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Social media is going ape over a chimp who has been filmed intelligently scrolling through Instagram posts.
View this post on Instagram
Every night I go to bed thinking how I can help change the world and inspire people to love our beautiful wildlife and ecosystems! I'd legit take a bullet for any animal at any day and anytime that's just how much I care for them ! Idk what kind of fire god set in my soul for animals but the love is deep and real ! I was placed on this earth for 1 thing and that's exactly what I'll do for the rest of my life ! Let's all love one another and save the planet together as one ☝ 🌎 @kodyantle TAG A ANIMAL LOVER ❤
The video appeared at therealtarzann Mike Holston's instagram page four days ago and has since gone viral, with over 1.5 million views as of writing.
"The chimpanzee appears to have mastered the ability to swipe through different photographs, but fortunately does not appear to know how to properly frame an image or switch between still and video modes," notes the UK's Daily Mail.
Someone online expressed concern over the ape's apparent intelligence:
This is not terrifying at all. pic.twitter.com/ExUfwZa2Gh
— Paul Joseph Watson (@PrisonPlanet) April 25, 2019
And so it begins…! o.O #PlanetOfTheApes
— Alexandre Lessa Mattos (@Badernacast) April 25, 2019


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Clinton Thompson <firstname.lastname@example.com>
st: unbalanced by design
Thu, 3 Nov 2011 16:33:51 +0100
Hello All,
I have longitudinal data in the sense that my outcome variable was
assessed at three time points (baseline, month 1, month 2) and I'm
interested in analyzing how this variable is affected by a number of
other covariates, some of which were assessed (by design) only at
baseline, at baseline and month 2, and the remaining at all three time
points. I've scoured the StataList archives, skimmed through my
textbooks, and otherwise racked my brain for a way to analyze this
data in such a way as to incorporate all the data in the various
models, even when the covariate(s) was/were assessed at just baseline.
I've considered a couple of different ways to analyze the data (e.g.
-xtreg-, -xtgee-) and although they perform as expected -- those data
points that were assessed at month 1 and month 2 for the outcome but
weren't assessed for the independent variable are omitted from the
model -- I'm wondering if there is another approach that incorporates
more (all?) of the data. I realize this isn't a Stata question per
se, but given the richness of Stata's longitudinal/panel data modeling
capabilities, I'm hopeful that a Statalist member may be able to point
me in the right direction.
I'm using Stata/SE 11.2.
Many Thanks!
Clint Thompson
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Social Media expert, Prince Leonard, is in studio to discuss the current political climate, how race relations has changed over the years, college safe spaces, and more. And comedian Nick Cavasier sits in as guest co-host, and producer Tras Swartout returns for an episode. Plus, the Scotch Ale, from Black Label Brewing, in Spokane, WA, is our Beer of the Week!
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I attended the Midwest Home Magazine Wine+Dine By Design tasting on June 23rd in the Valcucine space at International Market Square. It was originally supposed to be held in the Bespoke showroom, however it had to be switched due to the last-minute arrival of some ill-fitting countertops for their display floor. Dara Moskowitz Grumdahl was in attendance and food was provided by Mike DeCamp, chef de cuisine at La Belle Vie. A good crowd of about 200 showed up to sample four selections from the Z Wines catalog of South African wines. I stopped by Z Wines' stand at the MN monthly Food & Wine Expo in February, but only recall tasting the Our Daily Red. All four showed very nicely that evening.
I have to award Best of Tasting to the 2008 Tygerberg Sauvignon Blanc [not sure on the price, all of these are available at Haskell's & France 44]. I recently tasted its companion Gewürztraminer and wasn't super impressed. The Sauv Blanc, though, had a very funky/citrus nose and a body that grips your tongue with eucalyptus and a lengthy lip-smacking acidic finish. Any Marlborough Sauvignon Blanc fans out there would be right at home with it. Also poured were the 2008 Bush Camp Our Daily Red [the runner up, a dusty berry nose with a smooth and silky jammy-red-fruit body], the 2005 Overgaauw Cabernet Sauvignon [funky/barnyard flavor profile, black olives predominate], and the 2008 Bristle Dry Cabernet Sauvignon Rose [a very nice Rose with crisp Strawberry flavors and a clean, lingering finish]. Overall, a little crowded [due to the last minute venue-shuffling] but not a bad way to kill a couple hours on a weekday.


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text:
He'd have been ninety-two years old today. He died in 1990; his greatest works were done by the mid-sixties. Art Blakey, drummer and bandleader, was a jazz visionary whose intuitions and innovations are a crucial and enduring strain of the modern tradition. Having drummed with every great bopper in the late forties and early fifties (and provided a decisive kick to Thelonious Monk's first recordings under his own name), Blakey sensed that the harmonic complexities of the manner threatened soloists with a hectic, computer-like reactivity, and stripped the music down to more elemental, blues-based strains. (Miles Davis, Horace Silver, and others had a hand in the project, too.) Without sacrificing the meat of the music, he lent it a thunderous swing while giving such original soloists as Clifford Brown, Kenny Dorham, Hank Mobley, and Jackie McLean a spacious landscape in which to invent. The modal structures of Davis and John Coltrane fit in with his hot grooves, and he brought in such advanced young thinkers as Wayne Shorter and Freddie Hubbard to cut loose or almost-loose while remaining finely tethered to his visceral beat. (He was also a significantly Afro-centric musician, whose early work with large groups of drummers foreshadowed some of the wilder percussive extravagances of the sixties.)
Eventually, the pull of his backbeat and the tight ensemble writing were a bit of a bridle for his key soloist and composer, Shorter jumped ship for Miles Davis's great quintet in 1964 (its drummer, the eighteen-year-old Tony Williams, was an even more loosely tethering drum genius, but that's another story), and for Blakey it was the beginning of a long and sentimental artistic decrescendo. But the great work had been decisively done; here's an extraordinary record of it, live from Italy in 1963, with a sextet that included Shorter (the first soloist here) and Hubbard; catch the way that Blakey prompts Shorter's ever-freer wanderings, starting around 2:45, and the way he leaves room for his bassist, Reggie Workman (also a major figure of the new generation), to push the rhythms in his own directions. (He was also a superbly melodic soloist, a hard thing to be as a drummer; my favorite Blakey performances are with Monk, Coltrane, and Coleman Hawkins in these 1957 recordings—his solos and his duets with the bassist Wilbur Ware.)
I saw Blakey in the late seventies; though his soloists weren't very original and the style already had an air of déjà entendu, his own thunder was as sweet as ever.
P.S. The most joyful time-killer in the jazz Internet is the discography; here's a superb one for Blakey, one of a long list of essential ones at the Jazz Discography Project site.


