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A complete archive of Pakistan's Education news releases since 2007
Displaced feel deprived as SCC results announced
Peshawar, June 25: Students of Malakand Division and Bajaur Agency, who missed their
Secondary School Certificate (SSC) examinations because of militancy and
military operations, feel deprived to see their fellows from other areas
carrying the day, as various boards announced results.
It is, however, a
good news that very few among the students hailing from Swat, Buner, Malakand
Agency and the twin districts of Dir missed the examinations, as these were held
at a time when the situation was not too bad.
The Board of Intermediate
and Secondary Education, Swat conducted the examination in March 2009 and the
military operation was launched in April bringing life to a standstill and
forcing the people to shift to the down districts. The Swat board was also
shifted to Mardan and it continued its activities in a camp office.
board authorities announced results of the examination on June 17. Around 15,000
students had appeared in the examination. Mohammad Iqbal, chairman of the Swat
board, said they prepared the results of Grade X and announced it well in time
so that nobody could miss admission to the intermediate classes. The detailed
marks certificates (DMCs) and provisional certificates were provided to the
students of Swat board at the Mardan Press Club, he added.
The Grade IX
results would be prepared and declared once normalcy returned to their region
and they shifted back to their area. The students of Grade IX have already been
awarded promotion to the next class.
As for the students of the twin
districts of Dir, Malakand and Bajaur Agency, Chairman of the Board of
Intermediate and Secondary Education Malakand Prof Nawab Khan claimed that none
of the SSC students had missed the examination. His claim might be true about
Dir and Malakand Agency, but it can never be considered the right for Bajaur
When reached by telephone, Prof Nawab Khan said all the students
in his domain had attempted the examination and their results had been declared.
He said the students, who had moved to the down districts, took their
examination there, as steps had been taken in the lower districts for their
convenience. The intermediate examination has, however, been postponed and would
be held once normalcy returned to the area, he said.
According to results
of the board, a total of 47,331 students appeared in the examination and 32,511
qualified it, showing a success ratio of 68.68 per cent.
In Bajaur,
almost 50 per cent of the SSC students had missed their examination as it took
place at a time when military operation had just come to a halt and normalcy had
not yet returned to the area.
When contacted, Agency Education Officer
Haji Gul Rahman claimed that all the students had taken their examination. When
reminded of his earlier statement that he had given to this correspondent in
March when the examination was going on saying 50 per cent students had missed
the examination, he said those wishing to appear in the examination did so and
those who were not interested failed to take it.
Time of the students of
intermediate classes has been wasted in the makeshift relief camps and elsewhere
in the down districts. The authorities of Swat and Malakand boards are of the
opinion that examinations would be arranged for them on their return to their
hometowns and restoration of peace. But they should be careful about the time.
The examination should be conducted at the earliest and results
announced not later than other boards, as they have managed in the SSC
examination, so that the students do not miss admission to next class,
particularly the professional institutions - medical and engineering - across
the country, which have a specific time for admission.
Post your comments
Students seek extension in forms submission date
Peshawar: The students of the Federal Board of Intermediate and Secondary
Education have expressed serious concern over closure of the receipt of forms
for admission to intermediate classes in the elite educational institutions,
particularly the Islamia College Peshawar before announcement of their
A group of students said that several top educational
institutions of the province were closing receipt of the admission forms in the
last week of this month. The Islamia College Peshawar, which has now been
upgraded to university level, has set June 30 as last date for submission of
admission forms, while the Secondary School Certificate examination result of
the FBISE is expected in the first week of next month.
The students were
of the opinion that this would deprive scores of them of admission to the top
educational institutions of the province. They said they also called on the
vice-chancellor, registrar and adviser of the newly upgraded university and
apprised them of their concern, but to no avail. "We demanded of the top
officials of the college to extend the date till our result at least, but no
concrete assurance was given to us," the students said.
The students
said if the date was extended for a week or so, the schedule of the college
would not be affected and arrangement could also be made for accommodating the
students of the federal government institutions even after the closure of
receipt of admission form.
The students demanded of the provincial
government high-ups and administration of the college to look into their case
and provide them opportunity to get admission to the institutions of their
US university honours eminent doctor from Peshawar
Peshawar: The University of Toledo has announced the establishment of Syed Amjad
Hussain Endowed Professorship of Thoracic and Cardiovascular Surgery Fund to
honour the doctor as an extraordinary surgeon, teacher and author.
was stated in a press release issued by the University of Toledo Office of the
President and communicated on Tuesday. "In recognition to his
services on the university's Board of Trustees, the professorship was being
created in Dr Amjad Hussain's honour that would perpetuate both his clinical
legacy and his role in maintaining needed perspective on the issues that face
our society," the communication said.
Dr Amjad was a major proponent of
the University of Toledo's merger with the Medical University of Ohio and
likewise the fund created under Syed Amjad Hussain Endowed Professorship of
Thoracic and Cardiovascular Surgery will further enhance the reputation of this
university to ensure highest quality of surgical talent.
The press
release said Dr Amjad was a man who believed in the transformational power of
medical science and education. The university urged the people to make generous
contributions to the endowed professorship as a pledge of $10,000, payable over
a period of five years would qualify a person as a member of The University of
Toledo's President Club.
The statement added a gift of $5,000 or $2,500
could also be made over a period of up to five years. Born and raised in the
walled city of Peshawar, Dr Syed Amjad Hussain, also known as Agha Jee, has been
living in the United States for the last four decades. The heart surgeon has to
his credit a number of books an publications on the walled city of Peshawar -
"Yek Shehr-e-Arzoo", "Alam Mein Intekhab Peshawar", Frontier town of Peshawar"
Chitran Wala Katora, "Dar-e-Maktab", Of home and country - journey of a native
son" being some of them. The News
Fresh arrest warrants issued for six madrassa students
Rawalpinid: Anti Terrorism Court (ATC) No I on Wednesday issued
fresh arrest warrants for six seminary students in a case, registered with
Aabpara police station, for not complying with the court orders and directed the
police to produce them before it on July 13. Earlier, the court had summoned
these students including Abubakar, Saeed Ahmed, Abdul Qayyum, Abdul Latif, Imran
and Maqsood Akbar, in a case registered under Anti- Terrorism Act, but they did
not comply with the court orders. The court issued their arrest warrants and
directed them to appear before it, but again they did not comply with the court
orders. Upon this the court headed by Judge Malik Muhammad Akram Awan issued
their fresh arrest warrants and directed police to arrest them and present them
before it on July 13. Daily Times
More Edu. News>>
Site contents copyright © 2000 to 2012 Interface, Pakistan's Leading Education Website & Teacher's Provider


text: Create these cute hats and a scarf for your favorite 18" doll! This pattern is easy and a perfect project for scrap yarn! This pattern features instructions for my best-selling original Darling Doll Hat pattern and scarf and has been expanded to included additional instructions for a fun earflap hat! What makes my patterns different? 1. I teach a lot of crochet classes and use that experience to write my patterns. This helps me write patterns that my customers can easily understand. 2. My patterns have instructions for embellishments and techniques that can be used on additional projects. 3. Each pattern has lots of pictures and notes about why I designed the pattern this way. 4. I'm alway happy to help and answer questions about my patterns. Thank you for your interest! BASIC SKILLS NECESSARY Chain Half-double Crochet Slip Stitch Crochet in the Round GAUGE 6 stitches and 6 rows = 2 inches SIZING / FINISHED MEASUREMENTS Fits 18-inch dolls

subset: commoncrawl


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ImagineSim Austin FS9 Released!/
FS9. ImagineSim has just released the FS9 version of their Austin Bergstrom international airport. Features include: 100% high definition custom made textures, realistic weathered and worn ground markings and runways, custom building shadows, AES support (due next iteration), thousands of hand-placed trees and lush 3D volumetric grass, enhanced custom made hand-placed surrounding autogen, interactive docking guidance system (DGS), hundreds of apron service and support vehicles, complete non-generic runway and taxiway signage, unique concrete, tarmac and grass texturing, realistic taxiway center and edge lighting, interrior modeling, and much more. Note: the native FSX and P3D versions will follow in a few weeks. Stay tuned for ADX Exclusives!


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Adorn Frames is one of twenty fonts available in the Adorn family of seven display fonts, four script designs, monograms, ornaments, illustrations, banners, frames, and catchwords.
While each font in the carefully orchestrated Adorn collection can stand alone, the particular combination of contrasting scripts, display fonts, romans, and the multitude of stylized fonts in Adorn's extraordinary toolkit makes each designer's creation one of a kind. Buy the entire collection, 20 fonts for $99.
Adorn Frames is a highly customizable set of elements offering a multitude of approaches to creating frames of any width, height, and style. Use it for corner elements, borders, or to make an actual frame. Adorn Frames features twenty corner elements and nine sets of top, bottom, and side pieces, along with a detailed description in the User's Guide on how to construct the frames. Sides pieces include scalloped edges and other options with personality, along with classic straight edges to form rectangles and squares.
Great news! Laura Worthington fonts have been specially coded so that almost anyone can access all of the swashes, alternates and ornaments without the need for professional design software. For more information and instructions, visit: http://bit.ly/1qJNnsO


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When we make a mistake, we need to fix it. Sometimes we say "I am sorry for hurting you". Many times, these words are said as "I am sorry if you were hurt by my actions".
I always wondered if that is a disingenuous apology. If you were really sorry, say you are sorry for hurting the person, not sorry that they were hurt.
An answer can be found in this week's Torah portion, when it discusses someone who inadvertently kills another. The Torah says: "And he who did not ambush, but G-d caused it to happen to him, I shall provide you a place to which he shall flee. (Exodus 21:13)
It seems like he is being let off the hook; he did not kill the person, G-d caused it to happen to him. He still needs to make amends, so G-d provides a place to flee to (the city of refuge).
The message here is that a person, while they are in touch with their true soul identity, cannot do a sin, something that is against the will of G-d, even inadvertently. Hence, if he sinned, it must be something external to his true self that caused him to do it (and it was caused by G-d). However, since YOU did it, YOU need to atone.
Additionally, the two souls, the G-dly soul and the animalistic selfish soul, are affected by the sin. Therefore, G-d says: I will give YOU, the G-dly soul, a place where HE, the animal soul, can flee and rectify the damage caused.
Sorry if you were hurt by MY actions, can mean: I take full responsibility for what I did, but know that it was the external part of me - my core soul is still deeply connected. I never would cause you any pain if I was in touch with my truest self!
Have a great shabbos.
Rabbi Kushi Schusterman
P.S. No minyan this week


