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Sherrie Levine
Since the late 1970s, Sherrie Levine (b. 1947) has effectively rewritten the history of modern art by reprising images and objectssuch as sculpture by Constantin Brancusi and Marcel Duchamp, photographs by Walker Evans and Alfred Stieglitz, and geometric forms from abstract modernist paintingand placing them before contemporary audiences to be experienced anew. This practice underscores the ways in which art accumulates different meanings over time and in different contexts. Levine suggests that how we see and understand things is conditioned by our own experiences, collective and singular, shared and private. Levines works operate overtly as repetitions, as things we may have seen before. In what is arguably her most famous work, After Walker Evans: 122 (1981), Levine drew upon Evanss iconic black-and-white images of the Great Depression taken for the Farm Security Administration (FSA) during the 1930s. Although Evanss pictures of impoverished sharecroppers, stark buildings, and modest grave sites seem to simply document everyday scenes and situations, they are invested with an irrefutable sense of subjectivity and drama. By re-presenting imagesEvanss in this caseas her own, Levine asks us to reconsider objects and raises questions about conventional notions of authorship, originality, and artistic lineage. Like others of her generationamong them Dara Birnbaum, Sarah Charlesworth, Louise Lawler, Cindy Sherman, and Haim SteinbachLevine questions artistic and cultural legacies and proposes new trajectories. Ranging from full-size pool tables after Man Ray to castbronze urinals after Marcel Duchamp, the work on view here illuminates the ways in which history is told and retold. Through these objects, Levine not only re-emphasizes the importance of a certain work, art-maker, or the ethos of a particular moment, but also reveals beliefs and biases that might not have been readily apparent before. Formally elegant and even sensual, Levines work presents an alternative story, or stories, delivering a deep disruption to canons and conventions. In this context, the artists title, MAYHEM, reads as an acknowledgment of the inherently destabilizing nature of her art. Groupings of works that span Levines entire career are presented in this exhibition, offering viewers an opportunity to see older and newer works together and to make associations between them. This brochure also eschews a chronological format and is loosely grouped by medium to offer a window into the close ties between the powerfully seductive material and conceptual nature of Levines art.
i have becoMe intereSted in iSSueS of authenticity, identity, and propertythat iS to Say, What do We oWn? What iS the SaMe? 1979 i dont think itS uSefuL to See cuLture aS rigid and unchanging. id rather See it aS having Many voiceS, SoMe conSciouS and SoMe unconSciouS, Which May be at oddS With one another. if We are attentive to theSe voiceS, We can coLLaborate With theM to create SoMething aLMoSt neW. 1997 a hot dog WaLkS into a bar and SayS: id Like a beer. the bartender SayS: iM Sorry, Sir, We dont Serve food here. 2010
Since the early 1980s, Levine has made photographic works that utilize a variety of sources. Her early pictures reprise well-known photographs by acknowledged masters, including Walker Evans and Edward Weston. Levine later photographed works made in different media, such as painting and drawing, by famous artists like Edgar Degas and Piet Mondrian. She also turned to pictures by other figures from the history of art, such as Karl Blossfeldt and the commercial photographic team GottschoSchleisner. In all her photographs, Levine changes the material and conception of her sources, imparting new hues, textures, and meanings to the resulting images. If After Walker Evans: 122 (1981) is the most wellknown of Levines photographic transformations, it is partly due to the controversial discussions it elicited about authorship and originality. In her photographs that constitute this work, Levine asks that images be seen in an entirely different context than that in which they were first made. Her photographs bring to mind questions about how the gender, authority, or status of an author affects the meaning of an image: Is a photograph, reframed by a female artist nearly five decades after it was first made, asking to be seen in a wholly other context? How, in that light, do we rethink related questions such as: What is an original? What is a reproduction? These questions of originality and reproduction are posed in Levines After Courbet (2009), a suite of eighteen postcards depicting Gustave Courbets famous 1866 composition titled LOrigine du monde. In his work depicting the torso and genitals of a model, Courbet rendered the female body both essentialized and metaphoricLevine undoes both operations by presenting the oncetaboo work multiple times and in the format of an easily acquired souvenir. In After Courbet and other works focusing on images from the history of art, Levine challenges assumptions about the experience and reception
of art. The context in which we see a picturewhether in a magazine, book, museum, or, more recently, in digital formatplays an important role in our understanding of it. For example, in LAbsinthe: 112 (1995) Levine presents twelve black-and-white images of the Edgar Degas painting of the same name from 1876. Showing an alienated female figure seated at a cafe, the picture was considered risqu in its day, presenting behavior considered less than moral. Levines version, created more than a century later, highlights how such stereotypes becomes less readable as social mores change. Levines images of images suggest that every picture has a malleable history. In the series After Karl Blossfeldt: 120 (1990) and Gottscho-Schleisner Orchids: 110 (196497), Levine takes up a theme ostensibly different from those she pursues in her works after more recognizable sources and figures from the history of art. For these two groups of photographs, Levine focuses on the seemingly natural forms of plants and flowers. But here too she presents images in a framework, encouraging thoughts about connections between nature and culture. Levines re-presentation of these images of plant forms that were perhaps originally intended as tools for study or identification brings to mind questions about how natural things are often mediated and creatively framed, and might not be as natural as they might at first appear. By gathering together dissimilarly marked categories of objects in her own work, Levine upsets strict genres that categorize some images as scientific specimens and others as works of art. As much as Levine upends conventional ideas of art history, she is also part of the centuries of artists that have drawn upon the work of their predecessors, either by making visual references to actual works or by reusing specific or historical titles or subject matter as nods to the past. Levine has continued that tradition, but she has also pushed it to its logical extreme by producing work that often bears little visual distinction from her
After Walker Evans: 4, 1981. Gelatin silver print, 10 x 8 in. (25.4 x 20.3 cm). Private collection. Walker Evans Archive, The Metropolitan Museum of Art, New York. Image courtesy Paula Cooper Gallery, New York
source material. Her work over the last three decades questions the primacy of authorship while also acknowledging that an increasing proliferation of photographic images has facilitated a fluid exchange of influence through borrowing and recasting images. Indeed, at the outset of her career, Levines work had resonance with a growing image-culture, anticipating many of the discussions around todays digital modes of reproduction, distribution, and sampling.