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"Tell the chef, the beer is on me."
David Hockney fumed at the opening, Gillian Wearing captured Bolt, and Susan Philipsz mashed up some anthems . . . but what else happened when we challenged artists to respond to the Games?
David Hockney
The painter and committed smoker was inspired by a detail in Danny Boyle's spectacular that passed others by: Isambard Kingdom Brunel's unlit cigar – and this in spite of belching chimneys and live soldering. Hockney's iPad painting appeared in last week's g2, and read: "I noticed there was a lot of smoke from fireworks but none from Brunel's cigar. Does this mean that the BBC sees art as directive (unlit) and not reflective (lit)? Debate." People did (look up the comments).
Olafur Eliasson
The artist who put an artificial sun into Tate Modern's Turbine Hall used one of his own-design solar lamps to pay tribute to the Olympians' speed and dynamism. He wrote: "For me, the Games are about being together, about sharing attention and ideals. They are about feeling connected to people from all over the world, physical engagement and energy. Light generates action: it is as physical as anything you will see in the Olympics."
Mark Titchner
The Turner 2006 nominee picked up on the anxious mood of the early days, before the medal rush. One layer of text in his artwork quotes from the tabloid press ("Historic bronze for our brilliant gymnasts, but please can we have just one gold. Any sport"); the other layer pays tribute to Team GB's eventing horses: Lionheart, Opposition Buzz, High Kingdom, Miners Frolic, Imperial Cavalier ("Do they get medals, too?").
Richard Wentworth
The sculptor, curator and lecturer took a break from a camping trip (location undisclosed) to watch Bradley Wiggins take gold in the time trial. He wrote: "The 30-year habit of summer camping sets me apart from world events. Catching sight of televisions in bars is the kind of glimpsing I enjoy – images, languages and events all arbitrarily associated with time and displacement. The latch on this door will remind me of the warm domestic afternoon in early August 2012 when our friends invited us to watch London as a site of Olympic spectacle. An odd thing if you know the city well, but much stranger if you are camping a long way away."
Michael Rosen
The poet and former children's laureate performed his own new poem about gold medal anxiety – still an issue even at this stage, with Team GB behind France. "I love sport," Rosen said, "but become uneasy when it is overly shackled to nation, corporate grabbing and only-first-will-do-ism. All three and I'm nearly out of here. Imagine there's no countries, it's easy if you try." Here's an extract from his Olympic poem:
I've got gold medal anxiety, gold medal neurosis
doctor doctor give me a diagnosis
Day 1 day 2 day 3 day 4
you was down I was on the floor
feeling such a failure
would I finish below Australia?
Then from the heavens came day 5
I discovered the reasons I am alive
better than when I met Christopher Biggins
Glover, Stanning and Bradley Wiggins.
I've got gold medal anxiety, gold medal neurosis
doctor doctor give me a diagnosis
Then before I came to grief
came the moment of pure relief
as the afternoon began to unfold
I ... won ... double gold.
And yet I had cause to fret
there were silvers for me to regret
I gave the medal table a glance:
Horrors! ... Above Brand GB ... France!
• Read the poem in full
Gillian Wearing
The Turner prize 2007 winner was in the Olympic stadium on Sunday 5 August as Usain Bolt crossed the 100m finish line, and took this image (right). She said: "I got into track and field through watching Sebastian Coe and Steve Ovett's memorable races against each other at the Moscow 1980 Olympics. After that, I have never missed the opportunity to be a couch Olympics supporter. I was in row 48 of the stadium, quite high up, but just above the finishing line. This image is just after the 100m final. Both Chris Gatlin and Usain Bolt have cameras trained on them. In the corner of the image, Yohan Blake, the silver medal winner, congratulates Gatlin on his bronze."
Jackie Kay
The poet and novelist read three new poems, a kind of writer's triathlon, inspired by the Brownlee brothers' medal success in that event, as well as Team GB performances in javelin and cycling. She wrote: "I was struck by the idea that sharing somebody's disappointment is as intense and intimate as sharing their success. I used to be a long-distance runner, a Scottish schoolgirl champion, until I broke my leg and didn't walk properly for a year and a half. So I was thinking about that, too. How quickly we move into our unfit futures!" Here's the final leg of her poem, Point of View:
Farewell Victoria Pendleton
It was a day of drama in the velodrome
As you watched agog, OMG,
As Trott took the omnium
Against the odds of a collapsed lung
Coming home, coming home.
Not one but two golds to her name.
You saw the photo of not so long ago
With young Laura and her Bradley hero.
Not long later, you watched Victoria
Who rode as close to her rival
As a synchronised swimmer
And all the drama was in the lane error
Where the line was crossed in the velodrome
As close as step to pets; palindromes,
The Mearest of lines, the closing line.
So, farewell Victoria dearest, you say.
You salute her. She runs her last lap, and bows.
The last time I'm going to go through that, she says.
And even her brave coach is in bits.
We knew it would end in tears, the TV says.
And they roll down your cheeks too – your armchair, you.
The greatest ever theatre – sport's soap opera.
Victoria. Oh Victoria. Collect your silver!
Your ordeal is over: take your seat on the throne.
• Read the poem in full
Cornelia Parker
The sculptor and installation artist took this image of her own living room, explaining: "I haven't been able to focus on art since the Olympics started, not quite managing to peel my eyes away from the TV. After too many days of viewing, gorged with patriotism and pride, I starting to behave oddly … too much information perhaps, too much success. Now I find myself draping my daughter's union flag over the TV in a feeble attempt to blot it out – but in the process I manage to cause a minor marital rift as my enraged husband misses a crucial bit of action."
Wolfgang Tillmans
The artist and photographer, newly returned to London from Berlin, took this photograph of an Olympic traffic lane in east London. The lanes are now suspended but will come back into force for the start of the Paralympics.
Unable to peel her eyes from the TV, Cornelia Parker finds herself behaving oddly – by trying to blot out the images with her daughter's flag
From Kristin Scott Thomas's Parisian scene to Philip Pullman's much-loved Monet, celebrities and big names in the art world talk us through their favourite works
Writers, film-makers, artists and academics 'dismayed' at suspension of four musicians, and urge the London Philharmonic Orchestra to reconsider
A letter to the Telegraph (scroll down) expresses what so many people in the audience at the London Philharmonic Orchestra's excellent opening concert were saying privately last night: that the measures against the four musicians who signed a letter to the Independent protesting against the Israel Phil's appearance at the BBC Proms were absurdly draconian.
Those who signed today's Telegraph letter include filmmakers Mike Leigh and Ken Loach; actors Sam West, Simon McBurney and Miriam Margolyes; writers AL Kennedy, Philip Hensher, Kamila Shamshie and Ahdaf Soueif; artists Cornelia Parker and Mark Wallinger; composer Steve Martland; playwright Lee Hall and others, including many academics and scholars.
The LPO has certainly made a crisis out of a drama. I'm not sure it could have stoked the flames of this episode more effectively if it had tried.
Here's the text of the letter:
We are shocked to hear of the suspension of four members of the London Philharmonic Orchestra for adding their signatures to a letter calling for the BBC to cancel a concert by the Israel Philharmonic Orchestra.
According to a statement from LPO managers, quoted in the Jewish Chronicle, the action was taken because the musicians included their affiliation to the orchestra with their signatures – a convention that is common practice within the academic world, for example.
One does not have to share the musicians' support for the campaign for boycotting Israeli institutions to feel grave concern about the bigger issue at stake for artists and others. There is a link being created here between personal conscience and employment, which we must all resist.
A healthy civil society is founded on the ability of all to express non-violent and non-prejudiced opinions, freely and openly, without fear of financial or professional retribution.
The LPO management states that, for it, "music and politics don't mix" – yet its decision to jeopardise the livelihoods of four talented musicians for expressing their sincerely held views is itself political.
Why should it be so dangerous for artists to speak out on the issue of Israel/Palestine? We are dismayed at the precedent set by this harsh punishment, and we strongly urge the LPO to reconsider its decision.
Whitechapel Gallery's choice of government-owned art includes works by Andy Warhol and Grayson Perry
A video of a man hanging precariously from a ladder seems somehow appropriate for a collection intrinsically linked to politics and politicians, as does the portrait of Elizabethan statesman William Cecil which recently hung in Ken Clarke's office. A phallic geyser bursting out of the earth may be less obvious.
"People will make their own links," said the artist Cornelia Parker about a new exhibition she has curated, choosing 70 works from the Government Art Collection (GAC).
The show is the second in a series of five at the Whitechapel Gallery in London in which different people are let loose among the 14,000 works in the collection.
Parker said the experience had been fun. She trawled through books and printouts before she decided that she was going to display the works according to colour. "I went through lots of ideas and this one about colour is the one that stuck and it gave me permission to be very eclectic," she said.
It means Old Masters are hanging next to modern work. A portrait of Elizabeth I by Marcus Gheeraerts the Younger, for example, is near to Brews, a strikingly orange work, by pop artist Ed Ruscha and a big photograph in Liberal Democrat yellow by Jane and Louise Wilson which recently hung in Nick Clegg's office.
Other works in the show include Grayson Perry's Print for a Politician, which George Osborne personally chose for his office, a Peter Blake screenprint of the Beatles, previously in the residence of the deputy UK representative at the UN in New York, some colourful William Turnbull screenprints last in the ambassador's residence in Panama and an Andy Warhol portrait of the Queen from 1985.
Parker has also chosen one of her own works, which was one of a suite of six that for 10 years hung in the Chancellor of the Exchequer's wood-panelled dining room while Gordon Brown was there – a feather from the pillow of Sigmund Freud.
Spending cuts means the GAC is not buying anything for two years, the first time it has been forced to stop collecting since the second world war. It has been acquiring works for 113 years and around two-thirds are out on display at government buildings and embassies worldwide at any time.
Next at the Whitechapel after Parker's choice will be the selection of historian Simon Schama, and after that staff from 10 Downing Street will be making the decisions.
• GAC selected by Cornelia Parker: Richard of York Gave Battle in Vain is at the Whitechapel Gallery in London, 16 September-4 December.
Folkestone, Kent
Unlike Margate, just along the coast, Folkestone's creative plans for regeneration do not include the building of a swish gallery by a big-name architect. Instead, the town has taken a more subtle route. In 2008, backed by the Creative Foundation, whose chair is the local philanthropist Roger de Haan, it staged its first triennial, an event so joyful and clever its memory ha s outlasted, in my own case, that of pretty much all the art I've seen since. Scattered so as to make you feel that you alone had discovered each piece, the work was frequently beautiful, occasionally funny and always thought-provoking. Even better, it brought Folkestone's considerable charms – the town, after all, was once so grand it was the favoured holiday destination of Edward VII and his mistress, Alice Keppel – into sharp relief. Stumbling on all this art, so cunningly situated, the future and the past seemed suddenly to work together. I left feeling full of hope.
Three years on, and the Creative Foundation's wisdom is now obvious. Gallery or not, Folkestone is already well on its way to having something that Margate painfully lacks: a permanent collection. Several of the pieces that were commissioned for the 2008 triennial have remained in the town, most notably Tracey Emin's poignant Baby Things – a bonnet, booties and matinee jacket cast in bronze and then "abandoned" on railings and beneath park benches – and Mark Wallinger's Folk Stones, a collection of 19,240 numbered pebbles, each one representing a soldier killed on the first day of the Battle of the Somme, many of whom would have departed there from the town's harbour (Wallinger's piece has grown so beloved, it gets its own poppy wreath come Remembrance Sunday).
Meanwhile, the foundation's investment in existing real estate is slowly paying off. Fewer shops stand empty. On the harbour, a fabulous new restaurant has opened, its fish fresh off the boats each morning.
It pains me, then, to report that the second triennial is not quite so successful a proposition as the first. On the train, inspecting my blisters – there is a lot of walking to do: its brilliant and determined curator, Andrea Schlieker has commissioned 19 artists, some of whom have contributed more than one work – I tried to convince myself that disappointment was inevitable, given my ecstasy three years ago. But the truth is that this a more patchy affair. In 2008 artists were encouraged to use the town and its ghosts as their inspiration, something that more than justified the triennial's obsession with site specificity. In 2011 the feel is deliberately more outward-looking: its subtitle, after all, is A Million Miles From Home, a theme that nods both to Folkestone's geography – gazing out to France on a grey day, it can feel like the end of the world – and its status as a place where asylum seekers and other immigrants often end up.
The result, though, is a show that is sometimes off-puttingly preachy. The Israeli artist, Smadar Dreyfus, for instance, has recorded in their entirety seven lessons in Israeli schools, lessons that take in such loaded issues as citizenship and the Law of Return. Sitting in the pitch black of an abandoned office building listening to these lessons – a translation is provided on screen in the form of "word pictures" – is an object lesson in the bullying and self-indulgence involved in a certain kind of contemporary art. It's unendurable.
My advice? Avoid the film installations (I counted – yawn – four). Ditto the work that requires too lengthy explanation (in Folkestone's delightfully spooky Masonic Hall, a new and extremely winning venue in 2011, the artist Olivia Plender gamely tried to unpick for me her film installation Are Dreams Hallucinations During Sleep or Hallucinations Waking Dreams; alas, I am still none the wiser – all I can tell you is that it involves a local am dram group doing improvisations). No, head instead straight for the stuff that will hit you bang, smack in the solar plexus. Luckily, there is plenty of it.
The best work makes the most of Folkestone's beguiling topography. Begin your tour high on the Leas, almost as far west as HG Wells's house (designed by Voysey, it's now an old people's home), where you will find Cristina Iglesias's magical Towards the Sound of Wilderness. Iglesias has cut a path through undergrowth – a kind of secret passage – which leads to her "intervention", a terrific mirrored box-like structure whose walls, crafted to resemble thorns, call to mind The Sleeping Beauty. Step into it and, from a window, you will see a Martello tower now entirely covered in ivy. When the hundreds of birds that nest there sing, the experience is genuinely otherworldly.
From here, head east towards the Victorian water-powered Leas Lift. Riding the lift has always been a hairy experience – the descent is dramatic and always, somehow, unexpected – but now it's comical, too. As the mechanism begins to roll, so does Martin Creed's sound installation Work No. 1196, Piece for String Quartet and Elevator: a series of descending scales. Impossible not to smile.
Leave the lift, and you're on the site of the still-mourned Rotunda amusement park. Here stands AK Dolven's desolate and beautiful Out of Tune, a huge tenor bell suspended on wire between two beams. Pull the rope, and it will ring out, melancholy and ghostly. Dolven, who is Norwegian, speaks of having brought something – this old bell – back to life. But to me, it sounds more like a death knell, or a warning.
And perhaps it is. There is so much of Folkestone still to save. Close by is the old harbour railway station: hard to believe, standing among the rust and the weeds, that it was here that the Orient Express used to call. On the tracks is Paloma Varga Weisz's sublime Rug People, a group of men with Modigliani faces cast in bronze, standing on an oriental carpet. For all that is it so physically heavy, this sculpture, it seems to me, is the very embodiment of transience, a family's world reduced to the scant acreage of a patterned rug. I adored it, though it is Cornelia Parker's bronze, The Folkestone Mermaid, on Sunny Sands beach, that the townspeople will want to claim as their own. It's a delightful joke, of course, this nicking of Copenhagan's most famous landmark, but Parker has made a beautiful work in its own right. Strong, proud and human – no flipper for her, though her feet are draped with seaweed – this mermaid's jaw suggests the same patient indefatigability as that of the town she symbolises.