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Happy New Year everyone! We are back from our Pacific Yogi Road Trip and had an amazing time! We'll be back later this week with a recap of our trip and other goods to share. For now we wanted to restart out Yoga Pic of the Week series. Today's pic comes from yogini Sarah Elizabeth Lindsay in London. She teaches a creative vinyasa class and has a wonderful Instagram and foodie blog to get you inspired for the new year.
In this pic Sarah is in Tolasana, I love this pose, it is my pose to enter the new year with strength, balance and playfulness.
For more inspiring yogi images, check out our Yoga Pic of the Week Gallery. You can also submit a yoga pic of your own, contact us here.
Photography by @sala_says


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Vodafone Thanks its Staff with an Exciting World Calling Club Competition
17 June 2010: Vodafone's amazing international calling promotion, World Calling Club, is a great hit with Vodafone's customers, which Vodafone's staff worked hard to put together.
To celebrate the success of World Calling Club and to thank their staff, Vodafone has given their staff the chance to "stay closer to home" with an exciting competition.
Every week until 30 June, a Vodafone staff member has the chance to win QR 5,000. They can send this money home or buy a ticket to surprise their family and friends back home with a quick visit or just use the money to spoil themselves.
All that the staff has to do is show Vodafone what "bringing home closer" means to them by sending a photo of something that reminds them of home.
Vodafone announced today's lucky winner as Ravi Narayan Achary, working in Vodafone Qatar's Call Centre in India, whose photo of home was from his wedding celebration. Last week's winner was Retail Assistant Dana Khleif from Jordan, whose photo of home was a beautiful sunset in Jordan.


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Literacy: Rw/E1.1, SLc/E1.3
Pre-entry: Speaking & Listening, SLc/M8.3, Rw/M8.3
ESOL: ESOL Lr/E1.5a, ESOL Rw/E1.1a, ESOL Sc/E1.3a, ESOL Sd/E1.1c
Context: Independent living
Resource type: Listening and/or speaking activity, Sort or match cards, Worksheet or assignment
Level: M8, E1
A worksheet which aims at getting pre-entry /E1 ESOL learners to practice different responses to greetings; both positive and negative responses. It also includes a picture matching task which helps learners to understand feelings and moods.
Editor's note
Also suitable for pre-Entry literacy.
General: Generic resources for literacy, numeracy and beyond
Free tags: Remembrance day
Level: M8, E1, E2, E3, L1, L2
Resource type: Informative presentation
A picture PPT first used to introduce the 2014 L1-2 Blood Swept Lands L1-2 Functional Maths tasks (see link below).
A great discussion prompt that can also be used or adapted to introduce any Remembrance Day activities.
Literacy: Syllables
ESOL: ESOL Rw/E1.1a, ESOL Rw/E1.2a, ESOL Rw/E1.3a, ESOL Rw/E1.3b, ESOL Ww/E1.1b, ESOL Ww/E1.2a
Level: M8, E1
Resource type: Cut and stick, Sort or match cards, Worksheet or assignment
This resource will help learners recognise words related to personal information. Learners will read, match, fill in the gaps and identify the number of syllables.
Literacy: Rw/E1.2
Pre-entry: Rw/M6.1, Rw/M7.1, Rw/M8.1, Rw/M8.2
ESOL: ESOL Rw/E1.2a, ESOL Rw/E1.3a
General: Dyslexia support
Resource type: Handout or guide, Reference card
Level: M6, M7, M8, E1
A-Z chart of pictures with the corresponding initial sound. I've tried to select pictures which Beginner ESOL adults will recognise.
Literacy: Form filling, Functional English - reading, Rw/E1.1, Rw/E2.1, Rw/E3.2
Pre-entry: Rw/M7.2, Rw/M8.3
ESOL: ESOL Rw/E1.1a, ESOL Rw/E2.1a, ESOL Rw/E3.2a
Context: Employment skills & Public services
Resource type: Ice breaker, Sort or match cards, Warm-up
Level: M7, M8, E1, E2, E3
Three sets of dominoes to use in warm-up and for letter and word recognition activities. The first set, for pre-Entry ESOL and Literacy learners with very low levels of letter and word recognition, matches lower case to capital letter versions, the second set is a set of "doubles", which can be used alongside the first. The third set, for pre-Entry / Entry 1 ESOL learners, matches a category to an example. Each set has 17 dominoes, so 4 each for a group of 4 learners, plus one to start.
Literacy: Rw/E1.1
Pre-entry: Rw/M8.1, Rw/M8.3
ESOL: ESOL Rw/E1.1a, ESOL Rw/E1.2a, ESOL Rw/E1.3a
Context: Education
Resource type: Wordsearch
Level: M8, E1
An easy word search (downwards and across only – no diagonals of backward-spelt words). Ideal for consolidating a vocabulary lesson on things to bring to class. A first lesson warmer / homework / filler.
Pre-entry: Rw/M6.1, Rw/M6.2, SLc/M6.1, Wt/M8.1, Wt/M8.2, Wt/M8.3, Rw/M7.1, Rw/M7.3
Resource type: Worksheet or assignment
Level: M6, M7, M8
Four straightforward worksheets for M6-M8 – based on everyday objects beginning with the sounds of a e m r s or t.
4 worksheets plus curriculum mapping.
Pre-entry: Sentence Focus, Ww/M8.2, Rw/M8.2, Rw/M8.3
Literacy: Functional English - reading, Rw/E1.1, Functional English - writing, Writing: sentence focus (punctuation & grammar)
ESOL: ESOL Rw/E1.1a, ESOL Ww/E1.1a
Resource type: Sort or match cards, Worksheet or assignment
Level: M8, E1
8 pictures and words to teach the vocabulary of things in a living room. Can be cut up and used as a picture / word match activity for groups or as a whole class activity. Can also be used to practise alphabetical ordering. There is also
a worksheet, a labelling exercise and short simple writing activity to practise the structure 'there is / there are'.
Pre-entry: Rw/M8.3
Literacy: Rw/E1.1, Rw/E1.2
ESOL: ESOL Reading: word focus (vocabulary, word recognition, phonics)
Resource type: Bingo, lotto or Pelmanism
Level: M8, E1
A game of bingo to practise reading (not listening to) the names of classroom objects. There are 16 different bingo cards and a page of word cards to be held up by the teacher. (Alternatively the teacher could write the words (one at a time) on the class whiteboard.
For a different take on this game (where names are called out) see Classroom Objects & Numbers bingo game written by Jacqui's colleague Sian Evans (scroll down to "See also").
Pre-entry: Rw/M8.2
Resource type: Warm-up, Worksheet or assignment
Level: M8
A straightforward worksheet with pictures of classroom objects and a choice of letters to circle. Ideal as a quick warm-up.


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Question about Kenmore 80809 Microwave Oven
The inside light and turntable stopped working. The microwave is less than a year old. Any suggestions as to what is causing the problem and what I can do?
Posted by Ginna v on
This is usually caused by either a bad door switch, a loose door switch mount, or a problem on the control panel.
Even though a door switch clicks, it may still be bad inside. Its continuity must be checked.
Door switch or mount trouble can be caused by slamming the door or by opening the door while it's cooking without hitting the Stop pad first.
If you someone you know decide to look into it, we have critical information on safety, disassembly and door switches at our site, and our link is at our listing here on FixYa: http://tinyurl.com/yzjozk
You can find helpful exploded view diagrams and order parts by entering your full model number here: http://www.searspartsdirect.com
If you think the problem is on the control panel, we repair these nationwide by mail for $39.95 postpaid in most cases.
Please write back with more details if you need further help.
We're happy to help and we appreciate your thoughtful rating of our answer.
Posted on Apr 18, 2008
SOURCE: I have freestanding Series 8 dishwasher. Lately during the filling cycle water hammer is occurring. How can this be resolved
Hi there,
Save hours of searching online or wasting money on unnecessary repairs by talking to a 6YA Expert who can help you resolve this issue over the phone in a minute or two.
Best thing about this new service is that you are never placed on hold and get to talk to real repairmen in the US.
Here's a link to this great service
Good luck!
Posted on Jan 02, 2017
Tips for a great answer:
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Throughout the year you will find a multitude of events and entertainment within Luton town centre, creating a fun, friendly and vibrant atmosphere for all the family. The diverse range of events include St Patrick's Day celebrations and the annual St George's Day festivities. Luton International Carnival, now run by the UK Centre for Carnival Arts, is the largest one-day carnival in Europe, weaving its way through the streets of Luton town centre and attracting up to 100,000 visitors from across the UK. Another town centre highlight event is the week-long Luton Summer Festival, which takes place in the first or second week of August, with St George's Square hosting everything from Greek dancing and world music to performance, poetry and children's events. For entertainment and nightlife, Luton has a wealth of restaurants, bars, pubs, cafes and clubs. If that's not enough check out The Hat Factory, a first-class, cutting-edge arts venue, features innovative and highly creative work, such as contemporary drama by leading playwrights and producers from across the region and the UK, as well as the latest music from international and local artists. And there's more! Luton town centre also has the Galaxy multiplex cinema and the Library Theatre, offering music, drama, amateur and professional plays, comedy, children's theatre and pantomimes.
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I moved to Japan on March 31, 2015, with the long-term intention of building a creative career here. As many do, however, I got mired in the slog of teaching language day in and day out, and didn't make the progress with my entrepreneurship that I had hoped to make, mostly because of the way that chronic lack of sleep cripples one's ability to think critically and get much done outside of work.
Eventually, however, a line must be drawn in the sand, or a situation such as this will continue indefinitely. As such, in January I am stepping off the plank and hoping I can swim. From January 18, I will be working only part time at my current day job and will thereby free up three additional days a week to devote to building my business.
Getting out of full-time English teaching while remaining in Japan is a challenge, especially given that my Japanese language is perhaps ironically poor, given that between my current five jobs (4 of which are teaching English) I have had neither the time nor the budget to enroll in Japanese classes, and have also found myself in an English bubble for the majority of the day, most days. Still, I am committed to making this leap one way or another. I don't expect it to be easy, but I will stop at nothing short of getting out of EFL and doing what I came here to do.
I am writing about the process of getting the business off the ground, as well as related topics, over on a new personal blog called The Convergence Factor (which you may recognize from prior projects if you've known me a while). I'm living where I want to live, now it's a matter of doing what I want to do, which means making a living from creative work.
Please check back here as well and subscribe through your preferred RSS aggregator. The relative silence of my photographic presence in the last few years should now be balanced out by a swarm of activity going into 2018. There will be photos, videos, essays, you name it. I have languished as a depressed English teacher long enough. It's time to rock out like the weird photographer and essayist that I have always been.


