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Next month, a former factory in a small town an hour north of New York will become the first museum dedicated to the greatest generation of American artists. Not Pollock, Rothko and de Kooning. The next generation, the one that came of age during the 1960's and 70's, the one that includes Donald Judd, Dan Flavin, Walter De Maria, Michael Heizer, Robert Smithson, Sol LeWitt, Andy Warhol, Robert Ryman, Agnes Martin, Bruce Nauman and Richard Serra. The history of American art is going to need a little rewriting.
They are men mostly, with big egos and big ideas. They were the first Americans to influence Europeans. The work these artists made changed, or at least questioned, the nature of art: what it looked like, its size, its materials, its attitude toward the places where it was shown, its relation to architecture, light and space and to the land. The artists even questioned whether art needed to be a tangible object. Minimalism, Post-Minimalism, Earth art, video art, Conceptualism -- suddenly art could be nothing more than an idea, a thought on a piece of paper that played in your head. It could be ephemeral or atmospheric, like the experience of a room illuminated by colored fluorescent tubes.
The work found itself at home, as the artists did, in the lofts of abandoned industrial buildings in Lower Manhattan, converted into studios and white-box galleries. But much of the art was too big for a gallery. Robert Smithson's ''Spiral Jetty'' was 6,650 tons of black basalt and earth in the shape of a gigantic coil, 1,500 feet long, projecting into the remote shallows of the Great Salt Lake in Utah.
The artists demanded space in tune with their aesthetic. Now along comes Dia:Beacon, set to open on May 18. Housed in a factory in Beacon, N.Y., that was built in 1929 to print boxes for Nabisco crackers, it will be the biggest museum of contemporary art in the world. With nearly a quarter of a million square feet of exhibition space, it dwarfs Frank Gehry's Guggenheim in Bilbao, Spain: it is reused raw space adapted by artists to suit themselves, with no star architect but huge rooms, some as long as football fields, for paintings and sculptures that have never felt truly at home.
Before he died in 1994, Donald Judd complained that his sculptures were crammed in with other art in most museums and that the objects were denied what he considered their rightful independence and integrity. ''So much money spent on architecture in the name of art, much more than goes to art, is wrong,'' he barked about new museums. ''Even if the architecture were good, but it's bad.'' Dia:Beacon was built to let people see art the way Judd would have wanted.Continue reading the main story
Conceived by a charismatic German art dealer, Heiner Friedrich, and his wife, Philippa de Menil, in 1974, Dia was not meant to be a traditional museum. The opposite, in fact. For a while, Dia spent millions and millions of dollars financing projects like Walter De Maria's ''Lightning Field,'' for which huge steel poles were planted in a remote stretch of New Mexico. It poured $4 million into ''Dream House,'' by La Monte Young and Marian Zazeela: a building on Harrison Street in Lower Manhattan that housed Zazeela's light projections and where Young's electronic music played 24 hours a day. ''Dream House'' had its own guru in residence, Pandit Pran Nath, the Indian singer and teacher, and a staff that recorded every note of music and word of conversation and photographed and logged every meal eaten there.
Dia bought Fort Russell, a former Army post on 340 acres of scrubland in Marfa, Tex., for Judd to create a private museum for his work and the work of the few chosen artists he admired. The project epitomized the crazy scale and wild ambition of the art of his generation. Marfa, an isolated clutch of adobe and wood-frame houses on streets that peter out into no man's land, languished several drowsy hours from civilization. Its fort was a cavalry post for patrolling the Mexican border and later a camp for German prisoners in World War II, before it was decommissioned. Judd converted abandoned barracks into exhibition spaces.
At the center of the fort was Judd's crowning achievement and Minimalism's great shrine: 100 milled-aluminum boxes installed in two converted artillery sheds, twin cathedrals with giant Quonset hut roofs. Judd replaced the sheds' garage doors with big windows, letting sun play against the boxes, deflecting any preconceptions that the sculptures might be forbidding or monotonous.
The work exemplified Minimalism's paradoxical nature: Puritanism offset by a sensual embrace of optical surprise and ravishing detail. Time, light, form: Judd forcibly focused viewers' attention on these basics of human experience via simple shapes presented exquisitely, for slow study in rarefied isolation. At a time when museums were becoming malls and art seemed cheapened by commerce and mass reproduction (so felt 60's artists like Judd, inflamed by the antibourgeois politics of the time), Marfa was conceived to restore innate dignity to art and to the experience of looking. ''A shape, a volume, a color, a surface is something itself,'' Judd declared. ''It shouldn't be concealed as part of a fairly different whole.'' While Judd rejected metaphors of bodies for his boxes and other abstract sculptures, the utopian -- which is to say, human -- implications of what he had in mind were obvious.
To lump Judd with Nauman and Serra and Warhol as a ''generation'' is obviously to put together people of different ages and styles, not to mention temperaments, who nevertheless all first made their marks during the 60's and 70's, when wild experimentation tested the definition and limits of every kind of art. Art has not been the same since.
Andy Warhola, as he was born, made Andy Warhol his masterpiece, forever blurring the line between art and life. Nauman made movies of himself neurotically pacing in circles and helped to open up a whole world of video and performance art. Dan Flavin used colored industrial fluorescent tubes to make Minimal sculptures whose ambience was as much the subject as the abstract arrangement of the lights, establishing the basics of installation art before anybody ever thought to call it that.
Partly inspired by Flavin, LeWitt decided to start ''from Square 1,'' he said, with sculptures in the shapes of squares and cubes. Linguistic theorists at the time talked about words and mental concepts as signs and signifiers. LeWitt moved between his syntax of geometric sculptures and mental propositions for images: concepts he wrote on paper that could be realized by him or someone else or not at all. Physical things are perishable. Ideas need not be. LeWitt wasn't interested in precious one-of-a-kind baubles. ''Art has been veritably invaded by life, if life means flux, change, chance, time, unpredictability,'' the sculptor Scott Burton observed around then. ''Sometimes the difference between the two is sheer consciousness, the awareness that what seemed to be a stain on the wall is in fact a work of art.'' LeWitt's conceptual work pushed the point to an extreme: his art was the equivalent of the stain painted over, leaving only consciousness.
Meanwhile, painters like Martin, Ryman and Frank Stella were pushing at their own limits, making works that were just stripes or white on white. They were partly inspired by Pollock, but they rejected the 50's cult of expressionism that he exemplified. Pollock had revolutionized abstract art by pouring and dripping, but in the 60's his impact was as much on sculptors as it was on painters. Serra, tossing hot lead, echoed Pollock's physical performance and liquid vocabulary, moving sculpture off the pedestal and onto the floor.
Out west, Heizer, De Maria and Smithson were simultaneously moving art into the great outdoors. Heizer drove his motorcycle across a dry lake bed in the Nevada desert, making immense drawings with his tire tracks; then he made ''Double Negative,'' a 1,500-foot-long, 50-foot-deep, 30-foot-wide gash cut onto facing slopes of an obscure mesa in Nevada, a project that required blasting 240,000 tons of rock.
Visiting Chichén Itzá, the Mayan city, he devised ''City'' next: a suite of giant, variously shaped abstract sculptures over an area that covered more than a mile end to end -- modern art turned into monumental abstract architecture, with ancient ruins as the model. Heizer imagined ''complexes,'' immense mastabas, some a quarter of a mile long, with 70-foot slabs weighing thousands of pounds. He acquired several square miles of remote property, surrounded by public land, two hours into the Nevada desert from the nearest paved road, and he lived for years in a trailer, locked in for half the winter and once going for months seeing only a couple of sheep trailers and a passing pickup truck. Art didn't get much more extreme than that.
Heiner Friedrich, who was born in Germany in 1938, liked to describe how seeing the destruction during the Nazi years inspired him to want to create things that would last forever. One recent morning, at the Mercer Hotel in SoHo, he told me that ''living in the countryside after the war in purest relation to nature, in great peace, made a huge impression on me -- seeing the manifestation of the divine.'' Bespectacled, dressed in a black suit and black shirt, a large, sturdy man with a lined face, Friedrich today looks more forbidding than he is. He is a dreamer, prone to verbal flights of near-spiritual reverie.
A son of the founder of Alzmetall, a manufacturer of industrial equipment, his life was changed by visiting Matisse's chapel in Vence, France, and on trips to Greece and Italy, ''where I saw art and architecture, each in its own place.'' Giotto's Arena Chapel in Padua ''became for me the true insight for the unfolding and development of Dia.'' The chapel was the work of a single artist: a singular site, complex, revolutionary, preserved in perpetuity, a pilgrimage destination both cultural and spiritual.
Friedrich started a gallery in Munich in 1963 and then opened a second one in Cologne, representing artists like Beuys, Sigmar Polke, Gerhard Richter, Judd, Heizer, Cy Twombly, De Maria and Warhol. But Friedrich grew depressed by the endless cycle of short exhibitions and sales. At the same time, he noted how artists like Judd, De Maria, Smithson and Heizer were gravitating toward a kind of art that museums and galleries simply couldn't accommodate.
Fed up with struggling to raise public money for big art projects in Germany, Friedrich moved to SoHo in 1971. For a while, his gallery at 141 Wooster Street became a salon where artists like De Maria and Blinky Palermo would hang out. Young and Zazeela staged performances. Judd exhibited sculpture. The gallery commissioned art on a large scale. Soon Friedrich met and fell in love with Philippa de Menil, an heiress to the Schlumberger oil fortune and the child of Dominique and John de Menil, low-profile, high-class art collectors who had commissioned the Rothko Chapel in Houston and whose Menil Collection, a cypress-clapboard-and-glass masterpiece by the architect Renzo Piano, exemplified the family's taste for fabulous, expensive simplicity.
Who knows how much of Dia can be attributed to Friedrich's vision or to the influence of the Menils or to the contribution of Dia's other founder, Helen Winkler, who worked for the Menils and became Dia's link with many artists. Winkler and her husband oversaw the construction of De Maria's ''Lightning Field'' in New Mexico. ''She held things together,'' Friedrich says. ''She was indispensable.'' Much of Dia clearly also came from the artists themselves, like Judd, who knew how and when to capitalize on a golden opportunity.
The general idea as it gradually emerged was pure and beautiful -- that is, if you accepted the premise that it was worth spending millions of dollars on difficult, brainy abstract art few people appreciated at the time. Then again, time itself was a relative concept for Dia. This was one of its distinguishing philosophies. Projects like ''Lightning Field,'' for instance, were expected to last for eons. If you calculated attendance in decades or centuries rather than weeks or months, then a handful of devotees trekking to the New Mexican desert year after year added up to a blockbuster crowd.
Friedrich explained that dia was a Greek word meaning ''through,'' as in conduit. A dozen or so artists, Friedrich's chosen ones, would be freed of all constraints and allowed to pursue work as they envisioned it. Naturally, this fueled deep suspicion and jealousy in the art world, but Friedrich compared what he was doing -- now with his wife's fortune -- to the Medicis. ''Dia didn't tap something new; it tapped something old,'' he said at the time. ''Our values are as powerful as those in the Renaissance.'' For emphasis, he added that Dan Flavin ''is as important as Michelangelo.''
Dia's artists were certainly devising plans that made Michelangelo's Sistine Chapel look like a minor interior-decorating job. In 1977, Friedrich's SoHo gallery became a permanent locale for De Maria's ''The New York Earth Room'': 280,000 pounds of dirt trucked in and spread 22 inches deep across 3,600 square feet. The room had to be regularly hosed and raked and cleared of mushrooms. Employees were assigned to watch silently over it -- no reading was allowed on the job, lest their distraction disrupt the aura of aesthetic contemplation. De Maria's ''Vertical Earth Kilometer'' was completed that same year: a slender 18-ton rod sunk into a 1,000-meter hole drilled in Kassel, Germany, leaving only the tiny circle of one end visible in the ground. The cost: $419,000, and $2,500 a year to maintain.
The first big outdoor project completed in America was De Maria's ''Lightning Field'': 400 stainless-steel poles, 2 inches thick and up to 20 feet tall, installed as a grid in a one-mile-long and one-kilometer-wide stretch of extremely remote New Mexico. Visitors were required to spend 24 hours in a rustic cabin beside the poles, contemplating the way light changed as day passed to night and back again. Dia bought the land near Quemado, N.M., in 1975, and local high-school students helped install the poles. Cost for the project: $1 million.
What was incalculable, as at Marfa, was its artistic value. The work required a journey, a pilgrimage, the sacrifice and effort being part of the philosophy of immersion in the art. There was something manipulative, even prescriptive, about that idea, but also something deeply liberating about the experience. On extremely rare occasions, a bolt of lightning actually struck one of the poles. Otherwise, the art entailed psychic intangibles: taking in the silent, peaceable, solitary passage of time in the high desert and the vastness of space -- and noticing how subtly different the poles looked as the sun moved across the sky, shifting from shiny slivers at sunrise to ghosts at noon, when they're nearly obscured by the high sun and surrounding mountains, then burning like fireworks just before sunset. The work meditated on a man-made forest of industrial materials and perfect geometry playing off against the wilderness and the stars. It celebrated America and the Western landscape, incorporating it, which was something fresh that De Maria's generation brought to art.
By 1979, Dia's staff had expanded from half a dozen to 80, and its annual payroll topped $800,000. Heiner Friedrich and Philippa de Menil were now putting together a vast collection, but their resources were being stretched thinner. They had met Sheikh Muzaffar Ozak, a Sufi master of the Halveti-Jerrahi Order of dervishes, and Dia started pouring money into a Sufi mosque on Mercer Street as well as supporting various Islamic publishing projects. At the same time, Dia was buying real estate for one-man museums. In addition to La Monte Young and Marian Zazeela's ''Dream House'' and Judd's spread at Marfa, it bought a former bank in Winchendon, Mass., for Fred Sandback in 1981 and converted it into a kind of open studio/private museum. Sandback's sculptures entailed thin colored strings attached to walls outlining geometric shapes, like triangles and rectangles. Viewed from certain angles, they created the illusion of solid glass, but from other angles, they disappeared from sight. Dia supported the museum for years until, by more or less mutual consent, the building was sold.
''People would scratch their heads and ask, 'What's going on here?''' Sandback, now white-bearded and ruddy-faced, looking like a monk with a ponytail, told me one recent afternoon. ''I think the skepticism hurt Heiner very much. It implied his motives were not correct. He may have gone overboard. But he wanted nothing more than to give LaMonte what he needed and Don what he needed to proceed unencumbered. Say what you will, I think the motivation was simple.''
Unfortunately, as Dia's costs skyrocketed, Schlumberger plummeted from around $87 a share in 1980 to around $30 in early 1982. Philippa de Menil had to sell off more and more stock for Dia. Plans were initiated to turn over some of the artists' projects, like Turrell's ''Roden Crater,'' to independent foundations, which would now need to find their own source of support.
Artists Dia had supported were apoplectic, especially Judd, congenitally angry anyway. Dia had spent more than $5 million and lavished a monthly stipend of $17,500 on him. Now Judd fumed about Friedrich: ''I distrusted him from the beginning. The only problem is that I didn't distrust him enough.''
Sandback says: ''When someone is so very protective and generous, it becomes the norm, which it isn't. This was a new paradigm for patronage, and I myself am ungodly lucky to have had such support and freedom in my life. It's too bad that some artists became so upset when it stopped. I didn't regard it as my due to have my work purchased. But other artists had reason to scream bloody murder, I suppose, because they were left high and dry in terms of what they really wanted, and had expected, to do. Remember, Don's commitment to Marfa was just as strong and intense as Heiner's was to Dia. That made the conflict inevitable. It's what made both of them exceptional.''
By 1983, Schlumberger stock had fallen further, and Dia had to take out a $3.87 million loan. Dominique de Menil, Philippa's mother and the family matriarch, now stepped in. Philippa's money was put in trust controlled by her brothers. Dozens of employees were fired. Much of the Manhattan real estate that had been acquired for one-man museums was put on the market. Young and Zazeela's ''Dream House'' on Harrison Street was sold.
Dia had spent $40 million amassing 1,000 works, creating or laying the groundwork for some of the most ambitious art in modern history. But now it had no income, and many of these projects were still far from completion.
Dia auctioned off 18 works at Sotheby's: a Twombly went for a record $418,000; a Warhol, for $165,000. The sale raised $1.3 million, but this was $700,000 less than Dia had hoped to raise. A low point for Friedrich was when Dia sold two of its three Barnett Newmans. ''That was crushing,'' he told me. ''I had talked about a Newman museum with Newman.'' Judd, threatening a lawsuit, won custody of his art (and another $2 million) in an out-of-court settlement.
''It was not run the way money people normally treat money'' is how Friedrich responds to critics who say he was irresponsible with Dia. Dominique, his mother-in-law, was one. She forced him to resign. A blue-blood board replaced him. Ashton Hawkins, longtime counsel to the Metropolitan Museum of Art, became chairman. Lois de Menil, Philippa's sister-in-law, became vice chairman. Stephen Breyer, the future Supreme Court associate justice, joined the board.