Nearly there now. At the top of the Bayle, hanging in the nave of St Eanswythe's church, is Hew Locke's For Those in Peril on the Sea: a flotilla of votive offerings in the form of model boats in every shade and style you can imagine. It's a work that manages to be both impossibly cheery, and contemplative. Just below it, in the Old High Street, is Erzen Shkololli's Boutique Kosovo. Shkololli, who works in Pristina, has gathered together traditional Kosovan costumes, made by this country's craftswomen – except he has displayed them as if in some upscale minimalist store (think Marni). This is not the most nuanced commentary on globalisation that I've ever seen, but the garments are so fascinatingly exquisite – they seem almost to have the quality of religious relics – I'll forgive him. Besides, isn't this what we want for towns like Folkestone? Small (and possibly useful) shops rather than chain stores. Beauty rather than blandness. What you might call, feeling daring, a soul.
Packing in big names and greener talents, this fledgling photography festival looks set to become a cornerstone of the cultural calendar. Three British staples headline among more than 20 exhibitions. Pioneer of photography-as-art Martin Parr is showing a selection from his Small World series, where perma-tanned global tourists flood beaches like so many ants. These compliment Parr's hero, Tony Ray-Jones's affectionate images of the British working class at play. Richard Billingham's series of his alcoholic father, Let's Talk About Ray, brings a sobering dose of gritty social realism, while an impressive array of events, screenings and workshops includes a talk from acclaimed documentarist Caroline Drake, and Samuel Fosso, whose twist on self-portraiture and identity see him dress up as black icons.
St Peter Port, Sat to 30 Jun
Skye Sherwin
Linder's record sleeve for the Buzzcocks single Orgasm Addict was a classic: a nude pneumatic babe with a clothes iron for a head and smiling gnashers for nipples. Thirty-three years on, her Frankenstein's monsters of collaged consumer culture retain their bite. Her latest series fuses magazine cookery pages with retro-looking soft porn imagery: wry collisions of the different fantasies sold to men and women. They highlight a starkly similar displacement of physical wants into capitalist baubles, be that women's bodies, food or fast cars.
Modern Art, W1, to 25 Jun
Skye Sherwin
The religious allusion in the title of Cornelia Parker's Thirty Pieces Of Silver is amplified by its installation in the nave of the converted medieval church of York St Mary's. More than 1,000 silver pieces are arranged into 30 disc-shaped groups. Each found and collected object – candlesticks, cigarette cases, an old trombone – have been flattened by a steam roller and suspended from the church's ceiling so they appear to levitate. While Parker's work might be predictable – she is the artist who squashes things, explodes them, throws them off cliffs – its metaphoric resonance is undeniable. There is something infectiously melancholic in this poetic reflection on the passing of time, the vanities of materialism and the tragic wastage of personal betrayal.
York St Mary's, to 30 Oct
Robert Clark
In the past, Liverpudlian video artist Imogen Stidworthy has made work featuring Cilla Black impersonations, criminal gang slang and Romanian street singing. Throughout it all is her interest in language, whether as cultural glue, or through subversive translations. Her latest exhibition is dominated by the incredible but true figure of Sacha Van Loo – a blind linguist, fluent in seven languages, and with an ear finely tuned to hundreds of accents – who analyses wire-tap recordings for the Belgian police. In an installation that uses sound, video and laser scanning, Stidworthy meshes Van Loo's story with elements from Solzhenitsyn's novel In The First Circle. Its account of Stalinist Russia, where imprisoned academics develop technology that jumbles and decodes language, is creepily echoed by police tactics in present-day Antwerp.
Matt's Gallery, E3, to 17 Jul
Skye Sherwin
Subtitled The Aesthetics Of Journalism, this is an insightful look at fact and fiction in contemporary art which borrows from news and documentary reportage. Curated by Alfredo Cramerotti and Simon Sheikh, All That Fits is being shown in what they call three "chapters" – The Speaker, The Image and The Militant – with the central tenet being "Whereas journalism provides a view on the world, as it 'really' is, art often presents a view on the view." Typical of the ambiguities among the work, Eric Baudelaire's The Dreadful Details brings Manet's 1867 painting The Execution Of Maximilian up to date in images that restage atrocities of the Iraq war in what appears suspiciously to be a Hollywood movie set-up.
QUAD, to 31 Jul
Robert Clark
As part of the Artist Rooms touring project of prize works donated to the nation from the collection of Anthony d'Offay, a small but representative collection of drawings and paintings by the renowned west coast American painter. Ruscha depicts the culturally hot landscape of Hollywood with an aptly cool technical restraint. Los Angeles boulevards, billboards and gas stations are reduced to bold compositions of precisely outlined primary colours more familiar in graphic design than fine art painting. Other works more overtly reveal the always-present underlying sense of alienation that affords Ruscha's paintings a psychological tension missing from the more flashy work of many of his east coast peers.
Wolverhampton Art Gallery, to 29 Oct
Robert Clark
It's becoming increasingly common for art to sample, disorientate or mischievously trash neat and proper scenarios of domestic respectability. Jo Lansley + Neeta Madahar present a photographic diptych that uses a bedroom backdrop for evocations of barely suppressed longing. Works by other artists tackle the vulnerability of a domestic or familial sense of security in forms from shantytown sculptures to an account of the last days of a dying grandmother meticulously drawn from mobile phone snapshots.
The International 3, to 17 Jun
Robert Clark
An arch yet elusive take on art world anthropology characterises Josephine Pryde's largely photographic work. An earlier series married unsentimental portraits of a baby with song lyrics about the bleak, if hoary, romance of the impoverished artist's life, offsetting creativity, parenthood and art-making in a disquieting mix of temper tantrums and self-validation. For her first UK show in six years, Pryde returns to the theme of reproduction, combining fantasy fertilities with a technologic vision of biological reality. One set of photographs depict teenage girls posing as if pregnant in a perfect stereotype of gendered aspirations, another inserts MRI scans of foetuses in the womb into classic landscape photography, saturated in single colours. The show's title, Embryos And Estate Agents: L' Art de Vivre, sets the teasing tone for how all this might be approached.
Chisenhale Gallery, E3, to 10 Jul
Skye Sherwin
We asked Richard Wentworth, Tacita Dean, Yinka Shonibare and Cornelia Parker to choose the young artist they find most promising – and tell us why
Sculptor Richard Wentworth is quite clear why 24-year-old Helen Marten is a young artist to watch: "I admire her sureness, fearlessness and lack of hubris," he says. "It is complicated for her generation. It is as if they were in a ludicrous souk. But she is like a fantastic tourist: intelligently acquisitive, yet editorially selective. She is a brilliant fossicker. She knows how to look."
A is for anarchy… is the title of one of Marten's series – and do not expect any of her work to be law-abiding. She is an artist for whom anything can be subverted: the world's potential grist for her satirical mill. She is captivatingly articulate about what she describes as "environmental window shopping". She was not sure she was going to be an artist (there has always been a competing literary pull), but she did a foundation year at Byam Shaw – part of St Martins – and a degree course at Ruskin (which she calls Oxford's "dirty little sibling"). She introduces me to a sculpture that invokes George Nelson, father of American modernism, made of "slick, sleazy powder-coated aluminium". She describes it as "at once corporate and semi-baroque" and "anchored" by a white PVC tailored suit jacket that is "seedy and flaccid". We also inspect A is for anarchy…, two 3D letter As. The first is sub-titled "Thug Life" and is a "hard, knotty ringleader". The second, his "sidekick", is "slobby, messy, getting into bad scrapes".
She revels in the "remeshing" of the design canon (the more you know about design, the better you will be able to unlock her work). She describes herself as "nomadic", travelling between Macclesfield, where she grew up, and London. Most of the "brute manoeuvring of materials" gets done in Macclesfield. The "condensed thinking" happens on trains and the "grappling with verbal stuff" happens in London. She works with metal and wood, "hard, lofty boys' material", which she describes as "unforgiving" and also with clay which is "relaxing and yielding" – more feminine and spontaneous. In one of her wittiest pieces, three gorgeously entangled clay figures hobnob. They are animated but inconclusively human. The title is: Um, you mean we have to be serious now?.
Marten's aim is to produce a "family of objects and ideas with some sort of circuitry". Wentworth says: "She is making codes – her work is like a contemporary Rosetta stone. It is part of a broad conversation. She is enormously respected. She has a hidden grandeur but no grandiosity. And she has such wisdom… I can talk with her about how the world is made." Kate Kellaway
'Her work feels like she's travelling, noticing and absorbing, and is not, for the time being, studio-bound or stuck to a particular place or orthodoxy," says Tacita Dean of her chosen artist, Charlotte Moth, before praising her "eclectic use of materials" and "delicacy of touch".
Charlotte Moth's art has taken her all over Europe, but it was in her hometown, Bexhill-on-Sea, as a teenager that she had her first shiver of inspiration: walking past the De La Warr pavilion every Saturday on her way to work, she noted with curiosity the white Modernist hulk amid the old-world grandeur of the seaside resort.
Sixteen years on and Moth, 31, is still fascinated by the shapes and spaces around her, from apartment blocks to empty streets to striking interiors, but is now an established artist who draws on these photographic subjects as a sculptor draws on their material. She avoids restricting herself to one discipline – "I always had a problem at art school because they made you choose departments" – and her work takes in photography, sculpture and, occasionally, film, theatre and music: an exploration of space in all its aspects.
Moth shares with Dean an interest in analogue – Travelogue, her ever-growing collection of photographs of spaces such as hotel lobbies, seaside resorts and deserted offices is shot entirely on film – and an affection for continental Europe: Dean left Britain for Berlin in 2000, Slade graduate Moth has lived in Paris, "on and off" for the past four years. "It's this idea of displacement that's really important," she says. "When you're removed from something, then maybe you can look at it in a different way."
In ParisMost recently, Moth has been working on installations of a "sculptural dialogue" between two works – the one a shimmering curtain, the second a slide show behind the curtain. She also continues to add to Travelogue, in which images are stripped of all context: "Someone who comes to see [them] might not have been at the De La Warr Pavilion but they might have been to a lido in Cornwall, for example, or some exotic place that feels the same. The sense of ambiguity is important because there are many readings an image can trigger." LD
Yinka Shonibare was initially drawn to Bjorn Veno's work because, while artists such as Tracey Emin, Cindy Sherman and Paula Rego are renowned for scrutinising the female self in their work, Veno seemed to be the only contemporary male artist doing the equivalent. "I'm older than him but maybe I'm having my own mid-life crisis," Shonibare says, "because I find his exploration of male identity very intriguing. He's very brave to expose himself like he does. It's not something I could do."
Captivated by tales of heroism as a child, 31-year-old Veno uses photography to explore his sense of disillusionment at the man he has become. "I had this idea," he says at home in Rochester, Kent, "that adults were in full control, a bit like James Bond or Indiana Jones. Suddenly I found I'd become an adult and I was actually worse off. You have these perceptions of what it means to be an adult which you cannot live up to."
For the first chapter of Mann, his four part self-portrait series, Veno returned to his childhood home in Norway to photograph himself playing the games of his infancy: set within dark, haunting landscapes, Veno, often naked, looks pale and powerless. In one he crouches next to a Lego spaceship, his underpants round his ankles. Elsewhere he emerges limp and dripping from a lake, the opposite of a triumphant James Bond coming to shore. "I find failure interesting," he says. "As a man you're not supposed to fail." By the final chapter Veno is playing out his hero fantasies. In one shot he's a "confident" swaggering fisherman "ready for a fight".
Shonibare also describes the "odd" quality that Veno's photographs have, something he works hard to achieve, particularly through lighting. For the "tableaux vivants" he works with his camera on timer and performs in character, selecting the final shots from hundreds. In the chapter Veno found the most cathartic, his mother and aunties were also required to react on camera to him "in a bad state, hyperventilating, screaming". The resulting images are both moving and disturbing.
Veno has just started an MA in photography at the Royal College of Art and is represented by London's Nettie Horn gallery. It seems his study of failure is likely to bring him great success."He deserves to do well," Shonibare says. "He has a vast body of work and is more rigorous and focused than so many of his contemporaries." IC
Katie Paterson is an astronomical artist – in the fullest sense of the word. The sky is not the limit for her. It is a beginning. Her champion Cornelia Parker describes her as someone who can "take you out of your realm … she is so original, engaging and expansive – I fell in love with her and her work. She makes us realise how inconsequential we are in relation to the universe." Her work has involved plotting a map of 27,000 dead stars, bouncing Beethoven's Moonlight sonata off the moon in morse code and returning the results into a self-playing piano, making an electric light bulb that duplicates moonlight.
More recently, she has become a connoisseur of darkness. In her beautiful, playful, fastidious The History of Darkness, she has catalogued and dated darkness with the help of telescopes – including the Keck telescope in Hawaii – the most powerful telescope in the world that can look back 13.2 billion light years. Questions that tease us out of thought obsess her: "I like work on the brink of impossibility," she says. She loves immensity – and particularity. One of her works tells the story of a single grain of sand taken from the Sahara desert which, with the help of a nanotechnologist, was turned into the smallest grain imaginable ("I like the idea that it is a sculpture") and then released back into the desert. "The sand is smaller than a blood cell, as close to nothing as you can get but it still exists." Paterson's boyfriend photographed her, in black and white, returning the sand to the Sahara. "I suddenly felt so sad," she said. It was to do with scale – the immensity of the desert and her almost invisible enterprise.
Paterson, 29, laughs as she talks about her work – and acknowledges that it is finely balanced between seriousness and play. She is a romantic (with the romantic's understanding of futility) and with the patience, curiosity and technical persistence of a scientist. Scientists champion her work: she has recently become University College London's first artist in residence in the department of physics and astronomy. She grew up in the western highlands of Scotland and studied at Edinburgh and the Slade, where her MA involved recording a melting glacier – a work that launched her career but is likely to prove just the tip of the iceberg. KK
Gunshot moulds and battered wind instruments ... artist Cornelia Parker introduces her tumultuous new show
When it comes to whopping great art spectacles and interactive fun, the Hayward summer shows seem to have it licked. Past exhibitions have included a boating lake on the roof and giant, inhabitable bubbles. This year's looks no exception with Brazilian installation artist Ernesto Neto taking over the upper galleries and outdoor sculpture courts. Typically, Neto stretches sheer coloured Lycra over skeletal constructions to create womb-like tents in which dangling sacs are filled with spice. Imagine being in the body of a giant insect or an alien shrine and you're halfway there. In addition to winding through his famously pongy, gossamer caverns, gallery-goers will get to walk barefoot through a giant "nylon vessel", lounge on vast cushions, and submerge themselves in his "sculpture pool". If this is art as escapism, it seems an innocent one, inviting a happy tumble back into childhood pleasures with creative play and sensory adventures.
Hayward Gallery, SE1, Sat to 5 Sep
Skye Sherwin
Susan Stockwell misuses everyday objects and domestic materials to enchanting effect. Past installations have included a map of the world painted with tea on teabag paper and a quilt woven from Chinese banknotes. Here she floods the nave of the church-cum-arts-centre with an intricate sculpture mass-constructed from four tonnes of computer components. Stockwell, while playing with themes of consumer waste, refers to the "toxic exquisiteness" of her hi-tech raw materials, hinting at the double-edged fascination her best work generates. There's an aspect here of simply putting contrasting elements together to see what aesthetic and metaphorical charms might arise.
York St Mary's, to 31 Oct
Robert Clark
