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The Skydown from Aigle is brand new for this Autumn-Winter 2016 season and builds upon the success of Aigle's duck down range, something which the brand has become synonymous with. The Cuckmerry down coat has been one of our best selling winter coats on multiple occasions. Similar to this season's Icidown jacket but longer in length we are sure this jacket will soon join this trend.
The warm, down coat is made from a matt water-resistant fabric in a rich navy, this is balanced with a striking honey coloured lining. As you would expect from a winter coat the Skydown has a generous sized hood to hide under and this is fastened with a storm flap and can be easily removed for a sleeker look.
A great deal of thought has gone into making this padded jacket both superbly stylish and wonderfully comfortable to wear. Aigle have achieved a flattering feminine fit with an elasticated waistband to the back of the coat which provides a fitted appearance. The two way zip makes the longer length coat easier for sitting down in and two of the four pockets have a warm lining meaning you really will be kept cosy. The Skydown is without a doubt one of the most stylish and durable winter coats available this season and will at home in town or country.


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US Campgrounds
North Dakota
Emmons County
Seeman Park
Seeman Park, North Dakota
Custom Search
Nearby attractions
Picnic and Barbecue area is available
Tap Water
Activities: golf
Naturally there are restrooms here; water hookups are available here. Seeman Park is an old favorite with people from Strasburg.
It's been too much time since you went outside, you need to get out, and Seeman Park, North Dakota is a good spot for getting out.
Obviously there are showers at this campground.
Famous North Dakota kindness and all the fun stuff to do are incentive enough to come here. North Dakota has scores of outdoors activities.
Seeman Park is
not positioned in a vicinity with an abundance of activities, but camping is such a fun activity, and this is a good spot to do that. Seeman Park is not far at all from Strasburg; Lake Hiddenwood Recreation Area is a great place to
take a look at on a delightful day. Near Seeman Park you stumble on a golf course called Linton Country Club. Seeman Park is a location that is rather arid usually. Of all the months in a year June is the one with the most rain, and the driest month is February. At Seeman Park through the summertime months highs are in the 80's, and during the night it cools down to the 50's. Through the winter highs are in the 20's while the cold winter nights at Seeman Park are in the-10's.
Steele Cobblestone Inn, Steele
36 miles away
Ramada Limited Bismarck Northeast, Bismarck
45 miles away
Americas Best Value Inn And Suites Bismarck, Bismarck
47 miles away
Ramada Bismarck, Bismarck
47 miles away
Other campgrounds near Seeman Park, North Dakota:
Sunrise, Linton
, 1 miles away
Beaver Creek Recreation Area, Linton
, 3 miles away
Strasburg City Park, Strasburg
, 6 miles away
Hazelton City Park Campground, Hazelton
, 12 miles away
Rice Lake, Herreid
, 13 miles away
Braddock Dam, Kintyre
, 16 miles away
Braddock City Park Campground, Kintyre
, 17 miles away
Lake Pocasse, Pollock
, 17 miles away
Stateline Resort, Strasburg
, 17 miles away
Nieuwsma Dam, Herreid
, 18 miles away
Public Lands near Seeman Park, North Dakota:
Lake Hiddenwood Recreation Area, South Dakota
, 37 miles away
Golf Courses Near Seeman Park, North Dakota:
Linton Country Club, Linton
, 3 miles away
Current weather conditions at Seeman Park, North Dakota
Local climate location: LINTON 6 miles away
Outdoors Recreation Near Bismarck, North Dakota
Outdoors recreation in the vicinity of Bismarck, North Dakota, the metro area neareast to Seeman Park. Find info on campgrounds, marinas, hiking trails, ski resorts, lakes, beaches, parks, whitewater, golf courses and more.
North Dakota Campgrounds
Complete list of all campgrounds in North Dakota
Emmons County Campgrounds
Complete list of all campgrounds in Emmons County
Books about campgrounds in North Dakota
List of books available on Amazon.com about campgrounds in North Dakota.
Copyright © Stratus-Pikpuk, Inc.

subset: commoncrawl


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Price action: Lean hog futures ended mixed, but the front-month contract saw strong followthrough buying to end $1.20 higher. December hogs ended 52 1/2 cents higher, with the rest of the pit ending narrowly mixed.
Fundamental analysis: Sharp followthrough buying in the October contract signals there is still more upside potential as traders work to narrow the discount it holds to the cash index. October hogs ended the day at around a $4 discount to the index. Tighter-than-expected supplies continue to give bulls the upper hand, but packers have been more hesitant to raise bids this week as they work to improve margins.
Traders are also focused on evening positions ahead of Friday afternoon's Quarterly Hogs & Pigs Report, which is expected to reflect slight expansion in the industry due to rising prices. While All Hogs & Pigs are expected to come in around 98.6% of year-ago levels, Kept for Breeding is seen at 101.5% of year-ago.
Technical analysis: October lean hog futures have moved into overbought territory according to the 9-day Relative Strength Index, which signals a time or price correction is due. But technicals currently point to even higher prices as today's followthrough buying confirms yesterday's upside breakout.
Hedgers: 50% of expected 4th-qtr. production is hedged in Dec. lean hog futures at an average price of $82.12 1/2.
Feed needs: 25% of 4th-qtr. protein needs are covered in long Dec. meal futures at $422.20 and 25% of 1st-qtr. needs are covered in long March meal futures at $410.80.
Live cattle
Price action: Live cattle futures favored a firmer tone throughout the day and finished slightly higher in all but the April contract, which ended 5 cents lower.
Fundamental analysis: Cattle traders are anticipating higher cash cattle prices in the Plains this week after packers raised bids $1 last week. But with October live cattle already trading at roughly a $3.50 premium to last week's cash trade, buying interest was muted today as traders wait for cash trade to develop. Unless there are strong indications packers will raise cash bids more than $1, buying interest is likely to remain limited tomorrow.
Traders have some uncertainty toward the boxed beef market. There seems to be retailer resistance to current prices, though packers moved a strong 161 loads of product this morning, albeit amid a drop in Choice boxed beef values.
Technical analysis: December live cattle futures showed modest followthrough buying today after posting a breakout above the August high yesterday. This price action suggests the contract is ready to move the next leg higher on the daily chart. To do so, the contract must push above a 62% retracement of the price plunge from the contract high to the contract low, which stands around $131.90. Uptrending support from the May and June lows intersects at $129.59 1/2.
Feeder cattle
Price action: September feeder cattle closed 72 1/2 cents higher, while the October through March contracts ended 57 1/2 to 85 cents lower.
Fundamental analysis: Recent strong gains in feeder cattle and strength in the corn market today caused traders to take profits today. But the downside was limited to corrective selling as live cattle favored a firmer tone and traders are anticipating cash feeder cattle prices to rise amid tight supplies.
Technical analysis: January feeder cattle futures posted a modest inside day down today following five days of gains. Tuesday's high at $163.65 is followed closely by the contract high of $163.95 as key resistance. To the downside, support lies at Tuesday's gap from $162.45 to $161.75.
Hedgers: Fed cattle producers should carry all risk in the cash market for now. Feeder cattle sellers and buyers should also carry all risk in the cash market for now, but feeder cattle buyers should stay in touch to establish long coverage.
Feed needs: 25% of 4th-qtr. protein needs are covered in long Dec. meal futures at $422.20 and 25% of 1st-qtr. needs are covered in long March meal futures at $410.80.
Should I Apply Fall Herbicides? Consider These Factors
Crops Analysis -- Advice (VIP) -- September 25, 2013


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News and insights
Fostering the exploitation of results of the project
Website of the project: IGTrain
Completing the JOB activities already completed by the Civil Society Organisation (CSO) Associação Caminho Sentido, and SME Tojas investimentos, and the already started JOB training programme of CSO Associação Memória de Records Club, the Associação Aldeia Lusófona – Associação para o Desenvolvimento Intercomunitário offered the opportunity of implementing an on-the job training activity which started in 17.05.2015 and that will be completed on 07.06.2015 with four specific learning units encompassing communication, ICT tools utilization, training programme design and implementation and project management. Complementary learning activities will also be organized within a long term lifelong learning activity embedded in the CSO's education and training programme for 2015-2018.
The aim of this learning activities is to implement the on-the-job (JOB) training concepts encompassed in the Trainer's Guide, following the evidence-based results related to intergenerational learning. The work-based mentoring process will put in practice both residential working activities in group or individually, and individual e-learning sessions, using the Open Web provider Google, and more specifically the platform Google Site and all related tools, such as Google Docs, Google Forms, Google Drive, to name but a few.
For the first time, considering the project IGTrain, the CSO Associação Aldeia Lusófona – Associação para o Desenvolvimento Intercomunitário will realize a documentary of all the process in hand in association with the Escola Superior de Teatro e Cinema (High Scholl for Theatre and Movies), with which Waterpolis also plan to organize IGTrain learning programme activities in the near future.
Indeed, our approach for dissemination and exploitation of results purposes is to invite a variety of bodies (services providers, non-formal and informal training providers, active citizens and related CSO, etc.), to integrate current IGTrain training activities developed by a IGTrain TTT or JOB hosting partner (in the present case the CSO Associação Aldeia Lusófona – Associação para o Desenvolvimento Intercomunitário), so that Waterpolis encourage these bodies to implement the referred training actions, following the concepts of intergenerational learning.
The JOB activity will generate the opportunity to collect a variety of observation from the mentor and the mentees aiming at:
- improving the Trainer's Guide structure, content and modularity;
- unveiling possible obstacles to the learning process and identifying feasible answer to overcome them;
- identifying key needs for the development and fostering of intergenerational learning in CSOs;
- fine-tuning conventional methodologies in order to adjust specific needs and better answer to the objectives of the learning pathway;
- evaluating the learning curve in order to identify, categorize and define key practices that will be gathered in a good practice model.
In addition, the working activities will provide an excellent opportunity to discuss and outline the train-the-trainer (TTT) and on-the-job (JOB) concepts and learning activities. The sessions will also provide conditions to prepare material and information, and the establishment of protocols to include ESCO and ECVET frameworks, in coordination with Waterpolis partners and network in Norway, France, Italy, Spain, FYROM, Turkey and Croatia.
A variety of topics on non-formal and informal Education and Training differences and similarities in the field of Culture, media and ICTs will be discussed globally during the JOB mentoring sessions.
Please also find more information on the following pages:
English version
Versão Portuguesa
This project has been funded with support from the European Commission. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.


