion of the artistic merit of the works of art.
The Director and Council had wished to bring this much discussed exhibition of Contemporary British Art to the Australian public. The Gallery had looked forward to engaging the Australian public about issues in contemporary art and will now seek other avenues in which to do so.
For further information
Jan Meek, Senior Adviser - Public Affairs, National Gallery of Australia - 02 93878176
Paul Durcan poetry reading
Thursday 21 October
'Durcan, with a microphone for a lute, can, like Orpheus, charm the
birds from the trees'
Derek Mahon - Irish Review
Join internationally acclaimed Irish poet, Paul Durcan in an evening of contemporary verse at the National Gallery of Australia.
From his first publication in 1967, Durcan's poetry was highly distinctive. Its conversational style and quirky subject matter set it apart from traditional Irish lyric musings. Current events, religion and contemporary social issues all found their way into his writing. Durcan emerged as a relentless critic of establishment folly and a shrewd observer of political posturing.
Durcan's many publications from The Berlin Wall Café (1985) to Greetings to Our Friends in Brazil (1999) secure his place as one of Ireland's foremost contemporary authors.
Paul Durcan is visiting Australia as part of the Brisbane Writers Festival.
time: 6.00pm
venue: James O. Fairfax Theatre, National Gallery of Australia
tickets: $7; Members $5 tel: 02 6240 6504
Media Inquiries:
David Sequeira Coordinator, Public Programs 02 6240 6521
Peter Naumann Manager, Public Programs 02 6240 6525
Into the New Millennium
First year progress report 13 October
- In October 1998 the National Gallery of
Australia launched its corporate plan Into the New Millennium,
setting out its priorities, with strategies for achieving them in the
period 1999–2001.
- Free admission to the permanent collection
was announced in October 1998 and a 13% rise in visitors to the Gallery's
permanent collection has been achieved in the year since then. The visitation
figure for attendance at the Gallery in Canberra is down in 1998–99
in comparison to 1997–98, from 482,370 to 366,773, and this requires
explanation. Betty Churcher had carefully provided a program of exhibitions
for her successor. Due to the delayed appointment of a successor, the
sequence of continuous exhibitions was broken. In addition there was
a need to pay off the debt of $2M on the new exhibition wing and expenditure
on major exhibitions was curtailed in 1998–99. The detailed breakdown
is therefore:
Year Permanent Collection Major Paying Exhibitions Travelling Exhibitions 1997/98 269,057 213,313 172,345 1998/99 303,736 63,037 537,276
- It is already clear given the success of Monet to Moore (144,553 visitors) and From Russia with Love (101,192 visitors), and the strong exhibition program now in place, that 1999–2000 will be a terrific year for attendance.
- The Gallery's aim is to provide access to works of art and information about them, locally, nationally and internationally. The Gallery set itself four major objectives in its corporate plan:
Acquisitions of major works of art
The Gallery publishes today Developing the Collection: New Acquisitions 1997–1999. Among these acquisitions are important works by Australian artists Arthur Boyd, John Brack, Russell Drysdale, Ian Fairweather, Eugene von Guérard; Aboriginal and Torres Strait Islander art: the Peter Fannin Collection of Early Western Desert paintings, and works by Robert Campbell Jr and Fiona Foley; Asian acquisitions include Khmer and Jain sculpture, Chinese earth spirit guardian figures, and a Tibetan thangka. International artists represented by recent acquisitions include Pierre Bonnard, Chuck Close, David Hockney, Richard Serra, Alfred Sisley and Frank Stella.
The Gallery acknowledges with gratitude the support of its benefactors:
- L Gordon Darling AO, who has carefully managed the Gordon Darling Australasian Print Fund, now ten years old. The fund, established in 1989 with a gift of $1M has provided an average of $70,000 annually for the acquisition of Australasian prints and yet is today worth $1.84M.
- Orde Poynton CMG, whose contributions to support the acquisition of International Prints, Drawings and Illustrated Books now total more than $2.2M. The major acquisition made with the Orde Poynton Fund in 1999 is Frank Stella's The Fountain — both print and collage.
- James Fairfax, whose many gifts of works of art to the Gallery continued with the splendid Ian Fairweather Turtle and Temple Gong and Russell Drysdale The Countrywoman.
- The Nerissa Johnson Bequest made last year, which when finally received amounted to $6M and not $5M as previously announced, was used to acquire works by Arthur Boyd and Eugene von Guérard.
Gifts have been gratefully received from:
- David Hockney — 3 preparatory drawings for A Bigger Grand Canyon.
- Tyler Graphics Ltd — metal intaglio blocks
and woodblocks for
Frank Stella's The Fountain.
Major Exhibitions
Major exhibition activity was curtailed during 1998. This was fully achieved by October 1998 and the recent major exhibitions An Impressionist Legacy, Monet to Moore: The Millennium Gift of Sara Lee Corporation and From Russia with Love: Costumes for the Ballets Russes 1909–1933 were an outstanding success. They attracted 186,000 visitors, generating much required revenue for the Gallery and injecting $25M into the local economy.
Internationally the Gallery has been very active, especially with the touring exhibition of Aboriginal art which has achieved record attendances at the International Olympic Museum in Lausanne, and is soon to open at the Sprengel Museum, Hannover (where it will be the turn of the century exhibition for Expo 2000). The show opens in the State Hermitage Museum, St Petersburg in February 2000, at the Museo Nacional Centro de Arte Reina Sofia in Madrid next June, and its final destination will be here at the National Gallery of Australia during the Sydney 2000 Olympic Games and the Paralympics.
The Gallery acknowledges the generous support of Art Exhibitions Australia, the National Museum of Australia, the Department of Foreign Affairs and Trade (and the Australian Pavillion of Expo 2000 Hanover), the Australia Council, the International Olympic Committee, SOCOG, The Thomas Foundation and the Northern Territory Government, each of which has made possible the international touring exhibition of Aboriginal Art. The Gallery also acknowledges the assistance of the Australian Institute of Aboriginal and Torres Strait Islander Studies, the Aboriginal and Torres Strait Islander Commission and the Royal Australian Mint.
The Gallery acknowledges the support of ACTEW Corporation as major sponsor of the Chihuly exhibition Masterworks in Glass, and the assistance of the ACT Government, the Thomas Foundation, Mrs Beverley Mitchell and Channel 7.
The Gallery is delighted to acknowledge the support of the Council of the Centenary of Federation which has made a grant of $500,000 to support the Gallery's touring Federation exhibition. It will open at the Gallery in November 2000, and will be co-ordinated by John McDonald, Head of Australian Art.
- The exhibition opened today Chihuly, Hockney, Stella: Masterworks in Glass, Paint and Print promises to be both well attended and influential, focussing as it does on the processes involved in the making of works of art.
Increased Public Funding
- The Gallery has received a significant increase in Government funding, consequent to the change to accrual accounting for Government appropriation.
- Private funding has been forthcoming.
Today the following gifts and bequest are announced:
- Gifts of $500,000 have been made to the Gallery to assist the purchase of David Hockney's A Bigger Grand Canyon by: Kerry Stokes (Chairman, National Gallery of Australian Council); Carol and Tony Berg (Member of the National Gallery of Australia Council and Chairman, National Gallery of Australia Foundation); The O'Reilly Family (Cameron O'Reilly, Deputy Chairman, National Gallery of Australia Council) (Total $1.5M)
- Gift of $250,000 by Dr Peter Farrell, Founding Patron, National Gallery of Australia Photography Fund.
- Bequest of $520,000 by the late Sir Otto and Lady Frankel, for the purchase of works of art by New Zealand artists.
Refurbishment of Gallery Building
The Gallery today announces that a refurbishment scheme to address fire, water and access issues within the building and to provide a new front entrance area will be undertaken. A competition to select an architect to design the scheme of works will be announced soon.
Access to the Collection
Underlying the above four objectives has been a concern to give as much access as possible to the Gallery's collection.
The Gallery is pleased to announce that during the past year (1 October 1998 – 30 September 1999) a total of 1624 works of art have been loaned to metropolitan and regional museums and galleries throughout Australia. This is the highest total ever achieved in one year by the Gallery (and evidences the determination to provide greater collection access). The travelling exhibitions program had another successful year. The lucky 3 millionth visitor to an NGA travelling exhibition, Anthony Edwards from Townsville, was flown to Canberra to see the Gallery at first hand. The Gallery's Partnership Program has been developing and progress made with each of the 12 partner galleries is noted on the attached sheet.