In the mid-1980s, Levine began making paintings with general references to the history of art. Rather than re-presenting individual images with specific, recognizable sources (as with her photographic works), she used familiar elements from Modernist painting and sometimes turned to unexpected materials to make objects that appear to be mostly abstract. Both strategies resulted in works that contain numerous intertwined arthistorical references. These references can be seen in works such as Levines Broad Stripes (1985) and Red and Gray Check: 712 (2000). Composed of geometric forms, grids, and repetitive panels that recall early twentiethcentury Modernist painting by the likes of Kazimir Malevich, as well as Minimalist compositions from the 1960s and 1970s by artists such as Brice Marden and Frank Stella, the intimate scale and rich material surface of Levines works, however, can also be seen as reminiscent of art from other periods. For example, to create Broad Stripes, Levine applied casein paint on mahogany panels, which resulted in the red and brown tones of the wood affecting the color of the paint. This technique is similar to how a layer of underpainting (often red or green) in early Renaissance paintings gives a greater depth and richness to the colors visible on the surface. Levines material process for the Broad Stripe paintings can be seen as a metaphor for her own conceptual practice of exposing the
LAbsinthe: 112, 1995 (detail). Gelatin silver print, 10 x 8 in. (25.4 x 20.3 cm). Paula Cooper Gallery, New York. Sherrie Levine. Image courtesy Paula Cooper Gallery, New York
Gottscho-Schleisner Orchids: 9, 196497. Chromogenic print, 20 x 16 in. (50.8 x 40.6 cm). Published by Winter Works on Paper, New York. Paula Cooper Gallery, New York. Sherrie Levine. Image courtesy Paula Cooper Gallery, New York
After Karl Blossfeldt: 3, 1990. Gelatin silver print, 10 x 8 in. (25.4 x 20.3 cm). Private collection. Sherrie Levine. Image courtesy Paula Cooper Gallery, New York
Red and Gray Check: 712, 2000. Oil on aluminum, 18 x 10 in. (45.7 x 25.4 cm), each. Walker Art Center, Minneapolis; gift of the artist and Paula Cooper Gallery, 2002. Sherrie Levine. Image courtesy Walker Art Center, Minneapolis
way layers of meaning and reference are inherent in almost any work of art. Levines Red and Gray Checks not only suggest the grids found in Minimalist painting and sculpture, but also game boards, bringing to mind Marcel Duchamps fascination with chess. In 1923, Duchamp claimed he was giving up art to devote himself to the game, and Levines compositions seem to nod to both practices. Even the word check, which in chess implies a threat to capture a king, resonates with Levines own interest in questioning traditional notions of hierarchy within art and cultural history. The Red and Gray Check paintings combine aspects of traditional painting with elements of conceptual play, a duality often seen in Levines other painted works. Another type of duality is found in Levines Krazy Kat (1988) and Ignatz (1988) paintings, made after images from George Herrimans comic strip Krazy Kat of 191344, which itself combined elements of repetition and tragicomic drama. Levine portrays two characters that are hyperbolic and affectively complex: Krazy Kat is an unfailingly optimistic feline of
indeterminate gender, and Ignatz is a mouse who repeatedly hurls bricks at Krazy Kat in efforts that seem both amorous and violent in nature. Levine positions these characters, who are foils to one another, on separate wood panels that recall the logic of comics, though without text or familiarizing landscape. Removed from their narrative sequences, the two are relieved from their endless slapstick placed in a kind of contextless limbo. Here, Levines interest in repetition locates itself within an absurdist drama that repeats in dreamlike fashion. Altering the comic even more radically, Levines Black Splattered (1991) depicts a tonally reversed image of Krazy Kat. Herrimans original splattered drawing was inspired by accidentally spilled black ink that unexpectedly transformed Krazy Kat, with strangely poignant results. Levine has often presented the duality between positive and negative or black-and-white images; in Black Splattered she shows another side to Krazy Kat, one that depicts the cat quite literally transformed and in so doing shows how a simple aesthetic shift can produce profoundly emotional
Broad Stripe: 6, 1985. Casein paint and wax on mahogany, 24 x 20 in. (61 x 50.8 cm). Collection of Nina and Frank Moore. Sherrie Levine. Image courtesy Paula Cooper Gallery, New York
Large Gold Knot: 1, 1987. Metallic paint on plywood, 60 x 48 in. (152.4 x 121.9 cm). Whitney Museum of American Art, New York; purchase with funds from the Painting and Sculpture Committee 88.48ab. Sherrie Levine. Photograph by Sheldan C. Collins
ones. Levine also modified the context of the Krazy Kat characters by placing them on mahogany and cherry wood supports that have a rich grain, giving a comic strip an aspect of permanence and preciousness. A very different type of wood forms the primary visual element in Levines Knot Paintings (1987, 1988, and 2002). The support for these works is the common building material plywood, which is composed of many thin layers of wood glued together for strength. Plywoods most direct relationship to art comes from its use for crates built to protect painting and sculpture (particularly for shipping), but by making plywood her canvas Levine has reversed that role in the Knot Paintings. Although the title of these works can be read as a pun for not painting, by painting over or mimicking the shape of plugs that fill holes sometimes left by naturally occurring knots within the wood, she transforms