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food, fun and travel
Spring is here and the sun rises much earlier (around 6 am) which is wonderful but that also means my stupid cat starts meowing and dancing on my head so I wake up and play with her. Some mornings I wear earplugs and eye covers but she sits on my chest and paws at the eye cover, snapping it back in my face over and over (while meowing progressively louder). Who raised this monster!?! Why do I live in a loft? Why don't we have a room with a door that locks? Why can't she be like the other cat?
Anyways! This morning I got this super crazy idea to actually wake up, put some clothes on and do yoga on the beach. Yoga? Who am I? I usually go to the beach and drink morning beers.
Not one person on the beach, I got the whole pirate ship to myself! I obviously don't have a yoga mat so my exercises were done directly on the wet, splintery wooden planks, paying extra attention not to fall through the broken and missing ones.
Overall it wasn't so bad, I MIGHT try this again one day. P.S. I came home a couple hours later and Matt and both cats were all cuddled together snoring loudly, no one noticed I left.
New kitchen whiteboard art.
New scratching rug.
I can't tell if they like the new rug or not.
Our London trip was a great success, we accomplished everything we wanted to do with a few extra adventures. I have many more pictures to post and stories to tell but first I must unpack, pet the cats and somehow whip up a Christmas party.
Sunny Beach.
Sto loves the hammock.
Our pool.
1 2 3 … 8 Next


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Spiced California Fig Lamb Kebabs
Makes 4 servings.
2 pounds lamb shoulder or leg meat, cut into 2-inch cubes
¼ teaspoon salt
1 cup Spiced Fig Not Ketchup, divided, plus more for serving
1 cup Blue Ribbon Orchard Choice or Sun-Maid California Mission Figs, stems removed
2 medium zucchini
1 red onion
Thin bamboo or metal skewers
- Put the lamb cubes in a bowl. Sprinkle with salt, then pour over ½ cup of Spiced Fig Not Ketchup and mix well. Let sit at room temperature for 30 minutes or in the refrigerator for two hours.
- If using wooden skewers, soak them in water while the lamb is marinating.
- Heat the grill to medium-high (400 degrees F).
- Cut the zucchini into rounds about 1 inch thick. Slice the onion into 8 wedges, then cut each wedge in half.
- Thread the lamb, figs, zucchini and onion onto the skewers, using 2 cubes of lamb per skewer and dividing the rest of the ingredients evenly. You should end up with 8-10 kebabs.
- Grill the kebabs about 15 minutes, turning often and brushing generously with Spiced Fig Not Ketchup.
- Serve immediately.
PRO TIP: Metal skewers conduct heat very effectively, so the insides of your meat and vegetables will cook more quickly than with wooden or bamboo skewers. Adjust your cooking time accordingly and check your kebabs often.
Recipe by Erika Kerekes of Not Ketchup.


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I was on the Riverwalk and was talking to a guide, who directed me to Paris Hatters. Abe was really the nicest, and Gabe hooked me up with the 10X Chocolate. Came all the way from Denver, Colorado and it was worth it. Thanks to all!!
San Antonio, TX Womens Hats
YP - The Real Yellow PagesSM - helps you find the right local businesses to meet your specific needs. Search results are sorted by a combination of factors to give you a set of choices in response to your search criteria. These factors are similar to those you might use to determine which business to select from a local Yellow Pages directory, including proximity to where you are searching, expertise in the specific services or products you need, and comprehensive business information to help evaluate a business's suitability for you. "Preferred" listings, or those with featured website buttons, indicate YP advertisers who directly provide information about their businesses to help consumers make more informed buying decisions. YP advertisers receive higher placement in the default ordering of search results and may appear in sponsored listings on the top, side, or bottom of the search results page.
1. Gibson Costume Shop Inc
111 Allensworth StSan Antonio, TX 78209
From Business: Gibson Costume Shop Inc is San Antonio"s complete store for costume rentals and sales for all occasions. We carry the largest array of costumes and accessories around. So whether you want to be a superhero or a swashbuckler, a gypsy or an elf, come to Gibson Costume Shop Inc. We specialize in Ben Nye products. Why rent whe…
2. Starline Costumes
1286 Bandera RdSan Antonio, TX 78228
From Business: Starline Costumes is San Antonio's largest full service costume shop and we're open all year. Visit us to browse a wide selection of costumes and accessories to purchase, theatrical quality rentals and the highest quality theatrical makeup. Call for **Extended Halloween Hours**
3. Paris Hatters
I was on the Riverwalk and was talking to a guide, who directed me to Paris Hatters. Abe was really the nicest, and Gabe hooked me up with the 10X Chocolate. Came all the way from Denver, Colorado and it was worth it. Thanks to all!!
4. HATS by rita
134 Callaghan AveSan Antonio, TX 78210
5. Herb's Hat Shop
4922 Rigsby AveSan Antonio, TX 78222
6. Lids
849 E Commerce StSan Antonio, TX 78205
7. Duke Men's Hat and fine apparel
4555 Walzem RdSan Antonio, TX 78218
8. Duke and Duke Men's Hat Shop
4555 Walzem RdSan Antonio, TX 78218
From Business: Dress to make an impression
9. Contour Solutions
I had a wonderful experience with Contour Solutions after being referred for compression stockings. Salina took the time to explain all my options to me and the office staff was very friendly. I will definitely be a life long customer! -N.C.
10. Papaya Clothing
849 E Commerce StSan Antonio, TX 78205
Although this Marble Slab is very busy, the employees are super and the ice cream is always perfect. Everything is clean and organized and it's definately worth any wait
11. Outlaws Western Wear
7055 San Pedro AveSan Antonio, TX 78216
From Business: Outlaws Western Wear is a family owned and operated business. If you are in San Antonio you definitely want to stop by our store to find your classic and modern western cowboy apparel. Outlaws carries many different brands and selections for the whole family. Take back home a taste of Texas!!
12. Pro Image
6301 NW Loop 410 Ste S1San Antonio, TX 78238
13. By Design Fashions
4515 Gardendale StSan Antonio, TX 78240
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Several years ago, we started a program that was intended to improve discipline and build character. It was well received by the kids and staff as it was our own code of conduct. Kids could recite it by heart and were reminded when they did not live up to their promises. As with many good intentions it has somehow fallen into that pile of things that we used to do and then forgotten all together.
I believe that character does count, and should be the foundation of our school curriculum. While surfing the web to get some new ideas on the subject I came across the Josephson Institute's web site and found their Six Pillars of Character. We have adopted them, as our new code of conduct. They are reprinted them below:
Be honest • Don't deceive, cheat or steal • Be reliable — do what you say you'll do • Have the courage to do the right thing • Build a good reputation • Be loyal — stand by your family, friends and country
Treat others with respect; follow the Golden Rule • Be tolerant of differences • Use good manners, not bad language • Be considerate of the feelings of others • Don't threaten, hit or hurt anyone • Deal peacefully with anger, insults and disagreements
Do what you are supposed to do • Persevere: keep on trying! • Always do your best • Use self-control • Be self-disciplined • Think before you act — consider the consequences • Be accountable for your choices
Play by the rules • Take turns and share • Be open-minded; listen to others • Don't take advantage of others • Don't blame others carelessly
Be kind • Be compassionate and show you care • Express gratitude • Forgive others • Help people in need
Do your share to make your school and community better • Cooperate • Get involved in community affairs • Stay informed; vote • Be a good neighbor • Obey the laws and rules, but at times it is necessary to question athority • Respect authority • Protect the environment


