text: By Hook Or By… September 2018. By Timothy S. Barkley, Sr. The phone rings a lot. "My sister who lives with Mom never lets me talk to Mom or see her. When I call she hangs up the phone, and if I come to her house she pretends nobody is home. She even disconnected the doorbell. I think she told Mom I was dead. I just went to the adult day care that I heard Mom was at, and she was there, so I took her out to lunch. She cried and told me she...Read More


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Angel With Flowers Urn
Angel With Flowers Urn
Made of high quality cold cast polystone (resin mixed with grounded stone) enabling exceptional detail which is finished with multiple coats of lead free paint.
It has a cavity which can be accessed from the bottom, sealed by a removable metal plate.
This makes this angel ideal to be used as an urn or a keepsake for valuables or memorabilia.
It measures approximately 55x35 cm (22x14 inch).
Weighing approximately 6kg.
It has a capacity of 5.9 litres (365 cubic inches).

subset: commoncrawl


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Browse Items (20 items total)
A letter to Martha Berry expressing Miss Hall's gratitude of her improving health and also informing her that she's returning to work from the summer worry-free as illnesses in her own family are starting to be recovered from.
A letter to Mr. Hamrick from Martha Berry about the estimated upcoming summer labor costs and their comparison to the last summer's costs.
Miss Martha Berry is thanking Miss Murray for the gift send through Mrs. Hammond. She goes on to describe the hardwork done without complaint in the heat of summer, without complaint.
A letter asking for scholarship donations so children can stay at Berry over the summer.
In this letter, Martha Berry is concerned about the amount of boys and girls working during the summer that are relatives of faculty and staff members of the school. She also doesn't want too much unnecessary work placed on Mr. Campbell, the Chairman of the Board of Trustees.
Martha writes to Clifton to make sure that Mrs. Wright gets butter sent to her every week this summer.
This appears to be a thank you letter to a Mrs. M. W. Page and all of her students for the donation to the Mary F. Cox scholarship. It has been typed on a type writer and is quite faded.
A letter to Lulu Houser explaining the need for a duplicate check in order to stop payment on the original one that was sent in April.
Berry tells Hammond that she is grateful for Mrs. Anthony's $150 donation. Pilgrim Hall is progressing and the boys are working at the Foundation School in the hot sunshine "with shirts off and backs and arms brown with sunburn" happy to have their new dormitory.
Martha Berry sends her heartfelt thanks for Mrs Alcott's gift that came at a perfect time because they are having trouble taking care of the summer students, and she writes about the eighty boys and girls recently graduated that are equipped to become useful citizens.
In order to hold down expenses, Berry requests no entertaining or guests at meals at the Girls School for the summer. All entertaining should be done at the Boys School.
Letter to Mr. W. C. Perkins from Martha Berry informing her that she enclosed $30.00 because when she was at Mentone, she noticed a hole in the fence close to the River Cottage. She asks him to fix the fence so no one can get in. She also asks him if he can put steps where the children live in the summer and sends her hopes that they will have a good garden for the children in the summer.
Berry regrets that Miss Armes was not able to visit during the last few days of school, but says that perhaps she might come later. She also writes that she is anxious to get the Pictorial Review Award this year, but that she'll need Neal's help.
Martha Berry thanks Mr. Hills for the invitation to come and visit him but she tells him she might not be able to make it due to her summer plans being undetermined.


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An increasing number of users are reporting issues when trying to record audio via certain audio interfaces on Apple computers that use the T2 secure chip. What is going on?
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Breakfast Beer Tasting: Brewdog Hello My Name Is Ingrid
What better way to kick-off Friday morning than with a Double IPA? Because that is what we have here. The design of the beer is down to readers of the Swedish beer blog BeerSweden. Who is Ingrid? Well, I think the clue is in the description of it being a "Bergmanesque" beer. It all sounds very promising; Citra, Nelson Sauvin and Bramling Cross hops together with the addition of cloudberries. Which are those fruits you get at Ikea, I think.
It's 330ml and being a DIPA, a not surprising 8.2%. It poured dark amber with good carbonation and a large off-white head. The aroma was quite pungent: pineapple to the fore and a little sweet malt just behind it. Taste wise, it was medium bodied and quite resinous. There's a lot of grapefruit, gooseberry and dark berries with a solid malt backbone. It hides the alcohol pretty well but it peeks through occasionally to remind you to sip rather than gulp it down. The finish is a good blast of tart fruit. A tasty DIPA.
Tyson says: Hello, Ingrid. My name is Tyson.


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Flat ₹ 1000 off
Flat 4% off
Booking Validity
1st June - 30th June '18
Bhavnagar To Bhubaneswar Flights
Avail exciting offers on domestic flight bookings when flying from Bhavnagar to Bhubaneswar. Find cheap Bhavnagar to Bhubaneswar air tickets only at Goomo.com. From flight status to schedules, and information about your Bhavnagar to Bhubaneswar airfare, Goomo.com offers it all. Book Bhavnagar to Bhubaneswar flights now and avail great discounts!
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Bhubaneswar is widely famous for its temples and thus, receives it name 'the temple city'. Additionally, the city also houses a number of architectural wonders and showcases a perfect blend of modern and ancient architecture. If you're keen on visiting this city, get your Bhavnagar to Bhubaneswar air tickets booked at the earliest and only from Goomo.
A number of airlines such as Vistara, Air India, and IndiGo offer frequent flight to Bhubaneswar from Bhavnagar. You can get your Bhavnagar to Bhubaneswar flights booked at lowest rates only at Goomo. The current flight fare for Bhavnagar to Bhubaneswar flights begin at Rs.13,260 onwards.
Goomo.com offers some of the best deals and discounts on flights to multiple domestic destinations.
About Bhavnagar
Bhavnagar is located at the gulf of Khambhat in the eastern part of Saurashtra. There are plenty of places located here that can be explored. Takhteshwar temple, Victoria Park, Barton museum, and many other places make for a great visit. Tourists from all over India come here to have a look at the old temples and to have a pleasant spiritual experience.
About Bhubaneswar
Bhubaneswar is a city filled with great attractions and surprises. From the Lingaraj temple to the Hirakd Dam and Parasurameswara temple, it houses some great attractions that are worth visiting. The city flaunts the perfect blend of modern and ancient architecture, thus attraction tourists from all parts of the country. The Rajarani Temple, Odisha State Museum, Udayagiri and Khandagiri caves, etc. make for some great tourist attractions.
Bhavnagar Airport Details
Name: Bhavnagar Airport (BHU)
Address: Subhashnagar, Bhavnagar, Gujarat 364001
Phone: 0278 220 3113
Website: http://www.aai.aero/allAirports/bhavnagar.jsp
Bhubaneswar Airport Details
Name: Biju Patnaik Airport (BBI)
Address: Bhubaneswar, Odisha 751020
Phone: 0674 259 6322
Website: http://www.aai.aero/allAirports/bhubaneshwar_gener...
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Color is beginning to bloom back into our designs this Spring! Even though hues of gray and burlap continue to appear on our design boards, we are breathing new life into the doldrums of tonal textures. The number one take-away from the Spring High Point Furniture Market: accents of color in Plum and pink. We were surprised to see so much pink as Honeysuckle was Pantone's color of the year in 2011. It did appear with a new coral twist and was used mainly as piping on upholstered furniture.
We would be remiss not to mention this year's color, Tangerine Tango, which was well-represented. However, plum, lavender, eggplant and every shade in between took center stage in almost every showroom as an accent piece.
In the Fall, we noticed some color mixing of a 70's throw-back, mustard yellow. It has re-appeared in a brighter form this market and brings life to the neutrals that have become the basis for most of our design work. Let the sun shine in!
Color was also well-represented in the abundance of hand painted furniture. Bold graphic prints were mainly used on the individual pieces. The most unique aspect of the hand painted furniture was adding/adhering a thick woven canvas on top of the wood structure. Not only did this give it a fabulous texture and depth, it appeared as if it was wrapped in an artist's canvas. They, themselves, seem to tell a story and would make for great conversation pieces in a any design setting.
Upholstered furniture and decorative nail heads continued as a trend this Spring. Many of the designs used the burlap fabric motif, but we saw a mixing of brightly colored leathers and appliques into each new design.
One new upholstered application did catch our eye. We were intrigued by the use of fabric adhered (without batting) to wood furniture for texture and pattern. Each fabric patchwork like the design above was outlined with small upholstery nails. This handmade artisan detail transforms ordinary case goods into extraordinary ones.
Texture continues to dominate interior design. It is amazing that every market brings a new take on how to mix texture into design elements. We saw new ways to tie off wool and felt to create sculptural pillows and rugs. Sisal and jute were used as an old texture on new silk drapery panels. This not only adds texture, but also, creates a malleable design style. And, notice the Color in the drapery panels above: pink, coral, plum and straw.
We are excited by what we saw in High Point last month! We cannot wait to see how you interpret and incorporate this Spring's design style into your treatments. Injecting color into our designs no matter how slight, brings new energy and fuels our passion to add interest and zest into every creation.
You now have permission to go Plum crazy!
Credits: Surya Rugs, Karen Robertson Nautical line, Guild Master, HP Furniture Market