ordinary plywood into a field of wood grain and painted knots. Knots are often considered imperfections in wood, but by using the ready-made compositions that the plugs produce, as well as sumptuous, often mineral- or metalbased colors to highlight them, Levines Knot Paintings suggest that there is aesthetic pleasure to be mined in even the most ostensibly banal objects. Gold and silver knots bring to mind precious materials, while lead conjures the element that alchemists dreamed about transmuting into gold. Simple, yet evocative, changes are also at the heart of Levines abstract Melt Down paintings from 1990. Although made by hand using traditional painting materials, this series of monochromatic works was devised by using a computer program to process images of paintings by Piet Mondrian, Claude Monet, and Ernst Ludwig Kirchner and averaging their colors and tones, melting them into single fields of color (many surprisingly luscious in tone and density). In the Melt Down paintings Levines reference to the original works is both general and specific, embodying a kind of summation of the imageone that gathers every
Melt Down (After Monet): 1, 1990. Oil on mahogany, 28 x 21 in. (71.1 x 53.3 cm). San Francisco Museum of Modern Art; Accessions Committee Fund: gift of Collectors Forum, Mimi and Peter Haas, and Helen and Charles Schwab. Sherrie Levine. Image courtesy Paula Cooper Gallery, New York
Equivalents (After Stieglitz): 8, 2006. Inkjet print, image: 7 1/4 x 5 1/2 in. (18.4 x 14 cm); sheet: 19 x 12 15/16 in. (48.3 x 32.9 cm). Whitney Museum of American Art, New York; purchase with funds from the Print Committee 2008.220ar. Sherrie Levine. Image courtesy Paula Cooper Gallery, New York
La Fortune (After Man Ray): 4, 1990. Mahogany, felt, and billiard balls, 33 x 110 x 60 in. (83.8 x 279.4 x 152.4 cm). Whitney Museum of American Art, New York; purchase with funds from Joanne Leonhardt Cassullo, Beth Rudin DeWoody, Eugene Schwartz, and Robert Sosnick 92.1ah. Sherrie Levine. Photograph by Geoffrey Clements
aspect of it yet produces something completely different. Levine has continued to use digital methods to calculate and average color and tone for painted and printed works, such as her Equivalents (After Stieglitz): 118 (2006). These works take as their starting point Alfred Stieglitzs famous black-and-white photographs of clouds, a series that, in line with Modernist theories of equivalence, suggests that abstract forms could represent corresponding ideas or emotional states.
In the late 1980s, Levine began to make three-dimensional works using materials, such as bronze and glass, more typically associated with classical and modern art than with contemporary art. By using these materials, the artist extended her explorations of the cultural and arthistorical significance of works by well-known artists. Levines sculptural works often include more than one object, taking the form of pairs, or, in other cases, larger groupswhich
she calls gangsor installations. When placed together, these sculptures play with our experience and understanding of repetition and the formal possibilities of oppositesmany pairs even seem like positives and negatives of each other. In some cases, Levines objects can be considered sculptural realizations of other artists images, relegating iconic masterpieces from the history of art to preparatory sketches, or source material for Levines own work. Bachelors: 16 (1991), one of Levines earliest sculptural ventures, consists of six three-dimensional objects based on the Malic Molds in Marcel Duchamps The Bride Stripped Bare by Her Bachelors, Even (The Large Glass) (191523), an enigmatic work widely considered the artists masterpiece, which depicts a kind of machine whose components suggest the erotic dimension of industrialized production and society. The forms in the lower half of The Large Glass, the Bachelors, represent various modes of what Duchamp identified as masculine occupations (ranging from a policeman to an undertakers assistant) and, more symbolically, male
Fountain (Madonna), 1991. Cast bronze, 15 x 15 1/2 x 25 in. (38.1 x 39.4 x 63.5 cm). Private collection. Sherrie Levine. Image courtesy Simon Lee Gallery, London, and Paula Cooper Gallery, New York
Crystal Skull: 112, 2010 (detail). Cast crystal, 5 1/2 x 7 x 4 1/2 in. (14 x 17.8 x 11.4 cm). Private collection; courtesy Jablonka Galerie, Cologne. Sherrie Levine. Image courtesy Paula Cooper Gallery, New York. Photograph by Davina Semo
sexuality. For her own work, Levine translated six of these forms into bronze objects (other versions are rendered in glass and iron) and presented them collectively, but with each in its own vitrine. Levines bronze sculptures are both mechanistic (in appearance and because of their infinite reproducibility) and sensual (due to the allure of the bronze). They bring to mind objects to be played on a game board or shiny fetishes, and they can be seen as variations on a theme, both formally and conceptually: they are similar but different, suggesting the possibility for unique functions, even while visibly linked. Levines use of casting and Duchamps own use of the word molds implies the possibility of endless repetition; however, each of Levines Bachelors, given its material permanence and preciousness, possesses a value of its own. In 1990, Levine made La Fortune (After Man Ray), a sculptural manifestation of a billiard table found in the eponymous Man Ray painting from 1938 (on view in the exhibition Real/Surreal on Floor 2), in which the object appears in a bleak, distended