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UK and Essex politics from a viewpoint near the bottom
Sunday, November 09, 2008
Tax cuts?
Following Barack Obama's win in the US on a tax-cutting platform, there are rumours that this formerly taboo subject is coming to British politics. According to the
, David Cameron will be unveiling something of this ilk on Tuesday. Labour actually have more scope for this now that they have decided that our children can pick up the tab for anything they want to spend. Expect them to steal any policy pronto.
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Steve Horgan
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Protesters to march in Chicago on Friday and ask feds to probe McDonald killing
Chicago Protesters Plan Black Friday March Over Laquan McDonald Death.
A black teenager shot 16 times by a white Chicago police officer was a ward of the state when he died, having spent years being shuttled between different relatives' homes and foster care from the time he was 3. Chicago police officers line up outside the District 1 central headquarters at 17th and State streets Tuesday during a protest for 17-year-old Laquan McDonald, who was fatally shot and killed in October 2014 in Chicago.Dashcam footage of his horrific shooting was released to the public this week hours after police officer Jason Van Dyke was charged with his murder, sparking a wave of protests in the streets of Chicago. Laquan McDonald, whose name demonstrators have shouted for two days and will shout again during a planned rally to disrupt the city's famed Magnificent Mile shopping corridor Friday, lived a troubled, disadvantaged life and had at least one previous brush with the law.
News outlets around the world have picked up the story with headlines screaming "Police officer shot black teen 16 times", "Protests erupt after video of white cop killing", "Dashcam video shows black teen shot 16 times". School officials and the McDonald family lawyer say there were signs Laquan was trying to get his life in order, though prosecutors say he had drugs in his system and was stealing cars on October 20, 2014 — the night a squad-car video captured Van Dyke shooting him.
Sabina Catholic Church and Chicago Teachers Union President Karen Lewis—called for demonstrators to shut down the city's Magnificent Mile retail area on Friday. Jesse Jackson and others have called for a "massive" march on Black Friday along Michigan Avenue, a swank downtown boulevard that's normally packed with post-Thanksgiving shoppers. The video released Tuesday shows McDonald jogging down an empty lane on a four-lane street and then veering away from Van Dyke and another officer who emerge from a police SUV drawing their guns. McDonald's family has appealed for calm, and his mother at least initially opposed the public release of the graphic dashcam video showing his death, attorney Michael Robbins said. Cook County State's Attorney Anita Alvarez said Van Dyke emptied his weapon before his partner stepped forward and kicked the knife away from McDonald.
His mother had been making efforts to regain custody of her son before he was killed and had been granted permission to take a younger sister back into her home, Robbins said. John Curran, a vice president at the Magnificent Mile Association, which represents 780 businesses, said his group is communicating with members about security and expects stores to be open as usual for one of the retail industry's most important shopping days. "We're hoping for a peaceful demonstration by the parties that are planning to demonstrate and respect their freedom to assemble and do that," Mr. A freelance journalist filed a Freedom of Information Act request for the video after learning of the shooting, but the Chicago Police Department refused to release it, saying it could hurt investigations. Marshall Hatch, co-chairman of the Leaders Network of Chicago, a nonprofit activist group. "From this tragedy and crisis, we need fundamental police reform, as well as an urban policy that offers live options for our young people." At a joint news conference Tuesday evening, Chicago Mayor Rahm Emanuel and Police Superintendent Garry McCarthy discouraged the kind of unrest seen in cities such as Baltimore and Ferguson, Missouri, after young black men were slain by police or died in police custody.
From around age six to 16, he lived with his great-grandmother and then stayed in the same house with an uncle after his great-grandmother died in 2014. Emanuel and McCarthy described the shooting of McDonald as an unusual and tragic incident, and the mayor noted that McDonald's family had asked people not to resort to violence.
Gattuso said Laquan took the initiative to attend Sullivan House High School, a school for at-risk students and high school dropouts between the ages of 16 and 21. Video footage of police shootings—from dashboard or body cameras to recordings made by citizens on mobile phones—has spurred more and faster prosecutions of police this year, experts say.
Attorney's Office since mid-November on an active, joint criminal investigation and that police-involved shootings are "highly complex" cases that take longer than typical shootings to investigate. In April, a white South Carolina police officer, Michael Slager, was arrested and charged with murder within days after a citizen video emerged that showed him shooting an unarmed black man, Walter Scott, who was running away from him at the time. Maki Haberfeld, chairwoman of the Department of Law, Police Science and Criminal Justice Administration at John Jay College of Criminal Justice in New York, said the shooting didn't appear to be justified because the teen wasn't approaching the officer.
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Tagged: Visual Arts
Poetics, Paraphernalia and Paint: The Artworks of John Hathorn
by Reggie Michael Rodrigue
"All the soarings of my mind begin in my blood."
― Rainer Maria Rilke
"One should always be drunk. That's all that matters…But with what? With wine, with poetry, or with virtue, as you choose. But get drunk."
― Charles Baudelaire
John Hathorn, "A Note on Red," oil on canvas, glass, oil, pigment, metal, string, 2000, collection of Lucy Leslie, photograph courtesy of the author
Near the entrance to "John Hathorn – A Retrospective" at the Acadiana Center for the Arts, there is a small, rather unassuming painting on the title wall of the exhibition. It is a vertically oriented, rectangular canvas which has been treated with a thin, umber, oil paint wash and slathered with a thick impasto of red oil paint which virtually obliterates the support surface. The red paint was probably built up with the help of a palette knife over the course of several days or weeks or months … maybe even years? The skin of the painting is as luscious and dense as cake frosting, but looking at it feels more like looking a slab of bloody meat. An old specimen vile containing powdered, red pigment hangs from the bottom of the canvas, calling extra attention to the not-so-secret ingredient that makes this painting hit one square between the eyes. One's pulse quickens. One's mouth moistens. Desire takes hold, and the color red is in the driver's seat.
Hathorn's "A Note on Red" is a sensual powerhouse; yet there is something extremely lucid and cerebral about it as well with that preserved vile of pigment hanging there from that red dwarf of a canvas, proclaiming that emotion is as easy to produce in the human species as parading colored dust before our eyes. There is poetry in that idea, despite (or, possibly, because of) the Pavlovian inanity of it.
John Hathorn, "Suspension in Red," oil, tar on canvas, wood, cloth, rope and metal. 1985, collection of H. Gordon Brooks II, photograph courtesy of the author
In the heart of Hathorn's exhibition, another painting, "Suspension in Red," continues the artist's exploration of the expressive power of the color. Here, the color red sets the scene for an abstract treatise on tension.
John Hathorn, "The Grammar of Verbenas (For Darrel Bourque)," oil and conte' crayon on canvas, 2012, photograph courtesy of the author
Further along in the exhibition, on the back wall of the ACA's Main Gallery, one can view Hathorn's "The Grammar of Verbenas (For Darrel Bourque)," a monolithic painting composed of a cataract of paint strokes, smudges and drips in midnight blue, black, burnt sienna and cadmium yellow on a white canvas. A scrawled line from a poem by Louisiana's 2009-2010 Poet Laureate, Darrell Bourque, hems the right edge of the composition like the inscriptions one can find on the edges of Japanese and Chinese prints. The inscription reads "one burnt water flowing into another burnt water."
Here, the abstract image is primary, yet the inscription – the addition of language – adds focus and direction to the image. Language makes the image more concrete and discernible, pinning it down while it seems to still wriggle with a mysterious life force of its own. Yet, the inscription leaves one to question what exactly "burnt water" is. The answer lies in the meaning behind Bourque's poem, which concerns the consummation and obliteration of the dichotomous elements of creation to create new substances or new life – hence the paradox of "burnt water." It is a metaphor for the way that oppositional forces and drives engender creation.
This fusion of opposites – the sensual and the cerebral – is the basis for all art. However, John Hathorn makes this fusion something overt. He makes the connection between the mind and the body the subject of his art by juxtaposing the sheer beauty of paint doing what it does on canvas with objects from the "real world" and fragments of literature, creating a trinity of human thought, gesture and artifact that stands in for the sum total of human aspiration and creation. In the end, he falls short of this goal, but anyone foolhardy enough to attempt such a thing would. What he does is manage to bring us closer to the goal which is valid in and of itself if one ascribes to the idea that "Life is a journey, not a destination."
John Hathorn, "Raft," wood, rope, stone, salt, metal, oil, cloth, paper, ink, floor to ceiling suspended installation, 2012, photograph courtesy of the author
Detail from John Hathorn's "Raft," photograph courtesy of the author
Detail from John Hathorn's "Raft," photograph courtesy of the author
Detail from John Hathorn's "Raft," photograph courtesy of the author
Detail from John Hathorn's "Raft," photograph courtesy of the author
Detail from John Hathorn's "Raft," photograph courtesy of the author
Speaking of journeys, it is somewhat easy to fantasize about taking one on Hathorn's sublime "Raft." The sculpture is a wooden platform covered with rugs, paintings, drawings, personal notes and other objects which hovers inches above the floor of the gallery and is suspended from the ceiling via a sturdy rope. The other end of the rope is wrapped and tied around a wooden palette topped by stone slabs and salt blocks on the other side of the gallery. The piece dominates the entrance to the exhibition.
Hathorn's "Raft" looks like a cross between a raft, a magic carpet, a cabinet of curiosities, a studio, a DaVinci-esque science project and a construction site – all things which speak to exoticism, travel, transformation from one state to another, and/or a belief in or a hope for a better future. It is a highly personal, artistic gesture in that Hathorn used lumber left over from the construction of the studio he shares with his wife, artist Mary Ellen Leger, to make the piece. Add to that the personal ephemera and paraphernalia from Hathorn's own practice in the completed studio, and one has access to a slice of the artist's life, work and process combined.
Yet, Hathorn's aspirations for the piece go beyond the personal and move toward the universal and the Romantic. One of the inspirations for the piece is Theodore Gericault's masterpiece "The Raft of the Medusa," a 19th century painting depicting the aftermath of the shipwreck of a French frigate off the coast of Senegal in 1816. Another inspiration for "Raft" is William Shakespeare's play "The Tempest," which unfolds around the central character of Prospero, a deposed duke and a magus who is trapped on a deserted island. In the play, Prospero plots to regain his title by unleashing a storm on his enemies while they are at sea which causes their ship to wreck, forcing them onto the shores of Prospero's island where he reigns supreme. Between these allusions and the physical manifestation of "Raft" itself, one is set adrift to peruse the individual materials that together compose the work and ponder what it means to seek and find refuge in uncertain times. In Hathorn's case, text, image and personal effects fuse to create a secure and fertile ground upon which his life and creative spirit thrive.
Installation view of John Hathorn's work table display in "John Hathorn – A Retropsective," photograph courtesy of the author
A painting on John Hathorn's work table display in "John Hathorn – A Retrospective," photograph courtesy of the author
An assemblage on John Hathorn's work table display in "John Hathorn – A Retrospective," photograph courtesy of the author
An assembalge on John Hathorn's work table display in "John Hathorn – A Retrospective," photograph courtesy of the author
An assemblage on John Hathorn's work table display in "John Hathorn – A Retrospective," photograph courtesy of the author
An assemblage suspended over John Hathorn's work table display in "John Hathorn – A Retrospective," photograph courtesy of the author
Two assemblages suspended over John Hathorn's work table display in "John Hathorn – A Retrospective," photograph courtesy of the author
A waste basket filled with used paint tubes near John Hathorn's work table display in "John Hathorn – A Retrospective," photograph courtesy of the author
A more diffuse but still compelling assembly within the exhibition is Hathorn's work table topped with diminutive paintings and rough-hewn, little objets d'art, some of which were made as tokens of affection for his wife. The alchemical role of the artist is on display here, exposing the small but fruitful experiments and transformations of paint, objects and texts which underpin the larger works in the exhibition. With the table display, one can gain a better perspective on the artist's process, and it is one of my favorite parts of the exhibition. I especially love the waste basket filled with used paint tubes near the table. Rather than being a side note on waste and consumption, it's proximity to the table gives it the air of something poetic, beautiful and grand. It is transfigured into an accidental monument to love and passion for one's craft.
John Hathorn, "Large Palette," oil on wood mounted on steel rod in wood base, 1994-1996, one of two individual palette sculptures on display in "John Hathorn – Retrospective," photograph courtesy of the author
John Hathorn, "Cardinal," oil on canvas, steel plumb, string, wood, oil on wooden ironing board, 1996, photograph courtesy of the author
Elsewhere in the exhibition, one comes into contact with more paintings-cum-sculptures that explore the various themes inherent in Hathorn's ouevre: the physical qualities of thickly impastoed paint, emphasis on the expressive and symbolic qualities of color, the elevation and suspension of objects, and an interrogation of the nature of painting and sculpture.
John Hathorn, "Large Bather," oil on canvas, wood, glass, oil, pigment, 1997, collection of Darrell and Karen Bourque, photograph courtesy of the author
John Hathorn, 'The Grammar of Water (Seventh State)," oil on canvas, 2006, photograph courtesy of the author
John Hathorn, "The Grammar of Water (Twelfth State)," oil on canvas, 2006, photograph courtesy of the author
There is also the running theme of water through the exhibition. Beside the aforementioned "The Grammar of Verbenas (For Darrell Bourque)" and "Raft," with their allusions to water, there is the presence of "Large Bather" and "The Grammar of Water (Seventh State)" and "The Grammar of Water (Twelfth State)." In "Large Bather," Hathorn aspires to capture some of the abstract play between water and light in some of the Dutch master Rembrandt van Rijn's paintings, such as "Woman Bathing" of 1654. In Hathorn's painting, we are given the tenebrous atmosphere of Rembrandt's background, thick, painterly gestures standing in for the rich cloth depicted behind the Rembrandt's bathing beauty and a bottle of amber liquid on a shelf to exemplify the interplay between light and water. With the "Grammar of Water" paintings, Hathorn simply focuses on color and gesture to achieve a painterly language to convey water's various guises.
John Hathorn, "The Baudelaire Sketches (The Silence of the Void)" oil and charcoal on canvas, cord, metal, water faucet, 2009-2010, photograph courtesy of the author
John Hathorn, "The Desire to Paint (On Baudelaire," oil on canvas, oil on wood, typewriter, glass, oil and string, 1998, photograph courtesy of the author
John Hathorn, "The Benefits of the Moon (On Baudelaire)", oil on canvas, music stand, oil on panel, stone, oil can, wood, glass, pigment, ivory, 1998-2002, photograph courtesy of the author
John Hathorn, "The Baudelaire Sketches (Of a Miraculous Plant)" oil and charcoal on canvas, 2009-2012, photograph courtesy of the author
John Hathorn, "The First Word of a Poem (On Rilke)," oil and conte' on canvas, 2012, photograph courtesy of the author
The allusions to water continue in Hathorn's "Baudelaire Sketches" with the deployment of a suspended faucet in the painting "The Baudelaire Sketches (The Silence of the Void)." Here Hathorn rifts on the work of famed French poet Charles Baudelaire, inscribing lyrics from a poem by the author directly onto the canvas in a black scrawl and using the words as a generative element to create an image of absence. The faucet serves to trigger the memories that we all have of faulty faucets leaking water loudly in otherwise silent rooms and the loneliness and isolation of the sound.
Baudelaire looms large in Hathorn's work because, according the artist himself, Baudelaire "used words as a physical reality … Like Baudelaire's abstraction of language, I use paint's physicality as the language of my art making" (from an artist's statement in "John Hathorn – A Retrospective"). In a very real sense, Hathorn and the French poet are spiritual and artistic kin, sucking the marrow out of the physical engagements of life and the sensations they engender and transmuting these things into an art of felt experience, symbolic inquiry, and metaphysical significance. Hathorn views his work as a form of correspondence across the centuries between himself and Baudelaire. This, among other correspondences, creates a temporal shift in much of the work that seems retardaire, nostalgic or simply elegiac. The irony here is that Baudelaire was considered an avatar of modern literature in his own time and a prototype for the avante garde of the 20th century.
Another literary figure Hathorn communes with is the German poet Rainer Maria Rilke. The poet's work generally juxtaposes stark yet lyrical physical imagery with a transcendent spirituality poised on the cusp of a pantheistic mysticism and existential angst. Though his work comes from the turn of the 19th into the 2oth century, Rilke seems to be a poet for our times as well in that the forces set into play in his own works are forces that we recognize in our own lives. His naked and direct, yet elegant, lines appeal to our sensibility for simple, unadorned language while between the lines, one gets the sense that he is reaching out for something far more obscure, yet profoundly nourishing. One can get the same sense of simplicity and profundity from Hathorn's work.
There are other antecedents for Hathorn's work as well, and they come from the visual arts. However, they aren't mentioned in the exhibition: they are the Abstract Expressionsists, namely Philip Guston and Willem de Kooning, and the group of artists that immediately superseded them, such as Robert Rauschenberg and Cy Twombly. In their combined works lie the seeds for everything that John Hathorn undertakes and subtly yet personally transforms in his own work. He is in their debt for certain. This is no slight, however. It is the position of all artists to be in debt to someone or something. If we are worth anything, we choose to stand on the shoulders of giants.
With all of its correspondences with authors and artists from the past, Hathorn's work may seem like a throwback to another era with it's denial of the trademark tropes of contemporary art: the fixation on advertising, graphic design, and celebrity, the slick appeal of minimalism, the shock of graphic and taboo imagery, the chic deshabille of a pile of trash thrown together, the divisiveness of identity art, and the transitory and shape-shifting nature of digitalia and the New Aesthetic, along with the theatrics of performance art and relational aesthetics.
All of these things seem a long way from Hathorn's ouevre, and rightly so. For Hathorn has conceived of a world for himself that operates at a slower pace, is more contemplative, quieter, subtler and richer than the outside world, if not as complex. The conundrum is that a complex world with ever-increasing demands on time and resources often breeds glib and facile art or conversely art that is so chaotic as to leave one feeling lost in it.
Therefore, it is an invaluable treat to be in the presence of an art which allows for a slow read and a chance to look back into the vast sea of art and literature from the past – not to dredge for kitsch, mind you, but to rediscover what is valuable, timeless and essential and return it to the light of day. Hathorn reminds us that we are most human when we contemplate the connection between mind, body and spirit. This connection has sustained humanity on it's long journey through the centuries.
As long as we continue to forge and refine this connection, we will find comfort and refuge in our creations – the glorious life-rafts of our own making.
Installation view of "John Hathorn – A Retrospective" at the Acadiana Center for the Arts, photograph courtesy of the author
Installation view of "John Hathorn – A Retrospective" at the Acadiana Center for the Arts, photograph courtesy of the author
"John Hathorn – A Retrospective" is on view at the Acadiana Center for the Arts until April 13, 2013.
Poet Clare L. Martin's Ekphrastic Response to a Scuplture by Luba Zygarewicz
LUBA ZYGAREWICZ, "Petrified Time: 12 Years of My Life, Folded and Neatly Stacked," sculpture/stacked dryer lint, tags and rope
Last month I hosted a meeting of the Acadiana Wordlab thanks to the graciousness of the lab's founder Jonathan Penton who also publishes the literary journal "Unlikely Stories." During the lab, I exposed the attendants to a wide variety of my favorite contemporary works by artists from Louisiana and discussed the merits and relevance of them and their works.
It was great pleasure, and I personally got a lot out of the lab due to the quality and variety of ekphrastic responses I received from the attendants. If you're wondering what an ekphrastic response is, you're not alone. I had no idea what one was until I hosted the lab. Once I found out what one is, I felt a little stupid. It's what I do here all the time – literary responses to and commentary on art. Unfortunately, I had never come across this phrase in any of my studies. Considering, I've been doing this for years now, I felt like there was a little egg sliding off my face after I was told what the phrase meant. The moment was certainly humbling, but not beyond the scope of my life as a critic. If there's one thing I've learned through my experience is that you can know most of a topic of interest, but you can never know it all, which is why I love hearing other peoples' responses to art and the world around them.
My current and favorite ekphrastic response is a poem from Clare L. Martin. An Acadiana poet of growing renown in South Louisiana and beyond, Martin recently published a ravishing book of her work titled "Eating the Heart First." She also writes a blog about her work and life titled "Orphans of Dark and Rain." Martins's work generally is invested in digging deep into the darkened corners of her life. Through poetic excavation, she brilliantly manages to uncover great sensuality, beauty and enlightenment in the shadows and emotional wreckage of her life.
When I spoke about Zygarewicz's sculptural tower of packed and tagged dryer lint which she saved from her own family's clothes dryer for 12 years, something connected with Martin on a spiritual, psychological and temporal level, and "Of Lint" is the result of that connection. I hope you enjoy this pairing of art and word as much I do!
after LUBA ZYGAREWICZ, "Petrified Time: 12 Years of My Life, Folded and Neatly Stacked," sculpture/stacked dryer lint, tags and rope
The blood of our days, sweat
and tears that flowed between us
all washed clean.
But the mud of wrath
never comes out
even though my knuckles
are raw from scrubbing.
I have formed this narrative
into an ominous tower.
Kneaded the soft pulp
into small bodies
piled upon small bodies.
My own body hardens
with an emotion
I cannot name.
My children grew and went away.
I do not know where to find them.
This strange, looming thing
marks their existence,
and by chance, my own.
I could burn it. The smoke of it
rises into leafless trees. Or bury it,
until that which still breathes
Who are we if we forget
where we have been?
Who are we if we forget
the true living we have done?
This artifice is evidence
of something cherished, and not—
Evidence of something felt,
something keenly known.
– Clare L. Martin
Clare L. Martin's blog: Orphans of Dark and Rain
Acadiana Wordlab's site on Facebook: https://www.facebook.com/acadiana.wordlab?ref=ts&fref=ts
Unlikely Stories' website: http://www.unlikelystories.org/
"Les Bons Temps": A New Digital Exhibition on Pinterest
HERB ROE, "Fille avec un Poulet," painting
"Les Bons Temps" is the first in a series of Pinterest boards curated by myself, Reggie Rodrigue, that will be used as digital galleries for the exhibition of visual art and other cultural artifacts together. The contents of each monthly exhibition will be dependent on one particular concept. "Les bons temps" is French for "the good times," and one can hear the phrase in everyday conversation or music in Louisiana often. Considering that Mardi Gras takes place in the middle of February, I thought it would be an appropriate concept for this month's exhibition. It is filled to the brim with artistic and musical goodness from Louisiana and a few other places, and speaks to the "joi de vivre" of life in Louisiana during Mardi Gras and the rest of the year. To check out "Les Bons Temps," follow the link provided below:
If you like the exhibition, please feel free to share it's URL with friends as it is open to the public of Pinterest and meant to be shared digitally and pinned. You can also check out the other boards on my Pinterest site, including one which hosts the "Louisianaesthetic Collection."
The August 2012 Lafayette, LA Artwalk Mise en Scene
The Acadiana Center for the Arts Senior Curator Brian Guidry and His Curatorial Assistant Carolyn Scalfano Faulk setting up for the exhibition "Reconfigure: Transformations of the Body"
The Acadiana Center for the Arts Lobby with a sculpture installation by participating "Reconfigure: Transformations of the Body" artist Lisa Osborn
A view of the Acadiana Center for the Arts from Jefferson St. at the onset of Artwalk
Meditation on the Streets: Elaine Botts letting "the world hurry by" on Jefferson St.
An Artwalk crowd on Jefferson St.
Artwalk in full swing at the Acadiana Center for the Arts entrance
"Reconfigure: Transformations of the Body" participating artist Lisa Osborn flexing her artist muscles before Acadiana Center for the Arts Senior Curator Brian Guidry, Lafayette artist and Creative Economy Summit Founder Emee Morgan and a friend
"Reconfigure: Transformations of the Body" participating artist Jonathan "JJ" Wilson
"Reconfigure: Transformations of the Body" participating artists Natalie McLaurin, Ben Fox-McCord, Michael Pajon, along with Pajon's friend and artist Shawne Major
Love Birds: Artist Shawne Major and poet/activist Jonathan Penton
Artist and Creative Economy Summit Founder Emee Morgan talking shop with "Reconfigure: Transformations of the Body" participating artist Chyrl Savoy
Acadiana Center for the Arts patrons in the Main Gallery
A view of "Reconfigure: Transformations of the Body" from the 2nd story bay window of the Acadiana Center for the Arts
A view of "Reconfigure: Transformations of the Body" from the 2nd story bay window of the Acadiana Center for the Arts
The title wall of the "Doodle Virus" exhibition at the Acadiana Center for the Arts
Installation of the "Doodle Virus" exhibition at the Acadiana Center for the Arts
Acadiana Center for the Arts patrons enjoying and buying the 250+ 4″ x 6″ works for sale in the "Doodle Virus" exhibition. All proceeds go to the Visual Arts Curatorial Department of the Acadian Center for the Arts.
Artist Ernie Fournet talking to a patron in the midst of his exhibition "It's Not Easy Being a Cop"
I hope you enjoyed this visual tour through Lafayette's art world … and dear reader, you can look forward to individual reviews on many of the exhibitions of the night in the near future!
Astral Projector: Mallory Page at the Lounge Gallery
Mallory Page
Astral I
mixed media on wood
36″ x 48″
Mallory Page
Astral II
mixed media on wood
36″ x 48″
Mallory Page
Astral III
mixed media on wood
48″ x 72″
Mallory Page
Calm Conscious
mixed media on wood
48″ x 60″
Mallory Page
Cirrusly II
mixed media on canvas, framed
24″ x 30″
Mallory Page
Cirrusly III
mixed media on canvas, framed
23″ x 30″
Mallory Page
Cirrusly IV
mixed media on canvas, framed
24″ x 30″
Mallory Page
Clarity of Spirit
mixed media on wood
48″ x 60″
Mallory Page
Half and Half
mixed media on wood
36″ x 48″
Mallory Page
Head in the Clouds
mixed media on canvas, framed
30″ x 40″
Mallory Page
Moon Movement
mixed media on canvas, framed
30″ x 40″
by Reggie Michael Rodrigue
Pure, abstract expressionism is a rare and elusive breed in South Louisiana's contemporary art scene. In fact, I could count the number of contemporary abstract expressionists I know practicing in the state on two hands.
Personally, I believe that something about the style inherently flies against the face of the overarching Catholic tastes of the populace: South Louisianians crave iconography. We generally like to recognize or at least be able to relate to what we see. This response aligns itself with our culture, which operates as a bulwark against the sometimes treacherous, violent or seemingly chaotic forces of nature that surround us (ie, swamps, hurricanes, and floods.)
The truth is that abstract expressionism is a little too amorphous, philosophical, bipolar and close to nature for most palettes here. It is amorphous because it doesn't claim to represent anything beyond personal expression. It's philosophical because it investigates and exposes ideas of existence, knowledge and conduct in a language, albeit visual. Abstract Expressionism is bipolar because it asserts the primacy of surface over pictorial depth while it essentially aims to show the deepest and most primal structures of the human mind (Platonic ideals and relationships) in a thin skein of paint. It operates in paradox. Lastly, it is close to nature because like everything of nature, it is what it is. It is most adamantly not a facsimile of something else as in representational or figurative art. This is the ultimate power of Abstract Expressionism. It may allude to other things, but it never fully descends into trying to reconstruct them visually. It is a pure art of being and potential. This is due to the influence of Surrealism with its emphasis on spontaneous and automatic creation stemming from subconscious drives.
Lafayette/New Orleans artist Mallory Page is a prime example of a contemporary Louisiana artist trying to breathe new life into the aging aesthetic of Abstract Expressionism. Her work operates between the two separate schools of the style: Color Field Painting and Gestural Abstraction. Color Field Painting descends from the line of Modernist experimentation with color that started with the Impressionists and the Post-Impressionists through the Fauves to the work of Joseph Albers and Hans Hoffmann. It is concerned with presenting a unified and cohesive field of flat color – an image of monolithic, yet sensual expression. Gestural abstraction descends from the emphasis on line, expressive distortion and psychological import in the work of Van Gogh and the Northern European Expressionists, through the work of Picasso to the work of the Surrealists. It is concerned with presenting the artwork as an arena of action, physical expression and existential struggle.
In Page's work we find a fusion of Color Field Painting and Gestural Abstraction. Free-form swaths and drips of stained color meld with expressive scrawls of pencil, ink and pastel to form a visual language that acts as a summation of and a re-entry into the history Abstract Expressionism. Her work takes off where such abstractionists as Helen Frankenthaler and Cy Twombly left the style. In Page's work, one can find a meeting point between tranquility and angst. In most of her works, the tranquility of Frankenthaler dominates. Yet, it is Page's minimal use of the erratic scrawl of Twombly that brings these works to life and activates them, making them more than limpid pools of dreamy color.
Page's current body of work at the Lounge Gallery in Downtown Lafayette makes excellent use of various shades of the color blue with all of its associations with the sky, clouds, water, space, twilight, spirituality, majesty, inner-vision, dreams, tranquility, and melancholy. Most of the work in the exhibition takes its turn showing a different face of the color blue. In a work such as Cirrusly IV, Page imbues her canvas with the feeling of a brightly lit day with scattered clouds through her use of cerulean while Moon Movement elicits a much more nocturnal and somnambulant sensibility with its midnight blues. Page's Astral Series takes things even further, giving the viewer a sense fathomless voids haunting undefined space where blue descends into black. One of the most intriguing paintings on view is Head in the Clouds. Typically the phrase is associated with a state of light and dreamy distraction, and there are certainly parts of this painting that correspond in kind. However, Page has allowed storm clouds to gather in this work as well in the form of two fields of blue-black which leak down the canvas. An incongruous scrawl in vermilion in the lower-right hand corner of the painting acts as a counterpoint to it all.
Page's exhibition is a feast for the eyes, and it exudes a great deal of taste. This is also my only caveat. When artists choose to dive into a historical style and reintroduce the style to contemporary discourse, the hazard of not pushing the style far enough always looms on the horizon. All too often, the style of the past often becomes today's decoration. Page's work comes close to this edge. However, if one cares to look closely, there is enough intelligence, innovation and fine-tuned sensibility at work here to keep the work from falling over the edge. From this precipice, Page reaches across a gulf of time and cultural history that encompasses the past 70 years, wresting a moment of American exceptionalism into our present hour of questioning and despair. Despite the the fact that American culture was reaching an apotheosis at the time that the Abstract Expressionists were creating the art that would put the nation on the world's cultural map, they were dealing with a tremendous amount of existential baggage following the two World Wars that scarred the first half of the 20th century. Their inner-turmoil and anxiety mirrors ours. Perhaps this is why many artists across America and other artists beyond have returned to Abstract Expressionism in the past decade to pick-up where the elder statesmen of the movement left off.
If Page and her cohort are inclined to astral projecting at all, I hope they're willing to continue to take us with them into a future of promise and progress, rather than just a tour of recurring angst and by-gone glory.
The exhibition "Astral" is on view in the Lounge Gallery, 402. S. Buchanan St., Lafayette, LA 70501 until May 31, 2012. One can view the exhibition during May's Artwalk and by appointment. Contact galerist Jeffery McCollough at (917) 282-1880 for a private viewing.
Promises, Promises!
Detail of Bullwinkle and Hammerhead (mural, ink and acrylic) by Johnathan "JJ" Wilson at the Acadiana Center for the Arts, Lafayette, LA
Detail of Bullwinkle and Hammerhead (mural, ink and acrylic) by Johnathan "JJ" Wilson at the Acadiana Center for the Arts, Lafayette, LA
Detail of Bullwinkle and Hammerhead (mural, ink and acrylic,2012) by Johnathan "JJ" Wilson at the Acadiana Center for the Arts, Lafayette, LA
Patrick Segura, Adoration, assemblage, 2011, Acadiana Center for the Arts, Lafayette, LA
Patrick Segura, Adventure, assemblage, 2011, Acadiana Center for the Arts, Lafayette, LA
Patrick Segura, Connected, assemblage with live performance, 2012, Acadiana Center for the Arts, Lafayette, LA
Patrick Segura, Golden Girl, assemblage with live performance, 2012, Acadiana Center for the Arts, Lafayette, LA
Patrick Segura, sRGB 1EC61966-2.1, assemblage, 2011, Acadiana Center for the Arts, Lafayette, LA
Patrick Segura, The Commonwealth, assemblage with live performance, 2012, Acadiana Center for the Arts, Lafayette, LA
Patrick Segura, www, assemblage, 2011, Acadiana Center for the Arts, Lafayette, LA
by Reggie Michael Rodrigue
By all indications, the Department of Visual Arts at the University of Louisiana, Lafayette is doing its job well (despite its quirks). Either that, or we in the Lafayette art scene are experiencing a great generational fluke in the guise of a bumper crop of amazingly gifted and promising young artists. Leading the pack are two recent graduates from ULL who are currently exhibiting some of the most forceful, intelligent, and innovative work that I've seen in this city in years at the Acadiana Center for the Arts.
Johnathan "JJ" Wilson is originally from Baton Rouge. After earning his BFA from ULL, he began to embed himself in the scene Downtown, and within a few months, he was curating the socially-minded exhibition Revolution No. 63 with co-curator Lillian Aguinaga. The exhibition highlighted the ever-expanding bike culture of Lafayette, along with its street culture. Their prescience in holding the exhibition in the newly opened, local apparel/print shop Parish Ink didn't go unnoticed, either. Revolution No. 63 was the perfect polygamous marriage between art, social activism and commerce.
Wilson has moved on from Revolution No.63, as his current work at the ACA attests, but he certainly has not left the street. Wilson has installed a monumental mural in the Mallia Galleria atop the ACA's lobby that rocks, hums, vibrates and pulses with youthful excess and bravado, while remaining wise and skillful. In Bullwinkle and Hammerhead, comic book precision and urgent graffiti meet Hindu mythology, H.P. Lovecraft, punk rock, abstract expressionism, death, violence and Wilson's own childhood. The mural is a gorgeously baroque labyrinth of sharply drawn, undulating Gods wielding weapons and musical instruments among phrases such as "Die! Die!," I am becoming death," "liquid courage," and "XXX." Red and yellow acrylics burst forth from the images and spill down the wall. Wilson managed to create a mural that is both a beautiful dream and a psychotic nightmare drawn from the pieces of his life. For instance, Wilson admitted that the title of the piece comes from the nicknames his grandfather used to address Wilson and his cousin when they were children. Altogether, the mural exudes a sense of primal rebellion tempered by a transcendental awareness of the absurdity of rebellion itself in the face of time and its repetitive cycles.
Directly under Wilson's mural in the ACA'a Coca-Cola Studio is the exhibition Now Streaming, showcasing the assemblages and hybrid performance sculptures of Patrick Segura. As with Wilson, Segura hit the ground running after his graduation from ULL last year with his first post-grad exhibition at the now-defunct Gallery at the Grant (He showed his work there with Thomas Deaton, another extremely promising recent graduate of ULL who is currently in the ACA exhibition "Lost and Found: Louisiana's Landscape Revisited) and an inclusion in the contemporary sculpture exhibition Red-headed Stepchild at the Homespace Gallery in NOLA's St. Claude Arts District. Segura specializes in sculptures that bridge the gap between the personal and the private, by conflating the subject of contemporary technology with craft, domesticity and the familial. Various, colorful yarns, fabrics, sequins, a velvet curtain, terrycloth towels, a boy scout uniform and even a bridal gown collide with keyboards, computer screens, sockets, wires and electrical cords in Segura's beautifully challenging assemblages.
For Now Streaming, the artist has upped the ante in his work by incorporating live performance into three of his ever-evolving assemblages. For the past two Artwalk evenings, volunteers have crawled into three of Segura's sculptures to take cell phone pictures of the audience appreciating the works (the pictures then were uploaded to the internet) or play the ubiquitous musical note that accompanies computer updates on a keyboard while being swallowed by a continuously updating Facebook page. The energy of the exhibition can make one giddy, and the feminine wiles of each piece lulls one into a realm of warm, motherly bliss. Yet, there is something ominous and sublime at play in the work as well. Allusions to the body are stripped of individual personality and subsumed by all the domestic digitalia. It is work that speaks of surveillance, capitulation, anonymity and virtual obliteration as well as how technology is shaping humanity in its image. It is as if the duplicitous CEO/oligarch/matriarch "Mom" from the television series Futurama decided to try her hand at sculpture. Segura's vision comes on warm, but is ultimately chilling when one realizes the implications of the work.
Together, Wilson and Segura have played a huge part in making the past two months of exhibitions at the ACA profoundly exciting and rewarding. Unfortunately, their work won't be up for much longer. Their works are coming down this week. If you haven't seen their works in person, I would suggest taking a visit to the Acadiana Center for the Arts as soon as possible. Five to ten years from now, you'll thank me for this advice when you'll be able to say " I knew them when they were fresh out of college!" These two, along with Thomas Deaton, are on the verge of great things. I promise!
All That's Fit to Print: "Making Impressions" at Gallery 912
Installation view of "Making Impressions" at Gallery 912
by Reggie Micheal Rodrigue
In a world filled with all sorts of cutting edge art – digital/internet art, film, installations and performance art, printmaking sometimes seems like quite an anachronistic medium in the 21st century. After all, most printmaking today still depends on techniques developed centuries ago. Woodcut, the process of carving a piece of wood and printing from it, developed as a technique in 5th century China and spread to Europe in the 1400's. Intaglio processes which involve engraving or etching into metal to create a surface to be inked and printed on developed between the 1400's and the 1600's. The process of printing from a stone and harnessing the repulsion that exists between oil-based media and water to create an image is known as lithography. This technique has existed since the 1700's. Since then, other techniques such as monotypes, silkscreening (Andy Warhol's preferred technique), and various digital techniques have come along as well. However, printmaking still remains grounded in time-honored traditions, for the most part.
This doesn't preclude innovation though, especially in terms of style and subject matter. The quality of expression inherent to the printmaking process and the obsession to adhere ink to paper some feel in their bones have both kept the artworld replete with a steady stream of new printmakers who carry on the traditional processes while still speaking to us about the world we live in now. One could argue that in the digital age, where most printed material has been consigned to the dust-bin of history, the value of prints could increase due to their preciousness, rarity and hand-crafted nature.
This thought was high in my mind on Thursday, Decemeber 1. That evening, the opening reception for the group exhibition "Making Impressions" took place at artist Roger Laurent's Gallery 912 in Lafayette's Oil Center. The exhibition focuses primarily on recent print work from local artists Bonnie Camos, Susan David, Justyna Frederick, Erin Jagneaux, Terree Tisdale-Kwarteng, Catherine Siracusa and Roger Laurent himself.
The fall weather was cool and crisp – the kind of atmospherics that make one both nostalgic and keenly aware of the present at the same time. I walked up to the entrance of the gallery and was immediately set at ease by the warmth of the scene taking place on the other side of the storefront windows. In the middle of a gallery packed full of works hung in a salon style, the exhibition itself was taking place on cranberry red, movable walls which made the white, cream and gray paper of the prints pop. The artists and their patrons moved between the walls, chit-chatting, drinking wine and appreciating the art, the scenery and themselves. It was a convivial atmosphere – so much so that it took me about twenty minutes to get inside the gallery due to a number of conversations sparked on the sidewalk, including three of the artists exhibiting there.
The exhibition itself runs the gambit in styles and processes, and there is pretty much something for every taste from prints that are sunny and cheerful to some that are downright morbid. The work itself may not be cutting edge or revolutionary, but the real draw of this exhibition is quality and craftsmanship.
Artist Bonnie Camos presents a handful of woodcuts based on floral motifs. They are cool and crisp, displaying an even amount of white paper and black ink. The artist also manages to coax quite a bit of movement out of her still lives through her handling of the woodcut medium. The flowers seem to react to the woodcut lines surrounding them, bending and flowing in various directions according to the logic of each individual image. They work on this level, but when viewing them, I was still yearning for a bit more. When I view art, one thing that tells me that what I'm looking at is exceptional is when I can see the idiosyncrasies of the artist coming to the fore in the work. With these images, despite their graphic punch, I felt like they could have been made by just about anyone with a high degree of technical ability.
Printmaker and painter Susan David offers some of the most chilling work on view in "Making Impressions." David has always had a penchant for the darker corners of life. Recently a collaboration with playwright Dayana Stetco sent her directly into one of these corners. The play they were both working on involved allusions to insects. David became obsessed with all things that creep and crawl on six legs and, she even began collecting them despite a serious repulsion to them. David told me at the opening that every time she picked up a fly for her collection, her gag reflex would kick in. Now, that is commitment to one's art! From her interaction with Stetco and her bug collection, David came up with a suite of woodcut images (some involve layers of images) that explore a range of topics from comparisons of insect exoskeletons and human skeletons to the transmission of the bubonic plague. Despite the dark nature of the work, David's gothic woodcuts are beautiful, haunting and truly deserving of a close look.
Justyna Frederick is somewhat the odd duck in the group, presenting a handful of paintings and sculpture in the exhibition. Fredericks' paintings exist somewhere between slightly surreal abstractions and Impressionist landscapes with a Louisiana flare. Her landscapes certainly display a bit of quirk (one of them is painted on top of a plaque shaped like a fish) and gestural/graphic bravado; however, they don't fit neatly within the context of the exhibition and somehow skirt dangerously close to folk art and craft. The painting with the fish would work a whole lot better without the wooden frame it is in or if the painting continued to be addressed on the frame itself.
Erin Jagneaux is the other dark horse in the exhibition beside Susan David. Jagneaux offers a range of moody woodcuts, etchings and silkscreens that exemplify the gritty urban aesthetic of places like Brooklyn, NY. Jagneaux focuses on arresting figures that seem both lost and totally at home in their environments, whether they are inside cramped apartment spaces or surrounded by the decay of the city at large. In many ways, her works are windows into the soul of a young generation coming to grips with the broken world which they have inherited. Jagneaux's works aim at finding beauty in unlikely places and candid moments. In this sense, they exude a photographic quality that is rare in printmaking. Through her pieces, the artist also shows that she is in command of her craft.
The most quirky artist in the lot would have to be Terree Tisdale-Kwarteng. One gets the sense that there are some esoteric and hermetic things going on in her work from allusions to the tree of life, alchemical processes, Kabbalistic wisdom, and theosophically laden abstraction. From one work to the next, Tisdale-Kwarteng transforms like a chameleon. Out of all of these artists, she seems to have access to both the light and the darkness of life. In one gloomy intaglio etching, she conjures a miasma of preternatural life that could challenge the likes of Hieronymous Bosch. Yet, in another work made with encaustic on paper, she works in a vain of playful, quasi-abstraction that echoes the work of 20th century artists such as Paul Klee. In this work, the darkness is held at bay by an exuberant use of color and whimsy.
Catherine Siracusa offers the smallest body of work in the exhibition. It's also the most demure and silent. Her encaustic prints with oil painting are almost bookmark size. Yet they refer to nearly barren landscapes where lonely trees are isolated against somber horizons. The works are quite autumnal in feeling; however, they lack a certain amount of impact. In truth, they remind me of the kinds of prints one could find in the decor section of certain department stores – the sort of thing that goes well with one's couch.
Roger Laurent's work was one of the highlights of the exhibition for me. Considering I had never seen his work before, it was also a revelation. Laurent manages to pack quite a bit of excitement and action into his small, abstract spaces. His works here seem caught between the primitive and the contemporary – certainly not new terrain in art. However, Laurent makes this platonic area his own, and his prints are all the better for it. One piece in particular caught my eye. This diminutive etching with watercolor breaks open space while maintaining the integrity of the "objects" (some of which seem like modernist chairs, steel I-beams and concrete structures) being rendered by the artist. There's a whiff of Philip Guston's late work in this piece that gives it both heft and humor. Ultimately, it is highly enigmatic, which is why I keep returning to it in my mind. Due to this fact, I would dare say that it's the best piece in the show.
So, "Making Impressions" isn't the most even or revolutionary exhibition out there. However, it does have quite a few gems as far as work goes, and it displays a wide range of printmaking techniques that should fascinate any novice or master. On the whole, I feel a number of the artists and their works definitely made an impression on me. Much like ink pressed onto paper, some of the pieces in "Making Impressions" have been pressed to my memory and will be living on there for the rest of my life, adding even more richness and depth to it. Such is the true substance and nature of art.
Bonnie Camos
(from left to right)
"Heliopsis Scabra Patula," woodcut; "Tulipa Praestaris Fuselier," woodcut
Susan David
"I.N.S.E.C.T. – Institute for the National Supression of Emotion through Combined Technologies"
layered woodcut
Susan David
(clockwise from left)
"Bed Bug on Tan Arches," woodcut; "Butterfly on Cream Arches," woodcut; "In Breed 2," brown ink on Chinese paper; "Scarab/Beetle on Tan Arches," woodcut; "Bee on Cream Arches," woodcut
Justyna Frederick
"Women in Ricefield"
acrylic on board
Justyna Frederick
"Fish in Landscape"
acrylic on board
Erin Jagneaux
"Take a Left at the Chemical Plant"
Erin Jagneaux
"Knees, Flowers, Cowboy Boots"
Erin Jagneaux
"Adolescent Amazon"
Terree Tisdale-Kwarteng
"Alpha and Omega"
Terree Tisdale-Kwarteng
"Poppy Tree"
encaustic on paper
Catherine Siracusa
"3 Trees Landscape"
encaustic print with oil painting
Roger Laurent
"Flora Series"
intaglio etching
Roger Laurent
intaglio etching and watercolor
The group exhibition "Making Impressions" is on view for the month of December at Gallery 912, 912 Coolidge Blvd, Lafayette, LA 70503