The foundation stopped collecting art. Dia's grand experiment seemed officially over -- like the era that produced it.
Charles Wright, a lawyer from Seattle, son of an art collector, was hired as the new director. Wright admired artists like Judd and De Maria and became increasingly enamored of Friedrich's ideas, but the new board had its own plans. By the end of 1987, real estate and art sales had raised $17 million, and Dia was pointed in a new direction. Dia donated more than 150 Warhols to help establish the Warhol Museum in Pittsburgh. It gave six Twomblys to Dominique de Menil's Cy Twombly Gallery. Friedrich had said Dia was a conduit. Now Dia's collection became the conduit for one-man museums that other people ran.
Dia did keep a warehouse on West 22nd Street in Manhattan, with 38,000 square feet that was converted into spare, white exhibition space. In October 1987, it opened with a show of Joseph Beuys, Blinky Palermo and Imi Knoebel. Dia now would present changing exhibitions -- the opposite of what Friedrich had conceived Dia to do -- but at least the exhibitions would be kept on view for up to a year or more, unlike shows at other museums, which were stuck in the entertainment cycle of rapid change that Friedrich despised.
Meanwhile, the climate of the art world was changing. First the glamour of the 80's, with its marquee stars like Schnabel and Salle, made the asceticism of artists like Judd and De Maria seem fusty. After the art-market boom went bust by the early 90's, Dia's traditional stress on solitary geniuses, great men removed from everyday circulation and freed to pursue big dreams, seemed equally out of sync in a cultural atmosphere that prized egalitarianism and social engagement. Wright, now 48, keeping up with the times then and wanting to endorse the new spirit, explained that ''people of my generation are looking for ways that the artist can come back down and plug directly into the social context . . . to make art more a part of a whole way of life and less of a removed, ivory-tower activity.'' He bemoaned the ''cult of the individualism of the artist,'' and with Gary Garrels, then Lynne Cooke, Dia's curators, he programmed heavyweight symposiums and exhibitions by politically conscious artists like Jenny Holzer, Tim Rollins, Robert Gober and Group Material. Dia established itself as a serious and chic gallery, although attendance was dismal.
People looking back on Friedrich's days now talked about what had gone wrong. But plenty had gone right. Dia still had ''Lightning Field,'' ''Broken Kilometer,'' ''Earth Room'' and a collection in storage deep in certain artists -- dozens of sculptures by John Chamberlain, the 102 ''Shadow'' paintings by Warhol and many works by Flavin, Beuys, Palermo and Twombly. ''The basic intent remained intact,'' Friedrich says. The original Dia had simply gone into hibernation.
What revived it -- and what led to the creation of Dia:Beacon -- was another bloody board shakeup. Having saved Dia from collapse, trustees seemed to have little energy left to raise more money, and Dia was still being kept afloat by selling property and art, which was self-cannibalism. After a decade as director, Wright resigned in June 1994, but stayed on the board to help pick Michael Govan as his successor and to support a new agenda.
Govan, 39, is a dark, lanky, quietly ebullient man disposed to cowboy boots and black shirts. In keeping with Dia's artists and founder, he is a kind of megalomaniac, despite his aw-shucks manner. He came from the Guggenheim Museum, where he had been the smiling, calm, long-suffering front man who had to explain the museum's slippery finances and unconventional strategies. He first met Thomas Krens, the Guggenheim's notoriously audacious director, at Williams College, where Krens was director of the Williams College Museum of Art when Govan was an undergraduate. The two shared ambition and a passion for 60's and 70's art; after he graduated in 1985, Govan became acting head of exhibitions at Williams. Along with Krens and another Krens protégé, Joseph Thompson, Govan helped to dream up the Massachusetts Museum of Contemporary Art, Mass MoCA, a gigantic museum in a complex of abandoned factory buildings in the depressed town of North Adams.
Then Krens left to take over the Guggenheim, and Govan took off to become a conceptual artist -- studying in California with 60's and 70's art icons like Allan Kaprow, David and Eleanor Antin and Helen and Newton Harrison. The experience was ''formative,'' he says. Even so, when Krens called, Govan moved to New York. He was 25.
He seemed like a baby technocrat, only more easygoing and personable than his boss. He would look pained while defending the museum for cutting staff or closing the library, but he also spoke Krens's business-school jargon.
Sometimes he, not Krens, seemed actually to be running the place. Besides helping to get Bilbao off the ground, Govan organized exhibitions, including a Dan Flavin show, and negotiated the purchase of Count Giuseppe Panza di Biumo's collection of Minimal and Post-Minimal art (a collection Friedrich helped to put together years before). The Panza purchase, which caused a public firestorm because the Guggenheim sold valuable paintings to make it, was the sort of risky venture and large-scale commitment to the art of the 60's and 70's that, in retrospect, made Govan a logical choice to take over Dia.
Despite the seeming symbiosis, in retrospect Govan had big differences with Krens that weren't apparent. Both were deal makers, but Govan's interests were more in art and artists than in fancy new architecture. He now speaks respectfully of his former mentor, who was hurt when he quit for Dia. ''It was thrilling at the Guggenheim,'' Govan told me when I met with him recently at Beacon. Krens, he said, had lately arrived unannounced on his motorcycle, with the actor Jeremy Irons. Govan laughed. ''On a day-to-day level,'' he added about his time at the Guggenheim, ''nothing could possibly be as exciting as working for Tom.''
When he was appointed as Dia's director, Govan made pilgrimages to Marfa and to Arizona to see Turrell's crater. Lynne Cooke, Dia's curator, introduced him to Michael Heizer, and he visited ''City.'' He reached out to Friedrich. He became the good son to several difficult fathers, like Heizer and De Maria, patiently giving them the sort of attention no one else did for years. Dia's board, lately expanded, now included Mimi Haas, heir to the Levi's jeans fortune; Ann Tenenbaum, whose husband is the venture capitalist Thomas Lee; Fred Henry, whose money came from publishing; and Anne Lannan. Her husband, Patrick, ran a $150 million foundation then supporting cutting-edge art.
Govan undertook a $12 million fund-raising campaign, which included a matching grant from the Mellon Foundation, $1 million if Dia could raise $5 million, a feat not even Mellon seemed to think Dia could pull off at the time. A rift opened on the board. To raise money, some trustees wanted to sell more property. They proposed unloading the building housing ''Broken Kilometer.'' Govan threatened to quit. Wright, Haas, Henry and Tenenbaum supported him. They called for restructuring the board. Hawkins resigned. Others followed.
The brouhaha dragged on for months as disgruntled former Dia trustees now lashed out in the media. They accused Govan's supporters of being social climbers, a curious accusation considering how marginal Dia remained in social spheres, notwithstanding that its annual gala had become fashionable. Meanwhile, Dominique de Menil, Friedrich's adversary in the first coup, joined the board. Wright became chairman. And, significantly, Leonard Riggio, chairman of Barnes & Noble, became a trustee.
Modern art's big patrons, if not arrivistes, are often newcomers, attracted by its argot and milieu. Dealers, artists and museum directors are happy to take advantage of their largess. Riggio, a rough-edged mass-market businessman, may seem the most unlikely devotee of cerebral and rarefied art -- until you recall that Judd, Serra, Turrell and Heizer are rough-edged in their own rights. In his office on lower Fifth Avenue, Riggio, now Dia's chairman, talked reverently one day about what he calls his ''conversion'': ''When Jay Chiat asked me to join the board, I asked the question everybody asks: 'What is Dia?' He told me it had great parties. My epiphany came when I saw Serra's 'Torqued Ellipses.' I immediately got the idea of the single artist space, seeing art in its own environment. I just got the concept of Judd, Flavin and all the others without even seeing their work yet.''
Riggio bought the Serras for Dia. ''My real intellectual awakening had come in the 60's,'' he told me. ''The big concept then was the integrity of the individual, the potential of every human being. When I built my business, I was thinking about bookstores for average citizens, for the whole of society. Then I went to Marfa and Roden Crater and visited Heizer in Nevada, and I thought these artists recognized the genius of the average American. Judd built his museum in a little Texas town. Turrell was hiring Native Americans from the area. Heizer was working with local people.''
Meanwhile, Patrick Lannan, Dia's other big patron, spent millions to revive projects like ''City,'' which until then seemed as if it might remain the most immense private folly ever conceived. Thanks to the injection of cash, after 30 years Heizer completed the first phase: huge dirt complexes rimming a vast, empty courtyard, in turn rimmed by massive mountains, whose silhouettes alert a visitor to the silhouettes of the massive structures Heizer erected. Then Heizer launched into the rest of ''City.''
Heizer's project, Riggio says, ''represents humankind's highest aspirations, spending a lifetime on a single project, pouring every ounce of energy, his entire soul, whatever money he makes into it. One man building his own equivalent of the pyramids. It's incredibly beautiful. After all, what is art? That's the big question.
''It exists at the intersection between the work and the viewer. Most museums are on an endless acquisitions binge. Their identity is defined by their architecture, and artists have to fit into the galleries. Dia has little institutional identity outside the projects we fund, and no objective except to sustain art on its terms.''
That's the point of Beacon, he adds, which was, in fact, Govan's last alternative for a home for Dia's collection, still slumbering in storage. His first thought was to exhibit the art at Mass MoCA, the place he, Krens and Thompson concocted. Thompson ran it. But putting the collection there meant turning it over to another institution. Govan then looked into a building in Chelsea and also asked New York State about leasing a pier on the Hudson. The building fell through. Dia was told it might take a decade to get approval for the pier.
At that point, Govan recalled piloting a small rented plane up the Hudson in 1998, accompanied by Lynne Cooke and the architect Richard Gluckman. They happened over the derelict Nabisco factory. ''Michael, that's the building you want,'' Gluckman said.
The factory sprawled beside railroad tracks that take passenger trains up from New York City. A long, low building on 31 acres with ''Nabisco'' in faded letters still visible from a passing train as a kind of pentimento just below the roofline, it turned out to require $1 million in environmental cleanup but had good bones. Riggio and Govan brokered a deal with International Paper, the owner, then got the state to contribute $2.7 million. (Beacon is Gov. George Pataki's neighborhood.) The acquisition and renovation took four years.
Now opportunistic developers, New York art dealers and a few public art projects, seeing how Dia became an anchor for cultural development in Chelsea, are already anticipating that people will make the hourlong pilgrimage upriver from the city, and they have been buying property, opening galleries and turning Beacon into an artistic boom town.
Govan gives me a tour of the factory in late winter, when the place is still mostly empty. He starts outside, pointing to where Robert Irwin, the artist, has planted rows of trees -- hawthorns, hornbeams and crab apples, still barren -- in front of the building to soften the mass of the facade. Irwin has also designed a formal garden on the side facing the river, mixing weeping hemlocks, cherry trees and Japanese barberries. Everything is simple and discreet. The focus is on the art.
An entrance to the building, also by Irwin, is a kind of Frank Lloyd Wright touch, akin to the entrance at the Guggenheim in Manhattan: a tight vestibule like a small compression chamber through which the galleries beyond look even more gigantic than they are. Inside, electricians and painters are puttering. Govan notices fluorescent lights overhead and fumbles with a light box before asking one of the workers to help turn them off. ''They're just for emergencies,'' he says. ''The natural light is plenty year round.'' With the overhead lights off, sun, pouring through row upon row of skylights, bathes the space and bounces off the maple floors. Most of the skylights are saw-toothed windows, some 25,000 square feet of them, facing north. Although austere, thanks to the light the building feels serene and comfortable. Riggio had told me: ''When I saw what other people would describe as a wreck of a factory, I was blown away by the ribbons of north light. It's genius. The people who designed it may have wanted to cool the place in summer or light it for the printers, but I've dabbled in industrial psychology. This is a place that makes humans feel better for being there.''
Govan points to empty rooms. Here will go the Agnes Martins, he says, there the Warhols, there the Gerhard Richters, there the Darbovens and the Joseph Beuyses. (It is not just Americans at Beacon.) The choice of artists, as always at Dia, is idiosyncratic. Cooke, Govan's collaborator in installing Beacon, argued passionately for, among others, Louise Bourgeois, whose work will now occupy the attic, and for artists like Darboven, On Kawara and Robert Smithson. Several different-size galleries survey the paintings of Robert Ryman. The Warhol room alone is nearly as large as a floor of Dia's Chelsea gallery. The building is so big that its scale is deceptive. A passage between two huge galleries looks from a distance only slightly larger than a normal doorway, but up close it's clear you could drive a Hummer through it.
Next Govan shows me the room for Kawara's identical gray canvases with a different date printed in block letters on each one. Kawara, like other artists, was invited to design his own space at Beacon, so he had the doorways at either end lowered and moved slightly off center and all the floorboards taken up so that a layer of ceramicized red-oak branches could be put underneath them. Govan tells me this is to ionize and purify the air in the room, ''a traditional Japanese construction technique,'' he says.
Serra's immense ''Torqued Ellipses,'' cottage-size, walk-in steel sculptures weighing hundreds of tons already occupy what used to be the factory's train depot, which opens onto the formal garden. Wedged into a passageway nearby, if a space the size of a gynmasium counts as a passageway, Serra's ''Union of the Torus and Sphere'' resembles the warped steel hull of a beached ship, an ungainly, enigmatic container that cannot be entered, only circumnavigated. The placement in tight quarters stresses the work's mass.
And Heizer's ''North, East, South, West'' is embedded in a 150-foot-by-40-foot concrete floor on the opposite side of the building. The Heizer, a variation on a groundbreaking work he did in 1967 in the Sierra Nevada, consists of vertigo-inducing geometric holes cut into the concrete floor, made of Cor-Ten steel, in the shapes of a double square, a cone, a partial upside-down cone and a wedge. The holes are up to 20 feet deep. A glass rail will cordon off the work and limit visitors to a few at a time. But no barriers immediately surround the holes. To stare down into them requires walking right up to the unprotected edges and leaning over. It is thrilling and deeply alarming -- a little like standing on the edge of the Grand Canyon, I realize, which people also want to do for the view despite the danger, or maybe because of it. This kind of art, typical of Heizer's generation, aspires to a similar condition: call it extreme wonderment. To the inevitable question, How will he prevent people from falling in, Govan responds with a sheepish smile. Maybe bungee cords tethered to the walls, he says. He's not kidding.
Renovation costs for Dia ultimately exceeded $30 million, a hefty sum for a marginal nonprofit art foundation, which next will have to figure out how to pay for renovating its aging Chelsea site. Riggio and Lannan reached deep into their pockets, also coming up with millions for more art to put in Beacon. Counting the cost of Irwin's landscaping, Beacon came to under $100 a square foot. Bilbao topped four times that. Beacon is the anti-Bilbao: cheaper, a renovation to an old industrial building, not brand new; shaped by artists, not an architect; a harbinger, perhaps, of a straitened new century. Frank Gehry's spectacular building, the product of a booming economy, exemplified the go-go 1990's and inspired museums elsewhere desperate to mimic its novelty and civic attraction. Tom Krens's grand plan for the Guggenheim empire has been to open signature buildings around the globe, shuttling the same shows through them: Guggenheim branches functioning as spectacular shells, fancy containers sharing the same products. Another one, designed by Jean Nouvel, is slated for Brazil.
Dia:Beacon, although also grandiose, is the reverse: a permanent display of art in a space consonant with it. You could say the same thing about the affiliated projects around Dia, including ''Roden Crater,'' Smithson's ''Spiral Jetty,'' Heizer's ''City'' and De Maria's ''Lightning Field.''
Touring Beacon with Govan, I notice De Maria in the twin main galleries, the first, cavernous rooms past Irwin's vestibule, each 100 yards long and about 13 yards wide. A virtual recluse for so many years that many people think he is dead, De Maria keeps to himself, as usual, declining to talk, instead arranging large circles and squares of cardboard on the floor, mock-ups of flat, polished stainless-steel sculptures. For weeks, De Maria has apparently been pondering minute changes in the placement of the sculptures in these vast rooms, shifting them an inch or less this way or that, his fixation with detail being the obsessive essence of Minimalism's paradoxically immense ambition.
The only color in the building at this point comes from a couple of John Chamberlain's crushed-car sculptures. But a crew is now starting to unpack crates of Warhol's ''Shadow'' paintings: near-abstract variations on the same obscure image, many in Day-Glo hues. Govan, snowblind after staring at the same white walls for so many months, is elated. ''I've been waiting for years for this,'' he says.
I nod. Even so, the large empty rooms, the light and glass and peace and quiet, make the paintings seem almost like an intrusion. To get acclimated to Beacon is to become attuned to an aesthetic of plainspoken industrial spaces, simple forms and a kind of meditative silence that is the antithesis of the usual museum experience. It is a somewhat peculiar reaction to have to a museum. But then Dia has always been a most peculiar kind of museum.Continue reading the main story