landscape and a sky filled with multicolored clouds. The four iterations of Levines La Fortune in this exhibition exemplify Levines practice of giving images physical form. In the case of this sculpture, she used wood, felt, and billiard balls to make an object that seems to exist simultaneously inside and outside of the landscape of Man Rays painting. Yet if Man Rays work is a Surrealist piece par excellence in its depiction of the pocketless table used in a type of billiards, Levines installation of her four La Fortunes also reinserts a kind of realism into the equation (even as the repetitions create a cool sense of the Surreal) by suggesting nothing less than a simple pool hall. By repeating La Fortune within one installation, Levine creates a three-dimensional environment of illusion that allows viewers themselves to traverse the space between reality and art. The following year, Levine made her Fountain (Madonna) (1991), another work after Marcel Duchamp. Duchamps Fountain (1917) was a readymade (a commercial urinal that the artist removed from its functional context and presented as art), while
Levine, for her part, cast a urinal similar to Duchamps in bronze. The high value of the bronze that Levine used in this workas well as in the later version Fountain (Buddha) (1996)and the highbrow associations that material has within the history of sculpture suggest that the radical nature of Duchamps work has now become an accepted part of the history of art. Levines material transformation, the creation of a gleaming, polished surface that calls viewers attention to the form of the object, also underlines the organic, almost feminine contours of the urinal, subverting the functional connotations of an item used almost exclusively by men. Levines Crystal Newborn (1993) and Black Newborn (1994) were made after a famous Constantin Brancusi sculpture of 1915an abstract shape, yet one that is deeply evocative of human anatomy (a simple ovoid, it has often been discussed as an egg or a childs head). Levine cast her Newborn first in crystal in 1993 and then, the following year, in black glass. Brought together they act as exact doubles but also as oppositespositive and negativethat create a pair, whose binary logic Levine has explored throughout the 2000s with other sculptures. The forms of Newborns are displayed on grand pianos (instead of a traditional pedestal), a placement that Levine initiated after seeing a photograph of the interior of the British collector H. S. Edes home, in which a Brancusi sculpture was displayed atop a piano. Evocative of a scene removed from the clean, white cubes of modern museum displays, the grand pianos in this installation underscore the cultural stratification embedded in art. For some, art may not only be viewed but also owned and lived with, an idea that also calls up associations of how class structure dictates aspects of domesticity, design, and good taste. In the 2000s Levine began to make sculpture based on objects she found in antique stores and flea markets, including some forms that refer to the natural world. One such object is False God (2008), a cast-
bronze two-headed skeleton of a calf, a sort of Janus figure (the Roman god often depicted with two faces looking in opposite directions) that suggests that the present acts as a hinge between the future and the past. Animals with two heads are extremely rare and typically have a short life span, yet Levines use of bronze for this sculpture transforms the skeleton into a permanent icon. The title of Levines sculpture False God further points to associations of iconography and idolatry, such as the story in Exodus of the idol, a golden calf, that the Israelites worshipped in Mosess absence. The empathy that might be prompted by the freakishness of the natural form is balanced by the gold color that also suggests references to desire, fetishes, or the worship of money and material goods. Crystal Skull: 112 (2010), the most recent sculpture in this exhibition, is based on a small model of the human skull. Twelve identical castcrystal skulls are presented together, each encased in a separate vitrine. The translucent crystal lends a timeless quality to the works, but they still call to mind the ghostly finality (and inevitability) of death. Levines skulls transform seeming organic matter into otherworldly objects. The beauty and symmetry of this installation is tempered with an undercurrent of chaos, with the quiet procession of skulls extending into the past and alluding to unknown and uncontrollable things yet to come. Johanna Burton, guest curator, and Carrie Springer, senior curatorial assistant
Whitney Museum of American Art 945 Madison Avenue at 75th Street New York, NY 10021 whitney.org
Major support for Sherrie Levine: MAYHEM is provided by the National Committee of the Whitney Museum of American Art and The Andy Warhol Foundation for the Visual Arts. Additional support is provided by Glenstone, Aaron I. Fleischman and Lin Lougheed, The Robert Mapplethorpe Foundation, Inc., Miyoung Lee and Neil Simpkins, Judith Neisser, and Colombe Nicholas and Leonard Rosenberg. Yamaha Pianos provided courtesy of Yamaha Artist Services, New York


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Can you please put me in reserve Heather? Have some network issues to sort out at the end of the month that's why .
Type: Posts; User: ASNegi
Can you please put me in reserve Heather? Have some network issues to sort out at the end of the month that's why .
Just mention your ign , tag(optional) , heroes and Th and you are good to go :)
Oh my , such an emotional and strong message sowad ;)
But I'm always their to help the Forums or fepa for organisation or anything else :D
The plan is was thinking of from a long time though it was not only the Queen for few of my Farming troops too. But I'm an unlucky fella that it will take me one more month to go 11 and the update...