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A photo purchased by Randy Guijarro in a California junk shop for $2 was recently authenticated as the second known picture of Wild West outlaw Billy the Kid, according to the Daily Mail, which added that it is also the only known picture of the outlaw's entire Regulators gang.
In the recently released photo, Billy the Kid is seen fourth from left, looking similar to his infamous portrait – even appearing to wear the same top hat, the Daily Mail claimed, adding that, instead of leaning on a rifle, he holds a croquet mallet as participants engage in a round of the game.
RELATED: ART: Old Coney Island photos take you beyond the boardwalk
Now that it has been authenticated, the photo is worth an estimated $5million. Kagin's, the collectibles company currently negotiating the picture's sale, was initially skeptical of its authenticity, the report stated, quoting senior numismatist David McCarthy. "We had to be certain that we could answer and verify where, when, how and why this photograph was taken. Simple resemblance is not enough in a case like this. … After more than a year of methodical study, including my own inspection of the site, there is now overwhelming evidence of the image's authenticity," he said.
RELATED: SLIDESHOW: British photographer creates modern-day folklore portraits
RELATED: SLIDESHOW: British photographer creates modern-day folklore portraits
It's believed that the new photo was at a wedding between gang member Charlie Bowdre (seated on a horse in the picture) and his bride Manuella during the late summer in 1878 at the New Mexico ranch of the Kid's late boss John Tunstall, the Daily Mail reported.
"The historical importance of a photograph of Billy the Kid alongside known members of his gang and prominent Lincoln County citizens is incalculable – this is perhaps the single most compelling piece of Western Americana that we have ever seen," Kagin's President Donald Kagin said in a press release quoted in the report.