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Thermal oilsands giant Cenovus Energy Inc. joined a lengthening list of energy companies Thursday in cutting its capital plans for 2015 but, unlike some, it vowed to retain its dividend payments and its staff while continuing to grow production.
Cenovus cuts capital plan, vows to retain staff, dividend
Thermal oilsands giant Cenovus Energy Inc. joined a lengthening list of energy companies Thursday in cutting its capital plan for 2015 but, unlike some, it vowed to retain its dividend payments and its staff while continuing to grow production.
The company unveiled a $2.5 billion to $2.7 billion 2015 capital budget, down about 15 per cent from 2014, and said it would review it in the first quarter. That's well within anticipated cash flow of between $2.6 billion and $2.9 billion based on a West Texas Intermediate crude forecast of $74 to $81 US per barrel, it said.
The company expects growth in 2015 of nine per cent for oilsands production, offset by lower conventional output, for overall oil production growth of four per cent to about 205,000 barrels per day.
"Approximately $2.1 billion of our 2015 capital program is what we describe as committed," said Brian Ferguson, president and chief executive, on a conference call with analysts.
"This includes sustaining and growth capital at Foster Creek and Christina Lake, as well as investment in safety, maintenance and meeting contractual obligations on conventional and refining assets. We consider this to be our first priority on capital."
He said committed capital is expected to fall to $1.8 billion in 2016 and $1.7 billion in 2018, during which time the company will add 80,000 bpd of production net to Cenovus (plus 80,000 bpd for its partner, ConocoPhillips Co).
Cenovus shares fell 27 cents to $20.80, not far from their 52-week low price of $20.66. They reached a 52-week high of $34.80 in July.
Last week, Syncrude Canada co-owner Canadian Oil Sands Ltd. announced it would chop its dividend by 43 per cent because of predicted lower oil prices but Ferguson said Cenovus will be able to maintain its payouts to investors.
In an interview later, Ferguson said predicting when oil prices will turn is very difficult.
"The more dramatic the downturn, you'd expect the more quick the response on the supply side," he said.
"And I don't think it's going to just come from U.S. light tight oil. There's a lot of other production around the globe with high supply costs, particularly anything offshore. In the short run, you're going to see increasing volatility both on the upside and the downside."
He predicted "deflation, not inflation" if oil prices stay low because service providers will be forced to reduce their prices and take on longer contract terms, good news for Cenovus' ongoing expansions. He agreed that the low oil prices could lead to bargain prices for struggling competitor's oilsands assets but said Cenovus is unlikely to be a buyer.
Ferguson estimated Cenovus has about 3,750 staff. He said the head count will stay the same in 2015, which means some jobs now in offices in Calgary may be relocated to northern Alberta as expansions come on stream.
The capital plan missed consensus estimates by financial analysts by 13 per cent.
Nick Lupick of AltaCorp Capital said Cenovus's number was 10 per cent under his forecast, mainly because of lower oil price estimates but also accounting for higher cash taxes and transportation costs due to a new Cold Lake Pipeline agreement with Inter Pipeline Ltd.
Chris Cox, an analyst for Raymond James, said the budget features "prudent, focused spending on the company's nearer term growth projects" while missing his estimates on spending and production.
Analyst Arthur Greyfer of CIBC World Markets said the guidance announcement was "modestly negative" because it calls for the slowing of oilsands growth projects at Foster Creek and at its new project, Narrows Lake, both shared with ConocoPhillips, resulting in lower than expected production.
Cenovus said it expects to spend about $725 million at Foster Creek, $830 million at Christina Lake and about $68 million at Narrows Lake in 2015.
It recently won approval for a 90,000-bpd development at its 100 per cent owned Telephone Lake oilsands project and said it would decide on construction timing in 2015.
The company said it still sees value in hiving off its income-producing mineral rights portfolio and would make a decision on its sale or spin-off early next year.


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You love your creamer, but does it love you back? Ours do. Made with no hydrogenated oils, artificial colors and other such nonsense our plant-powered Unsweetened Creamer is just as rich, full-bodied, and delicious with only 10 calories and 0g of sugar. Great in coffee and in recipes. Head to The Bounty for some meal-inspo.
- Non-GMO Project Verified
- Soy-free, dairy-free, gluten-free, kosher, vegan, BPA-free
- Allergen statement: contains almonds, coconut
- Only 10 calories per serving
Ingredients: Almondmilk (Water, Almonds), Coconut Cream, Sunflower Lecithin, Natural Flavors, Calcium Carbonate, Sea Salt, Potassium Citrate, Locust Bean Gum, Gellan Gum


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Tap to Read ➤
Choosing the Right Indoor Wall Fountain
Ranjan Shandilya
Jun 10, 2019
Read on to know some information about indoor wall fountains and their advantages, along with a few tips for their proper maintenance.
Indoor wall fountains are an excellent way to get nature right next to you in your house or in your office.
Keeping conventional art pieces is a good way to decorate any space, but one tends to forget about its existence in a couple of months. However, with a fountain close to you, you will always be greeted by its gentle noise and beauty that is bound to make you feel good deep inside.
Making the Choice
Firstly, decide whether you want one. The difficult part begins after you have decided that you do need one, as you will have to choose and pick a fountain from a wide range available. Before you go to store and get confused, it would be wise if you envision as to what you want. The next thing that you should decide, is the placement of the fountain.
You could decide if you want to place it in a corner or along the hallway, in your favorite room, where you gather and enjoy an evening with friends and family, or your study where you need to work and be at peace mentally.
You could even decide a place for the fountain depending on Feng Shui or Ch'i if you believe in these sciences that advice as to how to fill your house and life with positive energy. See! The list is endless and if you decide to go to the store before making up your mind, you sure are going to end up a really long time at the store trying to decide.
The advantage with indoor wall fountains is that they can be used in almost all places. They often come with a contemporary look and are made using metal, slate, or stones, and have a great impact on increasing the aesthetic look of the room, in which they are placed.
Depending on how big a wall fountain you require, you can choose between a one, two, or three paneled fountain. Further, they are also available in both horizontal and vertical styles. A vertical one would be ideal for a room with high cathedral like walls, while a horizontal one would be apt for a long hallway with low ceiling.
However, if your requirements are much smaller, then you can also buy smaller fountains that will be perfect for entryways and small offices. It is very important that you choose a rightly shaped and sized one or the entire set up will look very awkward. You can take advice from the professionals who work for the stores and they will be able to guide you.
Think about highlights after deciding the size and the type of fountain you'll require. No doubt, the fountain has an impact of its own, but transforming the decor around it a little will make the room look more phenomenal. Alternately, you can choose one with halogen lighting that will help accent the flow of water, thereby increasing its beauty enormously.
Maintenance is the easiest step, as minimum attention is required. You have to ensure that water is refilled periodically and the fountain is wiped clean once every few days. It needs to be cleaned to remove traces of any algae growth or mineral deposit, once in two months.
Also, ensure that you never turn on the fountain without water in the basin, as this heats up the pump and can lead to damage. You can place rocks at the bottom of the fountain, as it will reduce the sound of the water and the amount of water that is splashed. Usage of distilled water will prevent accumulation of mineral deposits.
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MoH launches command and control center
The Ministry of Health launched on Sunday a new health Command and Control Center (CCC) to increase the level of preparedness against health challenges.
The new center will function under the direct supervision of acting Health Minister Adel Fakeih in cooperation with international experts and organizations, such as the World Health Organization (WHO) and the Centers for Disease Control (CDC).
The Ministry of Health will be able to ensure proactive and swift action against future public health challenges, such as MERS-CoV, within the Kingdom through continuous coordination and monitoring.
Topnotch clinicians, scientists, researchers and health care and emergency planning experts will work for the center.
"We have gained invaluable knowledge and experience while dealing with the challenge posed by the coronavirus," said Fakeih. "For this reason, we are launching a new agency that brings together experts under a single roof to take a proactive approach from here on."
"This new agency will not only help us effectively deal with current challenges, but also raise general preparedness levels in the future, while upgrading the quality of our health care sector," he said.
The CCC will ensure that health challenges are managed with a systematic, holistic and comprehensive approach.
The center currently includes a total of 11 platforms, each of which is tasked with a specific topic, all under the coordination of the control tower platform.
The platforms include a central unit coordinating CCC activity, a cross-government coordination unit that ensures that the government is informed and that responsibilities and activities are coordinated, a public health unit, which will gather data and epidemiological investigation and coordinate with international partners such as the WHO and the CDC, and a scientific advisory board consisting of a team of scientists who will give advice on clinical issues.
The platforms will also include labs and a diagnostic section, whose team acts as a central unit ensuring timely and accurate results.
The team ensures samples are picked up, tested and reported within a set time frame.
The center has an epidemiology support platform. This provides crucial evidence-based information to decision-makers and recommendations for preventive and control measures, such as infection control during Umra and Haj seasons.


