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December 29, 2016

I take it personally

Category: digitalcherry452 @ 3:35 am

LOS ANGELES, Calif. – Veteran Kings defenceman Robyn Regehr, sidelined since Game 1 of the Anaheim series, says hes close to returning. “I feel good,” the 34-year-old said after the morning skate in advance of Game 1 of the Stanley Cup final against the New York Rangers. “I had a chance to practise a little bit, had a little bit of contact.” But Regehr said his guess was coach Darryl Sutter would go with the same lineup as last time, given the overtime win over Chicago in Game 7 of the Western Conference final. Sutter also indicated Regehrs time would likely come later. “Hes getting closer,” he said. “With only the one game, the way its broke out this week, we probably wouldnt play him tonight.” Game 2 of the series goes Saturday. Regehr, who has played 1,022 regular-season NHL games, was part of Sutters Calgary Flames team that lost the 2004 Cup final to the Tampa Bay Lightning. Asked what he wanted to do differently this time, Regehr said: “Win, simple as that.” Regehr was injured May 3 when he was knocked into the boards by Anaheims Teemu Selanne. Jay Ajayi Green Jersey. There was little fanfare, though, when the Yankees captain was taken out of his final regular-season Subway Series game in the eighth inning. Jeter watched the last four outs from the bench, pulled off the field during a double switch Thursday night as the Yankees held off the Mets 1-0. Mark Clayton Dolphins Jersey.com) – Even-money favorite Liams Map proved a little too tough down the stretch and won Saturdays $100,000 Harlans Holiday Stakes at Gulfstream Park. http://www.jerseyshoptheofficialdolphins.com/Elite-Kelvin-Sheppard-Dolphins-Jersey/. PETERSBURG, Fla. Jay Ajayi Youth Jersey. The first of the three games will be played in Week 4, when the Oakland Raiders will take on the Miami Dolphins on Sept. Ajayi Jersey. Lupul injured the hand in a fall at practice on Thursday. He will wear a cast for a minimum of 10 days before he can put a glove back on it and get some mobility back, said Carlyle, who added the winger wont go on the teams upcoming road trip.TORONTO – Greivis Vasquez was speaking to a large circle of journalists Thursday when DeMar DeRozan squeezed his way in through the crowd and affectionately draped an arm around Vasquezs neck.This seasons Toronto Raptors are a tight-knit bunch. And on a day ESPN pegged the Raptors chances at winning the NBA title at a whopping 41 per cent, they scoffed. Anything said outside of their gym, they said, is all just noise.We dont care about nothing ESPN is saying, honestly, DeRozan said. Nobody cares what anybody says. We care about everybody thats got this Raptors jersey on. Everything else dont matter to us, man.Weve got our confidence, Vasquez added. We dont need anybody to talk about us, whether its good or bad.The Raptors practised the day after their 126-115 victory at Atlanta that kept Toronto even with Memphis atop the NBA standings (13-2), and boosted their win streak to six games.Thursdays ESPNs Hollinger Playoff Odds gave the Raptors a 100 per cent chance at making the playoffs, and a 71 per cent chance of making the NBA final.Theyre lofty predictions never before seen in Toronto, but Raptors coach Dwane Casey similarly shrugged them off.Im not a betting man, how many more games have we got to go? A lot of games to go. Im not putting any credence in that, Casey said.When someone asked if the predictions had at least put a smile on his face, he answered: No. Not at all. None whatsoever. I live in reality. All I know is we have a tough game (Friday) night.The Raptors host the Dallas Mavericks (11-5) on Friday amid a huge buzz around Canadas lone NBA franchise. What would have normally been a relatively quiet practice Thursday drew a couple dozen journalists.The players say theyre not looking at records, or getting caught up in the buzz. Theyre just enjoying playing.This is the best team Ive played with by far, DeRozan said. Not just basketball-wise either. Personnel. Everybody gets along, everybody has a great relationship with one another. That goes a long way. . . the chemistry that we have is amazing.That even goes for his high school teams, DeRozan added.Asked what hes thankful for — Thursday was Thanksgiving in the U.S. — DeRozan answered, his arm still slung around Vasquez: Having teammates like Greivis. Honestly. Having teammates like all these guys here. Because it makes every day easier, even on the tough days, you find something to joke about, laugh about, have fun about.ddddddddddddeve all been on bad teams, and what it feels like to come in and work, on the tough days.While the Raptors are off to easily their best start in franchise history, theyve had a favourable schedule at home that included a stretch of seven games in a row at the Air Canada Centre. Theyve also had some luck on their side, playing a Memphis Grizzlies team that was missing five players to a flu virus, and an injury-riddled Oklahoma City squad missing stars Kevin Durant and Russell Westbrook.I dont believe in luck. I dont, DeRozan said. I understand how hard I work, how hard this man works (arm still around Vasquez), how hard the other 13 players on this team work. And when people say the luck thing to me, I take it personally, because I know how hard we work to be as good as we are.Wasnt no fluke what we did last year. Wasnt no fluke, no luck.DeRozan pointed to Torontos strong performances on the road — their come-from-behind win over LeBron James and the Cavaliers in Cleveland, Wednesdays solid victory at Atlanta — as proof their red-hot record is more than luck.We like playing on the road, we like playing in other peoples arenas, we get a thrill out of going to other peoples houses and beating them, DeRozan said. If youve got that type of mentality, we can go a long way.Casey said the way his team has won games — pulling out a victory in tough situations — is also proof of the teams growth.The last three games we were in a pickle, Casey said.They fell behind by 18 points to the Cavaliers before roaring back to beat them. They gave up seven three-pointers in the fourth quarter to Phoenix before clinching the win with a final 60 seconds of sheer hustle and hard work. They allowed Atlanta to stay close on Wednesday before pulling away down the stretch.I think two years ago, a year-and-a-half ago, we would have folded the tent, Casey said. But there seems to be a resolve developing with our players, fighting through stuff, fighting through adversity, making adjustments at halftime mentally and physically. Thats a tough way to live throughout this live. As a coach Id prefer wed start doing it the first quarter. . . thats our next step.Following Fridays game, the Raptors head west for three straight, playing the Lakers in Los Angeles on Sunday, the Kings on Tuesday in Sacramento, and the Utah Jazz on Wednesday. Cheap NFL Jerseys China ‘ ‘ ‘

December 7, 2016

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Ők fel mindenféle gélek és a levegő a sarok, hogy amikor földet a sarok, nem fáj. Ez úgy tűnik, jó a felszínen. De mi van, ha nem kellene leszállni a sarok futtatásakor? Mi van, ha van egy recept a mindenféle probléma? És ez! A monitor is egy kalória számláló,adidas cipők olcsón amely megadja a kiolvasás az elégetett kalóriák edzés során, amely lehetővé teszi, hogy hozzanak fogyás célokat a edzhetnek. A Pegasus 28 csak a következő lépés a hosszú sora Nike futócipőt. Ez a cipő kell tennie minden futó minden képzettségi szintet futtatni bizalmat és csökkenti annak valószínűségét, sérülés miatt gyengén teljesítő cipő. A nem-specifikus flex horony a talp is teszi, hogy egy jó választás a nők keresnek simább utazás képest sportcipő, amely csak kínál egyféle talp.

Ezek 135.000 pár cipő volt számolt kiskereskedelmi értéke 16 millió dollár. A cipőket csempészett be az Egyesült Államok Kína 15 nagy konténerben. Akkor lenne szükség különböző kényelem, ha normál, alacsony vagy magas íveket. Normál ívek, meg lehet keresni sportcipő, amelyek a stabilitást, valamint a jó párnázattal. Futók alacsony boltívek lenne szükség,adidas originals superstar női hogy vizsgálja meg a mozgást vezérlő cipők, amelyek szilárd közepén talp a nagyobb stabilitás érdekében. Azoknak a magas boltívek, akkor kell választani, hogy a cipő bőséges párnázottság. Nagy kombinációi gumi, vontatási minták, flex hornyok és egy nagy talp párnázás, ami ezt a cipőt egy kényelmes utazást. A talpbetét van látva nagy sikerrel stabilizálásával lábad, ahogy természetesen lépni a napi rutin.