The Gallery digitisation program has continued and over 16,000 works of art are now being made available on the world wide web in both text and image format being made.
New Council Member
The Gallery Council is pleased to welcome the appointment of Mr Robert Ferguson as a Council member for a period of three years from 9 September 1999.
The year 1998–99 has been a most rewarding one for the National Gallery. We look forward to making continued progress in achieving the priorities of the corporate plan Into the New Millennium during 1999–2000.
Brian Kennedy
National Gallery of Australia
13 October 1999
David Hockney's A Bigger Grand Canyon
13 October
The National Gallery of Australia recently purchased for US$3 million the major painting A Bigger Grand Canyon 1998 by the celebrated contemporary artist David Hockney. Ambitious in scale, subject and colour, with a luminosity rarely seen, this remarkable painting extends the boundaries of the landscape genre.
Comprising 60 canvases (with an overall measurement of 207.0 x 744.5 cm), the painting was feted as a key work in the recent exhibition in Paris, David Hockney: Espace/Paysage [David Hockney: Space/Landscape] at the Centre Georges Pompidou, and was a great success at London's Royal Academy where it won the Charles Wollaston Award for the most distinguished work on display during the Academy's summer season.
Few major artists have chosen to grapple with the Grand Canyon, notoriously difficult given its vast scale. David Hockney, the most recent of them, had long harboured a desire to work on the subject, ever since an early visit to America as a young man. Now, as a mature artist, he has applied extraordinary skill to the painting of A Bigger Grand Canyon.
A Bigger Grand Canyon is a culminating statement by the artist about the depiction of space and the experience of being within a space, or travelling through a space, over time. In this remarkable landscape, Hockney has drawn from a lifetime's experience. He refers to Cubism, where a subject is depicted with multiple viewpoints. There are lessons drawn from a careful examination of Chinese scroll painting - where different time sequences and different elements of a cityscape or landscape coalesce. He draws on his own experience of designing sets for operatic productions; and his responses to the sensation of driving through vast landscapes in his car listening to music - in Hockney's view, music is 'an art of time and of movement ... [with] Nature doing the lighting'.
In his Report to the National Gallery of Australia (1999), the noted art historian, Marco Livingstone commented on the effect that the painting has on the viewer: 'A Bigger Grand Canyon places the viewer so convincingly at the canyon's south rim at Powell Point, one of the most spectacular vantage points, as to induce in some the vertiginous thrill of standing on the edge of a precipice so deep and extensive that it almost defies the imagination.'
The element of The Sublime in this work has been perceptively noted by another scholar, Paul Melia, in a second report commissioned by the National Gallery in 1999. Melia sets the landscape within the English Romantic tradition: 'The genre of landscape has been important to Hockney since the beginning of his professional career. Until relatively recently, however, he was unable to draw upon the Romantic or neo-Romantic tradition of landscape art: personal experience, empathy, quasi-magical feelings aroused by a place or location, spontaneity - all triggers of artistic production for older generations of artists (Henry Moore, Graham Sutherland, the painters of the St Ives School).'
A Bigger Grand Canyon clearly has links to the rich and awe-inspiring English Romantic tradition, but also to the broader European emotionally charged Symbolist landscapes of Paul Gauguin and the artists at Pont Aven, the forefathers of Hockney's much loved School of Paris. In their works, the universal, the symbolic, is tapped and the pedestrian or the man-made is excluded. Here is a Symbolist landscape with the colours of the desert.
According to Livingstone, Hockney's A Bigger Grand Canyon recalls 'the magnificent spectacle of the Hollywood cinema which had helped draw [Hockney] ... to the American West while he was a young boy day dreaming in Bradford', describing it further as a 'technicolour extravaganza that pays oblique homage to Hollywood films in its extended horizontal format'. The painting is rich in golds, crimsons, scarlets, oranges, ochres and browns, and contrasts of vivid blues and greens. To achieve maximum brilliance, Hockney has applied lessons learned from a careful study of the Dutch 17th-century master, Johannes Vermeer, building up the surface of the canvas with layer upon layer of oil paint. The visual impact on even the most jaded late 20th-century eye is as powerful and confronting as a Fauve palette would have been in the dimly coloured, restrained world at the beginning of this century.
While the pedigree of A Bigger Grand Canyon is set within the European landscape tradition, the colours, the experience of being in the landscape and the sense of the universal imbue the painting with a level of meaning not seen before in Hockney's work. It suggests a move to an art of Symbolism in a landscape of almost unimaginable space.
During the process of making A Bigger Grand Canyon, Hockney made one large cartoon and then, in an effort to resolve the painting further, he made three more drawings of the left, centre and right foreground. These drawings the artist has generously given to the National Gallery.
David Hockney"s A Bigger Grand Canyon has been purchased with the assistance of Kerry Stokes, Tony and Carol Berg, and the O'Reilly family.
For further information please contact Jane Kinsman, Senior Curator, International Prints, Drawings & Illustrated Books, telephone (02) 6240 6406, or Public Affairs telephone (02) 6240 6431 or fax ((02) 6240 6561.
Stella (artist) Ken Tyler (master printer)
The Fountain (1992)
13 October
The Fountain is a 67-colour, hand-coloured woodcut, etching, aquatint, relief, drypoint, screenprint, collage spanning 2.3 metres in height by 7 metres in length. Derived from an original collage and printed from three carved woodblocks and 105 copper and magnesium plates, this 'mural' print marks the culmination of many years of collaboration between the foremost American abstract artist, Frank Stella (born USA 1936) and the master printer Ken Tyler (born USA 1931).
In 1965 Ken Tyler set out to establish his own print workshop in Los Angeles, Gemini Ltd, soon to become Gemini GEL (Graphic Editions Limited) - which came to be known as the 'Metro-Goldwyn-Mayer of print workshops'. It achieved its reputation because of Tyler's philosophy that if 'great art is made by great artists', then 'great prints are made only by great artists'. With this in mind, Tyler set out to ensnare the very best artists of his day, promising them: 'here is a workshop, there are no rules, no restrictions, do what you want to do'. In this approach he took inspiration from Picasso's methods of printmaking where the rulebook was thrown out.
In 1967 Tyler enticed Frank Stella to work with him, thus beginning a collaboration of two dynamic figures which has continued over 30 years - and has been described by the art critic and author Robert Hughes as 'one of the great partnerships in modern American art'.
In terms of scale and ambition The Fountain is Frank Stella's magnum opus in printmaking - a major exercise in abstraction, with his signature forms, lines, colours, textures and layering - revealing the gifts and confidence of an artist who has reached the pinnacle of his career. It is a high point in Stella's collaboration with Tyler and represents the culmination of the lengthy development of their working method. In this 'mural' print Stella and Tyler have refined the process of working from a completed collage, adopting a wide range of printing techniques for the one work and editioning on specially made paper. The sheer bravura of the project can be seen in the scale, richness of texture and brilliance of colour. For such a monumental undertaking, a special 500-ton platen press had to be designed.
The Fountain takes its title from chapter 85 of the literary classic, Moby Dick or The Whale by Herman Melville, which describes in detail the majesty of the sperm whale, a beast of grand proportions which dominates the sea with its wondrous breathing apparatus - the spurt of water - hence the title of this episode. This was one of a large group of prints by Stella which take their titles from the chapters of that great 19th-century epic. The artist found Melville's text a very visual one: 'I find the prose pictorial in a way - the rhythms and everything are like the types of things that you can do using shapes ... a nice, kind of crisp, moving language.'
The Fountain is a
high point in Stella's collaboration with Tyler and represents the culmination
of their working method developed over a quarter of a century. In this
one work, Frank Stella and Ken Tyler have brought the art of printmaking
to an extraordinary stage; and, as Tyler chose to reflect recently:
'I can't really say no to his ideas and he really can't stop having them and so in a funny way we're a good pair.'
- a collaboration
dubbed 'part brinkmanship, engineering, and sometimes theater'.
Siri Engberg Frank Stella at Tyler Graphics (1997)
The National Gallery of Australia's recent acquisition of The Fountain original collage and The Fountain print (edition 4/8) was made possible with funds generously provided by Orde Poynton Esq. CMG. The three woodblocks and the 105 metal plate inserts along with documentation are the gift of Tyler Graphics Ltd.
Chihuly's statement
7 October
Dr. Brian Kennedy, Director of the National Gallery of Australia, spoke today to Dale Chihuly who asked that the following statement be released:
"I had a great time in Canberra and the experience increased my interest in Australia considerably. There is such an exciting arts community, especially among glass artists. Given the nature of my practices, working on such a large scale, and especially placing work where it can be most available to the public, there is inevitably the potential for vandalism as the work is placed at some risk.
