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Constant Within The Change: Gary Wragg
I entered the financial hyperzone via a mall of classy brands: Tiffany, Austin Reed, Hublot. I wondered – do the members of the one percent consider themselves rich members of the middle class, or representatives of a new aristocracy? Across the plazas around Canary Wharf public art is the way big corporations create symbols of aristocratic aspiration that complement the bourgeois facade. Examples include a gigantic fibreglass geranium, a torqued spine of jenga-like columns in alert tension, or Igor Mitoraj's Centaur (1984) half horse, half man, atop a plinth. The symbolic ideal of the mighty worker-aristocrat. I half expected to see a briefcase, an iphone, a tablet or jogging bottoms as part of the centaur's accoutrement, but the set-up was generalised – classical, nothing too demanding, in bronze, with a neutral finish matched only by the imperviousness of the endless straight edges of the surrounding office towers.
In the sun lounge on the thirtieth floor of Clifford Chance, the view through the plate glass windows over the Isle of Dogs was aeroplane high. Sun streamed into seating areas and small side rooms connected by vastly long corridors in a space designed for business gatherings. A grand piano, a dining room with crystal decanters, a kitchen at the centre of the floor where staff were beginning to prepare the canapés for this evening's function; this was the setting for a stately retrospective of Gary Wragg's paintings. His large works take the viewer round all four sides of the building processionally. The sheer square footage at play has allowed Wragg to get a large number of his huge paintings together in one space. We get a sense of his development, and the changes his work has gone through.
The paintings are abstract-expressionist and driven by a desire to use gesture and colour to open up a new space within each one. Sometimes this new space seems to take on a sense of place. Some of the paintings appear built on similar principles to de Kooning's 1956 painting Easter Monday in the Met in New York, an urban abstract landscape complete with windswept newspaper, painted when de Kooning was still an urbanite who wandered alone through the city streets. Some of Wragg's paintings express something of the texture of urban existence. The Snake and Crane I (1987-89) has found its own contingent hard-won structure and contains something of the surprise and sense of juxtaposition that can be seen in the corresponding aerial overview through the windows. The painting is dark and brooding and conveys the sensation of moving through a city at night. It would be interesting to compare it to the almost contemporaneous urban landscape / portrait by Basquiat Untitled (Skull) (1984). Wragg's painting would undoubtedly seem more lyrical, less blunt than the Basquiat, but also more romantic, more elusive, more like Turner.
The problem, the crisis, the urgency of Wragg's work emanate directly from his drawing. The importance of drawing to him is inaugurated by a 1976 charcoal on canvas Pirate. In it, various figurative and landscape motifs are hinted at but never resolved. Like early Pollock, the drawing points out of representation toward oceanic all-overness. The difficult negotiation between the general and the specific here is not necessarily resolved. It sets the tone for the rest of the show, where we can never be sure what it is we are looking at. Though it is clear that the paintings are meant to be apprehended literally as tableaux of marks, shapes and colours, we still can't help imagining contexts, motifs, encounters and relationships within the compositions and can't help looking for answers as to how the paintings have come about. Sometimes place names are referenced in the titles. At other times the paintings seem like a mixture of both internal and external architecture, as in Abandonment and Doubt (2006-9). Though we may look for clues as to how the paintings are configured, we're unable to pull away and attach particular meanings to any of the components. The paintings are sticky: once you're absorbed, its hard to extract yourself.
English painting often likes to put its feelings into objects and treat them as elements within a still life. Howard Hodgkin for example, is able to twist the brush into a hot gesture, but the placing of gesture within the composition is balanced more coldly. His paintings have a detachment, as though a moment's emotional imprint has been placed under glass. In contrast it's harder to get any distance from a Wragg. They fill the viewer's visual field both optically and physically. They demand full submersion and create an immersive field. Because of this they can never fully master themselves, as to master the painting would entail stepping out of it and Wragg wants to keep us on the inside. The paintings attempt to pull themselves together out of the chaos of pure immediate sensation, and Wragg often achieves this in the handling of the paint, which is totally involved and boundlessly energetic. The problem for him is finding the right armature for his gestures. What is the function of drawing in his work?
When he draws on his canvases, is he drawing in actual space, or virtual space? Is he 1-1 literal, or shifting scale and creating illusions? Is he describing a thing or creating a process? Are the forms his own or found elsewhere? If they are found elsewhere, are they from nature, from the collective unconscious, from the urban landscape? Or from the work of historic painters, or the works of other abstract painting colleagues in London? Wragg seems to want a similar quality to that found in the paintings of Gillian Ayres or the work of the sculptor Phyllida Barlow, where an ugly brutal literalness gives way to a paradoxical delicacy. At times the paintings can feel bootsy and masculine, emphasised by the striated grooves he often draws into the thick paint with a plasterer's tool, making of the painting a pitched battleground. At other times he seems to want a fragrant bouquet of colours that open out and bloom in a sweet array. Underpinning all this is the underlying problem of drawing, of structure and composition. How to find a composition, how to organise the raw material? Should the initial drawing bend itself to accommodate the new structures thrown up by the painting, to eventually simply be painted out, to let the layers of paint speak for themselves? Or should the painting be divided up, with drawing creating boundaries between elements, in order to impose a structural rigour around which the gestures can organise themselves?
The kinds of meanings involved in conceptual or symbolic art are entirely absent here. What we're involved with are more fundamental conditions of being – orientation, direction, velocity and energy. It would be tempting to describe the process that goes into making Wragg's paintings as performative, were it not for the fact that the emphasis is so entirely upon the painting as a finished product, as an object that lives beyond the fact of its maker's existence. What is impressive (or brave, or gruelling depending on your taste) about Wragg's work is his refusal to pin anything down and to let all the elements remain as open as possible, for as long as possible. Wragg has truly turned painting into a trip into the unknown, and it is the extraordinary energy that is required to undertake such a mission that makes the whole show irresistible. Wragg has let himself go all out to explore what is possible for him within the vortex of abstract expressionist action painting. Yet despite early success he occupies a surprisingly marginal position within the London art world. Despite the obvious enjoyment and enthusiasm the paintings elicit, they remain ignored and out of fashion. Why?
Part of the reason perhaps is that in their reliance on the gesture, the paintings could be associated with an era where paintings were created out of a masculine will to power. He likes the viewer to feel the heft, weight and struggle of his intentions. Even when he prints paint onto the surface using bubble wrap one can still feel the physicality of the artist bearing down onto the painting. This is a characteristic of painting of the nineteen-fifties, before Warhol or Cage amongst others liberated art from being the product of a individual, isolated, heroic will. In only a couple of paintings in the show, such as Vyner Street (2005) or Partita (2002) does Wragg let the poured paint find its own form independently of his hand. Here, he comes close to the relatively non-interventionist abstract painting of Polke or Richter, where process, either by pooling chemicals, or effacing all the marks of the hand with a squeegee, serves to efface the will or ego of the artist, allowing the painting to becoming effervescent and veiled. Wragg's experiments in this vein are uncharacteristic though. There is something powerful about the way Wragg refuses to let go, refuses to give up possession of his motifs. Yet paradoxically the strongly willed nature of Wragg's paintings is at odds with their open-ended character. They don't give way to calculation, perfection or resolution and in this can seem frustrating. The hard wrought gestures however begin to make sense when you understand their struggle, despite appearances, is in fact towards a lightness of being, and forms that at first might seem rasping actually give way to a dense pleasure in sensuous immediacy. They seem to embody what Maurice Denis once advised Matisse: "You should resign yourself to the fact that everything cannot be intelligible. Give up the idea of rebuilding a new art by means of reason alone. Put your trust in sensibility, in instinct." (1)
The most pervasive influence that I sensed throughout the work in the show was Bonnard, in the often rich, dense and highly pitched colours that offer oases of intensity and pleasure within a landscape that has become pure field. More recent works from the noughties are thinner in their texture and the drawing becomes more elastic; the grey triangle to the left of centre in Webzones @ Vyner Street (2005) is one of the most effortless moments in the show. Similarly the paintings on black grounds allow Wragg to make simpler, bolder forms. In Bending Zones and Shifting Accents (Magician's Hand II) (2005-6) the red swooping oil stick leaps from the surface of the painting like a firework, a crazy comet. Ultimately Wragg's paintings begin to work on you when you accept the disorientation and confusion and liminal uncertainty of their structures and give yourself over to the sheer exuberance and elation with which the paintings have been made. You have to accept their immediacy and understand that though they are static objects they exist within the moment. Within the neutral perfection and efficiency of the surrounding corporate environment, Wragg's paintings are ecstatic anomalies. He presents us with something that is a challenge to understanding. The paintings are hard to assimilate and undoubtedly would change within different contexts. To appreciate one completely, you would have to live with it and devote a whole wall to it. Then the painting could just be, like birdsong, or the roar of traffic.
(1) Quoted in T.J.Clark "Madame Matisse's Hat", London Review of Books ,Vol.30 no.16,14 August 2008
The exhibition celebrates the publication of Constant Within The Change: Gary Wragg: Five Decades of Paintings: A Comprehensive Catalogue by John Sansom & Company. Two volumes in slipcase, each volume 240 pages, 280 x 280 mm. Edited by Sam Cornish, texts by Hilary Spurling, Matthew Collings, Terence Maloon, Sam Cornish and Stefanie Sachsenmaier.
Exhibition open until the 2nd of May by appointment only – contact email@example.com / 020 7006 5384. Clifford Chance, 10 Upper Bank Street, Canary Wharf
More information at www.garywraggstudio.co.uk