A záró Nike Air Max hátszelet 2009 oktatók egy pár tornacipőt, hogy mindenki szeretni fog. Ez a cipő, nagyon kényelmes és könnyű. Azt a párnázás, nagy teljesítményű, fitt és stílus, ami szükséges, hogy az emberek futni. Ez a cipő nem az egészet, és így tovább. Nem lesz csalódott arcokat, akik vásárolni ezeket a cipőket. A fényvisszaverő elemek,adidas originals stan smith férfi amelyeket az Vomero 6 hordozza fokozza a láthatóságot gyenge megvilágítású környezetben. Nike bemutatta a Vomero 6 nagy előnyöket és szolgáltatásokat, hogy készülnek mindenkinek. Tartalmaz egy környezetbarát előnyös gumi out-talp, amely tapadást akár nedves vagy száraz felületre. A sarok, amely megkapja a legtöbb dobogó alatt fut, javul annak érdekében, hogy hosszabb ideig tartó. A flex hornyok gondosan tervezték, hogy egy sima és természetes mozgás.

Aztán megérkezik a tényleges helyzetből működtetni mezítláb és a tapasztalat az adott közös védő pozitív aspektusait, vagy még fel futó cipők mellett őr az adott láb a láb felől injuries.The válasz a legtöbb gyakran keresztezéséből mezítláb cipő. Testreszabhatja a futócipő,hucipobfcm.com bármilyen stílus és design szeretne az online boltokban. Van egy széles körű deigns rendelkezésre, és minden jön a jellemzője, hogy a Lunar Glide 2 igen népszerű. Ez is rugalmas, és ez azt jelenti, hogy nem fog érezni jelentősen ellenzék futás közben. Ön egy fitness-függő? Ön profi sportoló? Vagy egyszerűen csak szeretné javítani? Ha igen, akkor ne gondolj köztük New Balance Férfi futócipők Eladó a tevékenységet. A kavicsos ösvény érezte kilép nyugtalan, mivel minden apró, kicsi vagy nagy, érezhető volt az egyedüli.

November 11, 2016

Goodyear has warned teams that increased speeds at Charlotte Motor Speedway

Category: digital,filmcherry452 @ 10:32 pm

SAN FRANCISCO — The San Francisco 49ers know Aldon Smith still has plenty of work to do in order to repair his tarnished image and stay on track away from the football field. They want to be an integral part of his self-improvement project, exercising their 2015 fifth-year contract option for the star linebacker on Friday. The team made the decision despite Smiths long list of legal trouble that included an arrest at Los Angeles International Airport just more than two weeks ago. San Francisco faced a Saturday deadline to decide on Smiths immediate future, and general manager Trent Baalke suggested last week the team would keep the fearsome pass-rusher around for the near future at least — for 2015, “and 16, and 17 and 18.” The 49ers will provide Smith with the support he needs to deal with his rash of off-the-field issues. Yet Baalke has made it clear there must be positive change, and soon. San Francisco realizes Smith still could face a suspension from the NFL for his DUI last September, and is expected to look for depth at linebacker during next weeks NFL draft. “Well, that remains to be seen. You prepare for the worst and hope for the best,” Baalke said of a potential suspension for Smith. “There are still a lot of things that are going to factor into that decision at the league level and the club level. Were working very diligently in the background trying to make sure the right decisions are made long term, not only for Aldon but for this club.” In his latest run-in with the law, Smith was arrested April 13 at Los Angeles International Airport. Police say the 24-year-old NFL star was randomly selected for a secondary screening and became unco-operative with the process, telling a TSA agent that he had a bomb. The district attorney has referred the case for misdemeanour consideration. That followed Smiths five-game absence last season to undergo treatment for substance abuse after a September DUI arrest. In November, he pleaded not guilty to three felony counts of illegal possession of an assault weapon, stemming from a June 2012 party at his home. Investigators say several shots were fired, two partygoers were injured and Smith was stabbed. In the subsequent investigation, prosecutors say detectives found five unregistered, illegal weapons in Smiths house, including two Bushmaster rifles and an Armalite AR-10T. Yet, what Smith brings on the field makes him one of the NFLs best at chasing down and pressuring quarterbacks. Smith emerged as one of the leagues most-feared pass rushers in 2012. He had a franchise-record 19 1/2 sacks that year, but failed to record a sack in his final six games including the teams post-season Super Bowl run. Smith finished with 8 1/2 sacks and 34 tackles in 11 games last season, making eight starts. His 42 sacks are second-most in the NFL since he entered the league. He and former teammate Delanie Walker were named in a lawsuit last September filed in Santa Clara County Superior Court by a Northern California man who said he was shot at a party at Smiths house on June 29, 2012. The players charged a $10 admission and $5 per drink, the lawsuit said. Smith and now-Tennessee Titans tight end Walker were allegedly intoxicated on Smiths balcony when they fired gunshots in the air while trying to end the party, the lawsuit said. Smith, selected seventh overall in the 2011 draft out of Missouri, had previously been arrested on suspicion of DUI in January 2012 in Miami shortly after the 49ers lost in the NFC championship game. Baalke and the rest of the 49ers hope Smith will learn a lesson at last, and become a better person because of it. Smith said during a January interview with The Associated Press he was encouraged by his strides and confident he had made positive changes in his life. “Im a firm believer in the humanistic approach to everything. You continue to work just like you would with any family member,” Baalke said. “Were a family. You dont just open the door and toss people out of it. You continue to work until they leave you no choice. Thats what were going to do. Were going to continue to work with him, were going continue to find ways to support, not defend, we cannot defend the actions of others, all we can do is support.” Cheap Jerseys USA.C. – Goodyear has warned teams that increased speeds at Charlotte Motor Speedway will put a heavy emphasis on the right front tires in Saturday nights race a€” a potentially key development for drivers trying to advance in the Chase for the Sprint Cup Championship. Cheap NFL Jerseys Store. Ferguson told Uniteds in-house TV channel on Saturday that he has no immediate plans to walk away from the game, and that he still hungers for more trophies even after 25 years in charge of the club. http://www.cheapjerseyssell.us.com/.J. – Trying to learn and absorb the new West Coast offence being installed by new offensive co-ordinator Ben McAdoo, the New York Giants wrapped their final organized team activity Thursday before a three-day mini-camp next week. Wholesale Jerseys China. PAUL, Minn. Cheap Authentic Jerseys Online. JOHNS, N.Indianapolis, IN (SportsNetwork.com) – The Indiana Pacers signed head coach Frank Vogel to a contract extension on Wednesday. Vogel led the Pacers to a 56-26 record last seeason and a second consecutive Central Division title.dddddddddddd The 41-year-old had also earned a contract extension in January of 2013. More to follow. Wholesale Jerseys ‘ ‘ ‘