I am delighted that the exhibition at the National Gallery is such a success and that people continue to enjoy it. Australia's reputation for the visual arts is secure and I look forward to continue to show my work there."
Chihuly Glass Theft
5 October
Broken red glass, enough to make up three or four of the spears stolen from the National Gallery of Australia Sculpture Garden on Sunday evening has been recovered by the police.
The Gallery has communicated its sincere regret to the artist, Dale Chihuly. It is sad that Dale Chihuly's great generosity in permitting his work to be shown in our sculpture garden has been responded to in such a senseless and malicious way.
The Chihuly studio and the National Gallery of Australia were aware, as with all public sculpture, that there was some risk involved in making the works so available to the public. That trust has been breached and, as a consequence, the installation will be removed from the Sculpture Garden.
Meanwhile, the Chihuly exhibition in the Gallery's Exhibition Wing is attracting record visitation with over 4300 enjoying the display this weekend.
Chihuly: masterworks in glass
24 Sep 1999 – 26 Jan 2000
Floriade 18 Sep – 17 Oct 1999
12 noon 23 September 1999
Official Opening
6.00pm 23 September 1999
Virtuoso installations of shimmering beauty by the world-renowned glass artist, Dale Chihuly
Opening at the National Gallery on 24 September, and coinciding with Floriade, Australia's spring festival of flowers, Chihuly: Masterworks in Glass is the first of the Gallery's forthcoming series of spectacular exhibitions which run until 26 January 2000, collectively titled Masterworks.*
Chihuly: Masterworks in Glass is a brilliant survey of Dale Chihuly's artistic practice as well as the showcase for new work made for Canberra — pieces with such titles as Three Australian magpies resting in a tree; Putti with Major Mitchell's cockatoo, Putti perched in a tree with opalescent kingfisher.
The Exhibition Galleries will be transformed into an exotic world of luminous colour with some 63 works which comprise Chihuly: Masterworks in Glass — individual pieces, series of objects, installations and 'environments' that are at once conceptually unique art objects and intense sensory experiences. Chihuly has also incorporated in his exhibition plan an architectural feature of the Exhibition Galleries: the large windows which look out over the Fiona Hall garden will be filled with a wall of 'stained glass' — an exciting two-dimensional 'drawing wall' of 42 acrylic on plexiglass panels — made especially for this space.
Dale Chihuly's long and distinguished involvement with glass began in the early 1960s at the University of Wisconsin and the Rhode Island School of Design. After being awarded a Louis Comfort Tiffany Foundation Grant as well as a Fulbright Fellowship, he travelled to Europe in 1968. He became the first American glassblower to work in the prestigious Venini factory on the island of Murano, Venice. In 1971 he co-founded the Pilchuck Glass School in Stanwood, Washington, which has had a major impact on contemporary glass and attitudes to glass in America. The list of his museum exhibitions is long and encompasses the world; likewise the list of his work in museum and public collections and his architectural installations.
Chihuly promotes the studio concept of glassblowing — a collaborative approach, which is the philosophy at Pilchuck. The emphasis that Chihuly places on teamwork has often been explained as a direct, and necessary response to the physical damage sustained as a result of a car accident in 1976. His experience of Italian glass production at the Venini factory, however, was of paramount importance in developing this approach.
Chihuly returned to Venice in 1996 and, with his team, installed his trademark Chandeliers in 14 sites across the city. Chihuly over Venice was followed this year by Chihuly in the Light of Jerusalem 2000, which comprises 15 major installations throughout the entire Citadel. Chihuly: Masterworks in Glass continues this idea of engaging with the city — as well as presenting National Gallery audiences with a powerful aesthetic and sensory experience, Chihuly and his team are creating virtuoso installations which form the artistic centrepiece of the Floriade display in Canberra.
Chihuly himself will take part in the events planned around Chihuly: Masterworks in Glass which include lectures, tours, demonstrations and drawing workshops for children.
The ultimate point of Chihuly's glass sculptures is to embody and convey ecstasy. ('Delirious Glass: Dale Chihuly's Sculpture', 1997, Donald Kuspit, Professor of Art History, State University of New York)
A National Gallery of Australia
Children's Gallery Exhibition
2 Oct 199920 Feb 2000
DOG is built around a simple theme that all children can enjoy.
From prehistoric times to the present day, dogs have been represented in art as the human companion. This exhibition looks at the way artists communicate their experiences of dogs.
In Bruce Latimer's prints, dogs are benign entities or playful rogues that animate the backyard. Lin Onus' lifesize dingoes engage in dog's businesssniffing smells and playing with puppies. Painted in ochre colours, they are metaphors for Aboriginal Australia. William Wegman's dog, a Weimaraner, is his muse, providing the continual inspiration for his photographs.
Animals naturally compete with each other, but the dog and the human stand together, mutually beneficial. For children the dog is a wonderful companion, always willing to play. Frank Hurley's 1915 sepia photograph captures the child and puppy engrossed in a timeless and poignant moment.
Play is a vital form of learning for dogs as well as humans. The little Jack Russell in William Strutt's delightful set of paintings is intent on making a crayfish his playmate. Human warnings would be of no use to him. For a dog, the way to learn about the world is by experiencing it, and experience it he does, with a nip on the paw.
DOG creates an opportunity to reflect on the moods and qualities of this human companion and its infinite variety, and, at the same time, offers children a means to enjoy the exhibition experience.
The exhibition comprises over 50 works of art from the National Gallery's collection, ranging from paintings, sculpture and ceramics to drawings and prints. The works of art are displayed at kid's height, and in novel ways such as a display case in the shape of a kennel.
For further information please contact Philippa Winn, Project Officer, Education and Public Programs, telephone 02 6240 6632 or fax 02 6240 6560; or Public Affairs on telephone 02 6240 6431 or fax 02 6240 6561.
Landscapes in sets and series
Australian Prints 1960s-1990s
6 August-21 November 1999
Celebrating ten years of acquisitions from the Gordon Darling Australasian Print Fund
Landscape has been the prime subject matter both for indigenous Australian artists and those who have come to Australia since 1788. For many people in this country and overseas, paintings and prints by artists such as John Glover, Eugene von Guérard, Arthur Streeton, Tom Roberts, Sidney Nolan, Fred Williams and Jon Olsen have formed the popular conception of the Australian landscape. It is only in recent years that the importance of Aboriginal depictions of the landscape has been acknowledged and their images have become part of the popular imagination.
This exhibition focuses on prints produced by Australian artists from 1960 to the present. As well as presenting prints of the Australian landscape, it represents the work of two artists who have often found their subject matter in foreign landscapes. Janet Dawson produced poetic lithographs of the Italian landscape, where she worked in the late 1950s; while, for the 'new Australian' migrant Salvatore Zofrea, the Italian landscape is the source of formative memories.
In the 1960s Australian printmaking came to maturity. Tertiary institutions added printmaking to the curriculum, print workshops both private and publicly financed were established, and specialist 'master printers' and print publishers began to operate. During these years artists extended the possibilities of printmaking by producing sets and series of prints. In some instances, as in the work of Bea Maddock, Mike Parr and John Wolseley, images on individual sheets are hung so as to form one work. Maddock's Terra Spiritus, comprising 51 sheets that form a panorama of the complete Tasmanian coastline, could not have been produced as a single composition.
For other artists, producing sets allows them to examine a theme from different perspectives or times. John Olsen's prints in the Down Under suite explore a single theme, as do Fred Williams's lithographs of the Werribee Gorge. Frank Hodgkinson examines the effect of differing inkings of the same plate in his sensuous landscapes, while Zofrea records the landscape through the seasons of the year.
The production of sets and series involves considerable cost, and these are often financed by publishers. In some cases publishers have initiated print portfolios to make artists' works more widely available to the public. Lloyd Rees's Australian Landscape portfolio, published by Port Jackson Press, was initiated by the publisher, while Sydney-based Utopia Art commissioned the artists of the Utopia community to produce 72 woodcut prints. For artists Mary Macqueen and Kim Westcott, however, their experiments and exploration of the landscape motif have been self-directed and self-funded.
Judy Watson, an urban Aboriginal, returns the exhibition to the beginning - the depiction of the landscape through Aboriginal eyes. Altogether, these works demonstrate the continued interest in representing the landscape and the contributions that different printmakers have made to our rethinking of it.
For further information please contact the exhibition curator, Roger Butler on telephone (02) 6240 6414 or Public Affairs on telephone (02) 6240 6431, fax (02) 6240 6561.