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Chili Recipes That Are High in Protein
Chili is the classic example of comfort cuisine, and if you haven't made your first batch yet, it's time to get cooking. The warming dish can be made in one's crock or stock pot, and customized to fit any individual's appetite. Vegetarians, vegans, and carnivores alike can all enjoy chili, and we're showcasing six chili recipes found around the web today that emphasize that. Some of these food formulas call for beans, while others call for meat. Some star tomatoes, some star chickpeas. Though they're all different, they're all delicious in their own right. Even better, they're all hearty and nutritious.
1. Classic Chili Recipe
First up is a recipe for your favorite classic chili dish from Taste of Home. While some chili dishes get mastered in the crockpot, the ingredients for this recipe simply get loaded in a large Dutch oven to simmer for 1½ hours. It couldn't be easier to get this dinner on the table, and the dish couldn't be more delicious.
- 1 medium green pepper, chopped
- 2 medium onions, chopped
- ½ cup chopped celery
- 1 tablespoon vegetable oil
- 2 pounds ground turkey or beef
- 2 cans (28 ounces each) diced tomatoes, undrained
- 1 can (8 ounces) tomato sauce
- 1 cup water
- 2 tablespoons Worcestershire sauce
- 1 to 2 tablespoons chili powder
- 1 teaspoon garlic powder
- 1 teaspoon dried oregano
- 1 teaspoon salt
- ½ teaspoon pepper
- 2 cans (16 ounces each) kidney beans, rinsed and drained
Directions: In a Dutch oven or large soup kettle, sauté green pepper, onions, and celery in oil until tender, about 5 minutes. Add ground beef and cook until browned; drain. Stir in tomatoes, tomato sauce, water, Worcestershire sauce and seasonings. Bring to a boil; reduce heat. Cover and simmer for 1-½ hours, stirring occasionally. Add kidney beans. Simmer, uncovered, 10 minutes longer.
2. White Chicken Chili
If you prefer chicken over beef, try this white chicken chili recipe from Add a Pinch. It's a crowd favorite, and a delicious twist on the traditional chili recipe. A handful of spices complement the chicken and white beans perfectly in this food formula, and the dish can come together in just 35 minutes.
- 4 skinless, boneless chicken breasts
- 4 cups chicken stock
- 1 clove garlic, minced
- 1 medium onion, diced
- 1 (15-ounce) can white beans, with liquids from beans
- 1 (4-ounce) can diced green chilis, with liquids from chilis
- 1 teaspoon dried oregano
- 1 teaspoon ground cumin
- ½ teaspoon chili powder
- 1 teaspoon salt
- 1 teaspoon ground black pepper
- 1 teaspoon chopped fresh oregano
Directions: Add chicken to a 4-quart Dutch oven or other heavy pot. Add chicken stock and cook until tender, about 15 minutes. Let chicken cool briefly, then use two forks to shred it. Add back to liquid along with garlic, onion, white beans, chiles, dried oregano, cumin, chili powder, salt, pepper, and fresh oregano. Stir to combine. Taste for flavor and adjust to your preference. Simmer over low heat until hot, about 5 minutes. Remove from heat and serve right away.
3. Three-Bean Chili
Care to go the vegetarian route? If so, take this three-bean chili recipe from Cooking Light for a spin. You'll certainly meet your protein quota for the day thanks to the garbanzo, kidney, and black beans enlisted in this recipe, and they pair uniquely with a handful of spices that will make you forget all about your meat. If you're looking for a healthy yet hearty dinner recipe for your family, this dish is the ticket. Get your beans and get going.
- 2 teaspoons olive oil
- 1 cup pre-chopped onion
- ½ cup pre-chopped green bell pepper
- 2 teaspoons bottled minced garlic
- ¾ cup water
- 2 tablespoons tomato paste
- 2 teaspoons chili powder
- 2 teaspoons ground cumin
- ¼ teaspoon black pepper
- 1 (15 ½-ounce) can garbanzo beans, rinsed and drained
- 1 (15 ½-ounce) can red kidney beans, rinsed and drained
- 1 (15 ½-ounce) can black beans, rinsed and drained
- 1 (14 ½-ounce) can organic vegetable broth
- 1 (14 ½-ounce) can no-salt-added diced tomatoes, undrained
- 1 tablespoon yellow cornmeal
- ¼ cup chopped fresh cilantro
- 6 tablespoons reduced-fat sour cream
Directions: Heat olive oil in a large saucepan over medium-high heat. Add onion, bell pepper, and garlic to pan; sauté 3 minutes. Stir in ¾ cup water and next 9 ingredients (through diced tomatoes); bring to a boil. Reduce heat, and simmer 8 minutes. Stir in cornmeal; cook 2 minutes. Remove from heat; stir in cilantro. Serve with sour cream.
4. Black Bean Chili With Butternut Squash
Black beans are also enlisted in this chili recipe from Bon Appétit, but this time, they're paired with butternut squash to yield a protein-packed dinner that is devoid of meat. This black bean chili with butternut squash dish will take about 3 hours to cook (with 2 hours simmering time), but it can easily be made up to 2 days ahead of time, which allows the flavors to marinate and sometimes taste even better. This sophisticated chili recipe will certainly warm you up on even the chilliest night, and it'll remind you that some of the best chili recipes don't require meat.
- 1 ½ tablespoons olive oil
- 2 onions, chopped
- 8 garlic cloves, chopped
- 2 ½ tablespoons chili powder
- 1 tablespoon ground coriander
- 2 14.5-ounce cans fire-roasted tomatoes
- 1 pound dried black beans, rinsed
- 2 chipotle chiles from canned chipotle chiles in adobo, minced
- 2 teaspoons dried oregano (preferably Mexican)
- Coarse kosher salt
- 1 2 ¼-pound butternut squash, peeled, seeded, cut into ½-inch cubes (about 3 cups)
- ½ cup quick-cooking bulgur
- Sour cream
- Coarsely grated hot pepper Monterey Jack cheese
- Diced red onion
- Chopped fresh cilantro
- Pickled jalapeño rings
Directions: Heat oil in heavy large pot over medium-high heat. Add onions and cook until soft and beginning to brown, stirring often, about 8 minutes. Add garlic; stir 1 minute. Sprinkle chili powder and coriander over; stir 1 minute. Stir in tomatoes with juice, beans, chipotles, and oregano. Add 10 cups water. Bring to boil, reduce heat to low, cover with lid slightly ajar, and simmer until beans are tender, stirring occasionally, about 2 hours. Season to taste with coarse salt and freshly ground black pepper.
Chili can be made up to 2 days ahead. Cool slightly. Refrigerate uncovered until cold, then cover and keep chilled. Rewarm chili before continuing.
Stir squash and bulgur into chili. Simmer uncovered over medium-low heat until squash and bulgur are tender, about 30 minutes. Season to taste with salt and pepper.
5. Southwestern Beef Chili with Corn
This next recipe lends a southwestern kick to traditional chili, and we're back to the beef with this one. Southwestern beef chili with corn from Real Simple is a fun spin on chili that enlists many of our favorite hearty flavors, and still only takes 30 minutes to make. Calling for veggies, corn, spices, and ground beef, this quick dinner is the perfect thing to have on the table for busy weeknights, and it is also a great recipe to serve to a crowd for Sunday supper.
- 1 tablespoon olive oil
- 2 carrots, chopped
- 1 onion, chopped
- 1 poblano or bell pepper
- Chopped ½ pound ground beef
- 2 tablespoons tomato paste
- 2 15-ounce cans black beans, rinsed
- 1 tablespoon chili powder
- Kosher salt and black pepper
- ½ cup corn kernels
- ½ cup grated Cheddar
- 2 scallions, sliced
Directions: Heat the oil in a large saucepan over medium-high heat. Add the carrots, onion, and poblano and cook, stirring, for 3 minutes. Add the beef and cook, breaking it up with a spoon, until no longer pink, 3 to 5 minutes. Add the tomato paste and cook, stirring, until it is slightly darkened, 1 minute. Stir in the beans, chili powder, 3 cups water, ½ teaspoon salt, and ¼ teaspoon pepper. Simmer over medium heat until the vegetables are tender, 8 to 10 minutes. Stir in the corn. Divide the chili among bowls and top with the Cheddar and scallions.
6. Tofu Chili
Last but not least: Tofu chili. Contrary to popular belief, this recipe is not a vegetarian's dream and a carnivore's nightmare. Everyone can get on the tofu chili train with this simple formula from Whole Foods that will make a convert out of any carnivore. Whole Foods explains that similar to chicken and beef, tofu absorbs the hearty flavors of chili perfectly, and it performs up to snuff as a viable protein substitute. Next time you're cooking for a vegetarian friend, or just want to go meat-free for a night, try this dish and prepare to be surprised with just how well tofu tangos with the rest of chili's staple ingredients.
- 1 (14-ounce) package extra-firm tofu, drained
- 2 tablespoons extra virgin olive oil
- 1 large green bell pepper, cored, seeded and chopped
- 1 large yellow onion, chopped
- 1 small jalapeño, stemmed, seeded and finely chopped (optional)
- 2 cups fresh or frozen corn
- 1½ cup gluten-free vegetable broth or water
- 1 (15 ounce) can no-salt-added kidney beans, rinsed and drained
- 1 (14 ounce) can diced tomatoes, with their liquid
- 1 (14 ounce) can tomato sauce
- 1 tablespoon chili powder
- 2 teaspoons ground cumin
- Salt or gluten-free tamari, to taste
Directions: Arrange tofu on a large plate lined with 3 or 4 paper towels and top with more paper towels. Press firmly to release as much water as possible from the tofu. Discard paper towels, crumble tofu and set aside.
Heat oil in a large Dutch oven or soup pot over medium high heat. Add pepper, onion, jalapeño and corn and cook for 5 minutes. Add broth, beans, crumbled tofu, tomatoes, tomato sauce, chili powder, cumin and salt or tamari and stir well. Bring to a boil, then reduce heat and simmer, uncovered or partially covered, stirring occasionally, until thickened and flavors have melded, about 45 minutes. Ladle chili into bowls and serve.