This is a really good fit for me personally

Category: digital,drawingcherry452 @ 10:32 pm

SACRAMENTO, Calif. — Canadian mens rugby coach Kieran Crowley has made four changes to his starting roster for Saturdays Pacific Nations Cup clash against the United States. Forward Jake Ilnicki and centre Connor Braid have been inserted into the lineup for the Test match at Bonney Field. Winger DTH van der Merwe will also get to start and Phil Mack will return to the scrum half position. It will be the first time Canada has played the Americans since defeating them last August to qualify for the 2015 Rugby World Cup. The U.S. hasnt beaten Canada in five years. Canada dropped a 19-17 decision to Scotland last weekend at BMO Field in Toronto. Kevin Trapp Paris Saint-Germain Jersey. While Minnesota takes aim at its eighth win of November, the Canadiens will try to post just their third victory in nine games this month. Zlatan Ibrahimovic Jersey.com) – The NFL is investigating whether the New England Patriots intentionally deflated balls during Sundays AFC Championship Game against Indianapolis. http://www.soccerparissaintgermainshop.com/kids-blaise-matuidi-paris-saint-germain-jersey/. — Gary Harris gave No. Maxwell Jersey.com) – Russell Westbrook and Kevin Durant combined for 51 points and the Oklahoma City Thunder took down the struggling Bucks 114-101 on Tuesday. Clement Chantome Paris Saint-Germain Jersey. has left the San Jose Sharks to become the Boston Bruins director of player personnel.Chicago, IL (SportsNetwork.com) – The Chicago Cubs formally ushered in another new era by introducing former Tampa Bay Rays skipper Joe Maddon as their new manager on Monday. The team also announced that Maddon agreed to a five-year contract in which financial terms were not disclosed, though ESPN reported the deal to be worth $25 million and includes incentives tied to making the postseason. The Cubs moved quickly to obtain Maddons services after the two-time American League Manager of the Year opted out of his contract with the Rays on Oct. 24, shortly after Tampa Bay general manager Andrew Friedman left the organization to become the president of baseball operations for the Los Angeles Dodgers. Maddon, who guided the small-market Rays to four playoff appearances and the 2008 AL pennant over the past seven seasons, joins a long-suffering Cubs franchise that has endured five consecutive losing campaigns and last won the World Series in 1908. This is a 1-in-107 a year opportunity for me, said Maddon during Mondays press conference. The challenge is so outstanding. How could you not want to be in this seat? The Cubs future appeared bright even before the hiring of the enthusiastic and ever-optimistic Maddon, though. Chicagos present farm system is ranked among baseballs strongest and the Cubs are expected to be significant players in free agency this offseason, something Maddon never experienced during his successful nine-year run with the low-budget Rays. Those factors, coupled with Friedmans departure and the presence of Cubs president of baseball operations Theo Epstein — who nearly hired Maddon as the Red Sox manager in 2004 while then Bostonss GM — played a role in Maddons decision.dddddddddddd I knew there was a lot of common ground philosophically, said Maddon. I know that the synergy between the front office and the manager is really, really important. This is a really good fit for me personally. I feel very comfortable here. The 60-year-old takes over a Cubs team that showed improvement in Rick Renterias lone season as manager, with Chicago posting a 73-89 record in 2014 after winning 66 and 61 games the previous two years. Despite those strides, Epstein informed Renteria last week of his intention to pursue Maddon and make a switch. Renteria was offered another position within the organization but predictably declined. Even though they annually operated with one of the lowest payrolls in the majors, the Rays were a consistent contender for much of Maddons reign. Lauded for his ability to work with young players and to maximize the available talent on hand, the charismatic manager guided Tampa to six consecutive winning seasons that began with the unexpected 2008 World Series run. Joe is a combination of just about everything we look for in a manager, said Epstein. Everyone associates him with new-school because theyve used analytics in Tampa and hes so open-minded and so progressive. But this is an old-school baseball guy with a wealth of knowledge. Its hard to find old- school and new-school in the same package. The Rays, who had never won over 70 games in their first 10 seasons prior to that 2008 breakthrough, also reached the playoffs in 2010, 2011 and 2013. Maddon amassed a 754-705 overall record in Tampa Bay, easily the most of any manager in club history. Wholesale Jerseys ‘ ‘ ‘

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Category: digitalcherry452 @ 10:31 pm

After ending a lengthy drought at Madison Square Garden over the weekend, the Philadelphia Flyers will try to grab a series lead over the New York Rangers tonight when they host Game 3 of the Eastern Conference first round at Wells Fargo Center. The game can be seen live on Sportsnet 360 at 8pm et/5pm pt and will be joined in progress on TSN immediately following the Nets-Raptors game. Philadelphia lost Game 1 in New York to see its losing streak at MSG climb to nine games, but the Flyers were able to halt the slide and take Sundays meeting by a 4-2 score. The victory evened the series at 1-1 with the series shifting to the City of Brotherly Love for Games 3 and 4. The Flyers only mustered 15 shots on goal in Thursdays 4-1 loss, but came through with a much better offensive effort in Game 2. Philadelphia was still outshot by New York, 33-25, on Sunday, but the Flyers converted 2-of-3 power- play opportunities while only allowing the Rangers to score once on six chances with the man advantage. “Our power play had some great looks and they scored two and we didnt,” Rangers head coach Alain Vigneault remarked. “At the end of the night that was the game.” However, things did not look good for Philly in the early part of Game 2, as it fell behind 2-0 in the first half of the opening period before digging its way out of that hole. Luke Schenn netted the eventual game-winner 11:18 into the second period, scoring the third of four unanswered goals for the Flyers. Jakub Voracek, Jason Akeson and Wayne Simmonds each scored once, while Ray Emery, starting back-to-back games for the first time all season, stopped 31 shots for the Flyers, who won at MSG for the first time Feb. 20, 2011. “We just stuck with it and kept working and I think thats why we won the game,” Voracek said. “After we got scored on, I think we were the better team.” Emery got the nod in net again with No. 1 goaltender Steve Mason still recovering from an upper-body injury that has sidelined him since April 12. The situation in net remains unchanged for Game 3, with Emery as the starter and Cal Heeter serving as the backup. Martin St. Louis opened the scoring 4:08 into the game for New York and Benoit Pouliot added a power-play tally to stake the Rangers to a two-goal cushion at the 8:22 mark. Henrik Lundqvist allowed three goals on 24 shots for the Rangers. Schenns game-winner came at even strength with 8:42 left in the second period. Michael Raffl carried the disc through the neutral zone and across the blue line before touching it ahead to Adam Hall, who threw the puck on net from the low right side as he was checked to the ice. Lundqvist sticked away the initial opportunity, but the rebound squirted into the slot, where Schenn swatted it home with a backhand for a 3-2 lead. The score stayed the same until Simmonds notched an empty-net power-play goal with 26 seconds left. Now its New Yorks turn to prove it can win on the road. The Rangers lost both of their regular-season games in Philadelphia in 2013-14 and have dropped three straight and four of the last five meetings at Wells Fargo Center. “We have to step it up,” said Rangers forward Mats Zuccarello. “Its 1-1 in games, so we have to win one down there. Its as easy as that.” This is the first playoff series between these franchises since 1997. Tuesdays contest is the first postseason meeting in Philadelphia since the Flyers clinched the Eastern Conference championship with a 4-2 win over the Blueshirts on May 25, 1997. Philadelphia has won six of the 10 playoff series against the Rangers, including three straight. Game 4 of this series is scheduled for Friday night in Philly. Dennis Smith Broncos Jersey.Murray has played 20 matches in five weeks, winning three titles to climb to fifth in the ATP Race.The two-time Grand Slam champion also seeks to qualify for next months ATP World Tour Finals.Murray said: I always wanted to qualify for it, but also I want to get back into the top 8 players in the world and it makes a huge difference for seedings in the major events. Phil Taylor Broncos Jersey. – Rookie Tesho Akindele scored three goals and Fabian Castillo added two in FC Dallas 5-0 victory over the San Jose Earthquakes on Saturday night. http://www.thebroncosstoreonline.com/Youth-John-Elway-Broncos-Jerseys/. The Indians scored twice in the top of the ninth, getting the go-ahead run on a wild pitch by closer Matt Lindstrom. Axford (0-1) came in seeking his fifth save in as many chances. Darian Stewart Broncos Jersey. Minutes before the final whistle of Sporting Kansas Citys 3-0 victory over a shorthanded Montreal Impact squad on Saturday afternoon, Saputo tweeted: “Our fans deserve better. Steve Atwater Broncos Jersey. PAUL, Minn.The Netherlands is now the single greatest speed skating team at an Olympic Games after sweeping the womens 1,500-metre race at the Adler Arena Skating Center in Sochi. Jorien ter Mors set an Olympic-record time of one minute 53.51 seconds to win her first Olympic gold medal. Ter Mors just missed a short track medal Saturday, finishing fourth in the 1,500m. “It is bizarre that I can do this,” said Ter Mors, who had to wait nearly an hour to know the gold was assured after skating in the ninth of 18 pairings. Veteran Ireen Wust failed to defend her Olympic title but still managed to win silver in 1:54.09. Wust now has six Olympic medals, including three gold and a victory in the womens 3000m in Sochi. “I admit Im a bit ticked,” Wust said. “I had [a gold medal] in me. Maybe I was too keen, too concerned about lap times. You have got to be loose out there on the ice, and then the lap times will come. But I dont begrudge Jorien the gold.” Lotte van Beek made it a 1-2-3 Dutch finish with a time of 1:54.54. The Dutch team actually had the top-four skaters as Marrit Leenstra finished with a time of 1:56.40. The Netherlands has dominated the proceedings, taking five gold and 16 medals so far in only eight races, eclipsing the record set by East Germany in the 1988 Games in Calgary. It also as swept events in the mens 500 and 5,000m in Sochi. No Canadian women were able to crack the top 10. Reginas Kali Christ plaaced 16th in 1:53.dddddddddddd51. Christine Nesbitt, of London, Ont., finished 17th with a time of 1:58.67, Winnipegs Brittany Schussler was 26th in 2:00.65, while Brianne Tutt of Calgary, ended up 35th in 2:03.69. It was another disappointing event for Nesbitt, who finished ninth in the 1,000m — her signature event — on Thursday. Nesbitt won gold in that distance at the 2010 Vancouver Olympics. She was the 1,500m world champion in 2012, and dominated the World Cup circuit two years ago. But injuries, a battle with coeliac disease and admittedly feeling the pressure of defending Olympic gold have all contributed to Nesbitts dismal season, where she failed to medal in any of the World Cup events. “I think one of the hardest things about winning is that because youve done it once people expect you do it again and again and again,” said Kristina Groves, CBC Sports speed skating analyst and four-time Olympic medallist. “I think they forget how hard it is to do that. Nesbitt has had some struggles with injuries, with coeliac disease and that takes a toll over time. But I think she should be proud of this race. I know she was probably expected more but shes been through so much this season. “I thought she looked solid, just a little slow tempo toward the end. I think she should be proud of herself for coming here and giving herself the best chance she possibly could to win a medal for Canada.” Wholesale Jerseys ‘ ‘ ‘