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8" x 10"
We're staying with Ashley and I got out at 6:30 while the girls slept in a bit. This is nearby corner. I was talking to Mia about why it is so much harder to do a landscape painting on site than a still life indoors. There are issues of changing light, finding a location and body temperature ( I froze today until the sun came up). But most of all the challenge is editing the information, there is just so much to see outside. I've had a good couple of days painting.


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Richest Athletes
Junior dos Santos Net Worth
Junior dos Santos Net Worth is
$10 Million
Junior dos Santos Bio/Wiki 2018
Junior dos Santos Net Worth $2 Million
Brazilian mixed martial arts martial artists and former UFC Heavyweight Champion Junior dos Santos has an estimated net worth of $2 million. He was raised by his mother as well as as a way to aid the family, he started working in the age of ten. He was 19 when he first met his wife, Vilsana Picolli, in a restaurant where he was employed as a server. Nonetheless, after ten years, they had divorced. Junior dos Santos was 21 years old when he started to train Brazilian Jiu Jitsu under Yuri Carlton. Carlton saw his potential and after working with him for some time, he encouraged dos Santos to start training in mixed martial arts. He was soon encouraged to join an MMA practice where he met his boxing coach Luis Carlos Dorea. About after a year Carlton started training jiu jitsu, he made his debut professional fight. Dos Santos was really successful initially. Dos won six out of seven match-ups suffering his only loss to Joaquim Ferreira. Dos quickly pulled the attention of the Ultimate Fighting Championship. Dos debuted for the UFC on October 25, 2008 as a heavyweight boxer in the UFC 90. Dos knocked out top competition Fabricio Werdum despite he was considered an underdog. As a UFC fighter, he'd been amazingly successful with 15 wins out of 16 bouts where 11 of them were won by knockout. Junior dos Santos' hero is Antonio Rodrigo "Minotauro" Nogueira. Antonio speaks native Portuguese, English and Spanish. His nickname Cigano started because he shows up in a practice together with his long hair in a ponytail. Cigano means Gypsy in Portuguese.


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If your new year's resolutions included improving quality, performance and manufacturing efficiencies at work, you're in luck. Boothroyd Dewhurst Inc. (Wakefield, RI), developer of Design for Manufacture and Assembly (DFMA) software, has released DFMA 2019. Using DFMA, engineering and manufacturing teams are better able to assess part-assembly strategies, learn new design skills, benchmark existing and competitor products, add focus and structure to design reviews, integrate design and manufacturing, and support system-wide decision making, said Boothroyd Dewhurst.
"DFMA methods and data analyses are guiding engineers to reach the limits of what is possible in single-part functionality and economics," said John Gilligan, President of Boothroyd Dewhurst. "Our new software makes this journey to an optimal manufacturing outcome easier and more productive than ever."
DFMA software utilizes an intuitive question-and-answer interface that identifies opportunities for substantial cost reduction in a product. By applying industry-tested minimum part count criteria, the software finds parts that can be consolidated/eliminated while maintaining 100% functionality. The outcome of a DFMA-based design is a more elegant product that is both functionally efficient and easy to assemble, explained Boothroyd Dewhurst.
Highlights of the latest version include new CAD calculators that allow users to utilize more cost driver information directly from a 3D model. Over 200 data inputs across 27 process groups and more than 100 machining operations include this new feature. "Should-costing" of parts is faster and easier for designers, cost engineers and purchasing personnel.
DFMA 2019 also contains new graphical windows, charts and reports that make comparisons between legacy designs and new concepts easy to analyze. Parts and assemblies can be compared for time and labor, along with costs for manufacturing piece parts, manufacturing tools, assembly tools, assembly processes and all material aspects of product development.
Bill Devenish, Global DFMA Leader and Principle Engineer at Kohler Co., commented on his experience with the new DFMA 2019 software. "We have recently deployed DFMA 2019 across a number of product sectors. The software's new reporting features have improved our capacity to quickly present outcomes to key stakeholders. Embedding the calculations for time and cost differences between design options also saves us time and reduces opportunities for clerical errors," said Devenish.
"Additionally, we are impressed with the ability to obtain dimensional data from the CAD models in DFMA, which has resulted in faster 'should-cost' analysis. This is a very user-friendly feature that takes the guesswork out of dimensionally defining key part parameters. This latest version of the Boothroyd Dewhurst DFMA software continues the company's leadership in product simplification and cost estimating," said Devenish.
Founded in 1983, Boothroyd Dewhurst Inc. was the first company to commercialize DFMA methodologies and software tools, which make it possible to evaluate, estimate and reduce the manufacturing cost of a product in the design phase through product simplification and cost estimation. The company serves a host of Fortune 1000 companies, including Dell, John Deere, Harley-Davidson and Kohler.


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Both the outside and lining are made with high quality polyurethane,presenting a soft finish. Protect your screen and keep your phone free from dirt. Classic stitched case for an elegant look and durability.
Transparent case show the pure texture and details of the edges unconcealed
A sheet of polycarbonate is sewn into the case for increased durability and a flatter surface, increasing your phone's resistance to bumps and shocks. Four grips hold your phone firmly in place, protecting corners from knocks should you drop your phone.


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Blackberries might be small, but they're bursting with flavorful juice that can be used for fruity desserts or enjoyed by the glass. The delicateness of blackberries makes them easy to juice, and you don't even need a pricey juicing machine. You only need to heat the berries to soften them further and press them through a sieve or cheesecloth to extract juice from this tasty fruit.
Things You'll Need
- Saucepan
- Potato masher or fork
- Cheesecloth or fine mesh sieve
- Colander
- Mixing bowl
Video of the Day
Add blackberries and water to a large saucepan. For every two quarts of blackberries, use 1/2 cup of water.
Place the saucepan over high heat on the stove and bring it to a boil, and then reduce the heat to low. Simmer until the berries are soft, about 5 minutes.
Mash the blackberries with a potato masher or a fork. Bring the mixture to a boil, and then remove it from the heat. Let it cool slightly.
Line a colander with at least two layers of cheesecloth and set it in a large mixing bowl. If you don't have cheesecloth, use a fine mesh sieve, holding it above the mixing bowl.
Pour the mashed berries into the lined colander or the fine mesh sieve. The juices will collect in the mixing bowl. Press the blackberries against the colander with the back of a spoon to squeeze out as much juice as possible.
Gather the corners of the cheesecloth together and squeeze to get out any remaining juice. Discard the remaining pulp.
Use juice immediately in a recipe or cool in the refrigerator and drink within 24 hours. If you wish to store it longer, freeze it or can it using sterilized canning jars and following the USDA's safe canning guidelines for fruit juices.


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Data shows that more than 90 percent of injuries among children in Australia are unintentional. These accidents can be so severe they are likewise the leading causes of death among kids 14 years old and below.
Fortunately, many of these child-related accidents are preventable, and as parents, you do not have to look far to start. You can begin in your children's bedroom.
Here are practical ideas to keep your children's room safe:
1. Space
Children, particularly toddlers, love to move around. To reduce the risks of tripping and falling over tables and chairs, keep the centre space free from anything. Place all your items near or on the wall, which can offer stability and support.
2. Child-Friendly Furniture
One of the primary causes of home accidents among children is being toppled over by furniture and appliances. Consider the size when buying furniture pieces such as beds, tables, chairs and drawers. Cabinets should be easy to reach and be anchored to the wall. They should also not be several feet taller than your kid.
3. Wooden Doors
Internal wooden doors are ideal for the kids' room for a variety of reasons. They can be easily customised to bear the children's name. Children can help in designing the doors as well. These doors are strong and can withstand the rowdiness of the kids. Most of all, you can turn them into sliding doors, reducing the risk of suddenly hurting your child when you open the door.
4. Bean Bags
Bean bags can be so huge that it's easy for the little ones to crawl inside. Moreover, they can accidentally ingest the bag's fillings.
Make your home the safest place for kids. These ideas will help you get started on designing a room where your children can feel secure, have fun and be creative.


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Meet one of our resident South African Fur Seals in the Sea Lion Eduventure educational programme.
For Enquiries
Email us or
+971 4 426 0343 / +971 4 426 0492
During the Sea Lion Eduventure Class students get to meet one of our South African Fur Seals and learn about sea lion biology, marine mammal physiology, difference between marine mammal species and marine life conservation.
The second part of this educational adventure consists of an exclusive behind the scenes tour to showcase how we take care of our magnificent marine mammals. Students will visit the records room and medical laboratory to gain a first-hand understanding of the work required to maintain the highest level of health and welfare for our resident sea lions
Duration: 2 hours (starts 8:30am sharp)
Age: 6 years old and above
Group Size: 15 - 30 students. Groups will be divided into two batches
Notes: Black out dates apply. Complimentary photographs included
Dive into a world of excitement. Aquaventure Waterpark is the number one waterpark in the Middle East and Europe, with over with 17 hectares of fast-flowing thrills, spills, and adrenaline.
Take a guided tour, discover the mysteries that await in the lost city of Atlantis and meet the incredible marine animals that now call the Atlantean ruins home.
Sea Lion Photo Fun is an enriching experience, as you interact with and learn about one of the world's most charming marine animals. Enjoy a kiss and a cuddle from one of our amazing Sea Lions.
One Moment....


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Acheson Auto Works offers auto repair services to Des Moines, IA
Looking for an auto repair estimate for parts or service in Des Moines, IA? Since 1947, Acheson Auto Works has been delivering professional and competitively priced auto repair to the Des Moines area.
Today, people want to hold on to their older cars or trucks longer, and we understand. That's why we provide preventative maintenance like oil changes and other typical services including Brakes, Car & Truck Care, Collision Repair Services, Domestic Cars & Trucks, Electrical Services, Electronic Services, Engine & Transmission, Engine Maintenance, General Services, Heating and Cooling Services, Import Cars & Trucks, Miscellaneous Services, Tires, Towing, Transmission Services and Undercar Services that older vehicles often need.
Trust Acheson Auto Works, where we understand what you are looking for in auto repair. At our shop, customer satisfaction is the ultimate goal!