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With Christmas right around the corner, we thought we'd update our Raspberry Pi beginner's guide for all the new makers getting a Raspberry Pi under their tree this year. Meet: the Superguide.
Plus! We have a full breakdown of the brand new Raspberry Pi 3A+. We've got all the benchmarks you'd want, along with an interview with Eben Upton and Roger Thornton on the development of the 3A+.
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It is so hot and humid in Virginia these days! Good grief, I just can't stand the humidity anymore.
For me, Heat + Humidity = No Handknits to Wear. Which is a bummer. I bought some Shibui Reed and also Shibui Linen (which is a really interesting construction!) last year, thinking I'd knit myself some summer handknits … someday.
That someday is now. This weather had me pulling the Reed out a few days ago, and swatching (this is the Ash colorway). And I started looking for patterns.
I love Elizabeth Doherty's new pattern, Westbound, which calls for Shibui Reed. I bought it, and I'll knit it someday. But, the yarn is held double throughout and this is problematic for two reasons: 1) I don't have enough yarn and 2) I wanted a lightweight top.
Then I bought Linho, by Joji Locatelli. I also love this one, too, but it uses Quince & Co. Sparrow, which is lighter weight than Reed … and … I don't have enough yardage for this one either.
THEN, I bought Cullum, which is designed in Quince & Co. Sparrow, but there are quite a few knit in Reed. I have enough yarn for this one. I think ;-).
So, I swatched, and I soaked and blocked my swatch. And by blocking, I mean that I laid it out and let it dry as it wanted – no pins, no stretching. Nada. (I did not, however, machine wash and dry it … perhaps I should?).
Cullum and Linho say to expect linen to relax by 10% and that this has been factored into the sizing. My swatch did not relax at all. 5″ x 6″ unblocked … pretty much 5″ x 6″ blocked. ARGH. What to do?!
What do you think? Should I figure my swatch is correct and move forward? Or should I factor in a 10% growth estimate for a full-sized garment and go with that? I mean, I know it doesn't have the memory of wool, since there's no crimp … but how much will it grow is my dilemna. I don't want to end up with a humongous tent ;-).
All opinions and advice are welcome!
On another note: would anyone be interested in hand-dyed linen, or a linen-silk or other linen blend? I've been considering delving into dyeing plant fibers for the last year or so, because, truly, I'd like to have some handknits that don't have wool in them. I don't know if it's me, or if the humidity and heat actually ARE worse, but I've definitely been more attracted to lighter weight yarns for most of my projects (dk is about as heavy as I personally want to go for most things these days). And there's just no way I can wear wool in the summer anymore.
My entire dyeing career has been all about protein fibers, so I've never considered widening the scope to plant fibers. These days, I definitely am.
Anyone interested, or is it just me?