Just a simple question for SC - Did they considered lower level Th's 9-11 like me who were stacking those medals to get a good headstart after upgrading to next level.
My hopes of maxing my base are already down untill I spend some money.... :(
And there it goes :smirk:
Finally something I love is added :)
But sad for the Cool down as I was just moving to 11 :(
It will be good if Harry and TomO can show up early so that we can spin soon at the pit :)
Oh man, more hero levels. :facepalm:
Now what do I say about this skin......
You may get sacked for revealing it. XD
Does that mean we will have a cowboy and cat skins too? :smirk:
I would say one thing with my personal experience that the numbers of players joining everyday is higher compared to retiring. When someone retires after reaching the end game others will reach their...
Many have already, so the sooner the better :)
I can guarantee you a lots of Fun at the pit :D
It isn't the case completely. Last season no one was subbed as we have complete 15 ppl. This season we have some 18-19 peeps , so as mentioned by Warios everybody will get to play 6 wars and some 5...
As for my Rushed Th12 it can hold on defence against 11s and can 2 star 11s while wawa's rushed 12 can
Hold against some Noob 12s and Can 2 star and sometimes 3 star 12s. And my Rushed 12 is just...
You forget to add Jack Tull.
Would miss you Rockie :(
But goodluck with the grind and hope to see you next season :)
And forgot to mention that I will be bringing my Rushed Th12 as a filler at the pit.
And for aTh's question as mentioned by sowad those tags are correct :) You can start coming as soon as you want ,...
Only 5 days remain. And we are short 5-7 members in both clans. It makes me think should we consider the option to play a mix of hardcore and mixed Cwl at the pit as we did in the April Cwl....
Personally I think you are just unlucky. I am Farming with miners between 2500-2700 with my tactically rushed 12 and I find enough dead bases to feed it. I usually hit 11s. And I haven't seen much 12...
And what's your definition for wicked ? :smirk:
Don't be innocent, I know you know everything :smirk:
And I know The update will be before 30 June. Mark my words ;)
The only base the cowboy can 3 star is a defenceless one :smirk:
Too soon tull , too soon :smirk:
But , I'm in as always , ready to show my awesome Fails ;)
70 % of water :p


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Hoveton cottages
A holiday in Hoveton will see you in the heart of the Broads, the whole area is actually often described as Wroxham although strictly speaking the area north of the river Bure is actually Hoveton. Wroxham is described as the capital of the Broads, home to the Wroxham Barns, a great family day out for all ages and includes a junior farm, mini golf, fun fair plus a selection of independent craft, jewellery & clothes shops and a restaurant to enjoy. Also at Wroxham you have "Roys of Wroxham" given the name by locals as the biggest village store in the world!
There are a number of opportunities in the area to explore the Broads further, with hiring cruisers and canoes an option which can be for the day or for just a few hours. If you prefer to keep your feet on solid ground there are endless walking trails in which to explore the fascinating sights, sounds and wildlife home to this area.
Also just on the outskirts of Hoverton you have the award winning attraction BeWilderwood, a unique fun day out for the whole family. This is where you can discover the magical world of Twiggles and Boggles amongst tree houses, mazes, zip wires, slides and much more and can highly recommend it is well worth a visit. You will also find on the car park of BeWilderwood, The Norfolk Broads Cycling Centre, where you can hire a variety of cycles, they even offer a service to deliver & collect the bikes to & from your holiday cottage and can also provide you with a number of maps showing excellent routes to take.
Hoveton, Norfolk Broads
(No dates selected)£314 - £520
- Special offerLast minute discount! 10% off bookings starting within 14 days (may not apply in conjunction with other offers)
- 2 Guests
- 1 Bedroom
- 2 Pets
- WiFi
- Private Parking
- Beach 12 miles
- Pub 2 miles
Just for two
Discover romantic retreats just for two.
Hoveton, Norfolk Broads
(No dates selected)£473 - £691
- Special offerLast minute discount! 10% off bookings starting within 14 days (may not apply in conjunction with other offers)
- 4 Guests
- 2 Bedrooms
- No Pets
- No WiFi
- Private Parking
- Beach 15 miles
- Pub 0.3 miles
Escape to Norfolk this Easter
With the days starting to get longer and warmer, find your dream Easter cottage now.
Hoveton, Norfolk Broads
(No dates selected)£483 - £877
- This Wroxham holiday home is a wing of a stately early 19th century hall. Set amidst extensive parkland.
- 6 Guests
- 3 Bedrooms
- No Pets
- WiFi
- Private Parking
- Tennis court
- Pub 1 mile
- Open fire or woodburner
Big gatherings
Having a family get together or organising a friend's reunion? Browse our large properties.


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Zacks Investment Research downgraded shares of Smith Micro Software (NASDAQ:SMSI) from a buy rating to a sell rating in a research report report published on Wednesday, Zacks.com reports.