Mick Peter's art is overloaded – ingeniously so. The Glasgow-based artist's hulking sculptures might be plastered with concrete and gloopy white paint but they are not what they seem. Underneath the thick outer shell, what Peter has chipped away at is nothing but polystyrene. The excess doesn't end there. His sculptures take their forms from an unwieldy set of obscure cultural references. The starting point for this latest show, for instance, combines Gogol's short story The Nose and the set design for a modernist opera. Yet the work itself has a dumb physical presence, an "emblem of stupidity" perhaps, like the dunce's hat that appeared in Peter's earlier comic book-style drawings. These dense-looking creations belie a wry perspicacity. Weighted down by layers of materials and ideas, they seem to ask what artists can and cannot do, or to put it another way: what's the difference between a fool and an educated fool?
Cell Project Space, E2, to 18 Jul
Skye Sherwin
The nexus of the south London art map reopens its doors after a renovation programme courtesy of 6a, the architects acclaimed for their sensitive development of Raven Row last year. Its premiere exhibition features work by 20 artists, including pieces by British luminaries Fiona Banner and Mark Titchner alongside Americans Lawrence Weiner and Robert Barry. There's vivid colour in Austrian painter Ernst Caramelle's geometric arrangements and Lily Van Der Stokker's sugary, cartoonish works, while David Shrigley provides the jokes. It's all wall-based, with the work destined to be painted over and absorbed into the building's fabric.
South London Gallery, SE5, Fri to 5 Sep
Skye Sherwin
Cornelia Parker's installations are dreadfully poetic, monuments to all that is vulnerable and ephemeral. She's the one who notoriously exploded a garden shed and suspended the spotlit fragments to cast spectral shadows. Here in an extensive exhibition of recent and rarely seen work, collectively enigmatically titled Doubtful Sound, she conjures an atmosphere of pained nostalgia. Sixty silver-plated instruments borrowed from a military band have been crushed flat, suspended in mid-air and lit with a single lightbulb. Her Bullet Drawings are bullets stretched out into wire like graphic trajectories. If this sounds like so much conceptual sculptural silliness, you need to experience the work in the flesh to garner the full power of its sensitivity and sadness.
BALTIC, to 19 Sep
Robert Clark
The Ceri Hand Gallery has established itself as a venue of international distinction with its programme of often peculiarly edgy art. Accordingly, this show consists of recent work by contemporary artists, including Sara Bowker-Jones and Alex Farrar, who all, in their own curious way, deal with unresolved states and in-between themes. There are deliberate technical awkwardnesses and mistakes. Images are multiple layered, fragmented or obscured; films are stripped of script and character; and scraps of paper are fixed with masking tape.
Ceri Hand Gallery, to 18 Jul
Robert Clark
Nine contemporary artists, including Mark Wallinger and Richard Billingham, treat the relationship between animal nature and humankind with the full degree of seriousness the age-old subject deserves, while at the same time shamelessly acting the goat. This work, in media ranging from performance to painting, is well aware of art-historical pitfalls, of the sentimentality and the mythologising. Instead we get mischievous and sinister images, perhaps befitting an age in which the interface between animal nature and human nature is more fraught with tension than graced with back-to-nature harmony.
Castlefield Gallery, to 8 Aug
Robert Clark
This fifth incarnation of Whitstable's biennale confirms the Kentish seaside town is shaping up to be something more than a retreat from the cultural map. With a focus on film works, it boasts new commissions, talks and one-off events. Highlights include celestial works by Katie Paterson, including invisible black fireworks and a cosmology lecture and Adam Chodzko's decidedly earthbound revelations about local history. His "Ghost" kayak is kitted out with a video camera to record its passengers' journeys to Deadman's Island, a former burial site for those who died on Victorian prison ships. Meanwhile, Annika Ström park bench performances summon the spirit of coastal life.
Various venues, Sat to 4 Jul, visit whitstablebiennale.com
Skye Sherwin
Cornelia Parker has blown up huts and opened fire on a dictionary. Now she has built a giant gun and squashed an entire brass band. What's with all the pulverising?
Cornelia Parker is staring with astonishment at her new sculpture – a 9-metre-long shotgun. It's as if she's just been handed the present of her dreams – and in a way she has. We're at the factory where the gun has been made, and we can hardly hear each other for all the hammering and drilling. Parker is not one of those artists who insists she's buffed every engraving and screwed in every last screw. No: she's the ideas woman.
She comes up with the concept, specifies what she wants; they make it, she contextualises it. Job done. So the Brobdingnagian shooter will be sent to Scotland where it will rest louchely against a great tree in a sculpture park owned by her wealthy friends Mr and Mrs Wilson. "There's nothing like a 9-metre-long phallic object, is there? Hehehehhe!" Her laugh is loud and staccato, like an attack of hiccups.
The gun against the tree is a homage to a famous 18th-century painting – Gainsborough's Mr and Mrs Andrew, which features a gun in a more conventional context: the weapon is in proportion and slipped through the arms of the young aristocrat, posing with his new wife and hunting dog. Parker's monster gun is playful and disturbing, and poses many questions: what is this blot on the landscape, who does it belong to, what life has it seen? She doesn't provide the answers. She creates stories without plots. A huge gun in an empty landscape: it could be Cormac McCarthy's most pared-down novel.
For 30 odd years, Parker has worked away quietly, unobtrusively, producing work of brutal beauty or sweet carnage. So she'll blow up a hut and shock us with the lovely reconstituted remains. Or she'll squash a whole brass band of instruments with a 250-tonne press and suspend the dimly lit results in mid-air – a piece that will be exhibited for the first time in a show at the Baltic in Gateshead next month.
Some of her ventures have wonderful chutzpah. She'll wrap Rodin's The Kiss in a mile of string, nick the ancient canvases from Turner's paintings and claim them as her art – or interview the great political thinker Noam Chomsky and present that as art. Most famously, she put a sleeping Tilda Swinton in a glass case at London's Serpentine gallery so we could gawp at her as a (barely) living work of art.
Parker, 53, is a dead ringer for Joan of Arc – all bobbed hair, tunics and military bearing. She is a little older than the group that constituted Britart, and a little younger than sculptors Anish Kapoor, Antony Gormley and Richard Wentworth. She says she is part of Britain's lost generation, and you sense she likes it that way. Parker is a conceptual artist, a provocateur, a theorist with a sense of humour.
She grew up in rural Cheshire on a smallholding. Her sickly father had never been out with a girl until he was 34 and met Parker's mother, a German girl who had been traumatised as a Luftwaffe nurse in the second world war. Life was tough and physical – mucking out the pigs, milking the cows. "My father wanted a boy badly and didn't get one, so I was happy to be the surrogate boy. I was very strong, always doing manual labour."
At school, she discovered art. Her teachers, a husband and wife team, took the class to London to visit the galleries. She applied to all the posh colleges, was turned down and ended up at Wolverhampton Polytechnic. The more she studied, the more she realised she was a useless painter. "I remember trying to paint light coming in through a window and being very frustrated by it." Then she realised the painted thing could never be as good as the real thing. "I thought: I don't want to depict something, I want it to be the real thing."
It was only when she left college that she realised what she was interested in – if not why. She would boil up lead on her kitchen stove and make casts of souvenir cathedrals: Cologne, Reims, Sacré Coeur. Then she started to squash, flatten and destroy objects. She uses the word "intuitive" time and again about her work; the art comes first, the meaning afterwards. "I think your subconscious knows far more than your conscious, so I trust it. I just make it first and then it becomes much clearer to me why."
What's with all the pulverising? "I can consciously say I like squashing things because I saw Tom and Jerry films or Charlie Chaplin in Modern Times. That's true." Then there's the subconscious. "A lot of my work has been about stuff I've been frightened of: cliffs, explosions, meteorites, that kind of stuff. I would have been this trembling blob of fear if I hadn't got into making art, which is a good way of deferring it."
There's a third, wholly practical reason why Parker was drawn to destruction when she started out: she's accident-prone. "I was technically very bad, always destroying things by mistake, tripping over things, breaking them, so in a way it evolved into all this."
Hanging out with the army
Parker has history with weapons. There's Embryo Firearms (a pair of cast steel Colt 45 guns in the earliest stage of production); the lead bullets she stretched into wire and made into Spirograph drawings; the pearl necklace fired through a shotgun; and a dictionary shot by a dice called Luck Runs Out.
She collaborates with people who are not natural bedfellows. When she shot pearls for bullets, she was assisted by workers from the Colt firearms factory. "They were all National Rifle Association, card-carrying Republicans – not the people I normally mix with." Who does she normally mix with? "Well, you know, old lefties. Hehehe! I do like stepping out of my comfort zone. The army were great. The major who helped me blow up the shed was more sensitive than most of my lefty friends."
The most incredible thing about these apocalyptic pieces is the end result: from the bang and the wreckage she creates a shimmering beauty. The remnants of the hut, or the charcoal from an arson attack on a black Baptist church in Kentucky get suspended and take on a new dimension. "I think they're quiet, contemplative. You've had the explosion, there's the aftermath, and I reanimate them. Things went up in the air and fell on the floor, and when I got all the debris and laid it out in the gallery it looked like a morgue. But when I put them back in the air they were somehow no longer full of pathos." Actually, I think there's a whole new pathos and optimism in her exploding pieces – life, death and resurrection. Once a Catholic, always a Catholic – even if a lapsed one. She always thought of sin as a black mark on a white background when she was growing up, a recurrent image in her art.
At times Parker's work can be little more than dodgy puns. Last year she put on a firework display that contained a piece of moon rock, and called it Moon Landing. How does she know when something is art or just a punning stunt? She shrugs her shoulders, and says she doesn't much care. "It's a hunch. You get a little feeling at the back of your neck . . . ooh, this is something I want to pursue, and then you end up with a 9-metre-long gun before you know it, and you think shee-it, how did that happen?" Parker is married to the American artist Jeff McMillan. She still speaks broad Lancashire, except for the "shee-it" that punctuates her sentences.
Where on earth do the ideas come from? Some are just batty, aren't they? She nods enthusiastically and tells me why she decided to exhibit the backs of the Turner paintings. She was exploring the conservation department at Tate Britain and came across the spare layers of canvas. "They had this lovely patina on them because they'd had their backs to the walls for 140 years. They looked like very emotional abstracts." The Tate explained that Turner always painted on two layers of canvas, and that they had stripped the extra layer away when they restretched the paintings. "It took me a while to get permission, then I borrowed them, had them framed and put them in a show at the Serpentine."
Bloody hell, that's cheeky. "I was very cheeky, I know." She grins, and says that's not the half of it. "I then wrote to the Tate and said, 'Could you possibly requisition this as an example of my work in the modern collection rather than the conservation department?'" Amazingly, they agreed. Now the spare backs of Turner paintings are credited as Parker's work. "I was thinking of charging them, but I thought: I can't. Ha!"
Much of Parker's work can be seen as creative biography. She's asking us to look at familiar things and people from a fresh perspective and reimagine their history. And, occasionally, she examines her own life – but, as you'd expect, in an unlikely manner. At 44, she surprised herself by becoming pregnant with her daughter Lily, now eight. "I was hugely old when I became a mum. It was a big shock. I think it was a tequila night – I'm married to a Texan!" So what did she do? She took herself off to an auction in New York, bought the night gown that Mia Farrow wore in the horror film Rosemary's Baby and displayed it as a piece of self-reflective art. "She's got a knife in her hand and is about to kill the baby, but she can't because the maternal instincts take over. I was convinced I was going to give birth to the devil. I wanted to wear it to give birth, but it's far too small. Mia Farrow and I are very different."
She must have been in a bit of a state when she bought the gown? "I was. But buying it was really good, a bit like sympathetic magic. Lily is not the devil." Both mother and child are doing just fine now. The gown, the gun, the explosions. Yes, of course with the benefit of time, she can see a pattern. "It's that fear, isn't it?"
• Cornelia Parker's gun sculpture is at Jupiter Artland, Edinburgh, until 12 September 2010.
• This article was amended on 27 May 2010. The original stated that Cornelia Parker grew up in rural Lancashire and ended up at the Slade in Wolverhampton. This has been corrected.
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Saving Paradise: The Symbiosis of Landscape Painting and Environmental Awareness
Los Angeles, CA 90027
The California Art Club exhibition Saving Paradise: The Symbiosis of Landscape Painting and Environmental Awareness will feature approximately 50 landscape paintings that spotlight the relationships that artists have with the land that they depict in their works on canvas.
Many of the works have been rendered in the California Impressionistic style that early California Art Club artists influenced more than a century ago as they painted "en plein air" ("in the open air").
"Representational art forms that employ time-honored techniques are ideal for documenting history," said American artist Peter Adams, who has served as the president of the Club since 1993. "As California Art Club artists continually travel throughout the state to paint scenic vistas that they most covet, we strive to preserve these images for generations to come and chronicle how these areas are evolving with the passage of time," he added.
Jean Stern, Executive Director of The Irvine Museum and one of the most respected authorities on California Impressionism, curated the exhibition that includes imagery of many of California's most beloved sites, from Mount Diablo, Emerald Bay and the American River in the north to the Santa Ynez hills, Catalina Island, and Torrey Pines State Park in the south.
The exhibition also underscores the extensive efforts of artists to create paintings of specific areas of the state in order to call attention to both their awe-inspiring natural beauty and current efforts to preserve and protect these regions. The exhibiting artists are involved with the preservations efforts of more than 50 different organizations, including the Aquarium of the Pacific, Catalina Island Conservatory, Friends of the Los Angeles River, Heal the Bay, National Park Service, the Land Conservatory of San Luis Obispo County, Palos Verdes Peninsula Land Conservancy, Sierra Club, and Tejon Ranch Conservatory.
Most of the works on exhibit will be available for acquisition, with a portion of the proceeds benefiting the preservation group designated by each of the artists.
The Saving Paradise exhibition marks the Club's return to Barnsdall Park, where it was headquartered in the famed Hollyhock House from 1927 to 1942. Paying homage to those very active years in the organization's history, during which it sponsored a multitude of art and cultural events, the Club and the Los Angeles Municipal Art Gallery will host a number of educational programs during the two-month display, including artist's talks and demonstrations.
Los Angeles Municipal Art Gallery is a facility of the City of Los Angeles Department of Cultural Affairs located in Barnsdall Park.
For more information on Saving Paradise, visit www.californiaartclub.org.
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General Manager
With a hint or two from his wife to move to Hawke's Bay, Dan finally saw the light and returned from overseas with his family to join Hãhã as General Manager. When he's not up to his eyeballs in finance and running the show, Dan can be found enjoying life in Havelock North with Kate and their three children.
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Chief Winemaker
Ant has lived and breathed all things wine for over 20 years. This extremely talented man is a rock star in his own right and has his own established Ant Mackenzie Wines brand. Ant oversees our growers and provides winemaking expertise.
Chris is well known in the Hawke's Bay as a craftsman of fine wines and great beers. Having created a successful brew pub, this paved the way to follow his passion in creating Beach House Wines, now recognized as one of New Zealand's top producers of fine wines.
Emma has worked in wineries all over the world, including Australia, Switzerland, South Africa, France, and Chile. An amazing multi-tasker and mother of two, she and husband Marcelo set up Monowai Estate in Hawke's Bay.
After 25 years at the helm of the winemaking team for Hunter's in Marlborough and numerous awards and accolades to his name, Gary has a well deserved reputation as one of New Zealand's leading winemakers.