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Our 2019 Future Leader Scholars have been selected. We are pleased to announce our recipients and the school they are currently attending (in alphabetical order):
• Samantha Botello, Warren High School
• Stacy Evans, Capella University
• Elizabeth Gonzales, St. Anthony Catholic High School
• Maya Hammer, Pepperdine University
• Star Jimenez, Our Lady of the Lake University
• Ben Olivares, International School of the Americas
• Daniel Resendez, Texas A&M University
• Kaitlyn Salazar, Our Lady of the Lake University
• Mia Saucedo, Young Women's Leadership Academy
• Valerie Villa, Our Lady of the Lake University
• Beth Weyel, Palo Alto Community College
Kaitlyn Salazar received the GFCU employee/related FLS award, recognizing a staff member or immediate relative for their academic achievement and essay submission.
The 2019 Future Leader Scholarship coordinating committee would like to extend thanks to the following judges for participating in the evaluation of our applicants:
• Rene Aguirre, San Antonio Fire Department
• Al Arreola, South San Antonio Chamber of Commerce
• Brianna Dimas, San Antonio Hispanic Chamber of Commerce
• Lisa Marie Gomez, San Antonio Chamber of Commerce,
• Rosalie Manzano, Chair, GFCU Board of Directors
• Richard Miller, 100 Club of San Antonio
• The Honorable Ina Minjarez, Texas House of Representative, District 124
• Frances Ochoa, San Antonio Police Department
• Rose Rangel, GFCU Board of Directors
• Ken Raymie, GFCU
• Steve Schipull, GFCU
• Paula Tucker, Boysville
• Navarra Williams, SAMMinistries
• Melody Zamora, DDS, Zam Dental
The GFCU Board of Directors is honoring former board members by recognizing Future Leader Scholarship recipients who demonstrate the values shared by these former colleagues.
Maya Hammer, student at Pepperdine University in California, has received the 2019 Leroy Harvey Honorary Scholarship designation. Mr. Harvey, a career city employee and educator, served as a GFCU volunteer for nearly 50 years. His commitment to lifelong community service helped shape GFCU's member engagement and community involvement through the years, and will continue to do so in the future. Ms. Hammer volunteers with various organizations, and plans to bring orthodontic and dental health services to communities in need.
Ben Olivares, student at International School of the Americas in San Antonio, is the recipient of our 2019 Robert "Bobby" Guerra Memorial Scholarship. Mr. Guerra, a former San Antonio firefighter and teacher at the SA Fire Academy, helped guide and mentor today's generation of leaders in the SA Fire Department. Mr. Olivares shares a kindred spirit and self-reflection in building a community to help others succeed.
Congratulations to these recipients.
We wish all applicants continued success in their educational endeavors. Look for 2020 Future Leader Scholarship information in December 2019.
If you have questions about the Future Leader Scholarship Program, send an email to firstname.lastname@example.com, and we'll get back to you as quickly as we can.


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There's things we don't always feel comfortable sharing with people.
As a trainer, though, I get asked questions about 'private' issues on a weekly basis. I have had a few more of the same questions come up just this week, so have decided to do a couple of posts on the things we might not feel comfortable asking just anybody.
One of those things is BOWEL MOVEMENTS.
Yeah, I said it. Poops. It's not exactly water cooler chit chat (unless you're at CrossFit, but they're a WHOLE nother breed there) Maybe you might mention it to a spouse, or a close friend. Or your Mum, if she's nosy.
It's an inevitable fact of life for most of us.
That gorgeous girl you're dating? When she has to rush off in the morning to go to work, she's ACTUALLY rushing home to poop. (I know this because my very pretty friend is in a new relationship and has to disappear in the mornings as her boyfriend lives in a small studio and she doesn't want him to hear her go potty and realize she's human….secrets out!)
Here's the text I got this morning
"Good Morning! I think I must have got all my fibre from grains…Any tips to stay 'regular' 😦 "
My new client has just started eating primally, and whilst they hasn't found the transition hard, the slowing of the BM is a concern. This is a common worry, and a question I have received from many converts to this way of eating.
Before I went primal, I suffered from IBS and could go 10 x in one day, so, for me, things slowing down in that department didn't really concern me! As a result, I wasn't sure what advice to offer the first time the topic came up.
Since I like knowing most things about everything, I took to Mark's Daily Apple, one of my favourite sources of info on Primal Living, and I took my poop questions to the streets (well, not to the streets, to the gym, and people freely offered up their favourite solutions!)
The general MEDICAL consensus is that if you're not in any major state of discomfort, and don't have any pain or difficulty when evacuating, you are probably ok. They reckon that frequency of poops vary from person to person, and that it's not a cause for concern if things slow down a little. It's only if they screech to a halt and back up traffic for three days or more that you should be concerned!
So, if you're a new kid on the primal bus, don't freak out if, uh, um, the kids don't want to go to the pool as often? Yeah, I think that works 🙂
If you're wanting to move things along a little, here's a kind of checklist I have come up with, and none of them involve Metamucil or "healthy" wholgrains:
* Are you drinking enough water?
* Have you tried eating more fruit? Not bananas or apples: these can make things worse. Try apricots, pears, peaches and plums. Prunes, dates and sultanas too.
* One of my friends swears by pear juice (just make sure it's got no added sugar or bad stuffs)
* Increase your fibrous veg; broccoli is GOOD. Try eating a big ole leafy salad of raw spinach and other green goodies.
* Are you taking your fish oil? Are you taking enough? THIS calculator will tell you if you are. You'd be surprised how much you need!
* Get a couple of tablespoons of coconut oil into you. This is a popular one amongst CrossFitters.
* Boiled egg, egg fried in coconut oil, curried egg (I've not tried the first two, but I know curried egg is helpful!)
* Try an espresso
* Add a mega serve of flaxseed to your yoghurt/primal granola/brekkie
*THIS article from Mark was very helpful
He advises "Aim for 6-12 servings of veggies and 1-2 servings of fruit. There is no good reason to overdo fiber. Excessive fiber intake can increase appetite and interfere with healthy digestion, mineral absorption, and elimination. Interestingly, what many folks don't realize is that increasing fat intake can help with constipation and regular bowels. Try eating more olive oil, fish, avocados, nuts, and flax seeds. "
Ah, see now how much better does it feel now we've talked about it?
Have a great week everyone!


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Project Synopsis
Tourist Attraction Marketing Video Production for Merlin Group
Sea Life Centre – Journey Of Penguins, includes internal footage
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Spray Tanning
Vita Liberata comes in three wonderfully natural shades Hawaii, Equadour & Brazil
We use Vita Liberata tan because...
Its Odourless and Organic, Paraben Free, Perfume Free, Alcohol Free, with a Perfect Fade
Odourless: Independent Survey in February 09. 99% said this tan had no smell. 200 participants.
Organic DHA: Di Hi Droxy Acetone is the active ingredient that makes the skin turn brown. The DHA in this product is obtained from Organic sugar cane.
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Perfume Free: Perfume is very drying to the skin, so Vita Liberata have no perfumes in any of their skin care products. Any scent is the result of the many natural extracts included in the products.
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Before Care
Tan will last longer if you follow these tips
- For a few days before your tan session exfoliate (just a wipe with a flannel in the shower is fine or exfoliateing gloves)
- Moisturize after this but not on the day of your tan.
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- Do wear loose fitting dark clothing. Some colour may rub onto clothing but should wash out ( apart from some nylon/Lycra )
- DO NOT wear Make up, Moisturizers, Perfume , Deodorant or Contact lenses.
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After Care
- Do not shower, Swim, or Exercise within 6-8 hrs of tanning.
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text:
Pregnancy is a very special time to use
Ten Pregnancy & Labor Tips From Katherine Graf Jenkins
1. Incorporate floral waters into your life as a safe way to relieve
stress and refresh yourself.
2. Citrus oils such as sweet orange, neroli, and mandarin are safe and lovely
essential oils
3. Avoid hormonal, emmenagogue, and neurotoxic essential oils at this time.
4. Cut your dilutions in half during pregnancy. 3 - 4 drops in the bath. 5 - 6 drops in a massage oil.
5. Never take essential oils internally. Do not douche!
6. Have a Birthing Contract or Agreement with your health care provider.
7. Consider the options of using a Certified Nurse Midwife (CNM) or a Birthing Center (free-standing or within a hospital). They are usually open to complementary care.
8. Prepare your labor kit during your third trimester. Lavender, Geranium,
and Rose
9. Avoid using essential oils with premature babies and newborns. Use plain
carrier oils
10. Use a limited subset of essential oils for children. Lavender and
Roman Chamomile are
Note: High risk
pregnancies may wish to completely avoid essential oils during pregnancy.
� 1999 - 2005 Katherine Graf. All rights reserved.


