text:
Red Shoes
July 19, 2008
Janice called it a celebration of life and art. The job was the most seductive an artist-art educator could imagine. The building itself, the collection it houses, the people who worked there, the surrounding cafes, parks, shops, the views from the windows, the light, the Garden, our walks nearby, coffee breaks and lunches together, morning greetings, casual hellos, hugs through difficulties, laughter and storytelling, the magic of introducing the idea of art to the most reluctant visitor, familiar faces – embodied, painted in oils, interpreted in stone, bronze, marble and paint, familiar characters for whom we develop affections in spite of ourselves . . . The decision to leave was difficult and it took many months. Doors were opening. I always had my graduate studies.
Before I left I wanted to share work I had done on the interface between visual arts and the non-linearity of new technologies through grad studies etc with those at the gallery who were interested. I was able to get a lecture hall, audio and video equipment, and technicians to help with the overhead. I asked if I could use the empty space once occupied by a cafeteria which was rarely used to have some food and music afterwards. It was near the group entrance under the water court. It all came together somehow. Two friends one Inuk (Bill Ekomiak) and the other French Canadian, who were also musicians came with their fiddles and music. I rented silver trays which were filled with whatever foods friends and colleagues brought with them. I provided coffee urns with fresh coffee from a nearby coffee shop. I donated a painting to the Friends of the Gallery, the volunteer art educators (docents) with whom I worked over that decade. It was a small painting of a detail of the Great Hall overlooking the Parliamentary Library. The Library itself was represented in miniature as an upside down reflection in the water of a half-empty-half-full wine/water glass.
Creative energy comes with a price and artists are not easy to work with even in our most cooperative moments. We were an unusual group at an unusual time. Most of the time we enjoyed a collegial harmony. For awhile it seemed to be beneficial for the dozen contract art educators, the gallery and the public. Certainly the comments from gallery visitors confirmed that. We didn't really know the details of each other's agreements with the gallery but it is a safe bet that even those who received the most preferential treatment rarely if ever earned more than $25,000 a year. At least half of us were practicing studio artists. Some were art historians. Some had their MAs. Some were working on their PhDs. We were all competent researchers and educators. We enjoyed a heightened level of autonomy with minimal supervision.
To my surprise and at times consternation, there was astonishingly little exchange of information between contract art educators and art education officers who had offices in the administrative section. In the end this gave contract art educators greater freedom to delve into the abundant archives and library resources and to provide gallery visitors with in-depth knowledge combined with unique individual experience about countless works of art in the collection. The longer we were there, the more we learned and shared. We were valued as unique knowledge workers. We had the best of resources on hand and on site. Expert, experienced and generous librarians provided invaluable guidance to us with the same courtesy and concern they extend to curatorial staff. Curators themselves were often much more forthcoming with information about upcoming exhibits or the permanent collection than the Education Division. All talks from visiting scholars were open to us.
Those who offered to work on special exhibitions were provided with exhibition catalogues which gradually became personal favourites in my library. Special exhibitions were much more demanding to research since the catalogues were almost never available before the opening of the exhibition. So we often had to do our own research using many sources. Our first tours were at the vernissage. But for those of us willing to do the footwork, these special exhibitions were some of the highlights of the position of contract art educator. Thanks to the confidence placed in our world class curators, priceless works of art came to us! We could walk through these spaces alone for hours with these treasures, getting as close to them as security would allow (security device, security guards and our own automatic reflexes of self-regulation we came to adopt). Because we were contract workers whose paid hours were extremely limited each day, we all had in-between hours that we could chose to spend in any part of the gallery including collections, library, bookstore, etc. I really believe that because of the unique situation that I was able to spend more time with some individual works of art than most individuals ever would except perhaps for a handful of the most highly specialized curator, conservators, researcher and donors.
I kept in touch with some gallery friends and was warmly greeted there by friendly faces for many years. I still look forward with excitement to my visits to the NGC everytime I am in Ottawa.
But it was while visiting a close friend who had chosen to stay, sign the new contract, facilitate the sleepovers for children whose parents could afford to pay and wear the T-shirt that I had no regrets about leaving. As the wife of a professor who lived in various cultural centres in Europe, she had accumulated an invaluable wealth of knowledge and experience, as docent and as art lover, including at the Louvre – provided context for the National Gallery collection. During negotiations the NGC announced to us that they had been employing us illegally for over ten years. We were contract workers who were self-employed but we were not self-employed enough. We should have been permanent employees. But the permanent employees position they had in mind could be filled by BA students and paid accordingly. We were welcome to apply with all the other 20-year-old candidates but the position we had no longer existed. During our visit she confided that she was underwhelmed by the packaged-information she was asked to use. One of these themed visits included having young visitors counting objects in works of art based on various categories as a way to link math to art. It seemed to have been written by someone who knew nothing about mathematics, art, pedagogy or children. All they had to do was ask this talented intelligent woman to link works of art to mathematics geared to the student's age group. She knows the collection inside out and all kinds of details about the works of art that might not be elaborated upon in other kinds of tours. She could have done it much more creatively and provided visitors with a unique tour.