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Pumpkin Soup with Mussels
Jan 17, 2005 by eller | 0 Comments| Share it:
I am a big fan of sweet pumpkin soup as I don't care much for squash alone. I usually take the route of sweetening things up with maple syrup or caramelized onions but I thought that I'd try something more savory this time instead and was impressed.
- 1 1/2-2 small pumpkins (you'll want about 3 cups worth of usable substance)
- 1-2 lbs mussels (1lb per person is the general rule)
- 750ml dry white wine (I used Chablis, but if I do this again I'll use a dry table wine instead)
- 1 cup water
- 1 shallot
- 6 tbsp. butter
- 1 tbsp. curry powder (optional)
- Salt & pepper
- 2 tbsp. fresh parsley (optional garnish)
Step 1
Start by cleaning mussels in a sieve. Rinse and remove any 'beards' you see. Cut your scallion up and saute it in 2tbsp butter until golden and smelling all delicious.
Step 2
Add wine and water to the scallions, then throw in your mussels.
Step 3
Cook over medium to high heat until the mussels open up. Remove from heat and strain mussels, reserving your broth. Don't worry if your broth tastes too much like wine at this point. It'll mellow out while your soup cooks.
Step 4
Cut pumpkin apart, removing the fruit from the rind. Reserve the seeds if you'd like to roast them later. In the same pot you cooked your mussels in, add 2tbsp butter and then your pumpkin chunks.
Step 5
Cook over medium heat until pumpkin is soft and slightly browned. The add the remaining butter. While your pumpkin is cooking, separate mussels from shells, discarding any mussels that are not open. Refrigerate the little guys as you don't need them just yet.
Step 6
Add your broth to the pumpkin, and cook over high heat for 20-30 minutes or until pumpkin is very soft and the broth is thicker. Reduce heat and taste the broth. Season to taste with salt and pepper and curry.
Step 7
Working in small batches, puree the soup with either an immersion blender or a food processor. A potato masher and some patience works as well if you don't have the right appliances.
Step 8
Return mussels to pot and cover, simmering over low heat until you're ready to serve. Garnish with fresh chopped parsley and serve with a dry white wine.
Now that you have learned how to make pumpkin soup with mussels, please be sure to view these other soup recipes and these seafood recipes. Also, you will love these American recipes.
Additional Recipes
Rate It!
Have you made this recipe? If so, please rate it.
Final Step: Share It!
Love this recipe? Why don't you share it with others or post a comment. Choose which one below.


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Growing more and more popular, cooking classes are run by foreigners in their homes and attract students who are interested in learning and experiencing new cultures.
Tadaku is an example of an online service that matches teachers with people who want to learn about a particular cuisine. "Create", "Eat" and "Befriend" are the goals of this online service. Tadaku has registered teachers called "hosts" from about 80 countries and regions who can choose between teaching in English or in their native language. These classes give the opportunities to Japanese to experience cuisines that are rarely served across Japan.
The Japan Times shared the story of one of the app's host, Ispir, from Istanbul. Arrived in Japan in 1996 for a graduate course at Okayama University, Isper later on settled in Tokyo with her husband and decided to become a host due to her passion for hosting and sharing her culture.
Fujimoto who was one of her participants said, "I was nervous because it was my first time to visit the house of a non-Japanese person, but I felt like I was coming to the house of a grandmother I know. It was good to have a firsthand experience with Turkish home cooking and someone from Turkey".
Now with this new trend that is home-taught cooking, we can hope and expect for new kinds of cultural exchanges.


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Two days ago my fabulous plans to explore the islands of the Seychelles was swiftly detoured due to a huge storm over the Indian Ocean. I found myself trapped in Dubai after traveling for 17 hours from New York City. After waiting 4 hours, in a dodgy baggage claim center, I finally collected my long lost luggage and heading hopelessly to my hotel.
Trying to make the most of this unfortunate change of plans, I have unapologetically indulged every morning in the incredible breakfast spread available at the Four Seasons in Jumeirah (where I am currently stationed).
Each morning I skip through the rows of tropical fruit, gathering the daily assortment, with a pitstop at the juice/smoothie station. Today I opted for their fresh papaya, pineapple, melon, berries, and blood orange (which I proceeded to eat like a grapefruit making a complete and chaotic mess ;) Being a sucker for bananas & potassium, I also tried their fresh banana smoothie which was creamy and delicious. Jet-lag often leaves me feeling lazy and lethargic and I find that fresh fruit helps cleanse my system and refresh my insides.
My eyes were then drawn to the sexy smoked salmon which of course helped me justify my mini bagel and cream cheese indulgence... all three beautiful things that must be devoured together. I then combed my way through the various meats and cheese from around the world and added them as well as local dates and figs delicately to my full plate. This combined with my tropical fruit assortment left me with a breakfast spread big enough for a family of four. However, I got to take the leftovers to go which will make for a perfect afternoon snack.
Moral of the story is... when trapped in Dubai, make the little things count... (like the glutinous breakfast options most of the big hotels provide.) While Dubai may be lacking in culture, authenticity, and reality it does offer access to different tastes, flavors, and bites from around the world.


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– Spring/Summer 2002
Contextual Essays
Pawel Althamer
Mary Heilmann
Barbara Kruger
Chris Petit
A Lecture on Realism
Raymond Williams
This text is only available to subscribers
To subscribe to Afterall journal, starting with this issue, please click here.
Alternatively, if you wish to purchase this article individually, you may do so via the University of Chicago's website.
Existing User
The Big Flame is a play written by Jim Allen, produced by Tony Garnett and directed by Ken Loach for BBC television. I want to discuss it in relation to our understanding of realism. It should be clear at the outset that except in the local vocabulary of particular schools, realism is a highly variable and inherently complex term.
In fact, as a term, it only exists in critical vocabulary from the mid-nineteenth century, yet it is clear that methods to which the term refers are very much older. Let me make just one obvious general distinction between conceiving realism in terms of a particular artistic method and conceiving realism in terms of a particular attitude towards what is called 'reality'. Now if, taking the first definition, we concentrate on method, we put ourselves at once in a position in which the method can be seen as timeless: in which it is, so to say, a permanent possibility of choice for any particular artist. Certain things can be learned from this kind of emphasis, but once we become aware of the historical variations within this method, we find ourselves evidently dissatisfied with the abstraction of a method which overrides its relations with other methods within a work or with other aims and intentions.
Let me give one or two examples of this. Realism would be an obvious term for that well-known episode within the medieval play known as the 'Play of the Townley Shepherds', which is basically a
This text is transcribed from a version of a lecture first given by Raymond Williams at the SEFT/Screen weekend school on Realism held at the London International Film School on 8-10 October 1976. It was originally published in Screen, Vol. 18, no.1, Spring 1977, pp.61-74 ↑


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1/2 cup olive oil
4 garlic cloves, minces
1 (28-ounce) can tomatoes, chopped, reserve juice
12 Kalamata olives, pitted and chopped
8 anchovy fillets, chopped
1/2 cup capers, drained
1 1/2 teaspoons hot red pepper flakes
1/2 cup Italian (flat leaf) parsley, chopped, plus 2 tablespoons for garnish
3/4 cup grated Parmesan or Romano cheese
1 pound pasta - penne or rigatoni or your choice
Heat oil in medium heavy skillet. Add garlic and cook for two minutes.
Add tomatoes and juice and cook for 30 minutes, or until sauce thickens slightly.
While sauce is simmering, cook pasta according to package directions for al dente. Drain (but do not rinse) pasta.
Just before pasta is done, add remaining ingredients to sauce and toss with hot pasta.
Garnish with cheese and parsley.
We wanted to start this page with a recipe that has been requested by our patrons as soon as we started serving it. We hope you enjoy the sauce as much as we enjoy sharing one of our Grandparent's favorite dishes.
As this page grows, we will be adding not only our immediate family favorites but recipes from our extended family - The Staff and Patrons of Carbone's Restaurant. If you have a dish that you would like to share please email the recipe to us via the contact us page.
The Carbone Family.


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I was in a conversation someone some days ago, when he told me he feels January is the most deceptive month in the year. I asked him why, he replied ' because in January, most people are really fake. You see a lot of people in the gym, 95% will stop coming to the gym 3 weeks later'. This is really funny and sadly true to an extent. We are in the month where the euphoria of 'new year resolutions' is making a lot of people do new things: going to gym, eating healthy, reading, calling their parents,etc.
When you think about this, people join the band wagon of 'new year, new life' every January.
Most people who have their life together think of this as hypocrisy and weakness. But let's face it, not everyone is driven and motivated to get their life together and they stick to it all year round.
Personally, I don't care what motivates you, and what drives you to want to get your life in order, what I care about is that you decide to change your life and do something about it and you are doing just that. Let people judge you and say whatever they think. But figure out what is important for you. Find a reason why making that change is important for you. It could be because it's a new year and it's a clean slate and you just want to start over and really commit to doing something with your life. Or because you want to impress that girl you have had a crush on for a while then you decide to exercise and get six packs. Not the most healthy motivation but it's fine. Or you want to make enough money so you can buy that latest edition of your favorite car. Who cares, go for it.
Just make sure you find something that motivates you to want to make that change. Find something that will make you stay up late and wake up early morning. and go for it. If you don't get it right , try again and again till it happens.