Major Hockney Aquisition
27 July 1999
The National Gallery of Australia has acquired a major oil painting by David Hockney, A Bigger Grand Canyon (1998). The work, 207cm high by 744.2cm wide, on 60 canvases, will be unveiled at the Gallery in October 1999 at a press conference to be held then.
This important acquisition, costing US$3 million, continues the Gallery's history of purchasing premium works by Australian and international artists of distinction.
National Gallery
of Australia
Public Affairs
Telephone: 02 6240 6431
Fax: 02 6240 6561
3 millionth visitor to a National Gallery of Australia travelling exhibition
Earlier this month, whilst discovering the marvels of Boyd's painting technique at the opening function of Arthur Boyd and the Exile of Imagination at the Perc Tucker Regional Gallery in Townsville, Anthony Edwards was delighted to learn that he was the 3 millionth visitor to a National Gallery of Australia Travelling Exhibition.
His prize includes flying to Canberra with two nights accommodation, and his trip coincides with the two major exhibitions Monet to Moore and From Russia with Love currently on at the National Gallery. Anthony grew up in Weipa in Far North Queensland but completed his secondary school studies in Townsville where he is now in his 3rd year of a Bachelor of Visual Arts at the James Cook University. Majoring in painting, Anthony is very excited at the prospect of being able to look at works in the National Gallery by major Australian and International artists that he has only previously seen in books..
Since February 1988, when the NGA Travelling Exhibitions program was established, 3 million people have taken the opportunity to visit 54 touring exhibitions at locations outside Canberra in every state and territory in Australia. Over 4,000 works of art from the national collection have travelled well over 600,000 kilometres.
Currently there are 4 exhibitions 'on-the-road' throughout Australia,
- Townsville, Queensland - Arthur Boyd and the Exile of Imagination at the Perc Tucker Regional Gallery
- Newcastle, New South Wales, The Europeans: Emigré Artists in Australia 1930-1960 at the Newcastle Region Art Gallery
- Darwin, Northern Territory, Everyday Art: Australian Folk Art at the Museum & Art Gallery of the Northern Territory
- Melbourne, Victoria, Re-Take: Contemporary Aboriginal and Torres Strait Islander Photography at the Monash Art Gallery
Anthony, who has not been to Canberra before, is looking forward to visiting the national capital.
For further information please contact Jude Savage, Manager Travelling Exhibitions - Tel, 02 6240 6503 Fax, 02 6240 6560.
Russia with Love
Costumes for the Ballets Russes 1909-1933
The National Gallery of Australia proudly presents From Russia with Love - an exhibition of the extraordinary costumes and drawings created for the Russian Ballet, or Ballets Russes as the company was known. Bold and original designs, new music and choreography, as well as inspired dancing, combined to magical effect. The artists, composers and dancers became world famous; they were the stars of their day.
The spectacular productions of Serge Diaghilev's Russian Ballet amazed the world and transformed the art of dance. The company performed in Paris, throughout Europe and in North and South America. Ironically, Diaghilev's company never performed in his native Russia. Modern ballet was established in Australia by Colonel W. de Basil's touring company - formed in 1932 after the death of Diaghilev and the collapse of his company in 1929.
Diaghilev was a unique figure in the arts. He fostered collaborations between dancers and choreographers, composers and artists - dancers such as Vaslav Nijinsky, Michel Fokine and Tamara Karsavina, the composers Igor Stravinsky, Maurice Ravel and Claude Debussy, and artists including Henri Matisse, André Derain and Léon Bakst - to create legendary productions that had an impact far beyond the worlds of ballet and theatre.
Many of the costumes, designed by the foremost artists of their day, have survived as artistic objects in their own right. They provide a key to the wider significance of the Russian Ballet whose artistic success depended the collaborative nature of a total creative effort that is unique in the history of modern culture.
The first designers of the sets and costumes were Léon Bakst and Alexandre Benois. Bakst caused a sensation with his brilliant visions of exotic cultures, while Benois charmed the sophisticated Parisian audiences with his interpretations of Russian and French traditions. Artists of the avant-garde also became designers for Diaghilev: Michel Larionov, Natalia Goncharova and Matisse, amongst others.
Part of the Russian Ballet's early success in western Europe was due to its 'Russianness', corresponding with the popular image of Russia as a wild, primitive place. The Polovtsian Dances from Prince Igor 1909 was the company's first hit in Paris. Nicholas Roerich's earth-smeared set and vibrant costumes, Alexander Borodin's stirring music, and the vigorous choreography of Michel Fokine shattered the refined traditions of ballet.
In 1911 Alexandre Benois and Igor Stravinsky worked together to create Petrushka, Diaghilev's most famous ballet. The bitter-sweet fable of the puppet Petrushka, danced by Nijinsky, was staged as a contemporary view of a Russia fast disappearing. The Rite of Spring 1913 showed how modern the company could be. Stravinsky's score overturned musical conventions, while Nijinsky's choreography was considered radical and offensive. Nicholas Roerich's costumes, with their crudely stencilled patterns, echoed the primeval mood of the ballet.
During the First World War Diaghilev turned to modern artists for his new ballets. Always interested in extending the frontiers of theatre, he incorporated ideas from the major art movements of the time. Natalia Goncharova, a leader of the Moscow avant-garde, used popular and traditional imagery to reinvigorate modern art. Her exuberant designs for The Golden Cockerel 1914, with their odd perspectives, strange proportions and irrepressibly bright colours, drew on the florid patterning of Russian peasant art. Michel Larionov exploited the fractured and geometric forms of Cubism and Futurism to create amazing, sculptural costumes for The Buffoon 1921.
Henri Matisse, famous for his brilliantly-coloured paintings and flamboyant line, designed The Song of the Nightingale for Diaghilev in 1920. His overall scheme was restrained, using black, white and yellow for dramatic emphasis. The costumes, created in multiples, on stage became part of a fluctuating pattern of stylised shape and colour.
After Diaghilev's death in Venice in 1929, his Russian Ballet fell apart. Colonel W. de Basil and René Blum re-formed the company in 1932 and bought original sets and costumes. The new Russian Ballet toured the world, visiting Australia three times between 1936 and 1940. Several dancers remained in Australia and founded their own companies: Hélène Kirsova in Sydney, Kira Bousloff in Perth, and Edouard Borovansky in Melbourne. Thus modern ballet began in Australia, continuing the great tradition of Diaghilev's Russian Ballet.
From Russia with Love recaptures the excitement generated by the Russian Ballet. Highlights include the costumes worn by Nijinsky in Petrushka 1911 and The Blue God 1912; Bakst's exotic fantasies for Cleopatra 1909 and Sheherazade 1910; and Matisse's dramatic robes for The Nightingale's Song 1920.
More than 200 works of art - original costumes, drawings, photographs, posters and theatre programs - are enhanced by dramatic theatre lighting, photographs of the dancers and original film footage of the de Basil ballet company performing in Australia, as well as the music of Pyotr Il'yich Tchaikovsky, Nikolai Rimsky-Korsakov, Igor Stravinsky, Maurice Ravel and Claude Debussy.
The exhibition draws on major international collections, including the National Gallery of Australia's superb holdings; St Petersburg State Museum of Theatre and Music; A.A. Bakhrushin State Central Theatre Museum, Moscow; Österreichisches Theatermuseum, Vienna; Victoria and Albert Museum, London and the Theatre Museum, London.
Now showing in Perth at the Art Gallery of Western Australia (6 February-5 April), From Russia with Love premieres in Canberra at the National Gallery of Australia on 15 May and runs until 22 August 1999.
For further information, please contact Christine Dixon, co-curator of the exhibition on telephone (02) 6240 6458; or Helen Power, Promotions Officer, Public Affairs on telephone (02) 6240 6431 or fax (02) 6240 6561 and after 29 March 1999, exhibition curator Roger Leong on telephone (02) 6240 6637.
Impressionist Legacy
Monet to Moore
The Millennium Gift of Sara Lee Corporation
Press preview wednesday 9 June 1999 at 12 noon
Official opening wednesday 9 June 1999 at 6pm by The Hon. John Howard MP Prime Minister of Australia
More than 50 major Impressionist and Post-Impressionist works including paintings and sculptures by Monet, Degas, Toulouse-Lautrec, Pissarro, Sisley, Braque, Chagall, Léger and Picasso go on show at the National Gallery, Canberra on June 11 until August 22.