There are some powerful paintings in this show demonstrating energetic application of paint on a huge scale.Some of the works are difficult to get into but, like Wragg mentions in his interview, you need to give them time. The layout of the venue forces you to look at some of them very closely . I found the very definite combing and spotty mesh texture could sometimes be distracting and a little too prominent for me, and so I preferred the paintings with less of it. The pieces that had immediate appeal were,'Partita' with jewel like colours peeping through black expressive gestures, 'Saltinbanque', perhaps a bit Auerbach like, but, light and fluid with rich warm oranges, and 'Windows and Wedges' with mint and burnt sienna and white light pockets and red accents. The composition of Webzones@Vyner St. worked well but I was disappointed in the paint quality which looked rather thin , something which was not obvious on the screen. Wragg's work has such energy though , and there is so much of it (bought the books vol. 1and2) !! Really good exhibition.
This is a very good and enjoyable exhibition to be highly recommended. The variety is a great strength both in the types of individual works but also in the different shapes, colours, marks, etc that are often contained within each painting. There is a kind of integration or eclecticism which isn't contrived; of drawing/mark making, complexity of colour, layers. There is painting out, marking over, scraping/drawing through, light washes. Wragg also manages to incorporate 'dirty' colours into his work in an interesting way that generally works well and adds to its originality.
Not surprisingly for a Tai Chi expert Gary combines a variety of delicacy, strength, light and dark, and rhythm often broken. He has a way with layers that is often very subtle which adds interest and curiosity to the viewing experience. As Dan says in his article many of these paintings are "sticky: once your absorbed, its hard to extract yourself".
The 'Snake and Crane 1′ was one of my favourites while 'Webzones' the most interesting to ponder on. This may have had an advantage over some of the other larger works hung in the relatively narrow 'corridors', as it had a larger viewing space and a comfortable seat which all helped. There was also a smaller painting, which isn't on his website, that impressed with its subtle, slightly washed out, broken colour, and quite fascinating shape and composition.
So, variety in all ways, yet individual works with a powerful, self contained strength.
In comparison it was interesting to see the small exhibition of Alan Davie's early work at Alan Wheatley afterwards.
Can I say that this is Abstract Critical working at its best,providing a platform of discussion about an artists work which would not exist elsewhere.For reasons of cultural disfunction,an artists as good ,complex and difficult as Gary ,would not get the air time.Robin Geenwood is at his best when he is trying to get to grips with something new and his contribution is fascinating to read,as are the other commentators .I hope Gary is encouraged by this interest,altho Im not sure how many artists who wish for a retrospective can really handle this amount of critical over -view afterwards in the studio.Its better to keep the nose-bag on and munch on truffles in your own yard.
Reflect for a moment on the title for this show and you have what appears most apposite for Gary Wraggs singular and most remarkable journey as an artist. If he alone is the "constant" within the changing output of his creativity over several decades then this dynamic creative force is still very much a work in progress. Many of the paintings in the exhibition are big in size and at times one wishes for an extra metre or two extra floor space to be able to step back from them. But the paintings that work best are not necessarily the biggest in scale but those that seem to zing with exuberance of colour and brashness that delights rather than merely delivers an experience of looking. Gary Wragg is a painters painter and the physicality of paint count for much of the surface engagement of what he delivers. The best in my view, albeit from a limited selection in this ample space, are the paintings from this decade for example 'Abandonment and Doubt' (2006-9, though tiny by comparison,(100X100cms)is a gem for just sheer colour and exuberance. Its as if Gary had finally decided to let himself enjoy the candy store of colour. When you finally see the catalogue of works of this period you see the same thing over and over again in all of the paintings colour married to exuberance and the physical handling of the paint, not superficial gesture mind you, but a bravado that really counts. If this is the summation of work that Gary has been building to over the decades it requires a follow up show and soon. A space where we can view the work from circa 2000 onwards and enjoy this so amazing constant and singular achievement.
Having just looked at the work of Joanne Greenbaum and read an interview with her, I am struck by the simmilarities between her and Gary Wragg. Or should I say, the similarities as interpreted by the reviewer of Gary Wragg's work.
It is interesting how people see things differently. I had a cursory look at Greenbaum's website and to me her work seems to have completely different handling to Gary Wragg's. Her work seems to have a far more mapped out quality perhaps , more deliberate , whereas Wragg seems to have a more immediate attack and energetic application. The colours in Greenbaum's work seem to look brash in comparison to Wragg's. It is not really fair to be too critical about images on the web but I think comparisons can still be made.
Well I think the links are in the way both Wragg and Greenbaum start from a "void" and attempt to fill an emptiness with something.How do you drtaw in a void ? ( what Malevich called "playing football in outer space" ? Often people educated in art school are educated to an understanding of abstract art as a historical inevitability, but if we step back from that we can see what a strange perverse place the abstract expressionist artist places him or herself in- because you have to create everything out of nothing. Sure , it wasnt any easier for Degas, but his problems weren't to do with motivation – they were to do with maybe not letting precision flatten out feeling . Whereas the problem for the abstract expressionist is how to conjure something out of thin air .
I have huge respect for this show and the work of Gary Wragg, particuarly the way he's continually resisted any formula. Its a really exciting retrospective with all sorts of twists and turns and Id highly recommend a visit to anybody interested in painting.
Changing one's mind about art is an exciting process. So too is changing one's mind whilst making art.
Deviation; digression; divergence; departure; difference. These are some of the words that describe Gary Wragg's art. Despite now and again resorting (if that's not too conscious a word) to a rough and ready approximation of a "configuration" of some description, Gary Wragg seems to be able, come success or failure, to keep his pictures lively and animate. He wrestles with and subverts pretty much every format in the book, and then some. He invents "non-formats", that he repeats with variations. In a career survey such as this he can appear to be restless and indefinite, all over the place. That was certainly my view of Wragg's work until very recently. After getting used to the complexity of his output, and finding a longer perspective from study of the book, these digressions take on a more positive aspect, becoming accumulations of yet more potential variation of content, the lack of which is a bane of much other abstract painting. When this variety gets brought into focus within the context of a singular work, he starts to look properly ambitious for painting.
"Webzones@Viner St" is an example of a non-format painting that brings with it a degree of this unexpected variety, and it's perhaps as good as anything painted by anyone in the last ten years. It's ambitious and brave and original. The colour is excellent without being bombastic, especially that dark section at the bottom; the space is vast and active; the paint application has virtuosity and diversity. Its architecture takes a while to get at and is unforeseen. When I first saw it at Flowers East in 2008 I didn't particularly take to it like I do now, but I may have been unduly influenced then by the rest of the show, which contained some pretty poor paintings, some of which are reprised for this outing.
There is this problem (widely acknowledged) of the works that don't work, of which there are a lot. And of course, this is in part a subjective process, sorting out what's good and what's not. It's hard, too, because you can't sort them into those that "punch" up front and those that don't. Perhaps the nearest Wragg gets to upfront "punch" is in earlier pieces like "The Snake & Crane I", which has a bit of an early Alan Davie vibe to it. No harm in that, and it's actually a very good painting; I had thought it initially to be the best work in the show, but I think that was just familiarity or recognition of something I know about, whereas "Webzones@Viner St" is a new proposition altogether, entirely Gary's own; "Abstract Expressionist" it is not. Major paintings not in the show (from the book or website) that also look like they could be on to something both new and good and "non-formatted" are "Rue Gambetta II" (it's forerunner, "Rue Gambetta" is another very good but slightly familiar work) and "Tesco's ATM". And there are a lot of good earlier works in the book and on the website. There is a lot worth looking at in some of the more dubious works too. Perhaps Gary Wragg's greatest achievement is the continuation throughout his career of an irrepressibly unformulaic approach to abstract painting.
On the whole I favour the big later works with their dizzying brushwork which seems to subsume the cubist-type drawing in many of the earlier/middle-period paintings. As other people have mentioned, drawing is a big thing in Gary's work. Generally, if I become too aware of it, and especially if it looks like a reference to a figurative beginning, I'm put off by it; then again, "Blue, Beige & Green Circuit", a very recent work (in the show), is comprised almost entirely of drawing of some kind (though not cubist – abstract, perhaps, if there is such a thing as "abstract drawing"), yet I think it is very good indeed. It was probably the overt drawing and the occasional weird lack of clear colour that put me off the scent for so long. That, and the high proportion of paintings that, even now, do very little at all other than flaunt their unfulfilled ambiguity.
But in the end, the numerous failures don't seem to matter too much when there is an amount of real success, and such a buoyancy to the whole proceedings; we can argue about what's in and what's out (though probably not with Gary), but it's all part and parcel of his methodical madness. As Dan says, he's always very much inside of his work, rather than stepping back with a critical eye. It's a good place for an abstract artist to be (mostly). I've changed my mind about Gary Wragg; for what it's worth, I think he's a very significant painter, and getting a measure of his work recently has gone a considerable way toward re-igniting my flagging belief in the prospects for abstract painting. And though Wragg has not been short of supporters over the years, I think Sam Cornish deserves credit for being adamant in starting a new and positive critical assessment.
One last point, about Dan's essay. He suggests that Wragg expects us to see the marks and gestures as "literally" what they are (rather than, say, figuratively or metaphorically or allusively?). It's a pedantic point perhaps, but my use of the word literal is the opposite of Dan's, and I would think that wanting his paintings to be read "literally" is the last thing Gary would wish for. Surely he is after synthesis, whereby the elements of the painting combine from their literal separateness to produce something "abstract" or "visual" or "form". Or all three; transcendent "abstract visual form". It's when that sense of wholeness fails that the paint returns to the merely literal.