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Kendall Stewart
I am a third-year computer science PhD student at the University of Washington. I am advised by Luis Ceze, Georg Seelig, and Karin Strauss. I am a member of the Sampa and MISL research groups.
I do research across the stack on systems with unconventional processors, from FPGAs to DNA. Currently I'm working on developing new computational primitives for MISL's DNA-based digital storage project.
I hold a Master's in CS from Portland State University, and a Bachelor's in Japanese Language and Literature from The University of California, Irvine.
Journal Papers
A Content-Addressable DNA Database With Learned Sequence Encodings
Kendall Stewart, Yuan-Jyue Chen, David Ward, Xiaomeng Liu, Georg Seelig, Karin Strauss, and Luis Ceze.
DNA24, October 2018. (Slides)
Best student paper award.
Random Access in Large-Scale DNA Data Storage
L. Organick, S. Dumas Ang, Y.J. Chen, R. Lopez, S. Yekhanin, K. Makarychev, M.Z. Racz, G. Kamath, P. Gopalan, B. Nguyen, C. Takahashi, S. Newman, H.Y. Parker, C. Rashtchian, K. Stewart, G. Gupta, R. Carlson, J. Mulligan, D. Carmean, G. Seelig, L. Ceze, K. Strauss.
Nature Biotechnology, February 2018.
- End-to-End Demonstration of an Approximate Computing System
Kendall Stewart, Thierry Moreau, Luis Ceze.
C-FAR Semi-Annual Review, May 2016.
Student Demo Awards: First Runner-Up


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Advances in Computers, Volume 20
1st Edition
Serial Editors: Marshall C. Yovits
eBook ISBN: 9780080566528
Imprint: Academic Press
Published Date: 28th August 1981
Page Count: 276
- No. of pages:
- 276
- Language:
- English
- Copyright:
- © Academic Press 1981
- Published:
- 28th August 1981
- Imprint:
- Academic Press
- eBook ISBN:
- 9780080566528
Ratings and Reviews
About the Serial Editors
Marshall C. Yovits Serial Editor
Affiliations and Expertise
Purdue School of Science Indiana University-Purdue University of Indianapolis Indianapolis, Indiana
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Magic Number Machine 0
Lets face it. Mac OS X calculator app isn't the best in the world. It has some neat features, but for serious mathematician and programmers you could do with something a bit more powerful and complex. This is where Magic Number Machine comes in. Its a free piece of software (with source code) than has some really neat tricks up its sleeve to help you work out any of your calculations.
Designed around the large graphical white bar at the top that serves as the main area for doing work you can accomplish some very quick and easy math. It does take a little bit of getting use to, but most of the buttons are there that you would find on a normal scientific calculator. As a tip if you want to get the fraction dividing line, you have to put your top function in brackets and then press the dividing key, this will then automatically generate your line for you. Most of the keys on screen are mapped to the keyboard, as well as this the option and shift modifier keys enables most of the functions to be done quick and easily. From the site, and as a short summary it offers:
- 25 accurate digits of precision
- Complex numbers
- Hexdecimal, octal, binary, decimal and 2's complement display.
- Floating point numbers, even in non-decimal radices.
- A full expression history (go back to anything)
- A graphical display that you can click on to change the entry point
- Value memory limited only by computer memory.
- Statistics functions
- Linear regression
- Matrix functions including gaussian elimination, inversion and determinants.
- Large number of scientific constants built-in.
A very good little application that should replace Apples calculator app any day. It can also calculate from base 2 (binary) all the way up to base 64 hex, which is very cool. Like I always say, try the app out, see how it fits your needs. This one is a keeper in my books. If you know of any other maths calculators or programs please leave a comment below.


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Washburn WD160SW Solid Mahogany Dreadnought Guitar w/Abalone Rosette Blem #B85
In Stock & Ready To Ship!
Washburn WD160SW Solid Mahogany Dreadnought Guitar w/Abalone Rosette Blem #B85
This great guitar came to us directly from Washburn as a factory blem. My tech went over it from top to bottom and it plays great and looks great. It has a few minor cosmetic flaws on the top, back, and heel which you can see in the last five photos. These flaws are purely cosmetic and do not affect playability whatsoever.
Handcrafted with a warm-sounding solid cedar top.
The Washburn WD160SW All Solid Wood Dreadnought Acoustic Guitar will bring out the fingerpicker in you. Handcrafted with a solid mahog body and a beautiful solid cedar top, the sound is warm and inviting.
Many fingerpickers prefer a cedar top because of its particular resonance of midrange frequencies. The sound of cedar is also ideal for accompanying the human voice. In addition, cedar tops have the advantage of breaking in faster than spruce tops, so you won't have to wait as long for the guitar's tone to open up.
The "C" shape neck of the Washburn WD160SW is comfortable and even feels good if you're used to an electric guitar. Other high-end touches include an abalone rosette, wood binding, engraved "W" on the neck heel, sealed precision tuners, and "Washburn" inlayed on the headstock.
- Body Type: Dreadnought
- Body Wood: Solid Mahogany
- Top wood: Solid Cedar
- Scale Length: 25.5"
- Neck Joint: dovetail
- Neck Wood: Mahogany
- Fretboard: Rosewood
- Neck Shape: C
- # frets: 20
- Nut Width: 1 11/16"
- Fretboard Radius: 15"
- Bridge: Rosewood
- Tuners: Grover 18:1
- Hardware color: Chrome


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Dealer Comments
Fitted with genuine Chrome Sport Bars, Tow bar and Wiring, Tub Liner and Soft Tonneau Cover
All new V6 TURBO DIESEL X350d Ute.
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This 5 Star Safety rated Utility features a long list of standard features including
- 13.7cm Colour Display
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We are an award winning Mercedes-Benz dealer in northern Tasmania, stocking premium Mercedes-Benz new and pre-owned vehicles.
Contact one of our professional sales staff for more details, and ask how we can make the buying process easy for you.
We assist with interstate purchases, factory backed warranties, finance and insurance, organising freight, local trade vehicles, Permagard car care - everything you need to secure this car in an easy to understand process