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Selling your home? Fall is a great time to prepare your home for sale. The brilliant colors of fall leaves and the snap of the crisp fall air creates an inviting charm for potential buyers. All those fall colors don't sell your house by themselves though. You need to do a little work to keep your house in top condition for showings.
Tips for selling your house in the fall
- Clean up fall leaves regularly. A few leaves on the ground can be picturesque, too many and you are starting to look a little neglectful.
- Plant fall flowers. As summer plants die off planting some fresh flowers for fall will keep your house inviting rather than haunted.
- Clean gutters and roofs. Overhanging trees can create blockages in gutters and make roofs look cluttered. Maintaining your roofs and gutters will also keep water from damaging your house by directing it to the proper places.
- Get a wreath for your door. And some potted plants. Create an inviting atmosphere at your front door that welcomes people into the home with wreathes and touches of beauty. But keep it tasteful. More is sometimes just overpowering.
- Mow, pull weeds and fertilize brown grass. This may seem obvious but keeping your lawn maintenance fresh and crisp will convince potential buyers that you have been faithful in your house maintenance. And you have, haven't you?
- Add outdoor lighting. As the days become shorter and it becomes darker earlier, lighting is a great way to enhance your home creating safety, visual appeal and highlighting your home's best features.
Need help creating curb appeal?
Contact us and find out how we can help you light up your home, maintain your lawn and more.