The exhibition titled AN IMPRESSIONIST LEGACY - MONET TO MOORE: THE MILLENNIUM GIFT OF SARA LEE CORPORATION comes from the renowned art collection of the Sara Lee Corporation based in Chicago in the U.S.
Last year the Sara Lee Corporation took the unprecedented decision to disperse the top-tier of their famous collection. Faced with selling the collection or giving it to public museums and galleries - they decided on the latter path.
John H. Bryan, Chief Executive of the Corporation said at the time, 'It wasn't a hard decision ...... and if its an inspiration to society at large and the business community - that would be great. Sara Lee Corporation has for many years supported the arts in many different ways. We think it is an essential aspect of doing business in the modern world. Art has a positive influence on society, and it is our most enduring legacy.'
The company has donated works to 20 major art institutions in the US including The Metropolitan Museum of Art, New York, The National Gallery of Art, Washington, DC, The Art Institute of Chicago and The Fine Arts Museum of Boston and to a few select galleries in Europe including The National Gallery, London, The Vatican, Rome and The Rijksmuseum Vincent Van Gogh, Amsterdam. Outside the USA and Europe, the National Gallery of Australia will receive an important Impressionist painting by Alfred Sisley, Un sentier aux Sablons (The path at Les Sablons) 1883.
James N. Wood, director of The Art Institute of Chicago, said that 'Sara Lee Corporation's gift is unprecedented in its scope and impact. It is entirely consistent, however, with this company's tradition of civic and public responsibility, which over the years has benefited the arts community enormously. Now we and other institutions across America and the rest of the world will be immeasurably strengthened because of this far-sighted gift.'
The exhibition world tour opened at the Singapore Art Museum in early March, followed by the National Gallery in Canberra - the only Australian venue - and concludes with 3 venues in the U.S. This is the last opportunity to see the collection before it is dispersed to some 40 museums and galleries around the world.
'For nearly 2 decades, the employees of Sara Lee Corporation have been inspired by these great works of art in our offices. But it was never our intention to establish a permanent collection for the company' says Chairman and Chief Executive John H. Bryan. 'The time has come to place these works in public art institutions where they will be available to the widest possible audience.'
A superb full colour catalogue designed in the U.K. by Yale University Press and written by the distinguished American art historian Dr Richard Brettell and entitled MONET TO MOORE - THE MILLENNIUM GIFT OF SARA LEE CORPORATION will have its world release to coincide with the opening of the exhibition on 11 June in Canberra.
The exhibition will be opened officially by the Hon. John Howard MP, Prime Minister of Australia at a gala party at the Gallery beginning at 6pm on Wednesday 9 June.
Dr Brian Kennedy,
Director of the National Gallery of Australia said: 'This is a real coup
for the National Gallery and of course we are delighted. This is a stunning
exhibition that tells the story of Impressionism and Post-Impressionism
in a fascinating and lucid way and it is rare in my experience that an
exhibition has such broad appeal - there are so many delights, from Monet's
early masterpiece Jean Monet on His Mechanical Horse which goes to the
Metropolitan Museum of Art in New York, to 3 marvellous works by Degas
including Russian Dancers which is gifted to the National Gallery London
- a sensational Matisse Lemons on a Pewter Plate, destined for the Art
Institute of Chicago - works by Pissarro, Toulouse-Lautrec, Gauguin and
Henry Moore - and my favourites, 2 fabulous paintings, to my eyes, Braque's
Antwerp and Woman at an Easel (Green Screen).
Supported by 7 CTEC The Australian Magazine Prime TV
Tickets are available each day at the door or pre-purchased through Ticketek.
For further information please contact Public Affairs on telephone (02) 6240 6431 or fax (02) 6240 6561 or Michael Desmond, Senior Curator, Paintings & Sculpture Post-1900.
Exhibition Dates
26 April - 30 May 1999 Singapore Art Museum
11 June - 22 August 1999 National Gallery of Australia
12 September - 7 November 1999 North Carolina Museum of Art
19 November - 23 January 2000 Portland Art Museum
1 March - 30 May 2000 The Art Institute of Chicago


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Convicted arsonist Anthony Baye was sentenced Wednesday in Northampton, Massachusetts to up to 20 years in prison and 15 years' probation for setting 27 fires in that city between 2007 and 2009. Baye plead guilty to two counts of manslaughter and many arson related charges on Monday, just days after the start of his trial. The sentence brings closure to a long recovery process for the city.
Judge Constance Sweeney, prosecutors, and Northwestern District Attorney David Sullivan echoed a similar sentiment:
"The citizens of Northampton were true victims in this case," says Sullivan, "but they did something that we can all be very, very proud of, and that was they wanted the justice system to work."
State Prosecutor Brett Vottero says a plea bargain became a viable option last Saturday, a day after the first witness testimonies. But he says there was no new evidence to influence Baye's plea.
"In the end, I think we were successful because we had the truth, and the truth generally wins."
Defense attorney David Hoose declined to comment on most details of how the plea came about. But one factor was the prosecution's offer of a reduction of charges from first degree murder to manslaughter.
"And that was obviously a significant gesture in terms of getting this resolved," says Hoose.
Before he was sentenced, victims of the fires testified in a somber court hearing. Elaine Yeskie, the widow of Paul Yeskie, Senior and mother of Paul Yeskie, Junior, the two men who died in one of the 2009 fires, spoke briefly. Her granddaughter, Erica Desreuisseau read a longer statement on Elaine Yeskie's behalf and spoke after the hearing. She says the resolution is bittersweet.
"It's nice to hear that he's taking credit for what he's done, but at the same time, you can never get back what's been lost," says Desreeuisseau.
Desreuisseau says she and her mother have lived with Yeskie since the fire. Baye will be transferred to Cedar Junction prison in Walpole, Massachusetts.


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Team Canada Hosts Argentina For International Volleyball
WINNIPEG – The National Women's Volleyball Team is excited to be hosting the Argentina National Team for a series of four games, starting Thursday, June 23. These are the first international matches played in Winnipeg in almost 9 months and will provide the team valuable experience in its attempt to qualify for the 2012 London Olympic Games. The Olympic Qualifier is taking place January 2012.
The full match listing is (all times CST):
· Thursday, June 23 7:30pm at Investors Group Athletic Centre – University of Manitoba
· Friday, June 24 12noon at Investors Group Athletic Centre – University of Manitoba
· Sunday, June 26 3pm at Investors Group Athletic Centre – University of Manitoba
· Monday, June 27 12:30pm at the University of Brandon
Tickets are still available and are $10 each, with discounts for groups, seniors and students. Children 5 and under are free! Visit www.volleyball.ca or call (204)474-7227 for more information.
The Thursday, June 23 and Sunday, June 26 matches are being broadcast on select SHAW stations. Check your local listings for more details. There is also the opportunity to watch online by visiting http://www.volleyball.ca/content/webcasting.
Tricia Mayba (Winnipeg, MB), Janie Guimond (Becancour, QC), Tammy Mahon (Holland, MB), Claire Hanna (Calgary, AB), Dana Cranston (Fort St. John, BC), Carla Bradstock (Richmond, BC), Sarah Pavan (Kitchener, ON), Marisa Field (Kelowna, BC), Nadine Alphonse (Montreal, QC), Tasha Holness (Calgary, AB), Marie-Pier Méthot (Quebec City, QC), Colette Meek (Sherwood Park, AB), Lucy Charuk (Tsawwassen, BC), Brittney Page (Vernon, BC), Kyla Richey (Roberts Creek, BC), Lauren O'Reilly (Langley, BC), Elizabeth Cordonier (Vancouver, BC)
Head Coach: Arnd Ludwig
Assistant Coach: Scott Koskie
Kevin Parsons - Team Canada Volleyball Centre
Phone: (204)474-6645 | Fax: (204)474-7672 | Email: firstname.lastname@example.com


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David L Rimm, MD, PhD
Professor of Pathology and of Medicine (Medical Oncology); Director of Pathology Tissue Services; Director of Translational Pathology
Research Interests
Breast Neoplasms; Immunohistochemistry; Medical Oncology; Melanoma; Pathology; Biomarkers, Pharmacological
Research Organizations
Pathology: Pathology Research | Rimm Lab | Tissue Services: Specialized Translational Services
Cancer Center: Signal Transduction
Skin Diseases Research Center, Yale
Research Summary
My lab has a strong translational theme and has two main directions: 1) development of new quantitative approaches to pathology and their use to classify tumors by prognosis or predict response to cancer therapy (cancer tissue biomarker research); and 2) the molecular analysis of growth factor receptors and signaling. Studies fall into 3 groups. Group 1: translational studies using tissue microarray technology and AQUA (automated quantitative analysis) applying basic molecular observations and tools to diagnostic problems in pathology. Main topics include predicting response to therapy in breast cancer and predicting metastasis in breast cancer and melanoma. Group 2: the examination of mechanisms of signaling by Met, (the HGF/SF receptor), ErbB family members and other receptor tyrosine kinases (RTK) in epithelial tumors. We are particularly interested in translocation of these receptors to the nucleus. Finally, Group 3: the use of spectral/spatial analysis tools to improve diagnostic accuracy in cytopathology.