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Curated by Linda Benedict-Jones
Duane Michals: The Portraitist presents the first comprehensive overview of inventive photographic portraits by one of the medium's most influential artists. Best known as a pioneer who broke away from established traditions of documentary photography in the 1960s, Michals is widely recognized for his ability to navigate between imposing his style and allowing his sitters to express themselves, and for the sequences he assembles to convey personal visual narratives, often adding handwritten messages and poems on the photographic print surface.
More than 125 portraits by this beloved photographer are included in Duane Michals: The Portraitist, many of which were recently discovered in a workroom in his brownstone building in New York City. Frequently commissioned to create portraits of actors, writers, musicians, and others, Michals relished the challenge of distinguishing each personality with an improvisational approach. Collectively the prints reveal the artist's spontaneity and highlight his expansive toolkit of techniques, including multiple exposures, reflections, uncommon vantage points, collage, hand-painting and more, to create a unique image.
As Michals wrote beneath a pensive portrait of Avant-garde Romanian-French playwright, Eugène Ionesco, "The end of childhood is when things cease to astonish us." The diversity of personalities, along with the tremendous variety of photographic approaches, creates a nourishing visual experience and, as always, the works by master photographer Duane Michals do not cease to surprise and delight.
Contact us for more information
135 framed photographs
FRAME SIZES: various
405 linear ft (123 linear m)
Duane Michals: Portraits
(New York: Thames and Hudson, 2017)
Art Daily, October 18, 2018
Submerge, Richard St.Ofle, October 10, 2018
Capital Public Radio (interview), with Beth Royal, October 08, 2018
Sactown Magazine, Jessica Rine, October 2018
Widewalls, Balasz Takac, September 21, 2018
Mr. Backwards Forwards (Tilda Swinton), 2016
Yves Saint Laurent, 1983
Andy Warhol and his Mother Julia Warhola, 1958
Hell Grace Fool of Merry (Grace Coddington), 2016
Jeremy Irons, 1981
Joan Didion, c. 1990s
Adam and Eve (Male and Female), 1963
Magritte with Hat, 1965
Shelley Duvall, 1980
Joseph Cornell, 1972
Meryl Streep, 1975
Saturday Night Live Original Cast, c. 1980s
Curated by John Bowlt and Graham Howe
In the 1920s and 30s Emil Otto Hoppé (British, German born, 1878–1972) was one of the most sought-after photographers in the world. Hoppé's studio in South Kensington was a magnet for the rich and famous, and for years he actively led the global art scene on both sides of the Atlantic, making over thirty photographically-illustrated books, and establishing himself as a pioneering figure in photographic art.
Emil Otto Hoppé and the Ballets Russes pays homage to the genius of two men: Sergei Diaghilev who, more than a century ago, founded the Ballets Russes, and Emil Otto Hoppé, who, between 1911 and 1921, photographed the champions of that illustrious company.
With both studio portraits and ballet sequences, this visual chronicle presents not only the leading stars of the Ballets Russes such as Vaslav Nijinsky, Adolph Bolm, Michel and Vera Fokine and Tamara Karsavina, but also celebrities whose connection with Diaghilev was tangential rather than axial – such as Mathilde Kschessinska, Anna Pavlova and Hubert Stowitts.
The pure sensuality of these portraits reveals the essence of the dancers who, in performing their innovative choreography in costumes by Léon Bakst, Nicholas Roerich, and Alexandre Benois, among others, took their audiences by storm with performances that shocked the senses and seduced the world into the modern era.
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73 platinum prints
14 x 11 inches (35 x 28 cm) to 20 x 16 inches (50 x 40 cm)
Approximately 170 linear feet (60 linear meters)
One Hundred and One Photographs: Emil Otto Hoppé and the Ballets Russes (St. Petersburg: Iskusstvo and Curatorial Assistance, 2018)
(ORDER the publication HERE)
Museum of Russian Icons
October 10, 2019 through February 9, 2020
Tamara Karsavina as the Firebird and Adolph Bolm as Ivan Tsarevich in "L'Oiseau de Feu" ('The Firebird'), London, 1911
Vaslav Nijinsky as Spectre de la Rose in "Spectre de la Rose" , 1911
Tamara Karsavina as Columbine in "Le Carnaval", London, England, 1912
Lubov Tchernicheva as Cleopatra in "Cléopâtre", London, England, 1918
Lubov Tchernicheva as Cleopatra in "Cléopâtre", London, England, 1918
Léonide Massine in "Pulcinella", 1920
Lydia Lopokova in "The Fire-bird", 1919
Lydia Lopokova, 1918
Hubert Stowitts, 1920
Hubert Stowitts, 1920
Olga Spessivtseva as Aurora in "The Sleeping Beauty", 1921
Curated by Sara Terry and Teun van der Heijden
Aftermath: War is Only Half the Story tells the incredibly moving stories of the people left behind after the cameras have moved on from a war zone. Drawing on photographs from over fifty photographers, these personal and often poetic post-war views unveil not only another side to the devastating effects of war, but also tell the stories of people coming together to rebuild and heal. Aftermath: War is Only Half the Story illumines and defines our humanity, while giving visibility to those coping with the lingering ramifications of conflict.
The exhibition is a ten-year retrospective of the work of the groundbreaking documentary photography program The Aftermath Project. Founded to help change the way the media covers conflict - and to educate the public about the true cost of war and the real price of peace - The Aftermath Project has discovered some of the most groundbreaking photojournalists in the world - as well as internationally acclaimed photographers Stanley Greene, Nina Berman, Davide Monteleone, Justyna Mielnikiewicz, and Jim Goldberg, among many others - working on post-conflict themes.
The end of war does not mean peace. It is simply the end of war,
the end of death and destruction. Every story of war includes a chapter
that almost always goes untold - the story of the aftermath,
which day by day becomes the prologue of the future.
- Sara Terry (Founder of The Aftermath Project)
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VIEW Prospectus (PDF)
84 framed works
Frame sizes range from 16 x 20 in (40.6 x 50.8 cm) to 20 x 24 in (50.8 x 61 cm)
Approximately 300 linear ft (90 linear m)
War is Only Half the Story: 10 Years of the Aftermath Project
Edited by Sara Terry and Teun van der Heijden (Dewi Lewis Publications, 2017)
Curator available
Susquehanna Art Museum, Harrisburg, PA
(October 12, 2019 - January 19, 2020)
Krasl Art Center, St. Joseph, MI
(February 08 - April 07, 2019)
Albin O. Kuhn Library Gallery, UMBC, Baltimore, MD
(April 1 - May 26, 2018)
Los Angeles Public Library
(June 22 - August 19, 2018)
Philippe Dudouit, The Dynamics of Dust
Juan Arredondo, Everybody Needs A Good Neighbor
Bharat Choudhary, The Silence of Others
Gwenn Dubourthoumieu, Raped Lives
Danny Wilcox Frazier, Surviving Wounded Knee
Natela Grigalashvili, Refugees of Georgian Villages
Olga Ingurazova, Scars of Independence
Andrew Lichtenstein, American Memory
Brian McCarty, War Toys
Luca Locatelli, United Colours Of War
Christopher Capozziello, For God, Race And Country
Curated by Barbara Johns, PhD
Witness to Wartime: The Painted Diary of Takuichi Fujii introduces an artist whose work opens a window to historical events, issues, and ideas far greater than the individual. Takuichi Fujii (1891 - 1964) bore witness to his life in America and, most especially, to his experience during World War II. Fujii left a remarkably comprehensive visual record of this important time in American history, and offers a unique perspective on his generation. This stunning body of work sheds light on events that most Americans did not experience, but whose lessons remain salient today.
Takuichi Fujii was fifty years old when war broke out between the United States and Japan. In a climate of increasing fear and racist propaganda, he became one of 120,000 people of Japanese ancestry on the West Coast forced to leave their homes and live in geographically isolated incarceration camps. He and his family, together with most ethnic Japanese from Seattle, were sent first to the Puyallup temporary detention camp on the Washington State Fairgrounds, and in August 1942 were transferred to the Minidoka Relocation Center in southern Idaho.
Confronting such circumstances, Fujii began an illustrated diary that spans the years from his forced removal in May 1942 to the closing of Minidoka in October 1945. In nearly 250 ink drawings ranging from public to intimate views, the diary depicts detailed images of the incarceration camps, and the inmates' daily routines and pastimes. Several times Fujii depicts himself in the act of drawing, a witness to the experience of confinement. He also produced over 130 watercolors that reiterate and expand upon the diary, augmenting those scenes with many new views, as well as other aesthetic and formal considerations of painting. Additionally the wartime work includes several oil paintings and sculptures, notably a carved double portrait of Fujii and his wife.
After the war Fujii moved to Chicago, which had become home to a large Japanese American community under the government's resettlement program. He continued to paint, experimenting broadly in abstraction, and toward the end of his life produced a series of boldly gestural black-and-white abstract expressionist paintings. These, and his American realist paintings of the 1930s, frame the wartime work that is his singular legacy and remains relevant today.
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VIEW Prospectus (PDF)
82 objects (oil paintings, watercolors, ink drawings, books, sculpture, and an interactive digitized visual diary)
Frame sizes range from 14 x 18 in. to 16 x 20 in. (35.6 x 45.7 cm. to 40.6 x 50.8 cm.)
Paintings from 22 x 17 in. to 24 x 36 in. (55.9 x 43.2 cm. to 61 x 91.4 cm.)
Approximately 300 linear ft (91.4 linear m)
Barbara Johns, The Hope of Another Spring
(Seattle: University of Washington Press, 2017)
Curator available
The Seattle Times, Thomas May, May 8, 2018
Discover Nikkei, Tamiko Nimura, November 14, 2017
The International Examiner, Tamiko Nimura, November 13, 2017
The Seattle Times, Michelle Upchurch, October 5, 2017
Tacoma Weekly, Dave R. Davison, September 21, 2017
The Seattle Times, Mary Ann Gwinn, July 6, 2017
The Idaho Statesman, Anna Webb, October 13, 2016
Morikami Museum, DelRay Beach, FL
(October 01, 2021 – April 01, 2022)
Upcountry History Museum, Greenville, SC
(May 15 – July 25, 2021)
High Desert Museum, Bend, OR
(October 19, 2019 – January 05, 2020)
Alexandria Museum of Art, Alexandria, LA
(March 1 – June 27, 2018)
Washington State Historical Museum, Tacoma, WA
(September 16 2017 through January 10, 2018)
Boise Art Museum, Boise, ID
(October 1, 2016 – January 15, 2017)
All images copyright Dr. Sandy Kita (used with permission)
Self-Portrait, 1935
Still life with newspaper "20,000 Japs Lost", 1944
Installation Views
Train to Minidoka
Seattle, evacuation notice
Minidoka, barbed wire fence around Block 24
Installation Views
Minidoka, INS officers
Minidoka, mess hall abstraction
Minidoka, sandstorm
Puyallup, laundry after rain
Sunflowers, 1943
Abstraction with checkerboard, c.1940s-50s
Black and white abstraction, c.1960s
Installation Views
Sandy and Terry Kita Collection
Wing Luke Museum Collection
David F. Martin and Dominic Zambito Collection
Private Collection
"In these extraordinary photographs [the Vent Haven Dummies] appear to us as entertainers who have been brought out of retirement for one last show. We imagine their pride and elation as they face a new audience." –Hunter Drohojowska-Philp, from the essay "Dummies' Dreams Fulfilled"
This exhibition of photographs is a typological study of vintage ventriloquist dummies dating from 1820 to 1980, housed at the Vent Haven Museum in Fort Mitchell, Kentucky. Matthew Rolston's portraits of these dolls are at once familiar, peculiar and uncanny, as he represents surrogates as both dignified and playful performers.
Upon close study of Rolston's hyperreal, monumental portraits, it is revealed that each figure has strikingly individual characteristics, heightening the sense that these are live subjects. Rolston was inspired to reanimate these figures and elevate them to the stature of fine art by responding with his camera to each dummy, giving each one the same care and attention as he would a human subject.
"What time has wrought on the figures speaks volumes, in a language both satirical and tender. Their expressions evoke a sense of serenity, a melancholy that suggests a spiritual longing, authentically embodying three telling truths: nothing is perfect, nothing is ever finished, and nothing lasts." –Matthew Rolston
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VIEW Prospectus (PDF)
VIEW Artist Website
30 framed photographs
(10) 36 x 36 in (91 x 91 cm)
(20) 60 x 60 in (152 x 152 cm)
224 linear ft (68 linear m)
Talking Heads: The Vent Haven Portraits
(New York: Pointed Leaf Press, 2013)
Artist available
The Washington Post, Becca MacLaren July 2014
Zócalo Public Square, July 2014
Artsy, Artsy Editors, June 2014
Los Angeles Times, Sharon Mizota, June 2014
Architectural Digest, May 2014
Wired Magazine, Elizabeth Stinson, April 2014
Gotham Magazine, Simona Rabinovitch, June 2013
Los Angeles Times, Craig Nakano, May 2013
The Wall Street Journal: Speakeasy Blog, Alexandra Cheney, May 2013
Daily Mail, April 2013
Slate, David Rosenberg, March 2013
Cincinnati Magazine, Linda Vaccariello, January 2013
ARTnews, Lamar Clarkson, January 2013
HuffPost Arts & Culture, December 2012
CNN, Elizabeth I. Johnson
Please inquire: 626.577.9696
Barnaby, 2010/2014
(installation image, 2014)
Ditty Talk Hawkins, 2010/2014
(installation image, 2014)
Hook Boy, 2010/2014
(installation image, 2014)
Ayre Girl, 2010/2014
(installation image, 2014)
Jimmy, 2010/2014
Brooks Boy II, 2010/2014
Curated by Urs Stahel
Founder and former Director of Fotomuseum Winterthur, Switzerland
In the twenties and thirties, German-born, British photographer E.O. Hoppé set out to depict the romance of global industrial might. Travelling throughout Germany, Britain, the United States, India, and Australia, among other countries, he photographed the brave new technological landscape of industry, seeing its gargantuan machines as both technology and art. This exhibition presents for the first time Hoppé's iconic industrial images of the modern era, a subject he approached with formal idealism only to discover a darker landscape within: the preparation of machines and weapons that were part of the technology used in the Second World War.
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VIEW Prospectus (PDF)
Various, from 12 x 14 - 24 x 30 (inches)
to 30.5 x 35.5 - 61 x 76.2 (cm)
523 linear feet (159.41 linear meters)
E.O. Hoppé: The German Work 1925-1937
by Phillip Prodger (Steidl, 2015)
Gemeentemuseum Helmond | Helmond, The Netherlands