According to Zacks, "Smith Micro Software, Inc. develops and sells communications software for personal and business use. The company's objective is to enhance human interaction by giving users the ability to communicate through multimedia technologies over analog and digital platforms. Smith Micro's products enable personal communication through telephony, fax, multimedia email, data, paging, video security and video conferencing. "
Several other brokerages have also recently weighed in on SMSI. TheStreet raised shares of Smith Micro Software from a d rating to a c- rating in a report on Friday, May 10th. ValuEngine raised shares of Smith Micro Software from a hold rating to a buy rating in a report on Saturday, May 4th. Finally, Chardan Capital assumed coverage on shares of Smith Micro Software in a report on Sunday, April 7th. They issued a buy rating and a $5.00 target price on the stock. One research analyst has rated the stock with a sell rating and three have assigned a buy rating to the stock. Smith Micro Software currently has a consensus rating of Buy and an average target price of $3.67.
Smith Micro Software (NASDAQ:SMSI) last issued its earnings results on Wednesday, May 8th. The software maker reported $0.02 earnings per share for the quarter, beating the Thomson Reuters' consensus estimate of $0.01 by $0.01. The firm had revenue of $8.43 million for the quarter, compared to analysts' expectations of $7.80 million. Smith Micro Software had a negative net margin of 1.06% and a positive return on equity of 24.68%. On average, research analysts predict that Smith Micro Software will post 0.06 EPS for the current fiscal year.
A number of large investors have recently modified their holdings of SMSI. Virtu Financial LLC acquired a new stake in Smith Micro Software during the fourth quarter worth approximately $53,000. Northern Trust Corp raised its holdings in Smith Micro Software by 54.4% during the fourth quarter. Northern Trust Corp now owns 32,448 shares of the software maker's stock worth $58,000 after purchasing an additional 11,432 shares in the last quarter. FNY Investment Advisers LLC acquired a new stake in Smith Micro Software during the first quarter worth approximately $106,000. Acadian Asset Management LLC acquired a new stake in Smith Micro Software during the fourth quarter worth approximately $108,000. Finally, Renaissance Technologies LLC acquired a new stake in Smith Micro Software during the first quarter worth approximately $115,000. 6.91% of the stock is currently owned by hedge funds and other institutional investors.
Smith Micro Software Company Profile
Smith Micro Software, Inc develops and sells software to simplify and enhance the mobile experience to wireless service providers, device manufacturers, and enterprise businesses in the Americas, Europe, the Middle East, Africa, and the Asia Pacific. It operates through two segments, Wireless and Graphics.
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If the coverage available through your employer feels unaffordable, you can shop around online to see what's available. You may be able to find an individual market policy that will provide you with the coverage you need but is less expensive than the premium you pay at work. This is unlikely to be the case if your plan only covers yourself, since your employer is likely subsidizing a good chunk of the total premiums for the plan offered through your job. But some employer-sponsored plans require the employee to cover the full cost of adding family members, so it's possible that your family members could get a better deal with a separate policy.
However, they might still be able to find a less expensive plan in the individual/family market, even paying full price for the premiums. It would almost certainly have a higher deductible and out-of-pocket exposure than the plan Doug's employer offers, but that might be a trade-off that the family considers worthwhile. Doug might find that his employer-sponsored coverage for just himself is very affordable, since employers often pay more towards the employee's premiums than they pay towards additional family members' premiums. So Doug's family might opt to keep Doug on the employer-sponsored plan and get an individual market plan for his wife and kids.
Humana group medical plans are offered by Humana Medical Plan, Inc., Humana Employers Health Plan of Georgia, Inc., Humana Health Plan, Inc., Humana Health Benefit Plan of Louisiana, Inc., Humana Health Plan of Ohio, Inc., Humana Health Plans of Puerto Rico, Inc. License # 00235-0008, Humana Wisconsin Health Organization Insurance Corporation, or Humana Health Plan of Texas, Inc., or insured by Humana Health Insurance Company of Florida, Inc., Humana Health Plan, Inc., Humana Health Benefit Plan of Louisiana, Inc., Humana Insurance Company, Humana Insurance Company of Kentucky, or Humana Insurance of Puerto Rico, Inc. License # 00187-0009, or administered by Humana Insurance Company or Humana Health Plan, Inc. For Arizona residents, plans are offered by Humana Health Plan, Inc. or insured by Humana Insurance Company. Administered by Humana Insurance Company.
But the ACA changed all that. Medical underwriting is no longer used, although applicants can now only enroll during open enrollment or a special enrollment period triggered by a qualifying event (similar to how enrollment works for employer-sponsored plans). Essential health benefits are now covered on all new individual major medical plans in every state. And millions of people are receiving premium subsidies that cover the majority of their premiums for plans purchased in each state's health insurance exchange (the ACA's consumer protection reforms apply to plans sold outside the exchanges as well, but the subsidies are only available in the exchange). The ACA also limits the percentage of premiums that insurers can use for administrative costs, including profits and executives' salaries; insurers have refunded billions of dollars to consumers as a result of the new rules.
These plans meet all the requirements of the health care law, including covering pre-existing conditions, providing free preventive care, and not capping annual benefits. If you have one of these plans, you won't have to pay the fee that people without coverage must pay through the 2018 plan year. (Note: Starting with the 2019 plan year (for which you'll file taxes in April 2020), the fee no longer applies.)
Individual and family health insurance plans can help cover expenses in the case of serious medical emergencies, and help you and your family stay on top of preventative health-care services. Having health insurance coverage can save you money on doctor's visits, prescriptions drugs, preventative care and other health-care services. Typical health insurance plans for individuals include costs such as a monthly premium, annual deductible, copayments, and coinsurance.