November 3, 2016

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October 11, 2015

Metabolism: Cristin Richard, Detroit Design Festival, 25-Sep-2015

by Jim Welke

Metabolism / Cristin Richard photo: Bruno Vanzieleghem

Metabolism / Cristin Richard
photo: Bruno Vanzieleghem

Invited to participate in Detroit Design Festival 2015 (September 22-26, 2015), Detroit artist Cristin Richard presented her one night installation, Metabolism, in the c.1927 Detroit Savings Bank building at 5001 Grand River (near Warren; formerly occupied by Kunsthalle). In addition, she collaborated with Simone Else to create delicate bondage implements overlaid with intestines shown in the bank vault. (More about that follows.)

Metabolism comprised the main attraction for this ambitious, moody, soulful, one-night show. The installation consisted of a video projected large–twelve feet or so high–on the rear wall of the bank building main floor. As you entered the darkened room, illuminated only by the projected imagery of the video, you found yourself confronted by a languid, nubile siren (Emilee Burnadette Austin) tearing diaphanous bits of yellow, green, and ochre colored pig intestine from her otherwise nude body. In accompaniment you heard an eerie, raspy soundtrack by Detroit musician/composer Nate Czarling (info on him here & here) that emits scratched phonograph record sounds mixed with a repeating strings riff, alongside a Morse-code-like percussion on a cowbell-ish device.

Metabolism (intro) by TT Moross
The repetition, phonograph-record-skip-like, over and over, hypnotizes the listener, draws them into a receptive, passive, yet enervated state while the girl on the screen peels off the detritus of civilization–her clothing–clothing shattered, extraneous and superfluous. Ms. Richard constructed that clothing, as translucent and feathery as bits of sloughed sunburned skin, from the flotsam of mass-slaughter in our invisible industrial abattoirs. But you might not know this yet–that the enigmatic being on the screen peels off bits of animal offal–as you observe, transfixed, submerged in the cabin pressure of Mr. Czarling’s audio ecosystem. You watch: peel-peel-peel. You hear: skip-skip-skip. And then your eyes adjust to your tenebrous surroundings, someone else occupies the room: a girl, youthful, and naked but for wisps of that translucent intestinal fabric settled on the landscape of her lithe body, dead and laid out in a coffin. At least, she’s dead to you. You feel disoriented, in another country, a strange land with strange customs.

Metabolism / Cristin Richard photo: Bruno Vanzieleghem

Metabolism / Cristin Richard photo: Bruno Vanzieleghem

Richard, on her website, describes her work this way:

…It transforms and regenerates in poetic and unpredictable ways.  In the majority of her work, she reconstructs animal intestines into tangible objects. Playing on the ambiguity, created by the presence of this material, she develops metaphors loaded with complexities.

…With the idea of fashion as sculpture, Cristin Richard blurs the line between fine art and fashion.  She believes that fashion allows one to create a second skin.  It provides an escape that is rooted in the truth to one’s own identity.

Yoko Ono expressed thoughts on feminism, fashion, and subjugation of women when she created her performance “Cut Piece” in 1964 (excerpt here). While distinctly different in form and intent–Ono performed the piece, with audience participation–Richard’s work does follow from it in the sense that it puts the female form on a stage, not for entertainment as we have done at the expense of women for centuries, but more so as trial evidence. And then Richard brings in the added dilemma of our obsession in Western Civilization with mass-marketed, mechanistic consumerism, in this case our often callous consumption of animals bred, raised, and killed solely for us to devour in a frenzy of overfed fast-food surfeit. Cristin Richard, in “Metabolism” seems to ask that we run the film of our existence in reverse; in fact, that we imagine a reversion to a more primal past when clothing served more for protection against cold and predators. The animals we pursued then sometimes pursued us. And consumed us. Animals provoked us to respect them as physical and intellectual forces. Most pre-historic and modern aboriginal cultures harbor reverence for animals they hunt. They recognize in them spirits to honor. And they squander very little of the animals they fell. They never take them for granted, and they never hunt beyond the needs of subsistence. To do so would imperil the existence of both them and their prey.

But we, in our mechanized, me-first civilization stray from our ancestral roots. We treat animals as lifeless commodities and rather than public reverence we hide away from view the animals we kill in “meat processing plants.” We deny these living, breathing beings the honor they deserve while we dump their flesh wrapped in plastic in supermarket refrigerator bins or Styrofoam take-away packages.

Richard seems to want to slap us upside the head for our arrogance and hubris; to remind us that we share much in common with the animals we consume, that we consume too much, and that we need to peel away, layer by layer, the excesses of our culture. One solution is to regress like Ms. Austin in the video toward innocent disavowal of unneeded attire, toward a less self-absorbed, self-conscious perspective. But between the observer and the projected video, that enigmatic corpse lies in state. Is the video projected here like those melancholy videos created by suicide bombers prior to self-destruction?

Is the girl in the casket the girl in the video? Did she shed her corporeal connection to civilization at the expense of her life? Is Richard telling us that our modern, cultivated entanglements–our overly elaborate food, clothing, shelter, and transportation–imperil us even if we back away from them? Have our material entanglements embedded themselves in our psyches so deeply that to eschew them is the equivalent of suicide? Is it really impossible to get back to the Garden and a place of simplicity and authenticity?