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The Case for Pollock
Jackson Pollock's 'all-over' paintings of 1947 to 1950 aren't easy to understand. Even Clement Greenberg found them challenging, while the painter himself didn't really fully recover from what he had achieved in those years.[i] Because of these paintings Pollock's place in art history is assured, but that place is easier to pass through on the way to somewhere else than to visit. His work fits into both the formalist and conceptualist canons, and his avant-gardist credentials are taken for granted. But precisely because his contribution is located where all the competing artistic narratives intersect, including the one connected to performance art, the work itself seems oddly neglected.[ii]
Pollock may have been neglected for other reasons: His artistic persona seems outdated. Like Hemingway, he is identified too closely with the negative behaviours of masculinity, like womanising and heroic alcoholism, long since seen as irrelevant or objectionable. Secondly, the standing of the generation of painters he directly influenced, as opposed to non-painters who claim him as an avatar, people like Frankenthaler, Louis, Noland, Stella and Olitski, has been revised downwards in terms of cultural importance. Thirdly, and more parochially, apart from a couple of minor examples, it's hard to see any of his work in England.[iii]
Here, I would like to put the case for Pollock, which is, of course, a modernist case. Pollock's achievement was, finally, to rid painting of sculpture. This may be the fourth reason for his neglect, for the difficulty in counting this as an achievement is that the paradigm shift that gave western painting its identity came from sculpture.
Giotto didn't invent a system of perspective but he constructed a figure that did not fit the Sienese or Byzantine space in which he placed it. It was too rounded and volumetric. Each figure was rendered to imply that its back, though invisible, was as viable as its front. One figure could be placed almost wholly obscuring a second, with only a fragment of the latter's cloak to be seen. But from this fragment, the hidden figure could be credited with the same volume as its foreground companion. The protagonists' poses did not follow the semaphore conventions of earlier styles of painting. This allowed expressive gestures but did away with need to distort the anatomy to make each limb clearly defined. A hand could stay inside a sleeve, or an arm in its ordinary position, unseen on the other side of the body.
Although it does accord to the principles of figurative naturalism, it's hard to see how this reading of Giotto is not based in part on reference to the experience of sculpture. The viewer, used to looking at three-dimensional or high relief figures, would not demand that everything be seen from one position; if one part of a figure is obscured by another, a step to the right or left will bring what was hidden into view. Giotto imports the element of trust integral to that experience into the realm of painting. He also imports the heaviness of sculpture. His figures are not just rendered in a 'sculptural' way, they seem to be made of marble rather than flesh and bone. In his frescoes, Giotto's people weigh more than his buildings and rock formations.
Giotto's figures are individually convincing and work strongly with and against each other, but they dominate, rather than interact with, their inadequate spatial context. Their emphatic sculptural characteristics, however, established an important formal quality that was inherited over a century later by the figures in Masaccio, who by this time, were able retain an air of monumentality and gravitas, while operating freely within a highly organised system of linear perspective.
The Florentine pictorial paradigm, perfected by Masaccio, was constituted by the interplay between 'form', 'space', and surface. Composition consisted of organising the forms as they registered on the picture surface. There, figures might be whole, or partially eclipsed; they might appear larger or smaller. That would depend on their position in the perspective system, which receded from the picture plane to the horizon. The same rule obviously applies to objects and architecture. But the sculptural provenance of forms demanded a pictorial space that was permissive and uncomplaining, which presented no hindrance or constraint to the distribution of volumetric elements, like the invisible block of empty, tolerant air in and around a carved figure. And this contrast between sculptural form and sculptural space, though translated into two dimensions, maintained its hold on pictorial art in the west for around five hundred years: Until Manet.
Where Giotto dramatised the weight and density of his figures, without generating enough pictorial space to accommodate them, Manet compressed their volume. He then found he had more depth than he needed. He solved the problem this surplus would have caused by dividing the space in two. He squeezed traditional space, (the consecutive dimensions of still-life/portrait, interior and landscape) into a short distance between the painting's surface and an interior partition, which he constructed exactly parallel to the picture plane. Instead of a 'vanishing point' on the horizon, this interior screen or plane is where traditional space ends. But, unlike the vanishing point, it is also where a new space begins. Manet's painting offers two distinct types of spatial experience.
The duality of Manet's space is easily demonstrated. In A Bar at the Folies-Bergere (1882) everything 'in front of' the mirror is in a foreshortened version of traditional space, everything 'in' the mirror is in the new space. The horizontal gold frame marks the junction of the two dispensations. The surface of the mirror is the internal plane, which partitions the painting. Its function, as a barrier to continuing recession from the foreground, is disguised by the amount of visible activity it supports. However, this activity does not take place in the same spatial realm as that occupied by the central figure. A version of this figure appears as a reflection in the mirror, to underline the difference.
The same binary structure occurs in The Fifer (1866). The figure is flattened, its silhouette emphasised by strong lighting. A relatively uneventful warmish grey fills the rest of the painting. Apart from the shadow of the flautist's left foot there are no clues as to the architecture of the setting. There's no sense that the area behind the figure is a wall, set back at a specific distance, and it is impossible to determine the relationship between the foreground and middle ground. The grey produces a very particular visual sensation, but not one of flatness. It seems to have a current or potentiality, as if switched on. It has the characteristics of a spatial field, but one constituted by resistance to, rather than embrace of, the illusionistic habits of traditional perspective.
In painting after Manet the deployment of the two spaces can almost stand as the history of the medium. The Impressionists favoured the new space in the mirror, but early Cubism went back to the shallow relief version of traditional 'sculptural' space. After a great start, with Picasso's Olympia-like Les Demoiselles d'Avignon (1907), the movement settled for a dreary academic revivalism, until it invented collage. Then it discovered the functional possibilities of the surface, in dialogue with the shallow space it had already produced, and got a lot better.[iv]
But whatever route painters took after Manet, the polarity between form and space, which obtained in sculpture and was imitated in painting, gave way to a more complex relationship between the two elements in which surface played an increasingly prominent role. The distinction in Impressionism between a figure and the surrounding world is often uncertain. Things are sketchily indicated, volumes dissolve in light; air becomes as liquid as water. Even in Cubism, though in thrall to trompe l'oeil illusionistic effects, objects are diced into triangular fragments, swamped by the corrosive pointillist medium that flows through them, till it's hard to say what's what.
A less sculptural relationship between form and space demonstrably added up to a paradigm shift in the development of modern painting. Cézanne is supposed to have said it took him twenty years to work out that painting wasn't sculpture, but the western tradition had been happy to confuse the two for six centuries, producing quite a few masterpieces in the process. Nevertheless progressive painting, affirming its identity as a medium, adopted the new paradigm and held to it when it mattered. The result may have been a loss of sculptural solidity, and the onset of something approximating 'dematerialisation', even while the genres attached to traditional space, still-life/portrait, interior and landscape, remained in force.
Cézanne's apples are not lumps of fruit but collections of marks held together by centrifugal force. The apples are not painted. Cézanne painted his sensations, his intense perception of the object, not the object itself. It was this self-conscious movement 'inwards' that worried van Gogh. He had what would be classified now as mental health issues and wanted to hold onto any world to avoid madness. He didn't paint what he, or anyone else, actually saw, what was 'present'. He was desperate to cling to chairs and tables, to the buttons on a postman's coat, to save his sanity. He went to great lengths to convince himself by building a room from the floorboards up, including shadows and beams of light, out of paint. The slipperiness of perceptions was what he feared most. His painted 'reality' was his coping strategy, but it can't be ours.
Mitigating the polarity between form and space inevitably increased the pictorial value of flatness and surface. 'Tipped-up' tabletops and floors, influenced by Cubist practice, strengthened the claims of colour by relaxing the tension between the two-dimensional and three-dimensional aspects of painting. Ignoring aerial perspective, Matisse could flood background and foreground with the same hue, limn a shallow trapezoid outline without interrupting the colour's spread, before adding a few ellipses, correctly drawn, to hint at still life objects. Yet even then, he did not want to create convincingly recessive space, which would reduce pressure at the picture plane.