Wragg, though, might just have enlarged a little our notion of what constitutes wholeness.
I havent had a chance to catch up with all the coments,but am looking forward to doing so,I would echo Patrick's thoughts on Gary's ACME show in the 70′s I stumbled upon it attracted by a black and white image in an art mag and found it stunning, it was exactly what I needed to see at the time totally inspiring to see a British painter working with such ambition, vigour and scale. Some of the examples shown here illustrate the sheer invention and searching for new ways to deal with the space, from the depth and mystery of The Snake and Crane to the floating motif in Abandonment and Doubt. It is a joy for me to see such truly important work especially as we hear of the passing of one of our great painters Alan Davie
Is this Iain Robertson, who used to teach at Sir John Cass? 1973-4?
No Sorry
Noela, the question that I keep returning to,in relation to at least some of Gary Wragg's paintings that are reproduced here,is what the function is of what could be referred to as the 'overt' drawing (obvious lines, marks etc.) in contrast to the drawing that occurs when areas of paint of differing colour, tone, texture, size etc. meet each other. Of course this last point might not be universally accepted as being a genuine matter of drawing but it seems to square with Cezanne's 'as one paints, one draws' and If I may refer again to what Alan Gouk has said "when my larger area-shapes reach their perimeters,and butt up against one another, there, drawing of a sort is created" (from the article 'Drawing in Abstract Painting). I'm not entirely sure that it would be correct to look at Wragg's paintings with that last statement of Alan Gouk's in mind but it is tempting to do so in the context of Wragg's use of what I referred to earlier as 'overt' drawing. I look at,for example, 'Bending Zones…' and find myself trying to erase the lines and to imagine the work without them, how those different areas might function together with less of the structure that the drawing imposes.
The lines used in Bending Zones and Shifting Accents, and Webzones , suggest rhythm movement and containment of colour areas. Abandonment and Doubt (seemingly without lines) has a more floating quality which is again expressed by the title. I am hoping to see the exhibition to gain more insight but looking at the screen,the drawn lines create a more complex way to experience the colour areas , which I assume Wragg wanted. The massive charcoal drawing, Pirate, seems to work really well , with strong and energetic marks, and seems very powerful, more so than the drawn elements in the paintings perhaps.
The lines in the paintings that you refer to are very different in both character and function from for example the use of the drawing in The Snake and Crane 1. In 'Webzones…' there is such a strong sense of flat design with the partitioned areas filled with colour that it is almost like looking at the way a stained glass artist might work. I find 'Bending Zones…' more satisfying because there is less of that sense of structure or design. Maybe that perception of them would be very different on actual viewing though.
In 'The Snake and Crane 1′ the drawing is doing something rather different, seeming to lead the viewer rhythmically through the work from the lowest area right through to the top. For me it has a real sense of place, though not a sense of a real place in the particular way that Dan suggests (although I mean no disrespect to that view). I'm struggling to articulate what kind of (if not real) place that 'The Snake…' suggests and in the spirit of wanting to let it 'just be' analogy or metaphor doesn't seem appropriate. In many respects it rather reminds me of the 'Hell' panel in Bosch's Garden of Earthly Delights which also has this sense of 'place' and a similar dark unfathomability.
Yes there is a lot going on in the Snake and Crane,and the lines do also have a very rhythmic quality to them. As well as it being a dark painting it seems to have quite an oppressive quality, whereas Partita seems to have a lighter, maybe even more playful feel.There seems to be a visual buzzing going on where the drawn elements look like a bit combing, very difficult to comment really ,like you say, they need proper scrutiny. Wragg is good at creating variety.
It's great to have Mark Stone's thought provoking essay right next to Dan Coombs' excellent take on the Gary Wragg show. The idea of or the nature of subjectivity remains an under developed area of discussion when talking about art as political or social critique. Gary Wragg's work presses a few of these buttons as Dan Coombs has pointed out in his thoughtful review. I feel that my generation grew up with the idea that 'gesture' was hopelessly gendered or mired in over-heated masculinity. One only used gestures if they were in the visual equivalents of quotation marks. I think this has lead to a very constipated, choked up art that chases it's own tail and expects an audience to enjoy the pretty meagre spectacle.
Thats why Wragg's work feels so refreshing to me. He uses physicality, erasure and veiling- all sorts of handling and attack. He risks impenetrability where the viewer is concerned- a highly personal language that could so easily turn in on itself. But at its best it is a polyphony not cacophony. I'm not sure if I'm right in saying drawing is central to his work but this aspect seems to separate him from the more predictable and pedestrian architectonics of many 'coluor painters'.
'Windows and Wedges' (?) is my fav at the moment but that might be because I'm comfortable with its tighter structure. Can't wait to get back there for more visual vertigo!
The books look great too but I'll have to wait for them to get in the library!
I haven't seen this show so I'm concerned that making comments on the basis of viewing compressed images of such large works is risky. However, JB, the question that you raise of the place of drawing, the type and importance of it in relation to at least some of these works (and indeed to abstract painting in general)is what instinctively struck me on first viewing. I of course appreciate that the compressed image will not convey the same visual/physical impact as would be felt by standing in front of such large works but there is sufficient information to be able to perhaps look more closely at matters of drawing and how well (or not) the paintings are served by it. From my admittedly limited experience of trying to make abstract paintings(by which I mean broadly starting with nothing except raw material and a ground) the question of drawing seems all important. The problem is that I'm not quite sure what is meant in practice by drawing in relation to abstract painting, or perhaps more accurately how to describe it, or yet more accurately still, how to 'do' it-I guess that sense of attempting to discover visual answers is the rewarding dimension to abstract painting. Also if one has a fluid, varied attitude to making abstract painting ie a willingness to change and not stay in one place overly long, the role of drawing will be likely to change too, presenting new problems with the different directions taken. Perhaps the ability to re-invent the role and purpose of drawing within abstract painting could be one definable (or at least describable)and objective measure of the value of any given artist.
In the article 'Drawing In Abstract Painting' Alan Gouk quotes Cezanne: "as one paints ,one draws" and David Sweet says of the same painter that he "fused the actions of painting and drawing". This fusion of painting and drawing characterises the task that lies at the heart of the kind of abstract painting that I like to look at and would like to make. In relation to drawing and Gary Wragg's paintings (those reproduced here) which is I think JB where this rambling began, I'll try and add something at another time. For sure it won't be as eloquent or elegant as Dan Coomb's insightful essay and thoughts on Wragg's paintings so thanks for that Dan.
I feel drawing can definitely add an exciting element to a painting if it is needed. Drawing integrated into a painting has a very different role from a drawing in its own right. The drawing seems to be very much part of the work in Gary Wragg's paintings. When is a drawing a drawing in a painting as opposed to a gesture, I suppose it is the thickness of the line as it cuts through.
I do of course get the ' as one paints, one draws' , that produces a different effect again.
I've always been excited by Gray Wragg's work, yes in late seventies when I was at Hornsey and also had a studio in the same building wit him. He is the true talent and a great painter. I point out him to artists here in NYC. when ever possible…he is a guy who makes me proud to be a painter, and I love his work.
I find myself being asked some very serious questions by the work of Gary Wragg at the moment – by the show and by the book (both of which I recommend), by the work on his website, and indeed by Dan's rather good review which at moments catches well at the difficulties and contradictions of the work (though I could have done without the florid contextualising). It's not that I haven't seen Gary's paintings before; indeed, I've seen shows at Flowers and Wheatley's, etc., and been to his studio a couple of times and even shown a few paintings at Poussin in the past. I've been, if I'm honest, at times a little underwhelmed by what I'd seen. But there is no way that I had a measure of Gary's achievement overall, until the publication of the complete catalogue on his website. I look forward to seeing the show again soon, though that is a very modest part of his whole output. I have an appetite to see even more. I feel a little like I'm being turned over in my opinions; and I feel like I'm being offered something very new and perhaps very big. Whether that sets into something substantial, I shall have to wait and see, but that process – of evaluating and discovery – is always exciting.
I hope we can get a big range of opinions on Gary's work, because there appears to me to be important issues surrounding the relationship between quality, originality and variety which need teasing out. "Originality" is the one that keeps pressing on me – he is unlike any other painter I know of, and doesn't share their concerns or methodology, and certainly doesn't share their focus over long periods of work, or their more-or-less self-critical stance. "Quality" is the one that presses back on the work – I suspect Gary is guilty of not knowing his best work, but is that such a sin? There is no compunction for any artist to be a critic, even of his own work. He certainly has found for himself the freedom and scope to both fail and succeed, perhaps big-time, and in an age of "niche" painters, that has to be applauded. He certainly has the "variety"…
Yes this is so interesting because if Gary Wragg was an art student these days he would be dismissed as a very silly fool whose work is all over the place!
His show in that little gallery next to White Cube a few years ago was such an excellent and most strangely subversive riposte or extremely embarrassing as contrast to what goes on in art schools which are more like cages down the vets where probably nobody has heard of Joan Mitchell or is allowed to look at Baselitz or whatever…..
It often seems a mystery that London or England has managed to hang on to Wragg – It certainly does not deserve him at all!
I always respected Gary Wraggs work since his signature show at ACME in Covent Garden in the late 70s,which was the most exciting thing in town.I will journey from Devon to see this show ,not just because he is a British painter of note,but because he has been working for 5 decades and that experience is so important to painters.He has kept going through thick and thin ,which takes true grit,and I am keen to follow his journey.Personally I am always moved to resolve my conflicting energies in my painting and dont buy provisonal painting.Its either finished ,resolved and complete or a failure.