Specialized Terms: Quantitative Pathology; Cancer Tissue Biomarkers; Melanoma; Breast Cancer; Cell-cell adhesion in cancer; Translation of molecular techniques to diagnostic cytopathology; General Cytopathology; Immunohistochemistry; thyroid pathology
Extensive Research Description
Nearly 100% of Dr. Rimm's lab efforts are related to cancer. He has largely focused on tissue biomarker research. His most innovative research has involved construction of patient cohorts using the tissue microarray format and the development of methods for quantitative analysis of protein expression on tissue microarrays and whole tissue sections. He was the lead author on a recent paper in Journal of Clinical Oncology that sets forth guidelines for construction of tissue microarrays from cooperative group clinical trial samples. This expertise has landed him positions on correlative science committees in the ALTTO and TEACH breast cancer clinical trials. He has also published extensively in the field of biospecimen science including a series of papers published in Laboratory Investigation, the most popular being cited over 500 times[2]. He is a regular invited speaker at the Biospecimen Research Network annual meeting and is supported by a large contract from the Office of Biospecimen and Biorepository Research. However, his most innovative efforts have been related to automated quantitative analysis of formalin fixed, paraffin embedded tissue. He and his lab developed the AQUA method of quantitative immunofluorescence that was published in 2002 in Nature Medicine (over 350 citations). This technology attempted to remove the subjectivity from the analysis of immunohistochemistry specimens by using co-localization to define regions of interest, rather than feature extraction of pathologist defined subregions. There are over 100 publications in the literature from labs in the US and around the world that use this technology, including many in high impact journals (NEJM, Nature, Cancer Cell, JCO, etc). The technology has been patented and was the founding intellectual property of HistoRx in 2004. The company has largely used the technology to assist pharmaceutical companies in development of companion diagnostics. Last year, the technology was licensed to Genoptix, a CLIA lab in California that now delivers AQUA read, standardized measurements of ER, PR and HER2 on patient specimens. This effort represents a pathway from Dr. Rimm's lab to the clinic.
Selected Publications
Proinvasion metastasis drivers in early-stage melanoma are oncogenes
Scott KL, Nogueira C, Heffernan TP, van Doorn R, Dhakal S, Hanna JA, Min C, Jaskelioff M, Xiao Y, Wu CJ, Cameron LA, Perry SR, Zeid R, Feinberg T, Kim M, Vande Woude G, Granter SR, Bosenberg M, Chu GC, Depinho RA, Rimm DL, Chin L. (2011) Proinvasion metastasis drivers in early-stage melanoma are oncogenes, Cancer Cell 20:92-103
Standardization of Estrogen Receptor Measurement in Breast Cancer Suggests False-Negative Results Are a Function of Threshold Intensity Rather Than Percentage of Positive Cells
Welsh AW, Moeder CB, Kumar S, Gershkovich P, Alarid ET, Harigopal M, Haffty BG, Rimm DL: (2011) Standardization of Estrogen Receptor Measurement in Breast Cancer Suggests False-Negative Results Are a Function of Threshold Intensity Rather Than Percentage of Positive Cells, J Clin Oncol 29, 2978-2984
Cancer and leukemia group B pathology committee guidelines for tissue microarray construction representing multicenter prospective clinical trial tissues
Rimm DL, Nielsen TO, Jewell SD, Rohrer DC, Broadwater G, Waldman F, Mitchell KA, Singh B, Tsongalis GJ, Frankel WL, Magliocco AM, Lara JF, Hsi ED, Bleiweiss IJ, Badve SS, Chen B, Ravdin PM, Schilsky RL, Thor A, Berry DA: (2011) Cancer and leukemia group B pathology committee guidelines for tissue microarray construction representing multicenter prospective clinical trial tissues, J Clin Oncol 2011, 29:2282-2290
Tissue Biomarkers for Prognosis in Cutaneous Melanoma: A Systematic Review and Meta-analysis
Rothberg BE, Bracken MB, Rimm DL (2009).Tissue Biomarkers for Prognosis in Cutaneous Melanoma: A Systematic Review and Meta-analysis. J Natl Cancer Inst. 101(7):452-474
Automated quantitative analysis (AQUA) of in situ protein expression, antibody concentration, and prognosis
McCabe, A., Dolled-Filhart, M., Camp, R.L., and Rimm, D.L. (2005). Automated quantitative analysis (AQUA) of in situ protein expression, antibody concentration, and prognosis. J. Natl. Cancer Inst. 97:1808-1815.
What brown cannot do for you
Rimm, D.L.. (2006) What brown cannot do for you (commentary) Nat Biotechnol 24, 914-916.
- Algorithms for Automated Tissue Microarray Analysis Reveal Novel Disease Sub-classifications. Camp, R.L. Chung, G.G., and Rimm, D.L. (2002) Algorithms for Automated Tissue Microarray Analysis Reveal Novel Disease Sub-classifications. Nature Medicine 8(11):1323-8


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By Brendan Conway
Market check: U.S. markets are setting up for a decline Friday. J.P. Morgan Chase's (JPM) higher-than-expected revenues, stronger investment-banking results and better retail financial-services numbers probably won't be enough to shift the focus away from the latest Spanish-debt and Chinese-growth concerns, both of which weighed on European markets. Spanish yields are edging ever closer to 6% after data showed that the country's banks were monstrous borrowers from the European Central Bank in March, boosting average net borrowings by almost 50%.
Looking East, China's 1Q GDP reading of 8.1% undershoots forecasts and proves the whisper-number doubters we quoted here Thursday at Focus on Funds correct. Meanwhile, don't look now, but last year's boogeyman, stock-market-correlation, is creeping back in. MKM Partners derivatives strategist Jim Strugger notes that the CBOE SPX Implied Correlation Index, a measure of options traders' view for future stock correlation, rose to 68.54 from 58.26 from late March to this week, one of a few gauges suggesting more trepidation in the market. "While these metrics are indicative of increased risk, we think it's important to appreciate that just such a brief flare-up is historically common at this point in the cycle and that the prevailing direction for volatility continues to be downward," he writes.
Fund watch: Is hedge-fund leverage back to pre-crisis levels? It's not entirely clear, but regulators' new disclosure standards show that they're probably getting close. Bloomberg has an in-depth look at the subject, occasioned by the big jump in assets reported by companies like Ken Griffin's Citadel, which reported $115.2 billion in regulatory assets in a March 30 filing, versus just $12.6 billion in net assets. The bigger numbers are the result of new rules requiring funds to show gross holdings, which includes those obtained through loans, short sales and hedging, as Bloomberg's Miles Weiss explains. Some funds are worried that the new disclosures will be viewed as measuring leverage and leverage only, which they don't actually do. But leverage is a big part of the new yardstick, as Gary Kaminsky of Rothstein, Kass is quoted explaining: "If you are heavily levered, obviously that will result in you having a larger gross asset number." Full coverage here.
In the news: Bloomberg's Nina Mehta reviews the Nasdaq OMX Group (NDAQ) ETF plan that we discussed on this blog Tuesday. The idea is to let ETF issuers pay market makers for creating more robust markets in thinly traded ETFs. The practice currently isn't allowed, and Mehta writes that Nasdaq's first two tries were rejected by regulators before this one. There are critics: "Trading shouldn't be incentivized in one security in a different way than it is for other securities," Tim Quast, founder of consultancy ModernNetworks IR LLC tells Mehta, adding that "All these are price- control mechanisms that conform behaviors to norms, which exacerbates arbitrage and diminishes investment and capital formation."
In case you missed it: See who thinks commodities may be entering an awkward phase. And we just finished a week of junk-bond outflows from ETFs and mutual funds, the first bout of high-yield negativity in months.


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Bag Tag Challenge 2k10
Bag Tag league • February '10 - January '12 • Oregon
League pictures · AB-DG Tag Shuffle at Lunchtime DGC and $ Dubs at Grand Lodge 9 /29 /10 · Picture 15 of 32
Great turn-out and a few new members take on Lunchtime DGC. Not a windy day like what usually awaits the disc hucking faithful. Then,onto Grand Lodge for a round of $ Dubs.