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Prague's Beer Traditions: From Classic Pilsner to Modern Microbrews
Old Town Hall's astronomical clock. On the hour the twelve apostles make an appearance in the clock's little wooden doors. Photos by Nick Klenske
Prague Through the Glass: The More Things Change, The More They Stay The Same
By Nicholas J. Klenske
In describing his country's marquee beer, Czech Emperor Franz Josef I commented, "It is indeed curious that no brewery has yet succeeded in replicating the distinctive gourmet flavor of the pilsner beer."
Although this was spoken in 1874, because Prague is as much a part of its beer as is hops and water, it continues to hold true today.
Prague, the centerpiece of the golden genre of beer known as pilsner, was built, destroyed, and rebuilt on a foundation of beer. The tumultuous history of the city and the ever-evolving tastes of its beer culture are remarkably intertwined. Nobody knows this better than Ales Dockal, owner and executive manager of Pivovarsky Dum and Pivovarsky Klub.
Local Industry
In the Czech Republic, beer began as a local industry. "Each village would have one or two types of beers, often brewed by an individual in their own home," says Dockal.
Eventually these "in-house" beers were consolidated into what could best be described as regional breweries. Every region had their own brewery, with each producing one or two types of basic beers.
At the local pubs, only the local beers were on tap. "It was a patriotism thing," Dockal comments. "No matter how bad the local beer was, you'd never admit to not liking it."
Sitting in the comforts of the dynamic Pivovarsky Dum Restaurant and Brewery, staring at a wooden wheel presenting eight colorful varieties of micro beers that Dockal is enthusiastically encouraging me to drink, it is clear the Czech beer culture has undergone a significant change.
Inside Pivovarsky Klub: Just a sample of the over 200 varieties of beer available at Pivovarsky Klub, a beer boutique. (Photo courtesy of Pivovarsky Klub).
But, like any change, the evolution from the local pub's draw to such micro beers as Sour Cherry and a Nettle flavored brew, was both slow and gradual.
"Microbreweries are a new tradition in the Czech Republic," Dockal explains. Pivovarsky Dum opened its doors just under ten years ago, although the idea was laid in the late 1960s- during the thick of communist rule.
Forbidden Enterprise
"During college, some good friends and I began tossing around a pipedream of someday opening a restaurant and brewery here in Prague," Dockal reminiscences. "Yet we knew this was just foolish thinking, as the Communist Party forbade such enterprising."
In the Czech Republic, beer has always been associated as a working class beverage, thus making the evolution to microbreweries even more challenging. By the end of the nineteenth century, large, corporate breweries such as Pilsner Urquell, Budvar Budweiser and Staropramen were quickly buying up the regional breweries.
Walking on the iconic Charles Bridge
These big breweries continued to produce low-cost draft beers. During communist rule, the government ensured the continuation of this tradition by purposely keeping beer prices low. "The thinking was," Dockal explains, "if the working class could afford ten beers a day, they'd be happy."
Usher in the late 1990s, the Velvet Revolution, and the subsequent fall of communism. Suddenly, everything changes. "With the fall of communism, people gradually became wealthier," comments Dockal. "With wealth, they were able to travel abroad and sample different types of beers. When they returned, they came back with both a new taste and new respect for beer."
Taking advantage of this potential new market for beer, Dockal and his friends resurrected their college-era dream and laid the groundwork for the "eatertainment" movement in Prague.
The sample wheel of Pivovarsky Dum's creative micro-beers
"Eatertainment refers to the concept that people want more than just good food when they go out," says Dockal. "They also wanted good beer, good atmosphere and good company."
As Prague established itself as one of Europe's premier travel destinations, this craving for something more continued to escalate. "The changes happening at all levels of Prague made the perfect environment for the opening of a brewpub." Thus, the birth of Pivovarsky Dum.
Today, Pivovarsky Dum takes prides in its creative brewing of numerous unique craft beers and, according to this writer, "One of the best pilsners around."
Along with a full menu of traditional Czech fare served in a classic bohemian atmosphere, patrons can also enjoy an eight-glass sampler of the brewery's latest concoctions.
Banana Aftertaste
From dark to wheat, from coffee- flavored to a beer with just a slight hint of a banana aftertaste, even the most traveled beer connoisseur will be left impressed — if not somewhat mystified. A must-try are the beer crepes, a dessert stuffed with jam created from the wheat and dark brews, resulting in a sugar-sweet cap to a perfectly gourmet evening.
Beer anyone?
Despite the evolution of both Prague and its beer, surprisingly, not everything has changed. Even though the tastes and styles of Prague's beer may continue to evolve, the foundational philosophy remains the same.
According to Dockal, whether micro, local or corporate, "Good beer comes from handmade work brewed in the classic Czech traditions of being unfiltered and unpasteurized." –Only going to show that the more things change, the more they stay the same.
Thirsty in Prague?
No matter what part of Prague you find yourself in, there are plenty of great places to quench your thirst for a Czech beer. Here are some suggestions to get you started:
Old Town
Pivovarsky Dum, a leader in Pragues "Eatertainment" movement
U Zlateho Tygra: A crowded, standing room only, smoke filled dive of a working class bar. Here Czech beer is enjoyed in the most classic tradition. The bar is famous for being the haunt of writer Bohumil Hrabal, a place President Bill Clinton paid homage to, and for serving the best Pilsner Urquel in Prague. (Husova 17, 222-221111)
Literarni Kavarna: It may be a bit hard to find as there's really no sign revealing its hiding behind an arched wooden door, but this intellectual hangout is a great find. The interior's courtyard is the place to relax, eavesdrop and, most importantly, sample a new variety of beer. (Tynska 6, 420-2-2482-7807)
Kafka Café: Although it has nothing to do with the legendary writer beyond sharing his name, it does offer a comfortable atmosphere to drink a Pilsner Urquell. Buy a copy of your favorite Kafka story at the Franz Kafka Society's bookstore, located next door, and enjoy it with the company of a beer and the eerie gaze of the author staring you down from his portrait hanging on the wall. (East of Maiselouva, North of Siroka. Near the Jewish Quarter)
Castle District
U Cerneho Vola: Here's a concept you cannot refuse: a chance to drink for charity. A portion of all sales goes towards a local school for the blind. The bar also offers a good, local feel and relatively cheap draws. (Loretanske Namesti 1)
Malt, one of the many essential ingredients that go into creating Prague's drink of choice
Hospuda na Schodech: Conveniently located at the crest of the Radnicke Schody steps, this quaint bar is a cheap pit stop that also offers an outstanding view. (Radnicke Schody 5) New Town
U Fleku: Perhaps the world's most famous beer hall, this sprawling restaurant and brewery is everything a beer hall is suppose to be: crowded, loud and over priced. Yet one literally cannot say no to the constant onslaught of oncoming mugs filled with caramel-dark U Fleku Lager. (Kremencova 11, 420-224-934-805)
U Medvidku: A quieter and cheaper alternative to U Fleku, this beer hall serves an excellent dish of gulas and a surprisingly affordable mug of Budvar. (Na Perstyne 7, 420-224-211-916)
Pivovarsky Dum and Pivovarsky Klub: Whereas Pivovarsky Dum is the city's original brewpub and brews Prague's most original flavors, Pivovarsky Klub, a beer boutique, has over 200 beers for you to choose from. (Pivovarsky Dum: Lipova 15, 420-296-216-666;Pivovarsky Klub: Krizikova 17, 420-222-315-777)
The Big Breweries
Staropramen: Located in a working class part of town, this is Prague's only brewery. Brews an excellent pilsner and a tasty dark variety. Tours are available but must be arranged beforehand. (Nadrazni 84, 420-257-191-402)
Budvar Budweiser: Don't let anyone tell you differently, this is the original Budweiser beer. Located just over an hour from Prague, a tour of the Budvar brewery makes for an excellent day trip.
Pilsner Urquell: The Czech Republic's best-known beer and the original pilsner, a trip to the city of Plzen, only seventy minutes by train from Prague, is a must for any self-acclaimed beer guru.
For accommodation options, find unique Prague hotels and interesting tours in Prague.
Nicholas J. Klenske, world traveler and voluntary beer taster, is a freelance writer living in Brussels, Belgium. His work has appeared in The Milwaukee Journal Sentinel, New Haven Advocate and Eons.com. Contact him through KlenskeInk.com.
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subset: commoncrawl