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Ashley Giles Quotes
Enjoy the top 1 famous quotes, sayings and quotations by Ashley Giles.
"Well all be the first to hold up our hands and take it on the chin [cant all be the first Ash!]"
— Ashley Giles —
"We'll all be the first to hold up our hands and take it on the chin [can't all be the first Ash!]"
— Ashley Giles
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PSA: You Don't Need an Excuse to Quit Drinking
Hi, my name's Quinne, and I'm not an alcoholic. I just don't drink. Anymore.
Well, maybe I am an alcoholic. Or I would be, if my tolerance was ever high enough to binge drink, instead of getting too drunk after only two cocktails. Or if the "normal" shit you do in your early 20s was seen as less of a rite of passage and more like self destruction.
That rite of passage feels especially like a requirement in New York, where the city itself sparkles like Champagne and thrives on excess, chanting, "Yes! Yes! Yes!" to everything, just because it can. Young people are drinking less than previous generations, and sober dance parties are seeing huge success with people of all ages, but making the choice to not drink in NYC can feel like missing out on a milestone — even when you feel like that milestone might not be the right one for you.
The actual, specific reason that led me to quit drinking is boring: In December 2015, I stopped drinking momentarily because I was going off an antidepressant. It sounded like the rational decision — I was purposefully messing with my brain chemistry — and like most millennials I know, taking a break from alcohol was a thing I did on occasion when I felt like I had been drinking too much, wanted to detox, or just wanted to "see if I could do it." I was going to do it for a couple of months, which turned into a few, which turned into thinking I might just not drink anymore. Or ever again.
I don't remember if people were surprised. I do remember that they didn't take me seriously. One of my best friends even said, "I mean, come on, you're not an alcoholic," as if it was a terrible or unusual thing to be in the first place (it's neither, and if you're struggling with addiction, please reach out to someone close to you or call 1-888-NYC-WELL for resources in New York City). I told her I might start drinking later in the year, laughing off her dismissal and feeling like a pariah while I figured out how to exist at a party without making myself a whiskey sour.
That immediate feeling of discomfort when someone in your circle stops drinking is totally understandable. "We tend to be more comfortable when everyone is on the same page in social situations," says Dr. Kelifern Pomeranz, a clinical psychologist with a specialty in substance use disorders. "If others make different choices, this may highlight any insecurities or doubts I may have about the decisions that I am making, [and] I might begin to question whether I am a follower or a leader."
And when the nondrinker doesn't have a "good excuse" to not be drinking, the situation can feel reversible. I've stopped telling people that I have one or two drinks a year, because it usually leads them into (consciously or subconsciously) trying to make that night be the night I have a drink. It felt like society decided I had to go through some specific, life-altering experience to justify not having a glass of wine at dinner; like turning down alcohol is only possible when it's compulsory, a last-ditch effort, a final choice to make when you've exhausted all your other options.
"Humans are meaning-makers," says Dr. Pomeranz. "Simply making a decision not to drink feels too ambiguous. We like stories and explanations that make clear and linear sense, and when we are faced with ambiguity, we experience discomfort." When our brains are able to put name tags on people, we feel more comfortable. We crave solid boundaries and justifications, diagnoses that tell us how to act and what to expect.
When we don't get that explanation, we fill the space with assumptions about the person making the unusual choice. A guy recently asked me, "How do you date people if you don't drink?" What a question, from someone who was also dead sober at the time, making out with me in Washington Square Park at 2pm on a weekday.
"You know we're on a third date, right?" I asked. He didn't have a response. We kept making out.
No one owes anyone an explanation about why they don't drink, but I still have one at the ready: "I'm really sensitive to substances — like, even prescription medication — so I could never really drink casually. I'm drunk after like two drinks, so it's not really fun for me." Easy, clean, done. There's more to it than that, of course, and it can be tricky at open bar situations like weddings, where liquor flows like water, and I'm that person asking the waiter for another ginger ale with bitters.
But quite simply, my life is better when I don't drink. It's magic to feel fully responsible for all of my actions and to foster higher chances of making choices that benefit me. Now, I go to concerts and feel every feeling possible when the band plays my favorite song. I go on dates and kiss people I really, really want to kiss. I laugh and dance and sing with my friends at parties, just like always, except I keep my balance.
And it's easier than ever to live a highly social life without alcohol. Bars across the city have "spirit-free cocktail" menus; Mother of Pearl and Sunday in Brooklyn are two of my faves. You can even buy fancy non-alcoholic drinks like Curious Elixirs and Seedlip at the grocery store to take to your next party.
As it settled in, people who were truly uncomfortable with my life's lack of alcohol sort of just left it. I don't know if it's part of getting older, our changing attitudes toward drinking, or just the way I handle myself in social situations, but these days, I rarely meet new people who are uncomfortable with my drinking habits.
And making a choice to quit drinking, without having to quit drinking, has made me evaluate everything else in my life. I don't have to spend time with people who aren't very good friends. I don't have to tolerate creepy comments on my Instagram. I don't have to wear cute shoes that are uncomfortable, or go to a party when I'm sick, or do anything out of obligation at all, really. Saying "no" to anything that doesn't serve me feels so easy now.
I'm happy when I don't drink, so I don't. Isn't that the only reason you need to do anything?