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Wheelchair Friendly
The museum prides itself on being wheelchair friendly with all of our exhibits accesible directly or with the help of a ramp.
We have a small number of wheelchairs for visitors to use. If you would like to use one of these wheelchairs please contact our reception volunteers upon arrival who will be more than happy to help.
The Museum has additional accessibility advice to help you plan your trip. Click here for more information from DisabledGO


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Show Description
Luna Star is one of those married women that just love hearing juicy gossip from anybody. Including her pool boy Tyler Nixon. She's been badgering the young man about his sex life and wants to hear everything about it! Knowing her had been on a date last weekend, she inquires as to if he fucked the woman. When he says no and furthermore says he has never made a woman squirt, she just has to show him how it's done! Feeling used like a cheap suit, Tyler gives in to her advances and gets the whole gushing experience going as she sprays like a fire hydrant all over the backyard. Good thing they had sex outside.


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CORRECTION: Jobs data actually did peak in 2015, implications negative
I hate backtracking, but I need to make a correction to the analysis I just sent out. An alert reader, who also tracks the jobs data I am using, wrote me, noting that my data series seemed to chop off the last several months of 2015, making it look like the second derivative Non-Farm Payrolls was still positive. He says it is not positive at all. And when I looked at the data again just now, I realized he was right.
Here's the original chart with the second derivative positive.
And here is an updated zoomed in version for the last two years showing the second derivate negative since early 2015.
Unfortunately, this chart looks bad enough that it pushes up my recession concern a good deal — from just a tail risk to a plausible outcome. We need to be watching this second derivative statistic — both for non-farm payrolls and for the more quickly updated jobless claim series.
Neither series is saying recession yet. But if the jobless claims series ticks above zero, i.e. to 300,000 by March and the non-farm payrolls second derivative is still negative, then we would have a fairly definitive recession call. The further into 2016 we go, the more difficult the comps become for initial claims as they go sub-300k in March.
Sorry to have to backtrack somewhat here, but the missing data are important. It moves recession from tail risk status to being just a 30 or 40,000 average initial claim rise away. If we have 300,000 jobless claims in March, the change in non-farm payrolls is falling, and the Fed is still on a rate hike path, recession could become the base case.
Thanks for the correction, Geoff. I still like your analysis, Tim. But now it looks like I am now closer to Raoul Pal and Warren Mosler than Menzie Chinn.