That, at least, is what this writer saw projected on the screen and lying in the casket in that old bank building. Once you removed yourself from the enveloping video with funeral casket and soundscape that Richard and Czarling parachute you into, you moved into a room that housed the Detroit Savings Bank vault. This room presented a soundtrack different from the track in the lobby: Metabolism II. (VAULT) by TT Moross

photo: Jim Welke

Metabolism / Cristin Richard & Simone Else
photo: Jim Welke

Arrayed on two tables in this unventilated crypt-like room Richard and fellow artist Simone Else present their collaborative effort: a collection of everyday, and not so everyday objects, that when observed collectively suggest sexual bondage, or at least sex with a spicy flavor. But these objects take on a more complex meaning, here in this savings bank vault. (Savings bank vault, epicenter of white bread American delusions of permanent security!) What might otherwise offhandedly be construed as sex toys, here appear wrapped ever so delicately, precisely, and carefully in a patina of that same animal intestine that decorates the dead and living women in the grand but decrepit bank lobby. Again, you may not know at first that what decorates, surrounds, and subsumes these objects is in fact that same pellucid membrane adorning those women in the funereal lobby. But you read the text that accompanies the show, and you learn and consider this.

Metabolism / Cristin Richard & Simone Else photo: Jim Welke

Metabolism / Cristin Richard & Simone Else
photo: Jim Welke

Else and Richard might suggest with their work here that those things we consume, those beings that we presume to dominate, in fact dominate us. That we become embedded in our excesses, and by allowing that to happen, we allow ourselves to be altered, controlled by our appetites that ultimately circle back and consume us, like the self-consuming snake, or ouroboros, of which Carl Jung suggests:

This ‘feed-back’ process is at the same time a symbol of immortality, since it is said of the Ouroboros that he slays himself and brings himself to life, fertilizes himself and gives birth to himself. He symbolizes the One, who proceeds from the clash of opposites, and he therefore constitutes the secret of the prima materia which [...] unquestionably stems from man’s unconscious.

The self-consuming snake implies renewal, or a nagging desire for it; but a renewal preceded by self-destruction. So following this paradigm, we have a future: a future that does not include us.

Overall, the narrative of Richard’s “Metabolism”–lobby and vault–might be a cautionary tale, a looking outward by this artist who seems to see peril on the horizon of our human political and cultural landscape. Like most hegemonic civilizations, our global, interconnected, technology-empowered, overfed society, with so many pushed to the margins by relentless poverty, will likely founder as our Sumerian, Egyptian, Mayan, Aztec, Chinese, Greek and Roman predecessors did.

At a more basic level, as most top of the food chain mammals go, one million years seems to be about the limit before extinction unceremoniously knocks them from the tree of life. We humans, at least as a genus, are these days at about 2.5 million years–a bit past our prime. Then again, humans anatomically and behaviorally identical to us have been around for only about 200,000 years. So statistically, we may have a while to go. Still, there’s nothing to say we moderns don’t break out of the rut of tradition and statistics and extinct ourselves much sooner than our mammalian brethren.

So, if you cast your interpretive net wide, as this writer does, you see that the work shown in the old Detroit Savings Bank by Ms. Richard and her able collaborators, Else, Czarling, and Austin, takes on, if not kicks out, the very underpinnings of modern consumerist society. For that, the artist deserves an extra accolade: she looks inward first, but then outward at the cultural milieu that created her. Rather than being self-absorbed, she presents socially aware work. She offers an indictment of us all for blithely perpetuating the self-destructive world we live in. A slick attorney could submit numerous defenses to this indictment–it’s not a conviction after all–but Ms. Richard demands reflection followed by answers from all of us. And that takes courage on both a personal and professional level.

We might slip through on the lesser charge of involuntary manslaughter, but unless greater society pays more attention to the evidence that such insightful artists and scientists present, and then change our self-destructive ways, the art and science may survive, locked away in vaults, but we humans will not.

Metabolism / Cristin Richard & Simone Else photo: Bruno Vanzieleghem

Metabolism / Cristin Richard & Simone Else
photo: Bruno Vanzieleghem

 

Metabolism / Cristin Richard & Simone Else photo: Bruno Vanzieleghem

Metabolism / Cristin Richard & Simone Else
photo: Bruno Vanzieleghem

Metabolism: Cristin Richard, Detroit Design Festival, 25-Sep-2015

 

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July 7, 2015

Jef Bourgeau, Zombie On the Wall at Galerie Camille, Detroit

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Jef Bourgeau, Zombie On the Wall at Galerie Camille, Detroit — thru 11-July-2015

Jef Bourgeau possesses the rare ability–and discipline–to see and sense everything at once. To capture a snapshot of a thing in his mind that retains the essence of its revelation. Narrowing his gaze, he zooms in–not for clarity but for a deeper view of the near-infinity of detail swirling below the surface of what the rest of us call solid reality. Bourgeau knows better, knows that what we perceive persists only in flux, perpetual change, perpetual motion. And all of it–everything we perceive afresh and everything we remember–surfaces, descends, resurfaces in our consciousness through subjective filters, a little different every time we sense or recollect. Bourgeau–either gifted or cursed depending on circumstance–possesses that elusive capacity to feel as he sees rather than feel after he sees, and see through the layered fluttering veils of sensory noise that obfuscate perception.

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The pictures up at Galerie Camille in Bourgeau’s solo show, “Zombie On the Wall” (12-June through 11-July-2015) all reflect abiding attention to process as much as to perception. Bourgeau does not screw around. These pictures are not experiments. The experiments remain back in lab. These pictures come masterfully crafted. And finished. They range back in time five or ten years and they vary in style but all are digitally manipulated prints–blurred, fragmented, reassembled and tidied up through digital means. Bourgeau was a forerunner in digital image creation and enhancement methods and he continues to apply them more with the grace of brushstrokes than mapped pixels.

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Bourgeau cites Van Gogh as early inspiration, but seems to admire and reference numerous notable members of the 20th century artistic timeline. Engage Bourgeau in conversation and he pulls specimens from his collection, from narrow clefts of art historical context racked away in his mind, and delights the interlocutor with detailed and pointed narratives that illuminate Bourgeau’s observations. When the time comes to work, his left-brain organizes and archives art history for referential access, but his right-brain charges into the carefully organized collection and kicks the books and images fluttering to the floor to coalesce and self-ignite into an intoxicating bonfire of ideas.

Standing before the pictures at Gallerie Camille, you feel good. You feel energized. You feel invigorated like you just drank one of those energy drinks laced with caffeine and the regenerative vitamins B. But you also feel a bit as though the extraterrestrial who made these pictures and brought you here to see them might be doing more than making you feel good. He might be probing you, provoking you, goading you to react. He doesn’t care how you react, only if you react. Are you still alive? Who’s the zombie now?

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Go ahead and react. Go ahead and feel good. Let the pictures probe you. No one’s looking.

The patterns in these pictures are abstract, some fluid, some geometric, all graceful, all suggestive of a world in motion. A world where mass tangibly does equal energy, a whole heap of it: (E=mc2). It’s one thing to know about physics, it’s another to know physics. Gaze into these works and you will know.

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Pay attention. You can detect the artistic timeline informing Bourgeau. Van Gogh is there in the palette as well as the wondrous distillation of reality; Matisse, Derain, Leger, Picasso in the patterns and light and fragmentation of perception; Seurat, Lichtenstein, Chuck Close in the digital atomization that trademarks Bourgeau’s work. Meaningless comparisons all except to say that the work of a well-informed artist can not conceal the phantasms of preceding works that haunt their own. If you live with your eyes and mind open, you personify the continuum you inhabit. That suffused awareness in turn lends your work deeper subconscious resonance with viewers. Think of that tremulous feeling that saturates your senses when you step into a room continuously inhabited for a thousand years. Phantasms dance just out of sight and you know it. The same holds with great art created by well-informed artists enveloped, engrossed… inhabited but not co-opted by the art of others.

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Bourgeau’s images suggest, without crass mimicry, structures we witness daily but take for granted and breeze past too quickly for our own good. Cellular structure in a story about influenza maybe; or patterns in agriculture dictated by geography, geology, and hydrology; patterns woven into textiles or etched and embossed in architectural material; coral reefs and gravity-free sea creatures. Faces distorted by reflecting water. Things we trip over daily but miss for their familiarity. Shame. See these things afresh; see them with a child’s eyes. Awestruck reverence for this world will overtake you.