Thomas "T" D. uploaded this picture.


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An Emery County employee was arrested on March 8 at the Emery County building in Castle Dale. The defendant, Cardell Sackett was an employee in the Economic Development Office. He was charged with nine counts of distribution of a controlled substance in a drug free zone.
An informant alerted the Emery County Sheriff's Office that the defendant was allegedly selling prescription drugs.
Sheriff Greg Funk and Det. Garrett Conover arranged for some controlled buys from the defendant.
The defendant alleged he had prescriptions for a medical condition. But there were additional pills in his possession not associated with his prescription.
The defendant made his first appearance in court on March 12. He is being held at the Emery County jail on $135,000 bail.
The defendant has no prior history or arrests, His DOB is May 6, 1957.
With the various counts were different drugs and dates, count 1 a second degree felony alleges that on or about Dec. 12, 2012, the defendant did knowingly and intentionally distribute a controlled or counterfeit substance listed as morphine. Count two lists hydrocodone on or about Dec. 12, 2012. Count three on or about Dec. 12, 2012, lists diazepam.
Count four on or about Jan. 11 lists morphine; count five on or about Jan. 11, lists hydrocodone; count six on or about Jan. 11 lists diazepam; count seven on or about Feb. 7, 2013 lists hydrocodone; count eight on or about Feb. 7 lists diazepam; count nine on or about Feb. 22, lists hydromorphone.
Counts four, five, six, seven, eight and nine have been enhanced due to being in a drug free zone which is within 1,000 feet of a school or house of worship.


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>Health and Nutrition>Broken wrists are dumb.
Needs more cowbell!
• Keep doing stuff.
I've got a fever...
Posts which clearly have a story behind them and fail to include said story are dumb.
On your deathbed, you won't wish that you'd spent more time at the office. But you will wish that you'd spent more time running. Because if you had, you wouldn't be on your deathbed.
I don't like the way this is headed.
My wife's coworker crashed her bike this summer at a rail crossing and broke both of her thumbs. At least you can run with broken thumbs or wrists. There's always that.
Team 9.......
I'm guessing pain, ER visits, and drugs are part of the story.
Egad, this doesn't sound good.
Well at least someone here is making relevance to the subject. - S.J.
Biking is dangerous business!
Running is stupid
12-week layoff
As are broken ankles. Soon, this will all be a distant memory. Hope you get through it...now have a beer.
Better in November than April. So much for mileage goals.
So sorry. Maybe it will mean more running miles...?
Zoomy sorry to hear your news you should be mended ready for the 2013 1000 / 1000
Old age is when you move from illegal to prescribed drugs.


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We've been providing Quality painting services to residents and businessess in Solano County for over 10 years. With over 20 years of painting experience. Our priority is always our client's complete satisfaction. Over 50% of our projects are past clients or referrals.
Proudly Serving Solano County with the highest Quality of workmanship and products. Our client's are our best advertisers.
We're here to help you with your painting needs. From matching existing colors to designing a new color scheme. We offer the highest quality of craftmenship and products.


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By GARY ARRINGTONSports writer
After a short two-game preseason, the real thing started for the Emery High football team two Fridays ago. Manti, returning a veteran team this year and a preseason favorite for the 2-A state title, would be first up for the young but gritty Spartan team. Emery traveled to Manti the first Friday of September and came home with a 28-0 loss. Emery followed that up with another road game at North Sevier and this time Emery returned a winner, defeating the Wolves 33-14.
The scores of these two games are not reflective of how the Spartans played in these games. Against Manti, Emery turned the ball over six times by way of fumble or interception. That basically was the story of the game as Emery could not move the ball against the Templars; they just couldn't maintain a drive all the way into the end zone. Emery got close several times but just was unable to finish a drive.
Against North Sevier, the final score was not reflective of how much Emery dominated this game. Emery had nearly 500 yards of offense in this game while the Spartan defense held the Wolves at bay all night with the exception of two drives. Emery limited their opponent to 60 yards of offense in seven drives with the exception of the two touchdowns.
North Sevier and Emery battled to a 6-6 tie in the first half of their game. The Wolves scored first as Emery once again started the game slowly as they have done all season long. On their second possession of the game, the Wolves would score on a third and eight pass play from the Spartan 33-yard line to grab the early lead.
Emery would tie the score on their second possession of the night. Starting the drive at their own 35-yard line, Emery would run the ball 14 straight times with David Dyer scoring on a one-yard run. Dyer had moved to wing back for this game from his normal wide receiver position with the loss of Jesse Winn to an injury in the Manti game.
Emery had an opportunity to take the lead on their next drive but the Spartans fumbled the ball at the goal line according to the officials. Emery started the drive at their own 9-yard line and marched 90 yards until the fumble was called. To those on the goal line it appeared that Emery had both scored and had a knee down before the ball came loose.
In the second half of the game, Emery would not be denied. Emery scored on their first four drives of the half with only the last drive ending without a score but that drive ended with the game being over. Emery scored in the second half at the conclusion of a 65-yard drive, a 57-yard drive, a 71 yard-drive and a 60 yard-drive. Emery's defense limited North Sevier to 41 yards of offense in their first four drives of the second half as the Spartans dominated both sides of the ball.
Jesse Winn, after Dyer had got hurt at the end of the first half, decided the team needed him and dressed at half time despite a sore neck. One would never have known that Winn was injured since Winn scored the first three touchdowns of the second half to spark the Spartans.
Winn's first touchdown came on a 6-yard pass from Emery quarterback Spencer Labrum. Winn's second touchdown came on a 6-yard run around the right side of the Emery offense and the final touchdown for Winn came on a 26-yard run, also to the right side of the Emery offense. Emery's final touchdown came on a 60-yard pass play from Labrum to Dominic Rondinelli. Rondinelli caught about a 20-yard pass and scored after a couple of nifty moves in the open field.
Labrum finished the game three for five in passing for 85 yards and two touchdowns. Rondinelli completed a pass to Jake Bell for 15 yards for Emery's other passing yardage.
On the ground Emery would pick up 389 yards in this game. Rondinelli gained 119 yards on 16 carries. Winn, in only the second half of the game, picked up 104 yards on 10 carries. Cory Cox, from the fullback position, gained 81 yards on 14 carries. Dyer gained 46 yards in seven carries until he left the game and Nathan Thompson picked up 39 yards in eight carries in the game.
Brett Sorenson, from his middle linebacker position, led the team in tackles with nine. Linebackers Cory Cox and Marco Mota each had seven tackles in the game along with defensive end Taylor Weihing. George Sorenson and Zac Bury each finished with five tackles. This game ended with more hard tackles from different players than any of the previous games.
Against Manti, Emery gained only three yards in their initial possession and then on an attempted punt, the snap sailed over the punter's head, into the end zone and was recovered by a Manti defender for a touchdown. Emery trailed 7-0 just like that.
After the next Emery drive stalled after a single first down, Manti started their first drive at their own 46-yard line. After a 9-yard pickup on the first play, Manti scored on a 45-yard run and just like that, Emery trailed 14-0.
On Emery's next possession, the Spartans drove from their own 20-yard line to the Manti 36-yard line only to see the drive stall when the Emery quarterback threw an interception. On the very next Emery drive, the Spartans marched to the Templar 18-yard line where again the drive ended due to an interception. Emery's next two drives ended due to Spartan fumbles as they continually helped out the Manti defense with mistakes.
Jesse Winn ran the ball 11 times for 68 yards to lead the Spartan offense. Cory Cox gained 64 yards on 11 carries. Emery had 227 yards of offense in the game while Manti picked up 318 yards of offense.
Leading tacklers in the game were Marco Mota and Cory Cox with eight apiece from their linebacking positions. Right behind was Brett Sorenson, David Dyer and Jake Bell with seven tackles each.
Emery will play at home this week, as they will host American Leadership Academy this Friday night in Castle Dale. Game time is 7 p.m.


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- Faculty and Staff
Physics Department Faculty
Dr. Irma Kuljanishvili's Page
Irma Kuljanishvili
Assistant Professor
Department of Physics
College of Arts and Sciences
Saint Louis University
Shannon Hall
St. Louis, MO 63103
Phone: (314) 977-8699
Email: firstname.lastname@example.com
Dr. Kuljanishvili's research interests include but are not limited to nanoscience and nanotechnology.