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Front-line Rivers state All Progressives Congress, APC Chieftain and a leading governorship aspirant in the state, Chief Dumo Lulu-Briggs, has confirmed that he is still in the race for the governorship ticket of the APC for the 2019 Rivers State governorship elections.
The confirmation was contained in a statement issued and signed by Chief Dumo Lulu-Briggs himself, who not only cleared the air of his status in the Rivers governorship election race, but dismissed and dispelled rumours and speculations that he had quit the race, following the August 30, 2018 pronouncement by Transportation Minister and APC leader in Rivers State, Rt. Hon Chibuike Amaechi, that his preferred candidate was the business man Tonye Dele Cole.
The press statement issued by Chief Dumo Lulu-Briggs is published below:
"My attention has been drawn to insinuations in some political circles within the Rivers State chapter of the All Progressives Congress (APC) that I, Chief Dumo Lulu-Briggs has conceded and withdrawn from the 2019 governorship race. I state emphatically and unequivocally that it is complete falsehood that I have withdrawn from the governorship race.
For the avoidance of doubt, I Dumo Lulu-Briggs, am still in the race and fully prepared, ready, willing and able to seek the office of governor of Rivers State in 2019 under the APC. My ambition was not spontaneous but borne out of long held vision spanning over a decade for the overall progress and development of Rivers State.
The leader of the party, Rt. Hon. Chibuike Rotimi Amaechi only expressed support for his preferred aspirant and has not "appointed" any governorship candidate because our party has its constitutional procedures and processes for deciding who flies the flag of the party in any election. I am committed to taking full opportunities of our party's guidelines to achieve my aspiration.
I therefore call on Rivers people to discountenance these unfounded rumours about my purported withdrawal from the 2019 Rivers State governorship race."
Chief Dumo Lulu-Briggs
September, 5, 2018