And that defines Bourgeau’s gift, the wellspring of his self-taxing generosity: to see afresh. To see what we always have seen but hardly registered: truth and beauty.

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September 4, 2014

Gao Brothers DISSIDENTS ABROAD at Detroit MONA

By Jim Welke

Gao Brothers DISSIDENTS ABROAD at Detroit MONA
Opens: 13-September-2014
Reception with the artists: 6-10pm
Midtown MONA, Suite C
4130 Cass Avenue Detroit MI 48201

MONA FUNDRAISER, Friday, September 12
Meet the Artists @ Fundraising Reception: 6-9pm
$50 Donation – Support MONA programming for the coming year… meet the Gao Brothers… with wine and hors d’oeuvres… and a  chance at a signed exhibition catalog.

 

For those of us who witnessed the Tiananmen Square protests of 1989 from a dozen time zones away–give or take–and with information incoming via the fledgling cable news service, CNN, the scenes at hand compelled interest and enervated at the same time. Beginning in April 1989, the events un-spooled in slow motion, with commercial interruptions and misinformation forwarded and corrected as reporters fed us raw data followed up by fact checking. At first, the motivation for the mass protests at the heart of the Chinese power center eluded reporters, and with facts out of reach, they offered on-air speculation–a new concept suggestive of Hunter S. Thompson’s Gonzo Journalism. Reporters lived the story they reported; myopia and biases induced by the flow of real-time impressions colored it. Such coverage violated every code of broadcast journalism nurtured by guys like Edward R Murrow, Walter Cronkite, and during the Tiananmen Uprising, Bernard Shaw at CNN. Tiananmen revealed not only the depth of opposition to oppression by the Chinese government, but revealed too the fallibility of that government; that any government could be shaken off balance. According to a story on CNN’s site by Mike Chinoy, the Beijing bureau chief at the time, “How covering June 4 Tiananmen Square crackdown kicked off ‘CNN Effect’,” the students and activists in Beijing tore away the veil of diplomatic subterfuge that once sheltered every government from direct exposure to daylight:

The protests generated unparalleled international coverage, and became a defining moment in the Information Age. It was the first time a popular uprising in an authoritarian state was broadcast live across the globe.

According to Bernard Shaw, who anchored CNN’s live round-the-clock coverage from Beijing for much of the crisis: “You could say that that was the beginning of the ‘CNN effect’” — the idea, which became widespread after Tiananmen Square, that the immediacy of live TV news available 24 hours a day played a crucial role in influencing the behavior of key players during major crises.

Prior to the birth of the Tiananmen protest in April 1989, and its sudden demise at the hands of troops on 4 June, the Gao Brothers, Zhen and Qiang, born 1956 and 1962, began their ongoing critique of government-induced social injustice with their debut in a group show at the National Art Museum of China (NAMOC) called “China/Avante-Garde.” The show opened on 5 February 1989 after “three months of intense preparation” and meticulous vetting by Communist Party apparatchiks. A wiki page on the ArtSpeakChina.org site describes it:

The historical import of the event, clearly perceived by the participants, did not just derive from the nature of the works on display but also from the association of such extreme art with that museum. The China Art Gallery–a Sinified socialist-style building managed by the Chinese Artists Association and, at the time, only a few steps from the Ministry of Culture–functions as China’s national museum of modern art. For the first time ever, authorities were allowing a prominent exhibition that openly broke with the fundamental principles of artistic creation laid down since the beginning of the People’s Republic.

The exhibition assembled many of the artists who had been a significant driving force behind art in China since 1985. By allowing the artists and their works to cross the threshold of the most important official art hall in the country, the exhibition conferred on these artists a kind of officialdom. The show’s alternate title, “No U-Turn” was reflected by the “No U-Turn” traffic signs hung as banners and emblazoned on floor mats.

 

85 movement-uturn

 photo: artzinechina.com

Three hours after “No U-Turn” (as the artists called it) opened, government bureaucrats shut it down. And then it re-opened. And then it was shut down again. And re-opened. And shut down.

Needless to say, the conversation between party functionaries and bilious, long-stifled artists percolates with vigorous intensity at times. But the show marked the culmination of the “85 New Wave Movement” and offered an alternative to the ubiquitous Social Realism fostered and infused with propaganda by the Communist Party. According to ArtSpeakChina.org:

Between 1985 and 1990, a group of over one thousand young Chinese artists living in an environment without galleries, museums, or any systematic support for art and with unprecedented enthusiasm and passion, led a globally influential artistic movement. It marked the end of a monolithic artistic model in China, achieving unprecedented individualism and opening a path for Chinese art to march toward internationalization and contemporaneity.

Most groups from the urban areas were in favour of a conceptual approach, regardless of the kind of media employed. The two major conceptual approaches adopted were Rationalistic Painting, represented by the artworks and writings of the Northern Artists Group from Harbin, the Red Brigade from Nanjing, and the Pond Society from Hangzhou; and the Zen-Dada-like conceptual art, epitomized by the Xiamen Dada Group from Fujian and the Red Humour from Hangzhou. On the contrary, art groups located in the northwest and southwest–areas still overwhelmingly based on traditional peasant lifestyle and home of most of the ethnic minorities–were interested in a frank expression of their intuitive feelings and favoured “primitive” themes. The term “currents of life” was used to define their approach. Among these groups, the most influential was the Southwest Art Research Group, consisting of artists mostly from Yunnan and Sichuan provinces.

Raised in Jinan in Shandong province, Zhen attended the Shandong Academy of Fine Arts. Qiang attended Qufu Normal University. Geographically the brothers originated near the midpoint between Hangzhou to the south and Beijing to the north, between the focal points of prevailing art philosophies. During their formative years perhaps their position at this fulcrum alleviated pressure on them to blend in with either end of the geographic and philosophical spectrum. Wherever their coordinates on the sketch of the Chinese art milieu, their debut in Beijing propelled their careers and further affixed these men in collaborative symbiosis. Now, they live and work in Beijing, with studios in the retired military industrial center, the 798 Art Zone, part of the larger Dashanzi Art District.

Their art suggests a worldly, outward sensibility as opposed to inward self-regard. Often they address social injustice. They seem troubled by the inevitable alienation that infects swarms of naïve migrants from small towns and farms to swelling urban metropolises in China and elsewhere. But their work also suggests a wry, ironic view of human existential angst and ennui. The gentle humor in their work often seems overlooked. Their work might be wisely circumspect, but witty all the same. They seem to say that laughter follows inevitable tears like moon and stars follow a thunderstorm.

The brothers also venture into the unknown with exploration of nearly every available medium. They turn out fiberglass and bronze sculpture with equally deft precision. Their reflective chrome sculptures pull the viewer in with self-made reflections, while bronze suggests solemnity and gravity. They do printing and photography. Their photographs often affix human forms in unforgiving, even merciless un-human surroundings. Their map of China comprised of clippings of a beehive populated with humans scaled to fit the cells of the honeycomb invites uncomfortable insights and comparisons. They paint. And they write books.

Frequently, the brothers bring nude human forms into their work. This challenges established law as well as established sensibilities. The nudes do not recline demurely. They drop into landscapes that would naturally proscribe nudity. Subjects find themselves naked in concrete clefts or cavernous halls or shoehorned into wooden compartments. These images shake us up; shatter our complacency. They force us to ponder our imponderable insignificance in a universe if not infinite in time and dimension, then close enough to provoke acute angst. And that’s our lot, our reason for being with our opposable thumbs, self-awareness, and free will: to create in the face of engulfing nothingness and laugh at the spectacle of it. The brothers do this.