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Our comprehensive financial solutions use service and technology to help make educational dreams possible. This includes Tuition Management and Grant & Aid Assessment, which improve the financial management experience for everyone involved through flexible, online payment services and secure financial aid assessment and awarding.
School Administration
For more than two decades, we have provided schools with modern, intuitive solutions to meet the needs of their administrators, teachers, and parents. Our school information system (SIS) and learning management system (LMS) are robust platforms to support your school's efforts in the front office, in the classroom, and at home.
Enrollment & Communications
We are dedicated to helping you tell your school's story to attract prospective families. That requires comprehensive and connected efforts when it comes to your admissions, enrollment, and marketing. Thousands of K-12 schools across the country use our website solution and powerful admissions tools to enhance and streamline those efforts.
Few departments are as important to a K-12 school as the advancement office. And few things are as important to an advancement office as the tools that help you innovate, improve, and harvest your efforts. That's why we developed FACTS Giving. It supports your school's advancement, development, and fundraising efforts.

subset: commoncrawl


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Block Puzzle
Mohini, the word press wizardess, is a lady of few words, but strong willed. She is also a doting mom to her pet cat, Boo. Going out for movies is her idea of a good weekend plan, and watches Bollywood as well English potboilers. She also listens to a lot of Hindi music, but doesn't spend much time on her phone. Interested in watching stuff like news, movies and web series on the internet, she cooks, reads and plays with Boo in her free time. Yoga is what keeps her fit and stable, and cooking is what she does quite regularly. Ever smiling Mohini's crazy desire is to get tattooed! She finds the environment at OMG DiGi really cool, and says her teammates are nice and friendly too
"Nothing is Impossible in this World, Everything is Possible."
Focused, precise and competent
Our brains are always buzzing, thanks to the numerous cups of chai and coffee we guzzle all day. Our thoughts are fresh, our ideas are quirky, and our execution is slick.