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Lace Mock-Neck Blouse
You will love this beautiful, elegant, classy, lace mock-neck blouse! This blouse style has just the right amount of sophistication and class. We love the all over lace, bell crop sleeve, and the beautiful mock neck two button collar detailing with a v-back cutout too. It offers a hi-lo bottom hemline and flowy loose fit. It looks fabulous styled casually un-tucked or with a front-tuck, paired with your favorite skinnies, as seen here, and it also looks gorgeous dressed up too... tucked in with a skirt or dress slacks for work or any occasion. The creamy off white color also works great for your upcoming holiday parties and special events too. Make this beauty yours today. Shop away, you sassy thing!
(Model Pictured- Height: 5'8" / Wearing Size: Small)
Please Note: This sassy style is considered FINAL SALE.
*Please Note: This sassy style is considered FINAL SALE. All items purchased at a sale price or with a discount are always considered FINAL.*


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2015 Chevrolet Equinox LTZ
Silver Ice Metallic
3.6L 6 cyl
City 0/Hwy 0 Estimated By E.P.A. - Actual Mileage May Vary
Dealership Information
Louie Dominion's Deals on Wheels
Sales Department
2508 S Pipestone
Benton Harbor, MI 49022
The used Chevrolet Equinox is the perfect SUV for a growing family! It might be older than three years, but it's style and grace is still relevant today.It is the LTZ model that came with all the bells and whistles of its time. Including lane departure and collision alerts, 8 way electric adjust seat, and heated seats for them cold Michigan days. This is fully serviced and certified and has a set of brand new tires, so you can run down the road with peace of mind. Come in for a test drive Today!!
- Air Conditioning
- Alloy Wheels
- Automatic Headlights
- Cargo Area Cover
- Cargo Area Tiedowns
- Cargo Net
- Child Safety Door Locks
- Chrome Wheels
- Daytime Running Lights
- Driver Airbag
- Driver Multi-Adjustable Power Seat
- Electrochromic Interior Rearview Mirror
- Electronic Brake Assistance
- Electronic Parking Aid
- Fog Lights
- Front Power Lumbar Support
- Front Power Memory Seat
- Front Side Airbag
- Keyless Entry
- Passenger Airbag
- Passenger Multi-Adjustable Power Seat
- Power Windows
- Rear Spoiler
- Rear Wiper
- Remote Ignition
- Second Row Folding Seat
- Side Head Curtain Airbag
- Steering Wheel Mounted Controls
- Telematics System
- Telescopic Steering Column
- Tire Pressure Monitor
- Traction Control
- Trip Computer
- Vehicle Stability Control System
- ABS Brakes
- CD Player
- Cruise Control
- Deep Tinted Glass
- Front Heated Seat
- Leather Seat
- Power Door Locks
- Rear Window Defogger
- Tachometer
- Tilt Steering
- Tilt Steering Column
- Vehicle Anti-Theft
*Posted price reflects $3,000 trade equity. See dealer for details. Offer ends 02/29/2020.
Although every reasonable effort has been made to ensure the accuracy of the information contained on this site, absolute accuracy cannot be guaranteed. This site, and all information and materials appearing on it, are presented to the user "as is" without warranty of any kind, either express or implied. All vehicles are subject to prior sale. Price does not include applicable tax, title license, processing and/or documentation fees, and destination charges. Vehicles show at different locations are not currently in our inventory (Not in Stock) but can be made available to you at our location within a reasonable date from the time of your request, not to exceed one week.


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10 Quotes that are perfectly put, starting with this Etsy banner I should really have on my wall
"A smile is a woman's best accessory, sequins are appropriate no matter what the occasion & some days simply require a glass of champagne"
"Great mind discuss ideas, average minds discuss events, small minds discuss people"
"I miss being the age when I thought I would have my shit together by the time I was the age I am now"
"If people are trying to bring you down, it only means that you are above them"
"Ever tried, ever failed? No matter. Try again, fail again. Fail better."
"Be where you are, not where you think you should be"
"If you want me in your life, put me there. I shouldn't have to fight for a spot"
"And though she be but little, she is fierce"
"I'll be okay, just not today"


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What is Depression? 4 points to consider
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Sergey Makhno Architects
December 19, 2018
Marcel Wanders is a famous product and interior designer from the Netherlands whose studio is credited with 1,900+ iconic projects.
Marcel Wanders works with premium brands such as Alessi, Baccarat, Bisazza, Christofle, Kosé Corporation, Flos, KLM, Hyatt Hotels Corporation, Louis Vuitton, Morgans Hotel Group, Puma, Swarovski. Today, many of Marcel Wanders' designs are celebrated in some of the most renowned museums in the world, including the Centre Pompidou (FR), MoMA (US), and Stedelijk Museum Amsterdam (NL).
We were lucky to listen to Wander' lecture at "Interior goda" in Kyiv. And this is what we learned.
1. People love everything knotted
Wanders figured it out in 1996 when created the "Knotted Chair" that made him famous.
The "Knotted Chair" (1996) is a combination of hand-crafted tactile design with high-tech industrial processes. The design of the chair begins with an aramid braided cord around a carbon fiber core that is manipulated in the traditional technique of macramé to form the shape of the chair.
Part of the permanent collections of the Museum of Modern Art, New York, the V&A Museum, London and the Stedelijk Museum, Amsterdam, among others, the 'Knotted Chair' is a modern miracle of transparency, a highlight of the international design world and a sought-after collector's item.
2. A function is the lowest standard in design
A function will lose its role in making a choice. Form and its esthetics will decide everything.
There are things we don't love yet we need it to be functional, like a vacuum cleaner. Also, there are things that are absolutely not functional, but we love them without reason, like favorite porcelain dishes.
I believe that it's enough for function. What we need is more love, fantasy, dreams, memories, and feelings. That's why everything we create is like a mystery.
3. The design has to amaze.
A conceptual basis of the Marcel Wanders' works is the principle of transformation. A bud of a tulip appears to be an armchair, and a fancy mushroom is sophisticated lighting.
Be like Lady Gaga — create ideas that cannot be ignored.
4. Respect for the old is the most fundamental design idea
Why do I work with Baccarat and other old brands? One of the reasons is a desire to create something that will serve ages, something people would like to safe keep, something they would like to give their children by inheritance.
"Last ten years I've been working with the idea that old is beautiful" — admits Marcel Wanders.
Today we often ask ourselves, why sit on the ordinary old chair, when we can get a modern one? That is the problem of the furniture made nowadays. You just don't want it to last. The things we create now would not be relevant in the future. That's why we create something that will live forever.
5. Inspiration is strange
You cannot just buy a book or magazine to get inspired. Inspiration comes from where you don't expect it. All you have to do is to ask the right questions. Right questions are grants of the right answers.
I am always inspired because I am not afraid to ask.
Author — Alina Kulyk
Main visual — Nikita Uvarov