Compare the spirit and philosophy that leads the Gao Brothers to such varied art-making to the spirit and philosophy of early adventurers who set out it in fragile sailing ships on journeys of discovery motivated by far more worthy goals than material gain: they sought knowledge, enlightenment, and the opportunity to change the world for the better. Usually none of those things resulted, but the inspiration the rest of us derive from these efforts are reward and justification enough for at least tempered admiration. The difference is that artists set out on adventures that generally do no permanent damage like that done by men in sailing ships. Admiration for artists need not be tempered by guilt. They toss gifts at our feet. How we profit from art is up to us.

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Midnight Mass, 1989

(from debut group show, China/Avante-Garde)

photo: artworldnow.com

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Gao Brothers, Road to Dawn n°1, 2001, 93x150cm, ed.5 of 10

photo: Galerie Albert Benamou

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Gao Brothers, Beyond Zebra Crassing, 2000, 83×100, ed.5 of 10

photo: Galerie Albert Benamou

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Ghost Image – The Raft of the Medusa & Tiananmen Square Protests of 1989. Oil on canvas, 300x400cm, 2011

photo: guernicamag.com

For a while, the brothers embraced Mao Zedong as muse. Their father died while briefly detained by Mao’s party apparatus during the Cultural Revolution. Undoubtedly this, along with the awareness that millions of others suffered similar humiliation, torture, impoverishment, and death at the hands of double-speaking minions of Mao Zedong affected their worldview. Art offered the Gao Brothers an eloquent voice; a means to comment, even criticize, while maintaining plausible deniability–as American government fixers call it–of outright dissent. Their images and sculptures of Mao depict him either in maudlin caricature, or straight on in compromising positions. In either case, the figures speak of a fragile man with an iron will who saw the world in only two shades, and fellow citizens as either acolyte or enemy. They imply a warning of caution when choosing leaders since no matter their charisma, they remain troubled humans subject to petty human appetites.

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Miss Mao No.2. Painted fiberglass sculpture, 210x128x125cm, 2006

photo: guernicamag.com

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The Execution of Christ. Bronze sculpture, life-size, 2009

photo: guernicamag.com

The “Execution of Christ,” in bronze, a departure from previous fiberglass, was originally intended to feature Lin Zhao (b.1932-d.1968), a persistent and persecuted Chinese activist who converted to Christianity and was later executed after repeated refusals to disavow her dissent. The Gao Brothers chose instead to portray Christ. They did so to make the sculpture more accessible, or as they put it in an interview (http://kcur.org/post/interview-artists-gao-brothers-part-2), “If we used Lin Zhao, people would be more puzzled, and the work would require more explanation.” This implies a certain savvy, not necessarily commercial, but an awareness of their audience both in China and over the border China. The sculpture also reveals the brothers’ art historical roots: the poses closely parallel Edouard Manet’s “The Execution of Emperor Maximilian.” That painting depicts Maximilian, a puppet installed as emperor of Mexico by Napoleon III, as he is executed in 1867 by forces loyal to the deposed president who presided over an incipient democratic republic. In a way, the painting is the inverse of the Gao Brothers’ sculpture in that it depicts the meek taking control of the establishment, not the other way around. Similar to the single abstaining sergeant off to the side in Manet’s picture, one of the seven Mao figures in the sculpture installation holds his rifle in abeyance–he does not fire at Christ (yet nor does he prevent his other manifestations from firing).

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The Execution of Emperor Maximilian, Edouard Manet, 1867-1869

Numerous exhibitions have honored the Gao Brothers since 1989, most recently at the Kemper Museum in Kansas City Missouri, and at the Hua Gallery in London. The Hua Gallery show presented new work by the brothers, almost exclusively photography. With one exception: a bit of their memorable performance art. The tradition of such performances began with a group embrace in their hometown of Jinan:

On 10th September 2000 we brought more than 150 volunteers, mostly strangers, to the suburbs of Jinan. Getting them to embrace was really difficult; in China, hugging is not a common habit, it is generally considered as a western custom or an intimate action between lovers.

At midnight in the square some policemen started to suspect us and came over to investigate, but we explained what we were doing and we invited them to get involved and eventually they took part in it. Fortunately they understood us clearly, in Beijing this would be unimaginable. It seems that regardless of one’s profession everybody can communicate with each other. As long as one does not consider himself a machine or a tool, art is open to people. …

Their performance work evokes the indisputable intention to shatter artificial boundaries, and evaporate the sense of alienation that plagues modern humans detached from former tight familial kinship and clans. The performances also appear to be fun, warm, enlightening moments for the participants. They literally embrace their audience, and become happenings in the truest sense. That’s a bonus of art we so often forget. It’s not all blood and guts. Sometimes art just wants to be happy. The brothers work hard to bring the happy along with enlightenment and we passive observers should be grateful–and less passive.

 

Read our interview with the Gao Brothers here.

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March 4, 2014

‘Do The Yale Thing’ at N’Namdi Center for Contemporary Art Detroit

by Jim Welke

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Do The Yale Thing: An Exhibition of Exceptional Artwork by Recent Yale MFA Graduates, Curated by Dexter Wimberly, at N’Namdi Center for Contemporary Art, Detroit

Do The Yale Thing shows the work of eighteen artists with one thing in common: they did “the Yale thing.” That is, they managed — with no shortage of blood, sweat, and tears — to be accepted and ultimately graduated from the famed Master of Fine Arts program at Yale in New Haven Connecticut.

Dexter Wimberly curated the group show to offer an engaging mix of art where the whole exceeds the sum of the parts — no small feat when you consider the deep pool of artists and work he drew from. Narrowing the selection to these eighteen artists with about forty works in the show surely did not come without a struggle. The art he chose rambles through an eclectic range of topics and styles that manage to find among themselves something to talk about, a reflection of disparate life experience, but glued together by, if not common, then parallel perceptions of the world. These artists, it seems, felt the same forces emanating from the zeitgeist, yet produced widely divergent commentary on it through their artwork. Through this divergence and the bright contrasts of individuality it engenders you appreciate more what each artist achieves as they bend to common external forces yet snap back with a unique expression of those forces. You leave the room feeling the effects of a singular, cohesive experience like it were a voyage through a strange land that turns out in the end to be your own land seen through new eyes.

Caroline Wells Chandler

Bear Culture (top), Power Lines (bottom) / hand-crocheted assorted wool, polyfil / 2012-2013 / Caroline Wells Chandler

Bear Culture  and Power Lines might be the first works you encounter. Crocheted sculptures from Caroline Wells Chandler, they recline on the floor and against the wall in two clusters. A stack long of tubes with dendritic fingers at one end comprises Power Lines. Beyond, a group of crocheted bears recline against the wall. You notice some of the bears have “tubes with dendritic fingers” for legs, If we associate the works, do we witness a stylized act of violence? The crocheted bears embody sweetness and light: they smile and clutch one another. Yet those same bears might have assembled this heap of limbs nearby; the aftermath of a savage massacre. Bear culture, perhaps, shares aspects of our own. Or, not. You need to contemplate this scenario for yourself–therein lies the fun.

Lucia Hierro

YOLO: In Memoriam / digital on jacquard tricot fabric, felt, industrial felt / Lucia Hierro

YOLO: In Memoriam, by Lucia Hierro, offers a quirky but arresting assemblage of objects, imagery, and text that evidently pay homage to the expression “you only live once” — the meaning of the acronym in the title. The centerpiece, a page from a New Yorker short story with selected words highlighted, presents in first person a description of the exploration of another woman’s apartment while the narrator suffers existential angst and regret for her “unlived” life. A cartoon captioned with the eponymous acronym “YOLO” presents the grim reaper knocking at an old man’s door. The artist pinned this page to a felt backing decorated on top with felt flowers, and on the bottom by a felt mockup of a Yankees cap — like a memorial to the dead. Despite the narrative elements, the work remains cryptic and unresolved, pressing us to embrace mystery and get on with life. YOLO.