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Erik Adigard des Gautries is a designer and media artist based in the San Francisco Bay Area. He was born in Brazzaville, Congo where his father was stationed as a French foreign correspondent. When he was ten his family moved back to Paris. He began his university studies in English literature, semiotics, and fine arts in France before going to the United States to receive a BFA in graphic design in 1987 at the California College of the Arts, San Francisco/Oakland.
While still a student, his first designs earned him national awards for their experimental mix of iconography and offset printing techniques. Upon graduation, with Patricia McShane, he established M-A-D—also known as "madxs", a brand and communications design studio. Since creating his first digital images for Macworld magazine in 1989 he has been exploring the limits of the graphic design discipline as it continues to be redefined by shifting relationships with technology and social phenomena. His activities range from branding, print, web, video and multimedia, to consulting and exhibits—always with a concern for conceptual accuracy and creative innovation.
In 1992 he participated in the launch of Wired magazine by conceiving its first visual essay, and then continued to develop a visual vernacular specific to Wired and often labeled "Wired look". In 1996-98 he served as design director for WiredVentures where he designed new web offerings, including the Hotbot search engine, WiredNews and the ground breaking LiveWired. His short documentary, Webdreamer, a portrait of fellow web designers, was featured in international film festivals such as Resfest and the online Sundance Film Festival. In 1999 he co-authored Architecture Must Burn with Aaron Betsky.
From 2000 to 2004 Adigard developed brand strategy for IBM software, creating a graphic system that allowed for five distinct brands, DB2, Lotus, Tivoli, Rational, and Websphere, to combine into an integrated offering. This brand system included a visual campaign that was in continual use throughout the decade.
Among many exhibits, his main commissions include Catalysts! Engage for ExperimentaDesign'05, Lisbon, Portugal and AirXY for the Venice Biennale of Architecture 2008.
At the Venice Biennale of Architecture 2012 Adigard created the graphic design and a floor exhibit for SpontaneousInterventions, the American Pavilion installation that was awarded a special mention for National Participation by the Biennale Jury.
Adigard's creations have been shown in major international exhibitions, film festivals and publications, such as The Sundance Film Festival, the Pasadena Museum of Art, the Denver Art Museum, the San Francisco Museum of Modern Art, the Smithsonian Cooper-Hewitt National Design Museum, the Wellcome Trust in London, the Toronto International Airport, and Meggs' History of Graphic Design. Among his top awards is The Chrysler Award for Innovation in Design. Erik Adigard is the 2012-2013 Katherine Edwards Gordon Rome Prize Fellow in Design.
He belongs to the Alliance Graphique Internationale and from 2009 to 2011 was a board member of Adobe Design Achievement Awards. Other academic activities include advising and teaching in graphic design, media design and architecture, and lecturing in the US and abroad on emerging design subjects.


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Safe boating tips
It is starting to heat up! Time to uncover that boat and get it into the water! No matter how much experience you have, it's always a good idea for everyone to review boating safety rules before departures. Mosaic Insurance wants you to be safe so they are giving you some basic boating safety tips to help:
1. Be aware of the weather: Always check local weather conditions before departure; TV, radio and internet forecasts can help. Just make sure you are looking at the most recent forecast for your area.
2. Have a Pre-Departure Checklist: Use the Boy Scouts motto out there and "always be prepared." Following a pre-departure checklist is the best way to make sure nothing has been overlooked.
3. Designate an Assistant Skipper: Make sure more than one person on board is familiar with all aspects of your boat. This way if the Captain gets hurt or sick, someone else is capable to get the craft to shore safely.
4. Let someone know where you are going: Always tell someone that is NOT going on your trip, where you are going. Also give them the timeframe you expect to be gone.
5. Make Proper Use of Lifejackets: Did you know that the majority of drowning victims are the result of boaters not wearing their lifejackets? Make sure your family and friends are wearing them. That's why they are there!
6. Avoid Alcohol: Studies show that the probability of being involved in a boating accident doubles when alcohol is involved. Mosaic Insurance recommends waiting till you are back on shore to enjoy your cold beverages.
With over 30 years of experience, let Mosaic Insurance take care of all your boating insurance needs in Prescott. Please contact us at 928-458-7374
Posted to: Watercraft and Boating Insurance
All Blog Posts
Need an insurance quote? Get it today!


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Every morning when we wake up we go through our routine. Everyone does something different in a variety of sequence. One thing I venture to say we all do is take a look in the mirror. It could be while you brush your teeth, fix your hair, do your make up, a final check on your outfit before you leave the house, whatever. Most of us have caught something in that check. A shirt too wrinkled, a piece of breakfast in our teeth, something out of place that says…… whoooaaaahhh, check ya self before ya wreck ya self. Well in 2017, it's time we get the largest mirror we can find, and hold it up over our entire nation and collectively look up and be honest about the reflection.
That's right, it's 2017. We are 150 years removed from the Civil War. We are more than 50 years past the Civil Rights and Voting Rights act. We are almost 9 years past the election of our first Black President. Although time moves on and we, as a nation, buy new clothes and get new haircuts, we are still the same nation founded by and for the dominion of the White Male. The protests and tragedy that occurred this weekend in Charlottesville Virginia are just the most recent chance for us to gaze up into the mirror of who we are and what we look like today.
When I look into that mirror I'm instantly taken to two things. The first is the skit the old Chris Rock show on HBO. You remember the one where he talks about Black folks taking 2 steps forward and 2 steps backwards. Watch it here courtesy of youtube:
The other is the first track on Mos Def's "Black on Both Sides" CD: 'Fear Not Man'. posted here with lyrics via Youtube:
We are who we see in the mirror. We are going in the direction of our music, our politics, our media, our representatives, our leaders. All of it is a reflection of the core underneath. Not just the superficial, but the root core. Freedom, Equality, Liberty and Justice for All, the Land of Milk and Honey……. it's all make up, a new outfit, a pair of Spanx. It may look great to others…… but we know what is underneath. We know who we are at the core.
In 2017, in Charlottesville Virginia, one of the largest gatherings of White Supremacists set off 2 days of protests and counter protests that tragically ended in the death of Heather Heyer because domestic terrorist James Alex Fields Jr. decided he would use his car as a battering ram into a crowd of peopleThese racist groups assembled in Virginia because a statue of Confederate General Robert E. Lee was set to be removed from a public park. Cities around the country are making moves to remove the monuments of the past. Two years ago after the domestic terrorists Dylan Roof shot and killed nine people inside a Charleston S.C. church, the Confederate Flag was finally removed from the grounds of the Statehouse in Columbia.
For almost 250 years this Nation has been waking up and looking in the mirror. Buying new clothes, changing haircuts, going on diets, going to the gym, even buying new mirrors hasn't changed what is looking back at us. The question is are we ever going to be HONEST about what we see? Are we going to stop lying to ourselves? Are we going to one day actually become the nation we dress up as to the rest of the world? Are we going ditch the costumes and stand naked in honest judgement of where we are, and where we want to go?