- Quantum confinement and disorder in 2D systems, 1D wires and quantum dots (QD) devices. electronic and thermal transport in nanostructures, studies of defects and disorder in nanomaterials and devices
- Synthesis and characterization of novel nanoscale materials such as carbon nanotubes and graphene, for scalable device technologies and applications
- Scanning Probe Techniques; Scanning Capacitance Microscopy (SCM) and Spectroscopy, Scanning Tunneling Microscopy (STM) and Optical characterization techniques such as resonant Raman Spectroscopy and other local probe techniques
- SPM based lithography; Dip Pen Nanolithography, Nanoscale design, assembly and patterning techniques
Printed Archival Peer-Reviewed Journals Research Interests
- Walsh, K. A., Romanowich, M. E., Gasseller, M., Kuljanishvili, I., Ashoori, R., Tessmer, S. Scanning-probe Single-electronCapacitance Spectroscopy. Journal of Visualized Experiments, (77), e50676, DOI: 10.3791/50676 (2013).
- M. Minary, R. A. Bernal, I. Kuljanishvili, V. Parpoil, H. D. Espinosa, "Individual GaN Nanowires Exhibit Strong Piezoelectricityin 3D, NanoLett., 2012, 12 (2), pp 970-976. DOI: 10.1021/nl204043y
- I. Kuljanishvili, D. Dikin, S. Rozok, S. Mayle, V. Chandrasekhar, "Controllable patterning and CVD growth of isolated carbon nanotubes with direct parallel writing of catalyst using Dip Pen Nanolithography ", Small, Vol. 5, Issue 22, 2523, 2009, (Cover page article). DOI: 10.1002/smll.200900841
- S. H. Tessmer, I. Kuljanishvili, "Modeling single- and multiple-electron resonances for electric-field-sensitive scanning probe", Nanotechnology, 445503, (2008). DOI: 10.1088/0957-4484/19/44/445503
- S. H. Tessmer, I. Kuljanishvili, C. Piermarocchi, T. Kaplan, J. Harrison, "Nanometer-scale capacitance spectroscopy of semiconductor donor molecules", Physica B: Condensed Matter, 403 (19-20): pp. 3774-3780, 2008. DOI: 10.1016/j.physb.2008.07.003
- I. Kuljanishvili, C Kayis, S. H. Tessmer, C. Piermarocchi, T. Kaplan, L.N. Pfeiffer, K.W. West "Scanning probe spectroscopy of semiconductor donor molecules", Nature Physics 4, 227-233, 2008, also see Nature Physics News & Views article by M.Y. Simmons: "Probing dopants at atomic level", Nature Physics 4,165-166, 2008. DOI: 10.1038/nphys855
- S. H. Tessmer, I. Kuljanishvili, C. Piermarocchi, T. Kaplan, J. Harrison, "Scanning Charge Accumulation Probe of Semiconductor Donor Molecules", AIP Conference Proceedings, Workshop on Mesoscopic Physics, WNMP07, 130-134, 2008. DOI: 10.1063/1.2915582
- G. Gabrielse, P. Larochelle, D. Lesage, B. Levitt, W. S. Kolthammer, I. Kuljanishvili, R. McConnel, J. Wrubel, F.M Esser, H. Gluckler, D. Grzonka, G. Hansen, S. Martin, W. Oelert, J. Schillings, M. Schmitt, T. Sefzik, H. Soltner, Z. Zhang, D. Comeau, M.S. George, E. A. Hessels, C.H. Story, M. Weel, A. Speck, F. Nillius, J. Waltz, T.W. Hansch " Antiproton Confinement in a Penning Trap for Antihydrogen" , PRL, 98, 113002, 2007. DOI: 10.1103/PhysRevLett.98.113002
- I. Kuljanishvili, S. Chakraborty, I. J. Maasilta, S. H. Tessmer, and M. R. Melloch,"Modeling electric field sensitive scanning probe measurements for a tip of arbitrary shape," Ultramicroscopy. 102-1, 7-12, 2004. DOI: 10.1016/j.ultramic.2004.07.004
- I. J. Maasilta, S. Chakraborty, I. Kuljanishvili, S. H. Tessmer, and M. R. Melloch, "Imaging a Two-Dimensional Electron System in a Quantizing Magnetic Field," Phys. Rev. B. 68, 205328, 2003. DOI: 10.1016/S1386-9477(02)01072-X
- I. J. Maasilta, S. Chakraborty, I. Kuljanishvili, S. H. Tessmer, and M. R. Melloch, "Tunneling Images of a 2D Electron System in a Quantizing Magnetic Field," Physica E: Low-dimensional Systems and Nanostructures, 18(1-3): pp.167-168, 2003. DOI: 10.1016/S1386-9477(02)01072-X
Peer-Reviewed Conference Papers
- S. E. Shafraniuk, I. Kuljanishvili, Electric Energy Generation By Arrays Of Carbon Nanotube Junctions, Paper #: HP-007 Proceedings of The 27th Army Science Conference, November 29 - December 2, 2010.


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Is it okay with you if the Democrats and Republicans mix it up and sit together tonight for the State of The Union?
Should Rahm Emanuel be allowed back on the mayoral ballot in Chicago?
Are You Mad That Olbermann's Gone?
Do you believe that Todd Palin cheated on Sarah?
Are you saddened or gladdened by Joe Lieberman leaving the senate?
It is the 1st anniversary of the election of Scott Brown to the the U.S. Senate. Are you satisfied with his performance?
If you were in the US House would you vote to repeal ObamaCare tomorrow?
Should Martin Luther King Day be a paid national holiday?
Do you think the deranged Tucson shooter should get the death penalty?
Did you watch the Tucson Memorial Service last night?


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The New Balance 870 v3 is a lightweight trainer featuring support for mild overpronation. If offers moderate cushioning and a a semi-soft ride.
Enjoy a lightweight and supportive ride with the New Balance 870 v3. A traditionally posted design helps combat overpronation while a RevLite midsole provides enough cushioning for your long runs without weighing you down. Built with a 9mm heel to toe offset, this shoe helps keep your stride efficient, so you can focus on the road ahead.
Model Number:
Weight: 8.1 oz (size 8)
Stack Height: Heel (24mm), Forefoot (15mm)
Available Widths: B=Medium, D=Wide
How It Fits (based on width B)
Assembly: Imported
Comments: I had run in Mizuno Inspires since they were first introduced. But when the Inspire 10s came out, they were too firm and stiff for my liking. So I hunted for a replacement. The NB 870 comes as close as anything I've tried. I'm a fairly efficient runner with a mid-foot strike who only needs mild stability. I also want a lightweight trainer with a normal drop, not a 4mm or even 0 drop. The 870 does run slightly wider than the Inspire 9, but not so much that it's sloppy. Mizunos always were known as being narrow, which suited me fine since I'm a narrow B. The 870s seem to have a very similar foot flex as the Inspire 9s and a similar toe off and overall foot feel. They also are moderately cushioned without being mushy. As a mid-foot striker, I do need some cushioning under the balls of my feet, and the Mizuno 10 just doesn't have it. Now I just hope NB doesn't go totally revamping the 870.
From: VB, CA, USA. May 27th 2014


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Attach the Parallel Guide to your Festool PS 300 or PSB 300 to make cuts parallel to material edge, up to a maximum width of 7 7/8 inches (200 mm) from the edge. Steel parallel guide attaches quickly and without the need for tools to the base plate of the jigsaw with thumb screws.
© Copyright
Festool USA, Tooltechnic Systems, LLC. All rights reserved. Festool reserves the
right to correct any erroneous information on this site.


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This exhibit introduces new ways of diagnosing and monitoring disease by using nanomaterials. Visitors conduct a lab test by select one of three sick patients and using a real pipette to add the patient's blood sample to a glass slide (the GreeneChip). An on-screen animation explains what happens at the nanoscale, and the visitor is presented with a diagnosis.
- Diseases can be detected before a patient has any noticeable symptoms.
- A patient has a better chance of beating a disease if treatment starts very early in the disease's progression.
- The GreeneChip tests for many different diseases at the same time using genetic material from a pathogen "library" and a sample from the patient.
- Nanoscience, nanotechnology, and nanoengineering lead to new knowledge and innovations that weren't possible before.
NISE Network products are developed through an iterative collaborative process that includes scientific review, peer review, and visitor evaluation in accordance with an inclusive audiences approach. Products are designed to be easily edited and adapted for different audiences under a Creative Commons Attribution Non-Commercial Share Alike license. To learn more, visit our Development Process page.