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WASHINGTON – Albert Pujols' 500th home run is a milestone, but it's also a significant marker for the Los Angeles Angels and the investment they made in one of baseball's premier hitters.
Pujols became the 26th player and third-youngest to hit No. 500 when he connected for his second of Tuesday's game against the Washington Nationals.
Pujols' 500th, off Washington's Taylor Jordan, went into the seats in left-center field at Nationals Park with Mike Trout on first base, giving Pujols five RBI for the night and the Angels a 6-2 lead. They wound up winning 7-2.
Pujols' homers were his seventh and eighth this season to give him the major league lead a season after he hit a career-low 17. His five RBI give him 18 in his past 13 games.
That's as promising a return as Pujols has given the Angels since 2012, the first year of the 10-year, $240 million contract he signed. He's making $23 million this season, a number that grows by a million each year through 2021.
PUJOLS' CAREER: Through the years
THE BALL: Serviceman, Angels fan gives it to Pujols
Pujols hit 30 homers and drove in 105 runs in 2012 but was limited by injuries – most notably plantar fasciitis – to 99 games last season. In his 11 seasons with the St. Louis Cardinals, he led the National League twice in homers and topped 40 six times, including a career-high 49 in 2006.
Only Alex Rodriguez and Jimmie Foxx got to 500 sooner than Pujols, who is 34 years and 96 days old. Rodriguez was 32 years, 8 days when he got to 500 in 2007. Foxx was 32 years, 338 days when he got there in 1940.
Pujols hit No. 499 to stake the Angels to a 3-0 lead three batters into the game against Jordan, a line drive just inside the left-field foul pole. He's the first player to hit Nos. 499 and 500 in the same game.
Pujols is the first player in five seasons to reach 500. When Gary Sheffield, the most recent new member of the club got his on April 17, 2009, he capped a stretch in which eight players got to 500 in a span of six seasons.
He becomes the 12th player with 500 career homers, 500 doubles and 1,500 RBI, joining Ted Williams, Hank Aaron, Eddie Murray, Willie Mays, Frank Robinson,Ken Griffey Jr., Barry Bonds, Rafael Palmeiro, Manny Ramirez and Rodriguez.