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This section contains documentation related to the various other components of Contentstack. It provides guidance on how to use the web UI elements, the details of which are not covered in the other sections of 'Guide'.
When the Content Manager publishes an entry, the system puts the action into a publish queue. Jobs in this queue are performed one at a time, albeit at a high speed. This eliminates the need to wait for an entry to be published before moving on to the next item. You can keep publishing items and let the system manage the queue.
At any time, you can view the details of the entries/assets sent for publishing by clicking the Publish Queue link on the header. The details include time, entry, content type, version, language, user, environment, and status. You can also apply filters to the list and refine results based on the status, environment, publisher, language, content type, and date range.
Audit Log helps you monitor what's happening in a particular stack. It displays a record of all the activities performed in a stack. This helps you keep a track of all published items, updates, deletes, and current status of the existing content.
By default, the audit log displays information of all activities in reverse chronological order. You can apply filters to refine the results to display only the information that you need.
To apply filters, click the filter icon to display the list of available filters. Specify a date range or choose one or more users, actions, modules, or languages.
To clear all filters, click 'Reset Filter'.


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No, you cannot "make" someone visit or spend parenting time with their children, but you can incentivize, motivate and encourage. One motivation technique or incentive Massachusetts divorce lawyers often employ is to craft the agreement, or court order such that if a visiting parent misses their scheduled visit, they pay the costs for the custodial parent to have a babysitter for that time period or to pay lost wages. Of course that is a negative incentive, sometimes positive ones like perhaps offering to be flexible with the times or to do the work for them (like to plan a birthday or holiday party and let the other parent come enjoy it without having to prepare, contribute or clean up. No, it is not fair. But it may give the children a chance to see the other parent.
Can I Make Him Visit Our Massachusetts Children?
Where Does All That Massachusetts Child Support Money Go?
How to Prepare For a Hostile Massachusetts Divorce
Every year, thousands of Massachusetts couples make the difficult decision to get a divorce. While some divorces can be a seamless transition into a new life for both partners, some divorces can be contested. Divorce settlements are routinely complicated by issues such as child custody, alimony, and division of property.
Massachusetts Fathers Receive 50% Parenting Time!
A first-of-its-kind study found that parenting time varies dramatically as you cross state lines. Nationwide, a father is likely to receive about 35% of parenting time. See how your state compares below.
Bitcoins: The Latest Innovation for Hiding Assets in Massachusetts Divorce
Trying to hide assets during a Massachusetts divorce is as old as divorce itself, and technology has started to bring concealing wealth into the modern era.
If You Do One Thing For Your Massachusetts Kids, Plan For Your Death
Definitions of a "good Massachusetts father" are as varied as there are goodfathers, but one thing everyone agrees with is that a good father is a responsible person. A father takes care of his children and keeps, to the best of his abilities, the world around his children in working order. Responsibility is the backbone of parenting, and in a society such as ours, where definitions of masculinity are entwined with notions of leadership and authority, a father is expected to leave no loose ends, nothing overlooked.
Parental Guidance: 15 Things to Give Up to Be a Happy Massachusetts Parent
You want to be a happy Massachusetts parent but your countless responsibilities make this goal challenging. Don't lose hope just yet.
Is "Phubbing" Hurting Your Massachusetts Marriage?
What Is Phubbing and Why Is It So Damaging to a Massachusetts Marriage?
Phones and the social media and games and apps they contain are basically dopamine slot machines, designed to keep people scrolling, liking, commenting, email-checking, and Fortniting. The major thing they distract from? Relationships. In fact, the stranglehold that devices have on relationships has become so great it's even been given its own name: "phubbing." A portmanteau of "phone" and "snubbing," the term is fairly self-explanatory and illustrates the nature of the problem pretty well. After all, a snub is a rude and dismissive gesture and the fact that couples are using the term to describe their partner's choice of their device over quality time says a lot. While the term seems cutesy, Phubbing is basically relationship-napalm. One recent study found that the behavior actually facilitates relationship dissatisfaction on an almost-subconscious level by creating emotional distance between romantic partners.
Anger Management Classes in Massachusetts: What To Look For When You're Looking for Help
Anger is a perfectly natural emotion, and a primitive one as well. It's a fight or flight response - something that our minds and bodies need in order to tell us when we're unsafe. One of the biggest mistakes anyone can make is to treat anger as something unnatural.
3 Pillars For Becoming A Present, Conscious Massachusetts Father For Your Children
How To Make Your Massachusetts Divorce Less Tough on Your Kids
Making the decision to divorce in Massachusetts your partner is not something that should be done lightly, especially when there are children involved. On the other hand, unhappy couples should not stay together solely for the sake of the children.
What Massachusetts Children Need Most When Their Parents Divorce
9 Strategies For Making A Blended Family Blend in Massachusetts
Is your blended family just like The Brady Bunch? Probably not, because it's noteasy to combine two Massachusetts families into a new unit. Welcoming a new spouse brings with it an explosion of stress-inducing newness, with new stepchildren, new rules, new demands, new religious practices and more. Though you'll have extra challenges as a blended family, creating a lovely, peaceful home is attainable.
4 Reasons Why You Should Never Feel Ashamed of Your Massachusetts Divorce
We often talk about what goes into making a Massachusetts marriage work, but we don't focus on what happens when it ends.


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Welcome to Model Makeovers owned by Jess, a Professionally trained, Award winning Make-Up Artist based in Bournemouth.
Specialising in Bridal, Photographic, Proms, Special Occasion and makeovers. As well as offering make-up lessons to clients too!
With 16+ years experience, Jess of Model Makeovers is proud to be a recommended supplier to the Green House Hotel & FJB group... Harbour Heights, The Sandbanks, The Haven Hotel & Chine Hotels....
Model Makeovers is registered as a MAC PRO artist as well as being a PRO member of Nars, Bobbi Brown & Charlotte Tilbury, this means a greater choice of the latest Pro products for clients. Model Makeovers can also offer Vegan make-up products too.
Model Makeovers CV & Qualifications
2018: Look Good Feel Better (Volunteer work with Cancer patients at Bournemouth hospital)
2016: Helen McGuiness School of Beauty
2015: DFMA 5 day make-up course
2013: Southern School of Beauty Advanced make-up course
2005: Make-up techniques 8 weeks Bournemouth College
- Lead make-up artist on short film 'Power Surge' 2019
- Celebrity OK! Mag 'Wandering Eve' Maternity Photoshoot
- PRC taxi's
- Bride magazine 2019
- Condor Ferries advert
- Sainsburys Click & Collect
- Rias Insurance
- 'Nasty' Lifestyle fitness Photoshoot
- Smint Mint TV Advert
- The Money Barn Advert
- Daily Express article
- Reveal
- Chat
- South West Brides
- Dorset Orthopaedic Clinics
- National Slimming Clinics.
Your Wedding day and bridal make-up........
It's your wedding day, so you want to look amazing, feel special and most importantly still look like you! Jess believes in enhancing a brides natural beauty, whether you choose a natural or more dramatic look. Jess understands how important it is that your make-up lasts all day and that it looks flawless and natural in real life, as well as on the photos. Jess offers a calm influence to any frantic wedding morning and her experience always shines through. Please have a look at the Facebook reviews to see what other brides have kindly said. Jess's work has been featured in...Bride magazine 2019, FJB @dream weddings book, South West Brides magazine and Dream Weddings Magazine.
Vicky Funnel - April 2017
Jess has worked on many professional photoshoots in studios and out on location. Jess knows which products photograph well under studio lights or for film/tv work. When not doing the make-up behind the scenes, Jess is able to lend a hand in styling the photoshoot so that everything looks picture perfect. Jess has worked on many mainstream publications (see above) and is available on a half or full day rate basis. Please contact with your requirements.
Contact details:Email: firstname.lastname@example.com (Emails/Facebook messages always answered within 24 hours) The website form is experiencing some problems for some, therefore please use the above email address instead.
Tel: 07958 712865 | facebook.com/modelmakeovers.co.uk | @jessmmakeovers | modelmakeoversmua Check My Availability