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This week I neeeeeded this interview with the amazing Judith Light by Linda Holms. If you have sixteen minutes and change, listen to this lovely conversation full of inspiring gems. Some of my favorite moments:
After more than 40 years in the business she says "I'm finding myself in a very new place, my manager of 36 years has passed away, and I'm in a real process of finding a new way, my new path. And I'm so grateful to be on TransParent because I have a family there that i feel very held and nurtured by…..But it's a new world for me."
From Broadway to Soap Opera: "I was making these pronouncements. I had these pictures in my head about what I should be doing and where I should be going and how lofty this life that I was embarking on should be. And I said I would only do theater and feature film, and that's a really ridiculous thing to make a pronouncement on because at the point in time when I got the soap I was looking at leaving the business. Because it wasn't working out according to those pictures.
"I didn't know if the work that I was doing made any kind of a difference. And I kept thinking, 'how can I find a way to make a difference in the world?'…So the content of my career didn't matter as much to me as what the context was going to be."
"I realized this business wasn't about me, it was about the team, it was about everyone. And it was about the service of storytelling."
"My disdain for, the way I looked down on certain parts of our business was my problem…When I was there as the understudy I watched how hard they worked and what great actors they were."
"Ride the horse in the direction it's going instead of fighting…I want to look at the things that are presented to me and I want to be grateful and respectful and I want to reach more people."
"I learned how to hear comedy. Comedy is music. It's math. It's numbers, it's what you hear."


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Director: Ahn Byeong-Gi
Studio: Starmax / Bear Entertainment
Rating: 15 +
Genre: Horror
|Important! Please read before you order!
|>>>This DVD is encoded for Region 3 (Southeast Asia & East Asia --- including Korea & Hong Kong). This DVD will NOT be viewable on regular DVD players made in other regions unless they are code-(region-)free DVD players. To learn more about the DVD Region Code, please visit our Help Page and read Info on DVD Region Code.
About This DVD
A young journalist starts receiving troubling messages on her cellular phone. When a young girl answers the phone by accident, she seems to become possessed by a malicious spirit. One of the top box-office hits of summer 2002, from the director and actress of the film A Nightmare.
In the Korean thriller "Phone" a girl is threatened and finally killed by events involved with telephone messages from a stranger of unknown source. After the girl's sudden death, Ji-won (Ha Ji-won) a good friend of hers working as a magazine reporter investigates the case by using her mobile as a clue. He manages to find out the number of the person who sent out the calls, but to his surprise it is no longer in use. Chaos breaks out after the deceased girl's room mate (Ho-jeong) is continuously intimidated by frequent mysterious calls as nobody seems to be able to stop the lunatic stranger ?
|Audio Format:
|Dolby Digital 5.1 EX Surround, DTS 5.1 ES Surround
|Video Format:
|Widescreen 1.85:1 (Anamporphic)
|English, Korean
|Country Made:
|Region Code:
|Year Made:
|Running Time:
|Special Features:
|Commentary by Diretor & Actress, Deleted Scenes, Making Films, Interviews, Trailers, TV Spot, Behind the Scenes, Real Story, Epilogue, Production Notes


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Two people, including the gunman and a young woman, have been killed and 13 others injured in a shooting incident in Toronto, Canadian police say.
The shooting happened in the Danforth and Logan avenues area on Sunday night.
Among those injured is a young girl, described as in a critical condition. Police are appealing for witnesses.
Some of the victims were treated at the scene, while others have been taken to local hospitals. The motive for the shooting is not clear.
Jeremy Cohn, a journalist with @globalnewsto, posted footage from the scene, saying that "victims are spread across many blocks".
Jody Steinhauer told CBC News she was with her family in a restaurant in the area when she heard what sounded like 10 to 15 blasts of firecrackers.
"We started to hear people scream out front," she said.
Details of the incident are still sketchy.
Two dead as 15 people shot in Toronto


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The Leadership Shadow – Role modelling gender equality from the top down
What is The Leadership Shadow?
- It's for all leaders.
- It's for all organisations.
- It's new.
- It's free.
- It's the start point for increasing levels of women in leadership positions.
Created by two organisations leading the way on gender diversity in Australia (the Male Champions of Change and Chief Executive Women) The Leadership Shadow is a management tool to help 'guide leaders who want their every action – their Leadership Shadow – to send the right signal around gender diversity' (Australian Human Rights Commission, 2014).
There are four elements to the model:
- What I say
- How I act
- What I prioritise
- How I measure
Answering a series of questions about each of these elements prompts leaders to think about whether their words and actions are as clear and powerful as they want them to be.
Whether your just starting to take a genuine look at gender diversity or simply fine-tuning already established attitudes and behaviours The Leadership Shadow is a useful guide to be up to date with this issue (with the bonus of improving against your organisation's WGEA's gender equality indicators).
The proof is in this pudding
Here are a few leaders who have put The Leadership Shadow into practice…
"We are extremely focussed on performance management. We reward those who are embracing our new culture and values and actively manage people who have not. The latter sends the strongest possible message to the organisation—I am walking the talk. You have to do it. Over the years, I have learned that you can't say that you are going to live by a set of values and then allow the organisation to see that you are not willing to act when the wrong call has been made. People watch carefully all the time."
Holly Kramer, Chief Executive Officer, Best and Less
"I have learned that a good way to champion flexibility is to make clear that work is about output and impact, not about time at the office. It's for both women and men, and for any reason, not just for parents."
Susan Lloyd-Hurwitz, Chief Executive Officer and Managing Director, Mirvac
"The Leadership Shadow gives you a structure to sharpen your approach and demonstrate how you are making diversity a priority. Making progress on gender balance is not yet second nature for many of us. The Leadership Shadow focuses the mind on how to take a leadership position that will drive progress on what is an important social, economic and productivity priority for Australia."
Simon Rothery, Chief Executive Officer, Goldman Sachs Australia & New Zealand
Where can you get a copy?
The Leadership Shadow Report is available on the Australian Human Rights Commission website. As is The Leadership Shadow Implementation Guide.
We'd love to here your thoughts on this model (i.e. whether you would add or change anything) and what your success or challenges have been in implementing it.


text:
Switch, The
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Ryan Sees
Star Trek
Published May 3, 2009 in
Movie Reviews
By Ryan Parsons | Image property of
Star Trek Poster
I was able to check out
Star Trek
thanks to a screening at the Orange Block over the weekend and I am happy to report that I can't remember the last time I've had that good of time at the theater. Running at 126 minutes, the film's pace, which is reminiscent of warp speed, makes it feel like just over an hour. I'm not complaining, I have absolutely no complaints, it's just that I'm now craving more.
Review: Star Trek
Since I'm not exactly sure if I can post a review just yet, I'll quickly point out my thoughts.
First, Paramount took somewhat of a risk on the story and its er, 'alternate reality.' I'm not giving anything away, don't worry, but the film does feature some time travel, which opens up an entire array of possibilities. One such possibility being the re-launch of a franchise that doesn't necessarily have to follow the rules laid down by the original films. I really can't say more without spoiling some plot elements, but know that we can expect
Star Trek
sequels that do not need to have a single story line that matches up with
Star Trek I
. The keyphrases here are 'alternate' and 'time travel'. Okay, I've said too much.
Moving on, one of the primary reasons
Star Trek
fans will love
Star Trek
is because it gives focus to the importance of Spock and Kirk's relationship. This importance is hinted at repeatedly in the original series and films -- Episode II through IV very much so -- but gets much more focus here. We get to see the evolution of their relationship on different grounds, and it is not only heavily entertaining but touching as well. I'm expecting plenty of Trekkies to shed some tears of euphoria over this. Again, I'm holding off on details as I do NOT want to give anything away. Unlike plenty of films, there are plenty of surprises in
Star Trek
that did NOT find their way into the trailers and clips.
Shying away from plot points, I have to point out how effing entertaining
Star Trek
is. The film easily earns an entertainment factor of A+ with its mixture of suspense, adventure, science, action, dialogue, and humor. There is so much humor in fact that, without some of the more intense moments,
Star Trek
could have been listed as a comedy. It's hilarious. Expect to find yourself chuckling or laughing out loud more often then not. While some jokes will favor those with
Star Trek
knowledge, the punch lines are delivered in such a way that even those with no Trekkie affiliation at all will be laughing.
I don't want to ramble, and I don't want this to come off too much like a 'review,' so let me conclude that
Star Trek
will easily be one of the most memorable films of the summer, if not the year. Doing what some doubted, J.J. Abrams has boldly relaunched a franchise and brought wonder back to science fiction.
Oh, and I actually liked all the lens flares.
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OSAKA – Gamba Osaka defender Oh Jae-suk will be sidelined for three weeks with a hamstring injury, the J. League first-division side announced Wednesday.
The South Korean, who has made 26 league appearances this season, pulled his right hamstring and was substituted in the 72nd minute of Saturday's 1-0 loss at home to Albirex Niigata.
Gamba's third league defeat in a row left them 10th in the 18-team standings.


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