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Choosing an occupation
Numerology of occupation In terms of numerology, numbers, dates of birth and name are determined not only to the particular nature and personality, but also the propensity to choose a particular field of activity, and even very specific profession. At first glance, this statement may seem controversial. Indeed, it is hard to believe that Barbara … Continue reading


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MONTPELIER – Agency of Human Services Secretary Doug Racine is being replaced, the Shumlin administration announced Tuesday, as challenges within the agency mount.
According to Shumlin administration officials, current Health Commissioner Harry Chen will replace Racine on an interim basis while a permanent replacement is sought.
"I appreciate Doug's hard work over three and a half years to help Vermont's most vulnerable," Shumlin said in a release.
Shumlin touted the agency's move to a data-driven, results-based planning strategy and a revamped mental health system under Racine's tenure.
But the agency has faced significant challenges, too. Vermont Health Connect, the state's online health insurance marketplace that is overseen by the agency's Department of Vermont Health Access, has struggled and remains hobbled. And The Department for Children and Families has faced scathing criticism following the recent deaths of several children, allegedly at the hands of caregivers.
"This has been a tough job, but now is the right time to start with new leadership to take the Agency of Human Services forward," Shumlin said. "I appreciate Dr. Chen's willingness to get us started on that challenge."
Chen is expected to remain as Interim Secretary of AHS through the end of the year. Deputy Commissioner of Health Tracy Dolan will head the Health Department in his absence.
A full story will appear in Wednesday's editions of the Herald and Times Argus.