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You have no items in your shopping cart.
CS strives to deliver the best products at the right time. We are proud to offer FREE shipping on all orders over $75 once in cart, and a flat $4.99 shipping rate on all other orders within the continental United States. Qualifying orders are non-furniture items.
In most cases, same or next-day shipping is available. The majority of products are stocked in warehouses nationwide so we can quickly and easily get your order to you.
In the event that the product(s) you ordered are harder to source or located in different warehouses, shipping times may be affected and you will be notified accordingly.
Within San Diego County, we are happy to offer same or next-day delivery of ergonomic furniture including Ergopose. Please inquire within for more information. If ordering online, complete your order and shoot us an e-mail to email@example.com, so we can coordinate with you.
We can ship to virtually any address in the world with a few product and destination restrictions. For international shipments or shipments to Hawaii, Alaska, Puerto Rico, and APO/FPO addresses; please give us a call at +001 (866) 210-1898.
For international shipments or shipments to Hawaii, Alaska, Puerto Rico, and APO/FPO addresses; please give us a call at +001 (866) 210-1898.
We will always do our best to notify you when your product has shipped as well as provide you with tracking information.
If for any reason you feel you have not received shipping confirmation in a timely manner, please e-mail us at email@example.com.


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Active fun during your stay
The New Forest has many walking and cycling routes that let you explore this beautiful area. For those rainy days in, we also have a great variety of leisure facilities and indoor activities to keep everyone entertained.
We have chosen to allow our younger guests to use our leisure areas throughout the opening times, but guests up to 12 years old must be accompanied by an adult at all times. We do wish our leisure areas to be enjoyed by everyone and would appreciate your consideration for all of our other guests. We reserve the right to request any guest to leave the leisure area should the notices of use not be followed.
We regret that day memberships are not available.
Indoor Leisure Area
Open 7am to 9pm daily
Conveniently located within the main hotel building, the leisure area has several activities to allow you to relax or exercise. The heated indoor pool is perfect for a relaxing plunge and the adjoining Jacuzzi can help ease the muscles after using the gym. Alternatively, why not visit the Finnish Sauna with its dry heat. Please be aware we do not allow food or drink to be consumed in the indoor pool area.
Both the Jacuzzi and the Sauna cannot be used by children under 12. Children between 12 and 16 years may use either the Jacuzzi or Sauna when accompanied by an adult.
Our gym is fully air-conditioned and features a selection of pulse fitness machines including steppers, treadmills, concept 2 rower, elliptical Cross Trainer and Multi-gym. Should you wish to benefit from the experience of a personal trainer, please speak to a member of the Reception Team prior to your stay. We will be happy to share the contact details of a qualified instructor who lives locally, please note this is available at an additional cost.
Please see the Reception Team prior to your visit as we are happy to provide you with a leisure towel.
Garden Area
A seasonal heated outdoor pool and squash court
When the weather is set fair, our heated outdoor pool is a popular area to relax. Spend the day here with fixed canopies to provide shade, sun loungers and seated areas and a limited food and drink menu. All food and drink is presented using plastic materials, and we do not allow the consumption of food or drink not purchased from the Hotel.
Our outdoor swimming pool will close on Sunday, 22nd September 2019.
Our squash court is available to our hotel residents and leisure club members only. This facility is kept locked, but just ask the Reception Team for the keys. It is always advisable to book the use of the squash court with the Reception Team, we restrict the use of the court to one hour sessions. The opening of our outdoor pool is subject to both weather conditions and the surrounding area not presenting a risk of slipping. The Hotel hosts many summer weddings with ceremonies in the garden. At these times, we do request that all guests are considerate towards the bride, groom and their guests.
Brockenhurst Manor Golf Club is our local course, situated just 5 minutes drive from the Hotel. Hotel residents enjoy preferential rates, subject to availability, throughout the year. The course, which is open throughout the year is a 18 hole, 6220 yard course.
DVD's and Board games
We have a good selection of DVD's available from Reception including some new releases. Many of our rooms do not feature DVD players, we have a limited number of portable machines which are subject to availability.
From a pack of cards to Monopoly, Dominoes to the Logo Game – we have something for all the family, speak to our Reception Team for more details.


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Dharavi police have arrested Mohammad Abid for sparking bomb scare at Parel railway station. Abid is a resident of Dharavi. Abid's in-laws always compared him with his brother-in-law Kadir Sheikh. Kadir Sheikh earns more than Abid that was the primary reason Abid started hating his Kadir Sheikh.
In order to teach him a lesson, Abid called to police station on Saturday as Ramakant Mishra. Abid even gave the name of the suspect Kadir and two phone numbers. Railways have received such calls and they suspected that it would be the hoax. While the blast never happened and the police recovered no explosives.
Sniffer dogs and armed police were called in on Sunday after an anonymous call was made regarding bomb blast at Parel railway station.


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Healthy and glowing skin is one of the blessings that can make you more beautiful and attractive. Only a few women have naturally glowing skin. Some efficient makeup tips can help you get a glowing and shiny skin which is smooth and free from any spots. A great place to learn this is at any Bobbi Brown's makeup counter. Their professional make up artists are always available to help you find and learn what works for you.
They have eight different lessons, whether you want a smokey eye or have a special event to go to, they will show you how to look your best.
This week I had the opportunity to go and live the experience. I got the 45 minutes Pretty Powerful Make Lesson. This is their signature 10 step lesson. Laurie, the make artist, showed me a beauty routine that is right for me. Absolutely fabulous! It was really a Makeup Lesson not a Makeover.


text: Dadar - Before talking on the issue of transparency, chief minister Devendra Fadnavis should first clarify on how he proved his majority in the Legislative Assembly and what deal he struck for this, asked Shiv Sena leader and MLC Anil Parab. He termed it a blatant lie on the part of the BJP to say that the party broke off its alliance with the Sena on the issue of transparency. He claimed that the BJP that has been ruling the Nagpur municipal corporation (NMC) has done many scams there and I, being the contact chief of Nagpur, had demanded a probe in these scams. "I have not yet received answers on these scams from the chief minister who is from that city. There are potholes-laden roads in Nagpur but no action has been taken against the contractors there. The OCW company has signed a contract with the NMC. Whose company is it," Parab asked. He also said that Shiv Sena will tear off the transparent mask of the BJP if that party fails to answer its queries.


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Are you looking for a new insurance carrier for your Auto, Home, Condo, or Umbrella? You can rest easy knowing your family is protected by one of America's most trusted insurance companies. Here are 10 reasons why millions of people choose Mercury.
1. Commitment: Mercury's commitment to provide our customers with the best insurance value possible has translated to billions of dollars in savings for our customers since we first opened our doors.
2. Trust: Mercury has been named as one of America's most trustworthy companies by Forbes.
3. Expert Advice: The backbone of Mercury's success is the relationship our independent agents have with our customers. These highly trained professionals are there to answer any question you may have, and they'll work to create a custom coverage plan just for you. So you'll know you're getting the right coverage at the lowest price possible.
4. Fraud Protection: It has been estimated that fraud may add up 30% to the cost of auto insurance policies. Mercury pioneered fraud prevention efforts for the industry, forming the first ever fraud investigation unit. Working with local and federal law enforcement, this unit has been responsible for numerous arrests and the recovery of millions of dollars of our policyholders' money. This is good for consumers and one of the keys to Mercury being able to keep its premiums low for our customers.
5. 24/7 Claims Service: Our Mercury claims team is available 24 hours a day, seven days a week to help you with your claims, because we know the day doesn't stop at 5 p.m.
6. Discounts: Mercury offers a variety of discounts that can help you save even more. Auto Discounts include-
- Good-Driver
- Auto+Home
- Multi-Car
- Professional
- Good Student
- Anti-Theft Device
7. Financial Strength: Mercury consistently earns "A" ratings from A.M. Best, one of the industry's most trusted rating agencies.
8. Protection: Mercury has been protecting families since 1962, so you know we'll be there when you need us most.
9. Guaranteed Repairs: When you choose a Mercury-authorized direct repair facility for any Mercury claims repair work, Mercury will guarantee the repair for as long as you own the vehicle.
10. Satisfaction: More than 96% of Mercury customers choose to renew their policies and only exceptional customer satisfaction can produce renewal rates that high.
Call ISU Barich Insurance today at (909) 793-9683 to get your free quote with Mercury Insurance.