But as well as the developments relating to Cubism, Kandinsky showed that the sculpture model of polarity could also be broken down by creating forms that were less rooted in the real world, yet could still be arranged in a type of depth. This peculiar depth, which is both 'abstract' and 'expressionist', isn't trapped inside a suggested architectural or landscape subject but appears open from all sides. In it, signs and symbols, with no palpable bodies to displace a tactile spatial medium, advance and recede, but have no place to go. They are not pulled down by gravity, nor back towards the vanishing point, therefore do not need to be reminded where the surface is, as collage warns Cubist forms of their position relative to the canvas plane.
Pollock, like other American artists of his generation, was aware of the scope of the formal developments achieved by European painting going back to the 1860's, including the different varieties of abstraction. As well as a history of formal innovation, he would have been familiar with movements in contemporary cultural attitudes, zeitgeist concepts associated with psychoanalysis, and issues connected with the political climate of his time. He was interested in the experience of modernity, without cynicism.[v] He also seems freer, or less encumbered than de Kooning, with his need to demonstrate the traditions of life-drawing, or Newman, with his metaphysical seriousness, or Still, with his egotistical flirtation with the sublime, or Rothko, with his romantic moodiness, or Motherwell, with his grand manner. He managed to work through the illusionistic problems of early Cubism to create a post-Cubist space, a space 'accessible to eyesight alone,' a space by which mature modernist painting stands or falls.
This space is certainly not without its detractors. Those painters, who adopted it from the late fifties through to the seventies, have hardly met with long lasting critical approval outside a small circle of admirers. Some current abstraction, Mary Heilmann for example, adheres to the modernist paradigm, but claims the credit for making it the critical subject of the work, gaining more kudos for debating it as an issue than the practitioners who produced it in the first place ever enjoyed. Maybe this meta-critical attitude is seen as an acceptable way of 'theorising' the enterprise of late modernist painting, prolonging its life, as Jasper Johns extended the life of abstract expressionism, and bringing it into line with the agenda of contemporary critical discourse.
Yet optical, post-Cubist space, as opposed to the more easily recollected modernist idea of flatness, was pretty well theorised from the start. Greenberg, Michael Fried and Rosalind Krauss put in a lot of intellectual effort to describe its operation and distinguish its visual regime from that of earlier systems, leading to a thorough understanding of the formal contributions made by American art of the fifties. Fried, in 'Three American Painters' (1965) gives an account of these transitions that is, in the words of Jeremy Gilbert-Rolfe, 'unarguable'[vi]. Fried's analysis of paintings of the late forties, like Number 1, 1948, where he lays particular emphasis on Pollock's development of a linear element released from its usual role of making bounded shapes or 'figures', accurately describes how the new space works with the new form.
Fried's comments on a painting called Cut-Out (1948) point to its use of a negative form which is visible, but not actually there, to show how the 'figure/ground' distinction can be reversed in Pollock's formal system. Out of the Web (1949) uses the lacunae created by excising parts of the ground in a similar way, creating elements that are 'blind spots' or throwing up a 'shape' that is not positive but 'perceived as an absence, over a particular area, of the visual field'.[vii]
Out of the Web marks the end of painting's reliance on spatial principles derived from sculpture. It confirmed the existence, and even argues the limiting case, of the modernist pictorial field, established by Pollock's all-over paintings, in which the relationship of forms and space is radically complicated. It shifts the paradigm. But so did the invention of perspective. Old and new ways of making pictorial space are, in effect, part of the functional history of painting, but to some extent they are aesthetically neutral. Minor artists picked up the rules of perspective quickly, but the artists remained minor, even after mastering the system. Minor artists have also learned the rules of post-Cubist space, but Pollock's achievement was not just his contribution to establishing the modernist field's operating protocols. It was what he did with them. My guess is that he turned away from traditional, European picture-building habits, to make the Great American Painting. It was this ambition that propelled him beyond Cubism.[viii]
Although it sounds an aspirational, quixotic, Leavisite project, making the Great American Painting was a viable objective in the context of American letters. The Great American Novel had been an accepted cultural category since the 19th century, applied variously to works like 'Moby-Dick', 'The Great Gatsby' and 'Catcher in the Rye' amongst others. It's usually described as a novel of identity, encompassing the broad sweep of national experience at a given time. One can imagine that the visual arts version of that literary category would also involve identity and the American experience. But almost all of the conventions of painting, including those surrounding Cubist pictorial structures, were European in origin, and strongly associated with European sensibility. Anyone who wanted to stake out an American identity for painting would have to find a radical formal alternative.[ix] Pollock was in possession of that non-European alternative, however he still had to address the problem of the national experience.
Here he had three pieces of good fortune. Firstly, he was born in Wyoming, in the part of the country that featured strongly in the national narrative. Secondly, he managed to inscribe a notion of 'freedom' in his methodology at a time when the political arguments around the topic reached world-historical intensity. American expertise and capital had won a war against oppression, the Marshall plan to aid European economic reconstruction was initiated, and 'democratic' space was being successfully defended against Communist encroachment, an enterprise dramatised in the U.S.-led Berlin Airlift of 1948-49. Pollock's third break came from his familiarity with psychoanalysis. At the time this was not a minority interest. Freud's ideas, and explanations of behaviour, had enjoyed a wide circulation in American culture since the twenties, influencing people like Alfred Hitchcock whose film 'Spellbound'(1945), despite the director's sceptical attitude to the subject, drew on popular conceptions of psychiatric practice and the power of a mind divided against itself.
Pollock was also reasonably fortunate in terms of the history of art. Because of his interest in psychoanalysis he could readily incorporate an idea of Surrealism into his practice. This gave permission for a certain type of generic weirdness, or nonsense, but also a justification for heavy, mythological symbolism, whose meanings could now be re-interpreted under the rubric of Freudian or Jungian theory. What might be called 'non-Dali' surrealism imparts a particular character to the signs and symbols that appear, in different stages of legibility, throughout Pollock's work, endowing them with a specific morphology, visually similar to the elements in Miro's symbolist lexicon.
The Surrealist thread is more significant than an indication that Pollock, like many others, was attuned to the preoccupations of his time. The kind of forms he generated under its influence, forms, like Miro's, which taper, or tail off, like pennants, hark back to the pinched, tapering, flame-like shapes of Gothic, Medieval, Sienese or Byzantine pictorial art. This widespread morphology, rooted in the pictorial symbol, was 'superseded' by that informed by the anatomy of the 'Mediterranean' Renaissance figure, based on the idealised human bodies of Classical art. This figure is, as I have said, a sculptural construct, and could only be accommodated in painting if the old pictorial space, of Duccio, of Sassetta, moved out of its way. In ridding painting of sculpture, in going beyond Cubism, Pollock created a space to which this repressed symbolic figure could return.
Out of the Web is the Great American Painting. In it, Pollock offers, in highly economical, synecdochical terms, a critical reading of the developmental history of the art form it instantiates. But such a claim seems counterintuitive. It achieves so much with means that appear so slender that it might be argued the painting does not offer the viewer a solid enough experience. Of itself, it has no 'thickness' no satisfactory 'layering', density or sensual richness. It contains entities that are there and not there, mixed in an unstable compound. To say all that however is to forget that this is a modernist painting.
We come to Out of Web as veterans of encounters with all other painting, just as we arrive in front of Las Meninas as seasoned observers of the real world, with its walls, floors, people, animals, textures, lights and darks. Velasquez presents us with the splendour of what we already know, and it is essential that we bring this knowledge with us when we look at the painting. But we do this automatically. With the Pollock, through slender means, we are being given a map of the rich terrain that we have already travelled, a map of the history of our own looking and understanding of the large body of work to which this painting relates. Those hours spent in museums, churches, galleries, and studios, sometimes with work just made, but mostly with the paintings of artists long since dead, and the thought such a study entails, all are brought into play. This essay, with all its name checks, and debatable art history, has been about what I 'see' when I 'look' at Out of the Web.