(April 24 - August 21, 2016)
MAST Gallery | Bologna, Italy
(January 21 - May 3, 2015)
Swan Hunter Shipyards, Wigham, 1928
Floating Grain Elevator, Hamburg Harbour, 1925
Canal and Elevator, Buffalo, New York State, 1926
De Haviland Airplane Factory, Hatfield, 1935
Construction of the Dirigible LZ 127 "Graf Zeppelin," Zeppelin Works, Friedrichshafen, 1928
Control Room, Klingenberg Power Station, Berlin, 1928
Delaware Bridge, Philadelphia, Pennsylvania, 1926
Worker, Cadbury Factory, Bourneville, Birmingham, c. 1935
Type 38 Locomotive, Anhalter Bahnhof, Berlin, 1925
Worker, Cylinder of a 5,000 PS Gas Engine, MAN Maschinenfabrik Augsburg-Nürnberg, 1928
Works loaned by the E.O. Hoppé Estate Collection
Curated by Richard Rinehart
Director of the Samek Art Museum at Bucknell University
Dusk to Dusk: Unsettled, Unraveled, Unreal turns a mirror to the world, examining individual isolation, political repression, and collective ennui in the decline of the industrial age, an age in which people are simultaneously singular and collective beings. Some seek a return to the land, others seek spiritual transcendence, and others share an affection for our new hybrid of increasingly alienated selves. Through painting, photography, sculpture, and video this exhibition explores a contemporary familiarity with collective darkness.
The exhibition is made up of thirty-seven works by twenty-eight artists. Ruud van Empel and Hideaki Kawashima summon primal anxieties of the body double and removable skin, made more relevant by the rise of virtual, second lives. Gilbert and George, Erwin Wurm, Laura Ford, and Almagul Menlibayeva deploy psychological references to the individual in a society of global displacement, liminal sexualities, and political casualties. Edward Burtynsky and Aristarkh Chernyshev show technology misused, warped, and left in ruins, mocking our technocratic hubris. While others, such as Matt Calderwood, Huma Bhabha, Matthew Day Jackson, and Tony Cragg, among others, take a more abstract approach, expressing a need for balance and intimacy in the ever-expanding human experience.
Together, these artists provide a glimpse into what it means to be an individual during the transition from the twentieth to the twenty-first century, allowing viewers to reflect on past mistakes while reveling in progressive poetics.
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VIEW Prospectus (PDF)
37 total: 11 sculptures, 18 wall-hanging works (photographs, paintings), 8 videos (can be combined into 3 loops)
250 linear feet (76 linear meters)
Curator available
James Aldridge
Huma Bhabha
Louise Bourgeois
Edward Burtynsky
Matt Calderwood
Aristarkh Chernyshev
Tony Cragg
Salvador Dali
Desiree Dolron
Marcel Dzama
Laura Ford
Gilbert & George
Matthew Day Jackson
Hideaki Kawashima
Tianbing Li
Richard Long
Jie Luo
Jonathan Meese
Almagul Menlibayeva
Erwin Olaf
Hans Op de Beeck
Yang Shaobin
Anouk Steketee
Hiroshi Sugimoto
Ruud van Empel
Levi van Veluw
Anne Wenzel
Erwin Wurm
Vicki Myhren Gallery | University of Denver | Denver, CO
(January 12 – February 26, 2017)
College of Wooster Art Museum | Wooster, OH
(September 22 - November 22, 2016)
Grand Valley State University Art Gallery | Allendale, MI
(August 28 – October 31, 2015)
Otis College of Art and Design | Los Angeles, CA
(April 11 – July 26, 2015)
Samek Art Museum, Bucknell University | Lewsburg, PA
(August 20 - November 19, 2012)
Aristarkh Chernyshev, Knode, 2009
Jie Luo, Imprisoned-Falling, 2001
James Aldridge, The Gathering, 2010
Louise Bourgeois, Le Trani Episode, 1971
Ruud van Empel, Generation, 2010
Hiroshi Sugimoto, Fifth Avenue Theatre, Seattle, 1997
Gilbert & George, Homey, 2008
Hideaki Kawashima, I30, 2004
Salvador Dali, Spiderwoman, c.1951
Erwin Wurm, Hoody, 2010
Works loaned by the EKARD Collection
Organized by the Samek Art Museum at Bucknell University
Curated by Douglas McCulloh
Sight Unseen presents work by the world's most accomplished blind photographers as they explore ideas about the nature of seeing.
Great art, it has been said, is not a product of the eyes, but of the mind. Beethoven composed music without the ability to hear, and blind writers Milton and Homer conjured the landscapes of the heavens and the underworld. Similarly, the artists of Sight Unseen, in bringing their inner visions into the world of the sighted, reveal a rich visual and emotionally complex blending of the physical and conceptual worlds.
The artists represented span a wide spectrum of sight impairment: most are completely blind, some are legally blind but nevertheless perceive an attenuated image of the physical world in varying degrees. All of them, with photography as their medium, navigate with their other senses to visualize and represent the space around them.
Blind photographers operate at the heart of the medium; they are the zero point of photography. These artists occupy the pure, immaculate center — image as idea, idea as image. — Curator Doug McCulloh in American Photo Magazine
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VIEW Prospectus (PDF)
121 photographs, 8 tactile illustrations
8 x 10 in (20 x 25 cm) to 48 x 57 in (121 x 144 cm)
500 linear ft (153 linear m)
Sight Unseen: International Photography by Blind Artists
(University of California, Riverside, 2009)
Shot in the Dark (2016) by Frank Amman
Ralph Baker, New York, New York
Evgen Bavcar, Paris, France
Henry Butler, New Orleans, Louisiana
Pete Eckert, Sacramento, California
Bruce Hall, Irvine, California
Annie Hesse, Paris, France
Alex de Jong, The Netherlands
Rosita McKenzie, Edinburgh, Scotland
(with tactile drawings by Criss Roden)
Gerardo Nigenda (1967-2010), Oaxaca, México
Michael Richard (1948-2006), Los Angeles, California
Seeing With Photography Collective, New York, New York
Kurt Weston, Huntington Beach, California
Alice Wingwall, Berkeley, California
Charleston Gazette Mail, Dave Lavender, October 30, 2016
Huntington Museum of Art, October 7, 2016
Canadian Museum for Human Rights, Rémi Courcelles, September 8, 2016
Canadian Museum for Human Rights, Sarah Watkins, September 3, 2016
American Photo, Kathleen Caulderwood, March 17, 2016
Winnipeg Free Press, Alan Small, February 19, 2016
Toronto Star, Chinta Puxley, February 18, 2016
Selected radio clips and interviews, February 2016
New York Institute of Photography Blog, Steven Evans, December 24, 2012
La Jornada, Palapa Fabiola Quijas, January 23, 2012
DenverArts.org, Rupert Jenkins, March, 2011
Month of Photography (release), February 17, 2011
ЗДЕСЬ (Moscow News Program), December 2, 2010
Flavorwire.com, Paul Laster, November 18, 2010
HBO documentary "Dark Light: The Art of Blind Photographers" premiering November 17, 2010
LA Times "Culture Monster", Christopher Knight, June 16, 2009
NBC, Olsen Ebright, May 31, 2009
BBC TV Worldwide, May 24, 2009
Time Magazine, Matt Kettmann, May 17, 2009
Huntington Museum of Art | Huntington, WV
(October 15, 2016 – January 8, 2017)
Canadian Museum for Human Rights | Winnipeg, Canada
(February 18 — September 18, 2016)
Purdue University | Hammond, Indiana
(March 3 – April 9, 2015)
Sejong Center | Seoul, South Korea
(April 18 – June 3, 2013)
Museo de Arte de Querétaro | Santiago de Querétaro, Mexico
(January 24 —March 24, 2013)
The Baker Museum | Naples, Florida
(December 22, 2012 – March 24, 2013)
Centro Fotográfico Manuel Álvarez Bravo | Oaxaca, Mexico
(January 14 – February 11, 2012)
Fototeca de Nuevo León | Monterrey, Mexico
(September 14 – November 6, 2011)
Biblioteca Vasconcelos | Mexico City
(March 24 – May 4, 2011)
Center for Visual Art | Denver, Colorado
(March 3 – April 9, 2011)
Galeria De Arte, Universidad Iberoamericana | Puebla, Mexico
(January 20 – March 5, 2011)
Flacon Arts Complex | Moscow, Russia
(December 3 – 28, 2010)
Centro Regional de las Artes de Michoacán | Zamora, Mexico
(September 21 – 25, 2010) [Installation in association an international arts education conference: Del Encuentro Internacional de Educación Artistica]
Centro de la Imagen | Mexico City
(June 10 – August 8, 2010)
Kennedy Center for the Arts | Washington, D.C.
(May 24 – June 20, 2010)
California Museum of Photography | Riverside, California
(May 2 – August 29, 2009)
Seeing with Photography Collective, Box Portrait, Jacques
Evgen Bavcar, A Close Up View
Seeing with Photography Collective, Portrait of Alan
Kurt Weston, Mask
Seeing With Photography Collective: Mark Andres and Sonia Soberats, Portrait in Paper
Gerardo Nigenda, Entre lo invisible y lo tangible, llegando a la homeostasis emocional (Reaching Emotional Equilibrium Between the Invisible and the Tangible)
Gerardo Nigenda, Dócil y sedosa coincidencia de las sensaciones (Coinciding Calm and Silky Sensations)
Kurt Weston, Do You See the Big E?
Pete Eckert, Monique 1
Seeing With Photography Collective: Victorine Floyd Fludd, Children of the Damned
Evgen Bavcar, Childhood Image
Bruce Hall, Desperation 8632
Alice Wingwall, Red Muse
Henry Butler, Key Bra
Gerardo Nigenda, El cauce del camino húmedo es limitado por la tierra (The Roadway of Water is Enclosed by the Earth)
Michael Richard, DoubleTake
Ralph Baker, Untitled 5
Alice Wingwall, Self Portrait at San Trovaso, Venice, Italy
Installation views, Denver Arts Center
Gerardo Nigenda, Entre lo invisible y lo tangible, llegando a la homeostasis emocional (Reaching Emotional Equilibrium Between the Invisible and the Tangible)
Ralph Baker, Untitled 2
Alex de Jong, Guiding Lines
Bruce Hall, Desperation 8682
Annie Hesse, India
Alice Wingwall, Wingwall Marches on Triumphantly
Michael Richard, DoubleTake
This exhibition originated by the UCR/California Museum of Photography, an affiliate institution of UCR | ARTSblock.
Curated by Deborah Willis, Ph.D.
Posing Beauty in African American Culture explores the contested ways in which African and African American beauty have been represented in historical and contemporary contexts through a diverse range of media including photography, film, video, fashion, advertising, and other forms of popular culture such as music and the Internet. Throughout the Western history of art and image-making, the relationship between beauty and art has become increasingly complex within contemporary art and popular culture.
The first of three thematic sections, "Constructing a Pose," considers the interplay between the historical and the contemporary, between self-representation and imposed representation, and the relationship between subject and photographer. The second theme, "Body and Image," questions the ways in which our contemporary understanding of beauty has been constructed and framed through the body. The last section, "Modeling Beauty & Beauty Contests," invites us to reflect upon the ambiguities of beauty, its impact on mass culture and individuals, and how the display of beauty affects the ways in which we see and interpret the world and ourselves.
Posing Beauty in African American Culture challenges contemporary understandings of beauty by framing notions of aesthetics, race, class, and gender within art, popular culture, and politics.
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VIEW Prospectus (PDF)
103 photographs, 2 videos
Approximately 350 linear feet (108 linear meters)
Posing Beauty: African American Images from the 1890s to the Present, W.W. Norton, 2009
Curator available
Ifetayo Abdus-Salam
Henry Clay Anderson
Thomas Askew
Mangue Banzima
Anthony Barboza
Petrushka Bazin
Sheila Pree Bright
Renee Cox
Edward Curtis
Bruce Davidson
Andre de Dienes
Omar Victor Diop
Adama Delphine Fawundu
Lola Flash
Leonard Freed
Russell Frederick
Gerard Gaskin
Timothy Greenfield-Sanders
Dave Heath
LeRoy Henderson
Todd Gray
Lyle Ashton Harris
Charles "Teenie" Harris
Jessica Ingram
Lauren Kelley
Roshini Kempadoo
Russell Lee
Builder Levy
Philippe Lévy-Stab
Kalup Linzy
Elaine Mayes
Robert H. McNeill
John W. Mosley
Jeanne Moutoussamy-Ashe
David "Oggi" Ogburn
Gordon Parks
Ken Ramsay
Edwin Rosskam
Robert Sengstacke
Jeffrey Henson Scales
Jamel Shabazz
Stephen Shames
Bayeté Ross Smith
Hank Willis Thomas
Mickalene Thomas
Lewis Watts
Carrie Mae Weems
Carla Williams
Ernest C. Withers
Wendel White
lauren woods
90.7 WMFE, Renata Sago, February 3, 2017
Orlando Weekly, Richard Reep and Jessica Bryce Young, January 25, 2017
Orlando Sentinel, Trevor Fraser, January 23, 2017
Orlando Magazine, Michael Mcleod, January 2017
The Seattle Times, May 3, 2016
Arts Atlanta, Harriette Grissom, September 26, 2013
Quad City Times, David Burke, September 8, 2012
Intersections South LA, Ariele Pratt, January 4, 2012
Times Tribune, Patrice Wilding, January 31, 2012
Intersections South LA, Ariele Pratt, January 4, 2012
Intersections South LA, Laura Santana, November 23, 2011
Wilson's Where To Guide, October 28, 2011
Huffington Post, Rebecca Carroll, October 3, 2011
ArtsBeatsLA, Pauline Adamek October 3, 2011
Mazur Group, September 28, 2011
Artweek.LA, September 26, 2011
Los Angeles Times, Melissa Magsaysay, September 25, 2011
Neon Tommy, Tricia Tongco, September 8, 2011
Daily Trojan, Sheridan Watson, September 7, 2011
DotPhotozine, Courtney Altson, 2011
The Record, John Zeaman, February 7, 2011
Art Daily, February 4, 2011
The Star Ledger, Dan Bischoff, January 29, 2011
The Boston Globe, Mark Feeny, October 31, 2010
Art Daily, June 16, 2010
Roanoke Times, Mike Allen, June 8, 2010
Canadian Art Online, Sally Frater, March 11, 2010
New York Times, Jennifer Braszile, December 3, 2009
Flint Institute for the Arts
(18 Oct 2019 to 26 Jan 2020)
University of Maryland, Baltimore
David C. Driskell Center
(16 Feb 2019 to 27 Apr 2019)
Mobile Museum of Art | Mobile, AL
(October 6, 2017 – March 4, 2018)
SNAP! Space | Orlando, FL
(January 6 – February 5, 2017)
Northwest African American Museum | Seattle, WA
(April 30 – September 4, 2016)
Virginia Museum of Fine Arts | Richmond, VA
(April 26 – July 27, 2014)
Evansville Museum | Evansville, IN
(January 19 – March 16, 2014)
Spelman College Museum of Art | Atlanta, GA
(September 5 – December 7, 2013)
Figge Art Museum | Davenport, IA
(September 8 – November , 2012)
Everhart Museum | Scranton, PA
(February 3 - April 1, 2012)
College of Wooster Art Museum | Wooster, OH
(January 15 – March 3, 2012)
USC Fisher Museum of Art | Los Angeles, CA
(September 7 – December 3, 2011)
Williams College Museum of Art | Williamstown, MA
(September 11 – November 21, 2010)
Art Gallery of Hamilton | Hamilton, Ontario
(January 16 – May 9, 2010)
Jeffrey Henson Scales, Young Man in Plaid, New York City, 1992
Omar Victor Diop, Jean-Baptiste Belley, 2014
Ifetayo Abdus-Salam, Self-Portrait as Pam Grier, from the American Exotic Series, 2005
Ernest C. Withers, Isaac Hayes in His Office at Stax Records, Memphis, Tennessee, November 1970s
Anthony Barboza, Marvin Hagler, Middle Weight Boxing Champion, New York City, 1980
Lewis Watts, Fez and Dreads, African American Parade, Harlem, 2007
Lauren Kelley, Pickin', 2007
Renee Cox, Baby Back, from "American Family", 2005
Andre De Dienes, Man in Cap, May Day, New York City, 1940
Leonard Freed, Harlem Fashion Show in a Stadium, Harlem, 1963
Anthony Barboza, Pat Evans, 1970's
Lola Flash, Sadako, 2008
Sheila Pree Bright, From the "Plastic Bodies" Series, 2005