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Late Monday evening, I flew into Sea-Tac Airport from Washington, D.C., and I've been thinking about military sacrifice and the legacy of 13 years at war ever since.
The pilot had alerted passengers on the full Alaska Airlines Flight No. 3 of another passenger in the cargo hold, a fallen soldier, and asked people to allow his military escort to exit first. As the plane taxied to the gate, several emergency vehicles clustered with lights flashing. A row of, I presume, firefighters stood at parade rest.
The plane stopped. Within minutes, the seatbelt sign went off. But instead of the familiar cacophony of seat-belt clicks, excuse me's, carry-ons sliding out of overhead bins and people telling their rides to meet them under Skybridge 5, the cabin was quiet as people watched what unfolded on the right side of the plane. Somber. Respectful. Whispers: "Is that the wife?" "Are those the parents?"
A woman and man stood next to the hearse. Slowly, a group of six soldiers emerged from the shadows and, walking in unison, disappeared under the front of the plane. Minutes later, the pallbearers reappeared, carrying the flag-draped coffin in a wide arc to the hearse.
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As I suspect was the case for most others on that plane, this was the first time I was confronted so closely by military sacrifice, because of the voluntary nature of U.S. military service. Except for a second cousin from Montana who is an Army officer, I don't know anyone in active military service — an odd thing considering we have been militarily engaged in Afghanistan since 2001.
But many families and communities know the toll of war and sacrifice intimately. U.S. forces have lost 4,485 service members in Iraq and 2,869 in Afghanistan. According to The Associated Press, 90 Washington state residents have perished in Iraq and 53 in Afghanistan. The numbers do not include those wounded physically or mentally.
Monday night's ceremony was an affecting end to a day that started in a meeting with Secretary of State John Kerry at a State Department briefing for the Association of Opinion Journalists.
As a 28-year-old spokesman for Vietnam Veterans Against the War in 1971, Kerry famously asked the question before the U.S. Senate Foreign Relations Committee: "How do you ask a man to be the last man to die for a mistake?"
As a U.S. senator in 2002, Kerry voted for the resolution authorizing President Bush to use military force to disarm Iraqi dictator Saddam Hussein. In a floor speech, he urged diplomatic options be exhausted first. As an unsuccessful presidential candidate two years later, he strongly opposed the Iraq war, criticizing the administration for misleading the public about weapons of mass destruction.
Now, as America's top diplomat, Kerry deftly ran around the world in a 25-minute briefing on Monday, touching on North Korea, Iran, Egypt, Israel, the phenomenon of the Arab awakening and Syria. The administration recently acknowledged the Syrian government had crossed the "red line," citing evidence it had used sarin gas on its people.
Kerry's approach is heavy on diplomacy rather than deployments.
"Nobody is talking about American boots on the ground, I assure you," the secretary said. "Not in the cards."
Noting that drones, SEAL teams and deployments will not keep America safe, Kerry outlined initiatives, in collaboration with other nations and businesses, to invest in emerging or troubled countries to provide opportunities for individuals to succeed and avoid being disenfranchised.
But it was what Kerry said at the end of his briefing that I recalled as I watched the fallen soldier's coffin carried across the tarmac.
U.S. involvement in Iraq is much diminished and troops in Afghanistan are coming home as the country transitions to Afghan leadership.
"We are actually less engaged, I'd say, with our forces in risk than we have been in many years," Kerry said. "Needless to say, we would like it to be that way and to get even better."
The back door of the hearse closed, and I stood up to get my carry-on.
Kate Riley's column appears regularly on editorial pages of The Times. Her email address is email@example.com On Twitter @k8riley


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Advice on using a pate fermente/old dough
Can any of the experts on TFL be kind enough to give me some advice on using the pate fermente/old dough method in a recipe please? Assuming I have a pc of 50 grm "old dough" to be used in a regular/normal recipe (not using an old dough) can I just add this 50grm (as if making a slightly larger loaf than what the receipe calls for) without making any adjustments to the ingredients in the recipe? I would like to add that I have done a search on the TFL before posting this topic but none helped to address my query. I am also aware that the old dough used should be approximately 20 - 30% of the total flour used in the recipe, but what I'm unsure of is whether I need to adjust the qty in the ingredients if I was to add this extra old dough to a recipe that does not call for a pate fermente. If an adjustment is required, should it be just on the weight of the flour alone or should I adjust everything else, ie. water, yeast etc. Many thanks. Judy


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I have to finally admit it. Late nights, too much coffee and stress stress stress has given my regular, but small outbursts of adult acne.
Enter Dr Nick Lowe's Anti Blemish Range:
There are four products in the Anti Blemish range, two types of cleanser, a day cream and blemish gel. I went back later on to buy the other type of cleanser – will explain why later:
The packaging is very simple and quite elegant. It looks a lot more expensive than it is (around £10 per product apart from the Day Cream which is £15).
The Day Cream:
I have been using this range for a while now and I have mixed feelings about it.
On the positives; the skin care makes my skin feel super clean. The moisturizer is lovely and sinks in easily. The blemish gel, unlike Clinique's doesn't make my skin feel like a hole is being burnt in it. It's also a really nice looking range, there's something clinical and elegant about it.
On the not as positive side, my spots are not completely calming down and in a way its bought out more spots. I am not sure if this is the cleansing process taking place – a bit like when you use a face mask and all your spots come out. This could be the case but it's a bit disheartening to see another pimple on your face.
Having said that – I am particularly stressed at the moment – if you watch the video at the end of this post, then you'll see that Dr Lowe seems to think that stress is a big accelerator (?) for spots so it could be that making things worse.
The cleansers I think WORK very well, but there are a few issues. The textures and types.
Originally I got the cleanser which is a liquid (like toner). If you wear a fairly full face of make up, rubbing some clear liquid on it will make it very hard to get clean. This is why I went back to get the foaming cleanser, so I could do a double cleanse. However – the foaming cleanser is not a creamy texture one, it is just like a light foam (lighter than shaving cream) which I am still a little unfamiliar with. I still prefer a creamy foam or a cream cleanser in the first instance to really get the war paint off. Also the cleansers smell like kitchen cleaner. Just sayin'!
The cream is lovely and sinks in easily BUT it may be a little too heavy duty for me in terms of oil absorbing. Yes I get oilies but because this cream soaks it up (leaves a lovely matte effect) I found that my base clogged up up and congealed on my face. (However – I have been using my new Illamasqua base products I don't know if they just don't like each other. When I use the Clarins primer, the cream seems ok. If I were oily all over though I would highly recommend this day cream (it also smells nice! and I had no allergies to it).
Here's a video of Dr Nick Lowe talking about acne:
Facial Care: Skin Problems – Acne


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With PlayMemories Online, all of your photos and videos can finally be stored, accessed and neatly organized in one place – regardless which device they were taken with. Enjoy your memories wherever, whenever you want on your smartphone, tablet, computer or TV. All images and video clips are automatically optimized to the screen size they're on. Create a photo album in 3 easy steps to share with friends and family via email or brighten a loved one's inbox with a personalized postcard – it's easy.