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Some still aren't sure about Bill Skarsgård as the iconic Pennywise the Clown in next year's Stephen King adaptationIT, but anyone who has seen Netflix's Hemlock Grove has a sneaking suspicion that this creep will bring the right amount of menacing ghoul to the proceedings. Some are still out on the initial look of Pennywise, revealed earlier in the year. As an early Christmas gift, we have another look at the scary clown, and this time, Pennywise comes bearing a gift.
Pennywise's look is an homage to many different eras, and in the end, he comes across as slightly Victorian. He's very feminine, yet overtly male, calling Heather Ledger's Joker to mind, especially in the scenes where the Clown Prince dressed as a nurse. In an era ripe with Creepy clowns, the pure essence of evil is evident here, as Pennywise meanders menacingly through the dead grass, tempting children into his tender trap.
Tom Woodruff, Jr., Creature Character Designer and Creature Actor, dropped this cool look at Pennywise on his Instagram, where he shows off some of his other cool items, such as an original 1968 Planet of the Apes mask and a look at the original Pumpkinhead, which he played in costume. Is he hinting that he'll be back for that remake?
IT is directed by Andrés Muschietti, perhaps best known for the thriller Mama. Anyone wondering why Pennywise is younger than Tim Curry in the original, it's because the team behind this new iteration wanted Pennywise to be a manifestation of everything the heroes fear, being children in a millennial era that has forgotten who Tim Curry even is. This Pennywise is suppose to be much more porcelain doll like in nature, and somewhat resembles the iconic Clown doll in the original Poltergeist. And on that note, co-writer Gary Dauberman is responsible for The Conjuring spin-off Annabelle, which is all about a creepy doll.
IT is the first of two movies based on King's seminal novel. This first chapter focuses on a group of kids who are terrorized by Pennywise. The second half revisits these kids as adults, as they must face off against their fears once again. It will explore the dark side of growing up, and what it means to deal with the past. And it perfectly reflects the director's natural abilities as a storyteller, with his Mama also aimed at exposing the truths behind childhood in a fantastical and frightening way.
IT will still take place in Derry, Maine, and revolves around the Losers' Club. As of now, it is unclear whether Andrés Muschietti will return to tackle the adult portion of this tale. A trailer for IT should be just around the corner. While we all wait, why not pull back the blinds and take a peek at Pennywise. Scary or not scary on all Krampus Eve?


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The downtown classic's got you covered with tons of Piedmontese/Ligurian deliciousness (truffle/herb/ricotta gnocchi, milk-braised pork shoulder with roasted turnips, etc.), a bang-up selection of desserts and cheeses, and a mostly Italian vino list that spans 20+ pages, which you're gonna have to get Cliff Notes for, since there aren't any SparkNotes, ugh!
Recommended Video
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Dear friends, we are happy to see you on our web pages! People say: "There aren't nobody's children!"
We'd like to share our joyful news from Romanov village asap, namely, the news about the future of the "Emergency Child Help Center". First of all, thanks to everyone who has already joined this great project! We keep getting some help and donations regularly and in sufficient quantity, our kids are dressedas of today!
And that's not all, as we've said earlier – it's the beginning, and it's great!
Recently, these children have been given a plot of land for the construction of a new building of the Emergency Children's Center. Its draft is already under preparation. The upcoming "Emergency Children's Center" is designed to accommodate up to 10 children at the same time and will create safe conditions close to home. The Children's Center is intended for the temporary stay of orphans or those who have been in difficult circumstances, suffer from violence, are unable to meet their basic needs and/or need immediate third-party intervention and assistance. We need funds for this project!
In this regard, we're asking you to actively participate in this worthy project and financially support the construction of a new home for the children.
Card number in Privatbank: 5169 3305 1064 5358
"Emergency Center for Children" smt. Romanov
For more information, please call: +38 (068) 217 20 75 Lyubov Kuchmenko (Director)
Even the smallest contribution will be appropriate! We appreciate even smallest donations!
Children are waiting …


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Corboy drew biggest dinner crowdBy Robert Muir
The Rotary Club of Corowa's annual Federation Dinner and Tim Fischer Oration is always popular with an excellent guest speaker and good crowd every time.
This year's Friday January 25 night, however, drew the biggest crowd in its four-years-to-date dinner with guest speaker Michael Corboy APM helping to attract 103 people and a sell-out in the Oddfellows Hall.
Now aged 58-years, the former Mulwala Central School and Corowa High School student took the audience on his wonderful journey from a tall, skinny farm boy through to NSW Police Force Assistant Commissioner.
Rotary Club of Corowa President and MC Bill Bott said how pleased and privileged the club was to have Michael, who has such a distinguished career, as guest speaker.
The two have fond memories of Michael's early days in Mulwala before high school at Corowa. "I used to wear number 8 on my footy jumper, after Bill Bott," the former young Mulwala Thirds player told The Free Press. "Bill was my local hero."
Bill played 99 senior games with Mulwala. Michael also played with Corowa Reserves and seniors at Buraja but admitted he couldn't skite about his football ability to the Federation Dinner attendees.
He certainly could if he wanted to about his 38-year-to-date police career but told it matter of fact, with his challenges both inside and outside the police force, and how he has obviously been a brilliant success story.
The career has been a full workload with many challenges, involving a wide range of police actions and many causes outside the office such as SIDS and Red Nose Day.
But he loved being back in Corowa where he had served at the local police station. "I went to Corowa High School. I got married here. Our son was born here. Corowa is very close to my heart. It's great to see a lot of my friends at this dinner," he told the packed audience.
Several examples of leadership throughout the world were given by Michael, especially about South African anti-apartheid revolutionary, South African President and first black head of state from 1994 to 1999, and philanthropist Nelson Mandela.
"Individuals can make a difference," the NSW Police Force Life Member, who has always strove for fairness and equality, said.
"I've learned a lot about leadership. But the greatest compliment anyone can give me is that I have always been true to myself and haven't changed much from the tall, skinny farm boy from Mulwala.
"It has been a journey, a journey that is very solidly influenced by this town and the people in the room. What I have learned is how little things from seemingly ordinary people can actually change and influence changes.
"Nelson Mandela said 'we can change the world and make it a better place. It is in your hands to make a difference'.
"I'm grateful for the influence on me both as a police officer but more importantly as a proud member of this community."
A standing ovation followed Michael's 25-minute speech - for the Vylands farm boy half way between Mulwala and Rennie who travelled by bus to Corowa High School, who was an average school student, who successfully undertook various tertiary studies, obtained vast experience, learnt a lot and has achieved an outstanding police career.
His Mum Jan Corboy of Mulwala described her oldest son's speech as great and said the family was so proud of the former star athlete at primary school.
Jan, of course, was Mulwala Central School (later renamed Mulwala Public School) Infants Teacher, Miss Hawke. "I had infants like Possum Purtle, Vin Slattery and Robert Hamson," she had to tell the Yarrawonga Chronicle.


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