Thomas Askew, African American Family Posed for Portrait Seated on Lawn, 1899 or 1900
Lyle Ashton Harris, Untitled (New York Times Pre-Election Self-Portrait Commission), 2000
Russell Frederick, The First Time, 2005
The exhibition is organized by the Department of Photography & Imaging at New York University, Tisch School of the Arts. The exhibition is curated by Deborah Willis, University Professor and Chair of the Department. Additional support has been provided by grants from the Tisch School of the Arts Office of the Dean's Faculty Development Fund, Visual Arts Initiative Award from the NYU Coordinating Council for Visual Arts, and NYU's Advanced Media Studio.
Additional support for the touring exhibition from JP Morgan Chase.
Celebrating the Negative is a study of the original film on which famous images have been captured by some of the most important photographers from the 19th and 20th centuries. Loengard's pictures are of the photographers' famous images as negatives—not prints. Through the loving observation of the original matrixes of some of the most iconic images, Loengard demonstrates to us that the photographic negative is an object of great beauty.
I photographed the negatives in this exhibition as quickly and simply as possible. I used a small camera on a tripod. Any light box, window or even a sunny wall would do as a background. I wanted to catch the moment when the negative first came out of its envelope and was shown with pride. How people touched the negative played subtly against the image on the film itself. At least, I felt this was so. I'm surprised by the widespread disinterest in the negative, because when exposed, it is the plan for what the print will show. I know that once in the darkroom, I'll recollect how light fell upon the subject; what shadows I wanted to lighten; what gesture I'd hoped to see clearly, and what shapes I expected to dominate the scene, when color and one dimension vanished. All these commitments are lodged in the negative. Making a print simply brings them to life. Ansel Adams likened the negative to a composer's musical score, and the print, to its performance. The serious work was done when the film was exposed.
—John Loengard, 2008
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VIEW Prospectus (PDF)
40 photographs
20" x 24" and 16" x 20"
Approximately 300 linear feet (91 linear meters)
Story panel about the making of each work
Celebrating the Negative (1994)
Artist available
Arnold Newman, Igor Stravinsky, 1946, April 12, 1994
Richard Avedon, Ronald Fischer, Beekeeper, 1981, May 3, 1994
André Kertész, Satiric Dancer, 1926, March 3, 1993
Imogen Cunningham, Magnolia Blossom, 1925, August 17, 1993
Nickolas Muray, Babe Ruth, circa 1940, March 4, 1993
Lewis Wickes Hine, Icarus atop the Empire State Building, 1931, March 4, 1993
Man Ray, Femme avec Longs Cheveux, circa 1929, April 26, 1994
Walker Evans: Photographer's Window Display, Birmingham, Alabama, 1936, July 8, 1992
Harry Callahan: Aix-en-Provance, 1958, February 10, 1994
Edward Weston: Pepper #35p, 1930, May 15, 1992
In this revealing series of photographs, James Mollison invites us into the diverse stories of children in many different countries and circumstances. Each studio-style portrait is accompanied by a detailed study of the child's "bedroom," which can range from elaborate sanctuaries to the barest spaces set aside for sleep.
The photographs and their related didactic materials convey the story of a universal childhood, full of insecurity, hope, pain, comfort, and doubt. Economic inequality, children's rights, and how we are defined by our possessions and formed by our circumstances are some of the complex social, typological, and cultural issues that resonate in Mollison's work.
The project, in all its diversity, is frankly observant and often surprising, Mollison's subjects convey the simple truth that all children, whether from a first- or third-world economy need to be nurtured and protected. His call to action is that we might walk away changed, viewing every child we meet as an individual in need of love and care. As the very concept of sleep and personal space conveys, Where Children Sleep is, above all else, a portrait of vulnerability.
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VIEW Prospectus (PDF)
52 photographs (26 portraits, 26 bedrooms)
Portraits: 23.6 x 28.8 in (60 x 73 cm)
Bedrooms: 43.3 x 53.5 in (110 x 136 cm)
288 linear feet (87.78 linear meters)
Where Children Sleep (Chris Boot, November 2010)
Risa, 15, Kyoto, Japan
Joey, 11, Kentucky, USA
Nantio, 15, Kenya
Jaime, 9, New York, USA
Kaya, 4, Tokyo, Japan
Considered one of the most original image makers of the twenty-first century, American-born photographer Roger Ballen has lived and worked in South Africa for four decades. His newest work, Asylum of the Birds, is set within the confines of a makeshift house on the outskirts of Johannesburg, a place inhabited by individuals at the absolute margins of society. In this anarchic place, the human and animal inhabitants collaborate as Ballen's cast in an ongoing series of quasi-directed performances. As we enter Ballen's layered netherworld the images simultaneously repel and compel our gaze and transport us to an even darker dreamworld, that of the fears within our own imagination.
The omnipresent birds, both alive and dead, signal a foreboding reminiscent of Hitchcock, while simultaneously suggesting hope and freedom. While "asylum" promises insanity, it also suggests refuge and persists in our mind as a metaphor for redemption. Says Ballen of his work, "My purpose in taking photographs over the past forty years has ultimately been about defining myself. It has been fundamentally a psychological and existential journey."
The exhibition also presents Ballen's latest film, produced in collaboration with Sydney College of the Arts students and alumni: "Theatre of the Mind," a psychological thriller set in a zone between sanity and insanity, dream and reality. Filmed in underground tunnels built in 19th century Australia to house the mentally insane, the work encapsulates Ballen's hauntingly intense style.
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VIEW Prospectus (PDF)
40 framed photographs
1 video (2:09 m loop)
(29) 23 x 22 in (58.4 x 55.9 cm)
(11) 29 x 28 in (73.7 x 71.1 cm)
Approx. 145 linear feet (44.2 linear meters)
Asylum of the Birds (Thames & Hudson, 2014)
Artist available
New York Times, James Estrin, March 11, 2014
London Telegraph, Lucy Davies, March 8, 2014
Der Spiegel, March 7, 2014 (German)
Vice, Matthew Leifheit, March 3, 2014
British Journal of Photography, Gemma Padley, March 3, 2014
Daum Museum of Contemporary Art | Sedalia, MO
(January 27 – May 28, 2017)
Thompson Art Gallery | San Jose State University | San Jose, CA
(April 12 – May 20, 2016)
Omen, 2011
Malicious, 2012
Place of the Eyeballs, 2012
Take off, 2012
Alter Ego, 2010
Artist, 2013
Ascension, 2013
Consolation, 2011
Homage, 2011
Possessed, 2009
Curated by William Ewing and Phillip Prodger
As one of America's earliest masters of color photography, Paul Outerbridge established his reputation by making virtuoso carbro-color prints of nudes and still-lives in the 1930s. As pictures, they are as brilliant and innovative today as when they earned their place as classics in the history of photography.
Outerbridge left New York in the 1940s, choosing to settle in California, and eventually taking up residency in the Mediterranean-style ocean side town of Laguna Beach. Little is known of Outerbridge's last body of work in the 8 years preceding his death in 1958. But Outerbridge's recently printed transparencies from the 1950s affirms that he fully understood the possibilities inherent in color photography despite it being the early days of its use in photographic art. Outerbridge went on to make a body of work that presaged the style and imagery of color photographers working a full quarter of a century later.
Employing a 35mm camera rather than the large-format equipment of the studio, Outerbridge captured vivid pictures while on the fly. His images were composed using the same precision of form and color that characterized his 1930s studio work, but, in this series, Outerbridge applied his earlier techniques to the energetic world of the street. This was a new landscape for Outerbridge, who, seeing in the new spectrum of color, depicted the people and places from his adopted Southern California, and, with great relish and sensitivity, from the Mexican towns just south of the border. In the tradition of such photographers as Edward Weston, Paul Strand, Anton Bruehl, and Henri Cartier-Bresson, all of whom made significant photographic forays into Mexico, Outerbridge ventured south from Laguna. In his 1949 black Cadillac, Outerbridge frequented the seaport towns along the Baja peninsula. One of his favorite stops was Mazatlan, on Mexico's western coast, where he took particular pleasure in surveying the urban architecture, absorbing—and documenting—the city streets teeming with people, the brightly colored topography.
Among the scenes Outerbridge etched onto film: carnival carriages with passengers dressed and bound for a grand party; a group of fashionable men relaxing in an outdoor hotel lobby drinking Cokes and beer while a small orchestra plays on in the afternoon sun; and a lone girl in a lime-green dress and white sweater walking past a gas station whose painted-red details add vibrant flourishes to the scene. Outerbridge was keenly aware that the beauty of everyday objects was also tied to the larger meanings anchored in the social landscape, but he cared less for this fact than for the expression of pure color and form as seen through and by the lens.
These extraordinary pictures recall the 1970s photographs of William Eggleston and Stephen Shore, who strove to codify these same formal and subjective aesthetics into a bold definition of the new color vocabulary. Paul Outerbridge: New Color Photographs from California and Mexico will bring a heretofore undiscovered and unrecognized sequence of photographs that bridges the formal gap between the past and the present. Outerbridge's visionary handling of color confirmed that he had instinctively known the potential of the color medium, and, luckily for us, he created an astounding body of photographs to prove it.
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VIEW Prospectus (PDF)
35 prints (carbro color and digital pigment)
16 x 20 and 20 x 16 inches (40 x 50 and 50 x 40 cm)
Approximately 110 linear feet (33.5 linear meters)
Paul Outerbridge: New Color Photographs (Nazraeli, 2009)
OC Register, Richard Chang, January 30, 2013
Los Angeles Times, David Ng, May 22, 2009
Michigan Live, B. Needham, June 29, 2008
Self Portrait, Santa Monica, California, c.1955
Lulu Belle, Restaurant and Bar, California, c.1948
Women by Car, Laguna Beach, California, c.1950
Gas Station, Mazatlán, Mexico, c.1950
Woman with Turquoise Dress, Laguna Beach, California, c.1952
Curated by Philip Prodger
Head of Photographs, National Portrait Gallery
In the 1920s and 30s Emil Otto Hoppé (British, German born, 1878–1972) was one of the most sought-after photographers in the world. He spent the first decade of his career pioneering the art of celebrity portraiture. Breaking with the formal stiffness of the Victorian studio, Hoppé's early twentieth century portraits depicted writers such as George Bernard Shaw, H.G. Wells, T.S. Eliot, and Ezra Pound, legendary dancers such as Vaslav Nijinsky and Margot Fonteyn, and royals of the Edwardian era in a shocking new way: they looked natural.
Hoppé's studio in South Kensington was a magnet for the rich and famous, and for years he actively led the global art scene on both sides of the Atlantic while also photographing around the globe, making over thirty photographically-illustrated books, establishing himself as a pioneering figure in photographic art and photojournalism.
In the 1930s Hoppé left the studio to make photographs of British street life. These pictures, sometimes funny and often poignant, explored ideas about class and typology that paralleled the writings of his friend, the playwright George Bernard Shaw. Using a hidden camera, Hoppé photographed people at the other end of the social spectrum: sleeping rough, living in hostels, and barely getting by. He also immersed himself in London's growing immigrant communities. As waves of immigration from Europe, Asia, and Africa turned Britain into a multicultural nation, Hoppé was making its collective portrait. His photographs show a nation with one foot planted firmly in the past, and another reaching toward the future.
The exhibition brings both sides of Hoppé's work together for the first time, and marks the rediscovery of Hoppé as a pivotal figure in Edwardian art and photo-modernism.
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VIEW Prospectus (PDF)
142 photographs, 10 cased objects (vintage magazine articles, books, cartoons)
14 x 11 inches (35 x 28 cm) to 20 x 16 inches (50 x 40 cm)
400 linear feet (120 linear meters)
Exhibition catalogue (National Portrait Gallery, 2011)
Exhibition catalogue (Spanish translation, MAPFRE/TF EDITORES, 2012)
La Nueva España, Joaquín Rábago, March 20, 2012
El Mundo, Elena Vozmediano, March 16, 2012
Paper Blog, Carol, March 16, 2012
El Mundo, Alfredo Merino, March 9, 2012
Diario ABC, Antonio Astorga, March 7, 2012
Arte en la Red, March 7, 2012
RITMOS XXI, March 7, 2012
El Correo Gallego, March 6, 2012
El País, Ángeles García, March 6, 2012
Burlington Magazine, Lady Marina Vaizey, April 27, 2011
Bloomberg Online, Martin Gayford, April 17, 2011
Financial Times, Francis Hodgson, February 25, 2011
Arts Desk, Judith Flanders, February 23, 2011
History Today, Sheila Corr, February 18, 2011
Time Out London, Nina Kaplan, February 17, 2011
Artdaily, February 17, 2011
Culture 24, Laura Burgess, February 17, 2011
AnOther Mag, Lucia Davies, February 16, 2011
BBC Radio 4, John Wilson, February 16, 2011
BBC Radio 3, Anne McElvoy, February 15, 2011
The Telegraph, Lucy Davies, February 15, 2011
The Observer, Laura Cumming, February 13, 2011
The Guardian, Maev Kennedy, October 07, 2010
The Telegraph, October 07, 2010
The Independent, Robert Dex, October 07, 2010
Wales Online, Daniel Fisher, October 08, 2010
Tilly Losch, 1928
The 'Pearlies', Master Simmons, 1922
Lady Lavery, 1916
Ezra Pound, 1918
Vita Sackville-West, 1916
Paul Robeson, actor, bass-baritone singer, activist, 1925
Tamara Karsavina, 1911
Vaslav Nijinsky as Spectre de la Rose in "Spectre de la Rose", 1914
Margot Fonteyn, ballet dancer, Saddlers Wells Ballet, 1935
Royal Family: King George VI, H.R.H. Duke of York & Lady Elizabeth Bowes- Lyon, 1923
Albert Einstein, physicist, 1921
Hermione Darnborough, 1934
Jacob Epstein, sculptor, c1912
Man from Bengal sorting rope, 1933
Outside Stock Exchange, 1937
Making Waxworks at Madame Tussaud's, c1935
Zoo-keeper Ernie Bowman and Hippopotamus, Joan, 1934
Bell-ringing at the Ancient Society of College Youths, 1935
Organ of the Royal Albert Hall, 1932
Installation Views
National Portrait Gallery, London
Fundación MAPFRE, Madrid
Monash Gallery of Art, Melbourn