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GLBasic is an easy to pick up programming language (BASIC dialect) that compile to native code for many platforms including Windows, Mac OSX, Linux, iOS, Android and WebOS. The SDK features commands for networking as well as a built in 3D engine. All code is completely compatible across all supported platforms. GLBasic is free for non commercial 2D projects. 3D, networking and mobile platforms will run in DEMO mode without a time trial limitation until the SDK is purchased.
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It turns out that the rumors were true: Intel is indeed building a new $2.5 billion chip fabrication facility in China. The newly announced Fab 68, which is scheduled to go online in the first half of 2010, will turn out 300mm wafers on Intel's 90nm process. Intel says that the fab will initially make chipsets, but it's clear that the company would like to make more than that in China.
So why build a 90nm fab that will go online at a time when Intel's CPUs will be produced on a 32nm process and its chipsets will be produced on a 45nm process? There are a few likely reasons, some of which I spelled out in my previous article on this topic.
First, there's the export control issue. The US places strict limits on the exportation of "dual-use" technologies, like cutting-edge semiconductor manufacturing methods, that could potentially be used for military purposes. So the government doesn't want Intel putting a 65nm or smaller plant in China, because the Chinese might steal that technology and use it to make chips for their military hardware. Or, at least that's the supposed to be the primary rationale, though I imagine that maintaining the US's competitive edge in semiconductor manufacturing also has something to do with it. So Intel is building a new 90nm plant in China because 90nm is the smallest process node at which the US will let them build, and even 90nm represents a loosening of previous export controls (they were capped at 180nm).
I'm sure that Intel would love to move this fab down a notch or two in feature size if they can get the US government to let them. This fab gives them a foot in the door, and if they can get the go-ahead to go down to the 65nm node or lower then they'll be that much more competitive and they won't have to start from scratch.
Next, there's the size of the Chinese market, both current and potential. Right now, the Asia-Pacific market makes up a full 50 percent of Intel's net revenues. In China in particular, Intel is far and away the largest seller of semiconductors, with IBM coming up a distant second. So there's a huge existing market for Intel products in China, and that market is growing as China's industrial sector grows. But Intel doesn't want to limit itself to Chinese industry. The company has already started a design center in China that's tasked with finding new uses for computing power among China's largely poor, rural population. For these customers, cost and durability are going to loom much larger than performance, so 90nm products should be fine for those applications.
It's also the case that China's native semiconductor sector, with the sole exception of SMI, is still stuck at the 180nm node. So Intel won't have much in the way of native competition, even though its products will be at 90nm.
Finally, according to the EET, Intel is using a new technology to bring this fab online. Instead of "copy exact," which enables Intel to build fabs rapidly, the new fab technology will keep costs down and should make Fab 68 Intel's lowest-cost fab. So when you combine the size of the Chinese market with the low cost of the new fab and with the Chinese government's incentives, a 90nm fab in 2010 starts to make more sense.


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Las Vegas Hotels Without Casinos
We know not every visitor wants gaming, so not every resort in Las Vegas provides it. There are several family-friendly hotels in Las Vegas that feature everything else Las Vegas is known for – incredible restaurants, shopping, spas, first-rate accommodations and more.
Check out these non-gaming hotels in Las Vegas.


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"THE GAME" � (5:30-6:00 p.m. ET)
"The Commitments" (TV-14, DL) (HDTV)
MELANIE MUST MAKE A DECISION � Melanie's (Tia Mowry) relationship with Jerome (guest star Mehcad Brooks) begins to heat up, but she pulls back, believing she is not ready for a commitment. When Derwin's (Pooch Hall) new girlfriend Janay (guest star Gabrielle Dennis) tells him her condo is being remodeled, he invites her to move in with him. Later, when Janay and Derwin run into Melanie and Jerome, Janay tells Melanie that she's moved into Derwin's place. Melanie reacts by getting a drastic new hairstyle and deciding it's time to commit to Jerome, but finds him with another woman. Meanwhile, Jason (Coby Bell) is distraught when Malik (Hosea Chanchez) tells him about a rumor that Jason will be benched for the next game. Jason and Kelly (Brittany Daniel) work together to find a solution to his performance on the field. Wendy Raquel Robinson also stars. Lenny Garner directed the episode written by Julie Bean (#40596-037).


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Latest Neurology News
WEDNESDAY, June 5 (HealthDay News) -- Youth football players are much more likely to suffer concussions in games than during practice, and older players have a much higher risk of concussion than younger players, a new study finds.
Researchers looked at nearly 500 players, aged 8 to 12, on 18 teams in four youth tackle-football leagues. During the study period, 20 players suffered concussions. Eighteen of the concussions occurred during games and two during practice.
The incidence rate during games was about twice as high as previously reported, while the practice rate was comparable or lower than reported in previous studies. Overall, players in this study were 26 times more likely to suffer a concussion in a game than in practice, according to Anthony Kontos and colleagues from the University of Pittsburgh and Cornell University.
Most of the concussions involved helmet-to-helmet contact, and 95 percent involved players at skill positions such as running back or quarterback, according to the study, which was published June 6 in the Journal of Pediatrics.
The researchers also found that players aged 11 and 12 were nearly three times more likely to suffer a concussion than players aged 8 to 10.
About 3 million American youngsters participate in tackle football. In response to concerns about concussions, contact practice time was limited by Pop Warner, the largest youth football organization in the country.
Contact practice time is when proper tackling technique can be taught and reinforced in a controlled environment, Kontos said.
"Limiting contact practice in youth football may not only have little effect on reducing concussions, but may instead actually increase the incidence of concussions in games via reduced time learning proper tackling in practice," he said in a journal news release.
A better way to reduce concussions in youth football may be to focus on awareness and education among youth football administrators, coaches, parents and players, Kontos said.
-- Robert Preidt
Copyright © 2013 HealthDay. All rights reserved.
SOURCE: Journal of Pediatrics, news release, June 6, 2013


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There's plenty of food for thought in the new Alex Delaware thriller from bestselling US author Jonathan Kellerman.
As the bodies mount up in a series of Los Angeles murders, there is one disturbing clue that links them all… bizarre 'last suppers' carefully laid out on tables at the homes of the victims.
This is the 30th outing for police psychologist and crime reader Delaware and his trusty sidekick Lieutenant Milo Sturgis. They are the long-serving creations of trained clinical psychologist Kellerman, the mesmerising master of mind games and nail-biting suspense.
Famous for his intelligent, razor-sharp plotting and ability to home in on the criminal mind, Kellerman's hard-hitting and addictive thrillers have won him a huge fan base.
Even with hundreds of closed cases under his belt, LAPD's Lieutenant Sturgis can't stop agonising over the crimes that don't get solved, and the victims who go without justice.
They include Katherine Hennepin, a young bookkeeper who was found strangled and stabbed in her LA apartment just two months ago. On her kitchen table was an eerie dinner for two, all exquisitely stage managed by the killer. It belied her brutal end at the hands of someone who had clearly been 'driven by a nuclear rage.'
A single suspect, the victim's volatile chef boyfriend, had a solid alibi and enquiries led only to a dead end, one that even psychologist Delaware's expert insight can't explain.
Then another woman is murdered. This time the victim is Ursula Corey, a successful, attractive divorcee, gunned down in an execution that smacks of simple, savage revenge. Just as Alex and Milo think they are moving in on the killer, they discover another meal-for-two clue linking Ursula with the unsolved Hennepin murder.
The same taunting signature raises the spectre of a serial killer on a mission, a terrifying executioner whose perverted method can only be the manifestation of a manipulative and cunning madness...
Delaware and his cynical police partner certainly have their work cut out in a gripping and intriguing case which has more twists and turns than a snakes and ladders board.
As always, the police procedural is impeccably authentic, the scene-setting amazingly visual, the mind games dazzling and the plotting devilishly clever.
A master storyteller on tip-top form.
(Headline, hardback, £19.99)