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Mickey Mouse's 90th birthday celebrations rumble on with a Steamboat Willie Lego set
There are two types of people on this earth. There are those of us for whom celebrating a birthday calls for little more than an evening down the pub. Then, there are those who draw it out into a weeklong shindig featuring cocktails, bowling, dinners, jazz bars, nightclubs, more cocktails, trips to local wetland centres and a restorative three-day spa experience. Mickey Mouse, it seems, falls in the latter camp.
Not content with marking his 90th birthday by hooking up with Clarks for some nifty desert boots, Vans for some nifty slip-ons, Uniqlo for some nifty t-shirts, and Polaroid for some nifty film stock, the most famous mouse in Christendom has decided to prolong the party by hopping aboard the good ship Lego for a Steamboat Willie special.
Everyone's favourite Danish construction company have decided to memorialise Mickey's first big-screen appearance in the way it knows best, via the medium of interlocking plastic bricks.
Originally dreamt up by Lego Ideas members Máté Szabó – Lego Ideas, for the uninitiated, is a service which allows hardcore builders to submit their fantasy projects for the company and the community's perusal – we're told the Steamboat Willie set was "adapted into the official Lego version by Lego designer John Ho with all the decorated elements and mini figures created by graphic designer Crystal Marie Fontan."
If you've ever wanted to sink an afternoon into recreating one of the most famous steamers of the early 20th century then consider yourself in luck: the set hits shelves on 1 April and Lego stress that it isn't a cruel and unusual April Fool's gag intended to snare Disney obsessives across the globe.
- From documentaries to exhibition design via portraiture and painting, relive June's Nicer Tuesdays
- Useless is a website mapping out the UK's zero-waste network
- Material Literacy: Why we need to rethink language to survive the climate crisis
- Welcome to Response and Responsibility, a look at creativity and climate change
- Maurizio Di Iorio tricks the eye with his illusory photography
- With "personality and warmth", Laura McCluskey turns her lens to those around her
- How Pelle Cass creates his jarring "still time-lapse" images
- Mozilla gives Firefox a new look that goes beyond the logo
- Spotify wants you to listen to more podcasts, so it's redesigned its app
- Say a sustainable hello to the world's first fully compostable trainer
- Illustrator Faye Moorhouse has made a trilogy of zines about her cat
- Applications are now open for The Graduates 2019!


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And it seems the unorthodox living arrangement has the stamp of approval from Paltrow's intimacy coach, who told her that it gives their marriage "polarity".
It shouldn't be surprising that the woman whose first marriage ended by bringing the phrase "conscious uncoupling" into the lexicon would enjoy some downright unconventional living arrangements with her second husband.
"Chris is family and Brad and he, they're like, totally friends", she said of the honeymoon.
Gwyneth says the arrangement suits them perfectly and that her married friends also believe it's the ideal set up.
The Hollywood actress, 46, tied the knot with TV producer Falchuk in September.
'Blair Witch' Is Being Turned Into A Video Game
Ellis can expect to confront his nightmares as he meets the mysterious haunted forest locals attribute to the Blair Witch . A new Blair Witch game is in development from Bloober Team , the developer responsible for Layers of Fear and Observer .
The Iron Man star has two children from her previous marriage with Coldplay star Chris Martin - daughter Apple, 15, and son Moses, 13, while Falchuck shares children Brody and Isabella with his ex-wife Suzanne Bukinik.
The actress, who is unabashedly herself, called her past six years the "most profoundly awakening years of my life".
"Haters are irrelevant to me", she said. "Haters don't mean anything to me because they are not my people".
The two have been together since meeting on the set of Glee, the beloved show that Brad co-created with Ryan Murphy, in 2014. I do think, though, at the end of the day, everyone wants the same thing, which is to feel love and be accepted.
While Paltrow's set-up may not work for everyone, it's clearly working for her. "Twenty? Still, I can only imagine in my fifties how much better it is all going to get".


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Bajaj Majesty DX 3 L/W 1000 Watts Iron
Bajaj Majesty DX 3 L/W 1000 Watts Iron (White) Price: Rs.515
Key Features
- Temperature Control
- Non-stick Coated Soleplate
- Dry Iron
- 1000 W Power Consumption
Designed for effortless ironing, this Bajaj DX3 Iron makes sure all your clothes look crisp and smart. Dry iron your clothes for a complete successful wrinkle-free look in a matter of minutes while you press them over with this Iron.
Built with a non-stick coated soleplate, this Iron flows smoothly over clothes of varied textures and thickness. You can now Iron at very high temperatures without damaging the clothes or the Iron soleplate while the light body makes your job of Ironing is much easier and faster.
Safety and Power
With a maximum power consumption of 1000 watts, this Bajaj DX3 Iron gives you maximum output and efficiency while ironing. The quick heating feature clubbed with the 1000 watts power consumption gets your ironing work done quickly while consuming less power. Delivering best results at a higher wattage, this device functions on a standard 230 voltage line. The temperature indicator light indicates the heating to avoid accidents.
Temperature control
The temperature control facility in this Iron lets you moderate the temperature according to the type of material being ironed, ranging from silk to wool. Therefore you can set the required temperature while you iron different materials to prevent them from getting burnt.
Integrated with the Reliable Snap-action thermostat, the curbs the energy costs, while the instant heating technology heats the plates quickly saving power. The quick heating feature comes handy when you


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