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text: Author: W. Cleon Skousen Length: 561 pgs. Formats PDF Kindle (.mobi) EPUB Full TextCategory: All Ebooks, EPUB (eBooks), History (Blog), Kindle (eBooks), PDF (eBooks), Plain Text (eBooks), W. Cleon Skousen (eBooks)By ebooksOctober 24, 2016Share this postShare with FacebookShare with TwitterShare with Google+Share with PinterestPost navigationPreviousPrevious post:Two Contending ForcesNextNext post:Karl MarxRelated PostsHonoring the 175th Anniversary of the Martyrdom of Joseph & Hyrum SmithJune 27, 2019New Book! Seer Stone v. Urim & Thummim: Book of Mormon Translation on TrialApril 29, 2019EbooksSeptember 7, 2018American Covenant (Hannah Stoddard Latter-day Radio Interview, June 29, 2018)June 29, 2018Marx And SatanSeptember 28, 2016A Selection of Eyewitness Accounts to the 1844 Transfiguration of Brigham Young (Free Audio Download!)August 7, 2016


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Rita Ora and Ashley Graham Attend ANTM Premiere Party
Rita Ora attends her new show, as the host of America's Next Top Model premiere in New York City Thursday night December 8. Rita wore a Johanna Ortiz Spring 17 "San Jacinto" Sequin Dress. Along with some Gianvito Rossi shoes and Jennifer Fisher jewelry.
Rita can light up the stage, the big screen, and the red carpet. She certainly did not disappoint as she made a shiny and glamorous arrival on Thursday night.
The new season of America's Next Top Model will premiere on VH1 Monday, December 12. Fans will be able to catch even more of Ashley as she doles out advice as a judge.