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- The belt should be purchased in 2 inches longer than the waist size to account for the thickness of the pants. it is 's recommendation.
- Size : 28,30,32,34,36,38,40,42" - Please measure your own belt (Check the 5th photo) - Waist size + 2"
- 100% Real Leather
- Material : 100% Real Solid Leather (5 holes) - Made in Korea (Leather from Italy)
- Color : White (The color of belt & buckle may differ from the color of monitor)
- Belt Width : 1 1/2 inch (3.7cm), Thickness of Leather : about 1/8 inch (0.3cm), Buckle Size : 2 inch × 2 1/8 inch (4.8cm × 5.5cm)
Product description
This belt is made of Real Leather. Leather was imported from Italy. And, it was made in Korea. Some belts are made of leather powder. The belt of leather powder is very cheap. To the untrained eye, the products look remarkably similar. But there is a great gap between the qualities of the two. Don't be fooled by the bait advertising. And Check the cross section, please. (Check the last 3 pictures on this webpage). We sell 100% Real Solid Leather belt. The size may differ from the size of your pants(especially hipster jeans). Please measure your own belt. We can punch additional holes, if you want. (only round holes). This belts can be shortened. The buckle is joined by screw. (Use a flat-head screwdriver). Pierce a leather with awl. And enlarge a hole with sharp scissors. (Spin one side of scissors in a hole)
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When buying tickets on our site, we safeguard your transaction.
You will receive a 100% refund for your tickets if:
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Celebrate Christmas In Palestine
Palestine– Special events and activities planned now through Dec. 29 make this holiday season an ideal time to visit the City of Palestine. The Polar ExpressÔ comes to life at the Texas State Railroad beginning on Friday, Nov. 15.
The City of Palestine will be decked out with festive holiday decorations while hosting a number of events that attract visitors from near and far. From snow tubing in the Palestine Main Street District to ice skating under the Texas stars, there will be plenty of family-friendly fun.
"A train ride is just the beginning of our holiday traditions in Palestine," stated Breezy Lake-Wolfe, Marketing Manager for the City of Palestine.
Some of this year's holiday attractions include: pop-up specialty Christmas stores, trolley rides through Palestine's unique historic neighborhoods and an art gallery, located in downtown.
"Everyone downtown is looking forward to the 2013 season," said Laura Westgate, Palestine Main Street Manager. For the last four years, we have been building a great community effort to offer unique experiences — experiences that you can't find anywhere else. This coming together of the community, city, county, business owner and volunteers has been beneficial in terms of quality of life and economic impact. Main Street invites everyone to enjoy the holidays with us; this is going to be an amazing season!"
Palestine is designated as a Texas Main Street and is home to over 1,800 historic sites; including churches, buildings, houses, monuments, cemeteries and museums. Established in 1846, Palestine has more buildings in the National Register of Historic Places than any Texas city except Galveston.
"Our city is going to be filled with family oriented activities, events and decorations that capture the holiday season," said Breezy Lake Wolfe, Marketing Manager for the City of Palestine. "We want everyone to experience our modern hotels, charming B&Bs, spas, wineries, diverse shopping and restaurants for all palettes. Visiting Palestine with the family is special any time of the year, but without a doubt the weeks between Thanksgiving and New Years are magical."
A complete list of holiday events and activities can be found at www.visitpalestine.com or call 903-723-3014.


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"I would be lost without the guidance of the faculty and staff in CHAS. I enjoy studying in CHAS because I know that I have many opportunities and there are people that want to see me succeed."
"Despite being born in Mexico, I consider Cedar Falls my adopted hometown."
"I really love the departments I am involved in here at UNI. My professors care about my success and are always willing to meet with me and listen to my concerns."
"I know coming to UNI and being in CHAS was the best choice for me. It is truly an unmatched experience. I am a proud Panther!"


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The Advertising Archives was established in 1990 by Larry and Suzanne Viner and is the largest and most comprehensive resource of its kind in Europe. Larry Viner began his career as an actor and TV presenter and ran a wide variety of businesses before dedicating himself to The Advertising Archives full time. He is a member of BAFTA and the NUJ, a valuation expert for many of the major London auction houses and frequently appears on radio and TV speaking on ephemera related subjects. Larry sits on the panel of the Advertising Slogan Hall of Fame, alongside David Abbott, Winston Fletcher and Dave Trott. As a member of The Royal Albert Hall he has also advised on the setting up and digitalisation of the historic Albert Hall Archive....
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Fine Art America sells thousands of pieces of artwork each month - all with a 100% money-back guarantee. We take great pride in the fact that hundreds of thousands of artists have chosen Fine Art America to fulfill their orders, and we look forward to helping you select your next piece!
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|2008-07-16, 22:49
|Link #101
Otaku Apprentice
What about a Quote Thread:
To be discussed in thread: Saying the quote in Romaji, Japanese Alphabet and.... English translation... Quotes from Lucky Star....
Reason: There's a quote thread in Suzumiya Haruhi... there should be one here as well. I'm still memorizing quotes.
|2008-07-16, 23:15
|Link #102
One PUNCH!
Join Date: Dec 2005
Favourite Lucky Star Quotes
|2008-09-29, 20:26
|Link #103
Join Date: Aug 2004
Location: Shitty old London. They must've been on drugs when they built this place, WTF were they smoking!!!
Age: 35
suggestion for new poll: "which was your favourite story in the ova?"
or we can also just edit the current ova thread
|2008-10-12, 01:22
|Link #104
Baka Inu~
I would like to request a Lucky Star Fanfiction Discussion thread.
There has been a steady stream of new stories that I believe that are worth discussion. Plus I think it would be a great way for several people to see new situations with the characters or get some general opinions of popular stories. This is one of those series that still strives and does not have an ending, so the popularity will continue to grow.
It's important that people keep non-canon issues or new suggestions in this thread so it doesn't get out of control or too off topic for other threads.
|2008-10-12, 08:46
|Link #105
I want to @#$% with--
I second his suggestion. I would really like to see/participate in a fanfiction thread.
Especially now also that the OVA has come out and there's been a tiny surge in fanfiction and other fan-stuff. I enjoy both writing and reading it, and it could be a neat little place for discussion like some of the fanfiction boards for other series on animesuki.
|2008-10-17, 21:26
|Link #107
Baka Inu~
Just checking with the thread suggestion I made, we can talk and post fanfics in the section, right? Lately with the fanfiction website on topic, there's been a lot of recent happenings, so I just want to know if animesuki is also allowed for posting. I've seen several fanfiction threads for other shows (Particularly Code Geass and Nanoha) so I just want to confirm if we can put everything in this one thread instead of having to divide it into others.
|2009-08-10, 01:07
|Link #111
Junior Member
Join Date: May 2009
There's something that has been bugging me recently - Lucky Star is often targeted by, let's say, haters of anime/manga. Such comments as "This lame crap is for gay/those without a life/pedo" litters LS Youtube clips like no tomorrow, at a much greater frequency than other anime clips.
Is it possible that a thread be created to discuss the whats and whys of this phenomenon?
Thank you for your concern.
|2009-08-10, 02:00
|Link #112
Just call me Ojisan
Join Date: Jan 2003
Location: U.K. Hampshire
|2009-08-17, 14:31
|Link #113
In a tree
Join Date: Aug 2009
Location: The States
Age: 25
Not sure if this is already here cause I'm new at this, but how about a thread on the future of Lucky Star? You know, like guesses on what shall become of the anime/manga, hopes, opinions, and factual evidence for what might happen.
|Thread Tools


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Deputy Secretary of State Bill Hobbs calling it quits after 12 years of service
Deputy Secretary of State Bill Hobbs announced his retirement today after serving 12 years in the secretary of state's office.
Appointed by Secretary of State Donetta Davidson in 1999, Hobbs served five secretaries overseeing major innovations in business filings and elections administration.
"It is with a great deal of excitement — and a little sadness — that I announce to you my plan to retire from state government," Hobbs said in an email to friends and colleagues. "After 31 years with state government, including the last 12 years with the Secretary of State's Office, the timing feels right for me to try some new adventures, both personal and professional."
A news release from the secretary of state's office notes that Hobbs is most publicly known for drafting hundreds of ballot initiative titles during his time on the state's Title Board, and that Hobbs' "stoic and patient demeanor consistently represented the Secretary of State's office as its only deputy."