Summertime: Number 9A, 1948 is on display at Tate Modern in 'A Bigger Splash: Painting after Performance' until 1st April 2013.
[i] Clement Greenberg in conversation with the author, 1976.
[ii] Pollock's paintings are included in 'A Bigger Splash; Painting after Performance', Tate Modern, 14th Nov-1st April, 2013. The closing date seems the perfect choice.
[iii] The Tate mounted a Pollock retrospective in 1999.
[iv] Clement Greenberg, 'Collage' 1959, in Art and Culture, 1961, pp. 70-83. Every painting student should be forced to read this essay.
[v] Prevalent in New York at this time, according to Michael Leja, was the concept of 'Modern Man' that described individual sensibility as divided between primitivism, myth and the Unconscious. This seems to cover Pollock's personality. See, Michael Leja, 'Reframing Abstract Expressionism; Subjectivity and Painting in the 1940's', 1993.
[vi] Jeremy Gilbert-Rolfe, 'Irreconcilable Similarities, The idea of nonrepresentation', 1991, in Beyond Piety, Critical Essays on the Visual Arts, 1986-93, (1995) p. 45.
[vii] Michael Fried, 'Three American Painters; Noland, Olitski, Stella', 1965, in Art and Objecthood; Essays and Reviews' 1998, p. 228.
[viii] This seems a big statement, the kind that usually requires permission from at least two art historians. But writing the Great American Novel has been a goal of quite a few US novelists for many years, so a similar aim for painters doesn't seem too far-fetched. Georgia O'Keeffe makes satirical remarks about her 1931 work Cow Skull; Red, White and Blue, as being the Great American Painting. It's reasonable to assume that if something is satirised it's usually because it is also taken seriously.
[ix] Don Judd seems to be motivated by a similar anti-European drive in his development of what perhaps should be called 'American Minimalism'.
Thank you for those responses which mirror my own excitement whenever I see a Pollock in the flesh.Maybe we should get some money together ,rent a farm and stage our own work-in,where nothing but New ground breaking Art could be allowed.Triangle in 82 was ruined ,not by a lack of seriousness ,but by the availability of heavily marketed Golden Paint technology.Painters were overwhelmed with Gel mediums and Iridescent colour ,both of which were tricky to use ,unless you were Olitski.The lack of anything approaching spirituality was nauseating as Late Formalism backed into the Post modern era,infatuated with the wrong set of toys.It is exceptionally difficult at the moment for artists to get shows of ambitious and experimental new work.It seems to be soooo easy in the national artistic psyche to do plain weird and avoid addressing the problem Pollock addressed with his lifes work.
This is an absorbing and forceful piece of writing. One (if I understand it correctly) that describes a view of the history of Western painting, beginning with Giotto, as being dominated by the demands of a sense of sculptural space and evaluates the significant achievement of Pollock in terms of him finally ridding painting of the burden of the sculptural and, in the process, with "Out of the Web" arriving at the "Great American Painting"
I will leave aside the perhaps natural adverse reaction of a sculptor to the sculptural- influence/concern being hinted at as eventually having become a sort of redundant accessory that painting in the mid 20th Century could now do without. This 'ridding', doesn't, on its own (even if the basis of that assessment is correct) do justice to, or get us closer to the understanding of, why Pollock should be regarded as a significant painter. As for "Out of the Web" 1949, the inclusion of those strange Miro-like shapes that David Sweet refers to seems to me like a clumsy attempt to make it into a 'real' painting with a 'proper' sense of form and shape. Lavender Mist : Number 1 1950, in contrast, dispenses with such pretence. It is extreme, all Pollock. What I like about the best of his painting is to be found in the daring and conviction of such extremity and the visual density and unremitting energy that it presents.
Some artists have picked up on aspects of Pollock's way of working (in relation to his 'drip' paintings) and taken them into areas (often completely outside the parameters of painting) that have subsequently influenced opinion about the value and perhaps integrity of the way of working that he has become best known for. This does not deter me from seeing him as a painter in the traditional sense for whom the persuasiveness of what he did with paint on canvas, in a visual sense, meant everything.
That of course begs the question of what exactly he did achieve that at its best is so exciting. As ever I think words can only get us so far, if this were not so then there would be no point in making art. What is so attractive (I ask myself, as a sculptor, somewhat quizzically) about these masses of webs, threads, splashes and drips that at their best are seemingly without any sense of form, shape or the relational? We can talk about his great sense of drawing with paint, his energy, the density and depth of his imagery, the abstractness of the visual journey that all of this stuff can take us on when we stand before his work, but ultimately I think it's more to do with his purpose and daring which is entirely visually and physically evident.
David, I really enjoyed your essay, so easy to read. Winter is generally dispiriting, the studio is cold the, light is awefull, but your writing will enlighten the rest of my winter months. My experiance of Pollock was the big show at the Tate, several years ago and as I was going through major changes in my own work the impact of that show was all the more of a shock to me. I was emotionally affected by the intensity of the fact of standing in front of a kind of paintings that seemed things unto themselfs, not portraying or describing, just being, paintings, for their own sake. It was the pieces where Pollock did not physically lay a brush on the surface, that really held me, as though in that long stream of painting dna dripping from the end of the stick or brush, I was being directed to the future of my own work.
Thankyou once again.
I wish Robin would point us in the direction of any artist who is making the sort of Completely New Modern Painting he desires to see.I think the idea of a figurative abstraction mentioned elsewhere on Ab Crit is daft ,just as dissing modernism is futile. How many young painters are painting really ambitious pictures? I remember walking into John Walkers studio in the early seventies and you could literally feel the ambition/ pictorial ambition.
.Where would you find that today?
Dear Patrick,
I think you just made my point for me.
A very good article indeed, very thoughtful.
But… you seem to equate sculpture with a certain literal lumpish-ness, and the intrusion of its three-dimensionality into painting as a rather distasteful sullying of its pictorial purity. This view must stem from the recent modernist tradition of equating sculpture with literal objecthood. I instinctively baulk at this; sculptural space is at least as illusionistic as the space of painting – or should be – and of a different kind altogether. I don't think, therefore, that you can really attribute the changes that happened in painting to any invasion of a 'sculptural' way of thinking. They surely arose mainly as a result of painters (and their patrons) wanting their work to be more 'real', more open, varied, and spatially flexible; more equivalent to the world they saw around them.
I still can't bring myself to believe in this theory about the flatness of Manet (as we have discussed elsewhere), and 'A Bar at the Folies-Bergère' does not possess for me the strange spatial qualities you ascribe to it. I would have thought that Manet's inclusion of the mirror was a deliberate move to incorporate deep space. The fact that the space is in a mirror is a rather conceptual point; it's a very perverse way to flatten out a painting! I would only admit to the barmaid looks a little squashed in her slot behind the bar; so without the mirror I would perhaps concede to a flattening.
I do, however, like the comparison of modernist painting with early icon painting, pre-Giotto. Their limpid and unquestioning decorative beauty, lack of convincing space, lack of a substantial active content (in favour of a passive subject matter), and a reliance upon symbolism (was Patrick Hughes right about Louis?), all point to such an association. Much as I like a lot of it, I'm afraid I can't believe any longer in 'the Great American Painting'. It only amounts to all the more reason for abstract art to move on beyond modernism's now obvious limitations to something more 'three-dimensional', whatever that might imply; unless, that is, you are arguing that pre-Giotto painting is superior to Titian, Tintoretto, Rubens, Goya, Poussin, Constable…..
I meant Robert Hughes…
I think that what is implied here is not sculpture per se. Greenberg used the phrase "tactile associations" and I think that that is what is meant here maybe?
A terrific piece of writing ,although I dont understand why a piece of Art has to do something so specific as free itself from sculpture to be good.Pollock painted so many minor and major masterpieces,as well as complete junk.Out of the Web is only fairly middling,but if you take No One in Moma N.Y,Full Fathom Five ,The Deep ,Autumn Rythym,Lavender Mist,She Wolf,etc.hes up there with Picasso and Matisse no doubt .Unfortuneatly he sort of stopped the show ,which makes the demise of Frank Stella all the more dispiriting as he looked like he could continue with his early pictures.He still needs following up ..A great article congratulations
Great essay David,
As a big fan of cubist space and collage approach to surface, this article has given me more understanding of the space that occupies Pollock's work – a historical space, but also the space that his work creates – as you mention a post-cubist space. Few observations of Giotto and Manet are also essential for building up the argument.
Thank you


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