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The Earth twirls along at a brisk 1722km/h as it travels around the sun, though you'd never notice it. But what if you did? This award-winning stop-motion animation by Dan Ojari follows an unassuming office worker as he gets up to speed.
The Weirdest Thing On The Internet Tonight: Slow Derek
Trending Stories Right Now
Museum Visitor Falls Into Giant Hole That Looks Like A Cartoonish Painting On The Floor
Like a real-life version of a Looney Tunes cartoon, a visitor to a Portuguese museum was injured last week when he stepped into an art installation resembling an inky void. Currently on exhibit at the Serralves Museum in Porto, Descent Into Limbo by Anish Kapoor includes an actual 2.5m hole that's painted black — so it appears to have no depth at all.
Nvidia's Beastly New 20-Series RTX GPUs Claims Up To 6X Performance Starting At $899
It's been a long time, but after first announcing the Pascal architecture in 2014 and then releasing the GTX 1070 and 1080 in May 2016, Nvidia finally has a new top-of-the-line graphics card for the PC gamers. Say hello to the new GeForce RTX 2070, 2080 and 2080 Ti.


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Information deemed reliable, but not guaranteed. Based on information from Metropolitan Regional Information Systems, Inc. (MRIS). Listings come from many brokers, and not all listings from MRIS may be visible on this Website.
Based on information from the Charlottesville Area Association of REALTORS®. IDX information is provided exclusively for consumers' personal, non-commercial use and may not be used for any purpose other than to identify prospective properties consumers may be interested in purchasing. Information deemed reliable, but not guaranteed.


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From Elizabeth A Lockwood of Springfield, Oregon on 12/14/2017.
Dogs loved them!
So cute!
From Angela of Denison, Texas on 12/14/2016.
These are very cute! I got a pack for each of the doggies in my extended family, as part of their Christmas present.
Highly Recommend
From LORRAINE of SACRAMENTO, California on 1/19/2016.
My Casey loves these. I give these to her as an after dinner snack. thank you for all you are doing.
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Dots on Turquoise Calendar Days
Regular Price: $3.49
On Sale For: $0.70
Grade Level: K
Out of Stock
These cheerful Calendar Days will add fun to any calendar display! Pair with the Dots on Turquoise Calendar Chart and Dots on Turquoise Months of the Year.
- 31 numbered days
- 4 blank days
- Approximately 2 11⁄16" x 2 11⁄16"
Coordinates with Dots on Turquoise® products.


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text: My emachine came pre-installed with windows XP. I reformatted my hard drive and installed windows 2000 pro (don't ask why). Anyway, I obtained this modem driver from emachines website. Just in case you do not have an emachine the brand name of the modem is "Conexant SoftK56 Modem". Hopefully this helps someone.


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About Carrie Kosarek
Dr. Carrie Kosarek was born in Illinois, but grew up in St. Petersburg, Florida and she attended The University of Florida for both her undergraduate and veterinary degrees. She graduated with her Doctorate of Veterinary Medicine in 1999 and continued her training at Florida Veterinary Specialists in Tampa, Florida as a rotating small animal medicine and surgery intern.
She then completed a one-year oncology internship prior to starting her medical oncology residency at The Ohio State University in 2001. Dr. Kosarek completed her residency and Masters of Science degree in 2004 and she became a Diplomate in the American College of Veterinary Medicine at that time.
After working in Tampa, Florida as the staff oncologist for 2 years, Dr. Kosarek was a clinical assistant professor at the University of Georgia from 2006 – 2008.
Dr. Kosarek moved back to Florida in 2009, where she held the position of an associate oncologist and intern director at Animal Cancer Care Clinic for the past 6 years.
Dr. Kosarek is eager to be back on the West Coast of Florida. When not treating her 4-legged patients with cancer, Dr. Kosarek enjoys spending time with her family and her 2 dogs.
Bachelors of Science, University of Florida
Masters of Science, The Ohio State University
Doctor of Veterinary Medicine, University of Florida
- Diplomate, American College of Veterinary Internal Medicine
Board Certified in Oncology


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Found under a bubblegum pink sky, the Meltiverse is mapped out one painting at a time by Buff Monster. A surreal world which could entice th...
Buff Monster (American, b. 1979) quickly became a notable Los Angeles-based street artist in 1997, when he put up thousands of hand-silkscreened posters and stickers around the city. While he has prospered creating graffiti murals, he has also enjoyed popularity as a fine art painter and designer toy creator.
For more information on Buff Monster:
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