Micah Ganske

Bethlehem Steel: The Yard / acrylic on muslin / Micah Ganske

Micah Ganske offers three paintings with outsized shadows looming across each. Somehow these shadows — of airplanes in one, the others less clearly defined — produce an ominous effect on these otherwise benign pictures of landscapes seen from above. One, a steel mill (Bethlehem Steel: The Yard), almost seems to celebrate its huffing monstrous achievement, except for that shadow that weighs on the celebration.

Mario Moore

Herstory / oil on copper / 2013 / Mario Moore

Three portraits by Mario Moore project moody introspection. Herstory he painted on copper, and used the metallic sheen to form a glowing frame for his subject, integrated into the room painted behind her. You might think that effect would feel forced, but somehow the artist lets the copper melt into the scene as though a perfectly natural component of a room. Another portrait comes set behind a translucent screen with clear text like bars, “I REALLY DO LIKE COPS I THINK THEY DO A GREAT JOB TEACHING ME HOW TO POLICE MYSELF” — a riff on the police state we find ourselves in, and the especially profound implications a police state has for black men.

Amy Rinaldi

Untitled #3 / rubber, wood, concrete, enamel, acrylic, plastic on panel / 2013 / Amy Rinaldi

Amy Rinaldi’s four wall sculptures with their raw, glossy, rumpled surfaces dare you to react with distaste, but before you know it you move closer and dig in to their varied forms and textures. You find yourself charmed by these warped and stretched rubbery sheets that suggest something precious within.

Thomas Gardiner

Untitled #1 / photo print on paper / Thomas Gardiner

Thomas Gardiner shows three large prints of photographs, each a portrait of decisively different circumstances, but each leaves you wondering how much he staged, and how much he chanced upon. Untitled #1 shows a young black man in a rundown neighborhood poised either to flee or dance. His neutral expression reveals little of his intention, but through sharp focus of the subject, magical lighting, and limited depth of field, the man seems to project from the surface of the image as though animated by the tension contained therein.

Nicole Maloof

The Woods / oil on canvas / 2013 / Nicole Maloof

Nicole Maloof’s three paintings make good use of lighting and feathery brush strokes to produce snapshot like imagery of unforeseen moments. One of her portraits, The Woods, seems at first lighthearted, but the radiant glow of sunlight behind the nude figure, and the figure’s slightly averted face, imbues the picture with a reverent, contemplative aura that grips you unexpectedly.

Gabriela Collins-Fernandez

YOU BOO / oil and glitter on crushed velvet and plastic / Gabriela Collins-Fernandez

Gabriela Collins-Fernandez shows two abstract paintings, each overlaid with assertive text, the third a mixed-media work titled YOU BOO — the letters of which peer out through a gap in some noisy orange crushed velvet. The effect feels playful, but also like an un-deciphered artifact.

Sol Sax

Masqueraders Are The Ancestors of Protestors, The Exclamation Print: From the Dog On Protestor series / digital print / 2013 / Sol Sax

Sol Sax shows a tall, composite photograph, Masqueraders Are The Ancestors of Protestors, The Exclamation Print: From the Dog On Protestor series. The image shows a cop setting a dog on a masquerader in a parade — this suggests the establishment attacking and oppressing “the other” as we so famously have and do in the United States to woeful effect.

Mark Thomas Gibson

Gluttony / acrylic, glitter, ink on paper / Mark Thomas Gibson

Mark Thomas Gibson’s Gluttony presents a mad collage assemblage of toothy maws dripping with purplish slop and spattered with bluish detritus. A funhouse feeling pervades this work, yet the message in the mayhem condemns with unsettling certainty our tendency toward boundless excess.

Rushern Baker IV

Indented Figure / mixed-media on canvas / 2013 / Rushern Baker IV

Rushern Baker IV offers three abstract works, one of which, Indented Figure implies a man merging with his background, sublimated into a hollow schematic of the original being. Seeing this, you can not help thinking of those ghostly profiles left on walls in Hiroshima.

Pao Houa Her

Mom shirtless in bedroom (Desire series) / digital inkjet print / 2012 / Pao Houa Her

Pao Houa Her’s three intimate photographic portraits from her Desire series dispense with flattery. Instead, Lucian Freud like, they invite a cringe; almost urge you to avert your eyes. But from either curiosity or schadenfreude, you stick with these images until you’ve knocked around in their complexity long enough to feel at home in the world therein; a world that offers comfort to the imperfect.

Kenny Rivero

Lady Dancing / oil, acrylic, enamel on canvas / 2012 / Kenny Rivero

The paintings of Kenny Rivero feel reductive, defined as much by what he leaves out as what he includes. But the pictures do not lack for visual interest. While The Water By My House feels vibrant, even (forgive the term) splashy, Lady Dancing induces a sense of stylistic vertigo with a faceless figure as the main subject. Your brain searches to resolve detail that will never appear, but the exercise feels refreshing.

Richard Lewis

Tracy Wearing A Hat / oil on canvas / 2011 / Richard Lewis

Richard Lewis brings two thoughtful portraits. Both present the subject straight on with seemingly objective clarity, but both — like good portraits do — induce an ineffable flash of emotion. Tracy Wearing A Hat, although diminutive, forces its way off the canvas and into your consciousness before you have time to react and get your defenses up.

Doron Langberg

Three Lovers / oil on linen / 2013 / Doron Langberg

Doron Langberg’s work feels ghostly. Figures distort and blend with their background, as though seen through a murky state of consciousness. Three Lovers might be the most extreme example of that deliberate haziness. Glance at the painting and you pick out a figure, but then you see that the shape represents a hole in layered canvas, a void. The effect plays with the contradiction between what you desire to see — three lovers — versus what you do see.

Wayde McIntosh

Hold / oil on canvas / 2012 / Wayde McIntosh

Wayde McIntosh shows three evocative portraits, two of which show a man’s face pressed against glass; violently one assumes. In the third a woman reclines inverted and half off a sofa, her head just touching the floor, feet up on cushions. Wrapped in a red sheet, she appears like an inverted classical Greek statue. In all of these, the state of the subject feels ambiguous: are they alive or dead?

Endia Beal

Ellen / pigment print / 2013 / Endia Beal

Endia Beal’s two photographic portraits feel — in this show — like two forgotten relatives. The pictures each show a precisely dressed and coiffed woman. They wear nearly identical clothes, and their hair follows similar patterns. They look directly at the viewer with mildly amused expressions. They seem like women that inhabit a rigid social structure with conservative restrictions on behavior — sort of what you might imagine for the British aristocracy, but applies equally (or did once) to the upper east side of Manhattan and other east coast bastions of affluence. These women project authority, and you might find yourself standing a bit straighter in front of them despite your will to the contrary.

video installation, Philip Seymour Hoffman clips

Same Voices, Different Rooms / video installation / Tommy Kha

Same Voices, Different Rooms by Tommy Kha occupies one wall (about eight feet wide, the title is a play on a Truman Capote book title). A video projected in a continuous loop shows Philip Seymour Hoffman in various scenes from the movie Capote (possibly other films too?). The scenes feel detached, as though hijacked from the feature film and waiting to go back where they belong. But like video anywhere, you feel yourself pulled toward the lively tension in this one, with Mr. Hoffman intoning in that squeaky, abrasive voice. The effect of the video seems to be to leave the viewer feeling as detached as the scenes, disengaged from the real world. The real world of the gallery, that is. The work picks up added poignancy after Mr. Hoffman’s sudden premature death.

Do The Yale Thing runs through 21-March-2014 — you would do well not to miss it. George N’Namdi brings exhibitions to his gallery with a precise eye toward Detroit sensibilities both past and present. His artists capture the zeitgeist and creative essence of Detroit with rare refinement. Visit N’Namdi Center for Contemporary Art often. You won’t be disappointed.

Worth a review in its own right was a show up during this writer’s visit of work by local high school students from a contest sponsored by Detroit-area McDonald’s owners called Black History Moments on Canvas. The show ran through Black History month. You can see the work here: BLACKMOMENTSONCANVAS.COM

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