When my sister sent me the link to the story of yet another contentious issue centred around Pierre Théberge I delved into my EndNote library and archives to put this latest fiasco into context. Perhaps I shouldn't have. He is like a character from a Robertson Davies's novel who roams the inner sanctum of the gallery as did eccentric art patron and collector Francis Cornish except he has a dog with him.
I started to fondly remember people who used to work at the gallery but who also voted with their feet. I pictured the colourful strike lines with Théberge depicted as Louis XIV and other protests like the red shoe event.
Monica had invited me to produce a pair of red shoes for the National Gallery Red Shoes event. By that time the act of painting and making the collage was cathartic. Papers related to those things at the gallery that were best forgotten were layered onto all surfaces of the shoes using acrylic medium. But I also added images of the Garden and paintings I had done over the years using the NGC as context. The shoes had been worn out on the gallery floors but I continued to wear them at home like a comfortable habit. By the time I layered them here they were coming apart at the seams. See Barton (2001)
poem from the reading by John BARTON:
on the picket line, National Gallery of Canada, May 2001
red shoes leading us forward, the porcelain-smooth leather dyed and the red not
dying, the efflorescence of sunset flushed through storm clouds glazed overhead
withholding the evaporated red rain of Belarus the wind blew west from Chernobyl
refugees for centuries walking westward in red shoes that looked black in the news
reels our parents watched after the whitest of nightly air raids during the darkest
of days brought to mind by red shoes lined up in single file down a public sidewalk
the shed shoes of Auschwitz or those removed before dance class, pairs of bound
feet called up to the bar, faces turned forward and looking en pointe into the blood
shot depths of the eye, red shoes leading past insomnia or hallucination to stare
down forethought and aftermath, power meant to be balanced and binary, hand
linked with hand rather than toe stepping on toe, the shoes we slip back into
forced to walk in circles in the public square outside the closed museum
where the shoes insist we belong, blood coursing in our interlocking veins, red
shoes leading us forward, umbrellas opening as one against the corrosive rain
Random notes
Like the shoes I am torn.
How easy it is to convince oneself of the potential catharsis in unleashing.
But if we live long enough truth reveals itself in many ways. Those who seem so untouchable develop cracks.
When we look at structural changes taking place all around us, those who once seem so powerful begin to resemble Punch and Judy puppets rather than strong independent agents.
Pierre Théberge came to the NGC at the same time as outdated top-down business models already under scrutiny in more progressive sectors of the private sector were being embraced by those in positions of governance in the public sector. He did not invent his top-down parachute-in management style.
The arms-length policies intended to protect Crown corporations like the National Gallery of Canada from unwarranted state intervention, are particularly vulnerable to abuse by upper management should certain types of management styles prevail.
She was young, blond, trim, athletic, focused and fierce. She was hired by Bell to fire hundreds of employees in the 1990s and that was her opening remark in her first meeting with us along with, "If you don't like it you can leave." The aftermath of her arrival could only be described as tense. Everyone was tense all the time. I was so relieved I was not there anymore. She wasn't a high-noon face-off girl. She was more like an execution squad facing powerless blind-folded victims. Those who were fired lost all rights to tell their stories openly. And there are so many stories to be told. Even today the image of security escorting friends trembling with shock carrying cardboard boxes sends shivers . . .
But perhaps the greater sadness came as we watched valued and experienced curators and administrators leave of their own volition unable to accept a dictatorial management style that was so unlike the two predecessors. So many exhibitions canceled and with them years of research seemingly lost . . .
Pierre Théberge's arrival at the NGC in 1997 coincided with the formation of the National Gallery of Canada Foundation and with it fund-raising at the gallery reached new levels.
Philanthropic foundations like the National Gallery of Canada Foundation created in 1997 are part of the golden age of philanthropy which is a global phenomenon. These new philanthropists are legal categorizations of nonprofit organizations that are highly specialized and concerned with measurable impact. Their work is strategic, market-conscious, knowledge-based, high-engagement and always involves maximizing leverage of the foundation's assets.
Pierre Théberge's arrival at the NGC in 1997 also coincided with changes in the capital-gains tax which led to a sharp increase in donations. "Until 1997, the full normal capital- gains tax was due; reducing the "inclusion rate" to 50 per cent in 1997 led to a sharp increase in such donations. The federal finance department told Angus's committee each foregone dollar in tax revenue was linked to $13 in extra giving. (Angus 2005-01-30)."
Selected (subjective) timeline of events
1970s Pierre Théberge worked at the National Gallery rising to the position of curator of contemporary Canadian art.
1979 Pierre Théberge joined the Montreal Museum of Fine Arts as chief curator and later became director. He was nicknamed "Mr. Blockbuster" which can be considered as a derogatory term.
1987-1997 Shirley Thomson, C.C. 2008 Laureate was born and raised in St. Mary's, Ontario, she left a teaching job for Montreal and, ultimately, Paris, where she worked as an editor for NATO. She returned to Canada to become assistant secretary-general of World University Service of Canada (WUSC), and later assistant secretary-general of the Canadian Commission for UNESCO, working in the UN agency's fields of education, science and culture. A decade later she was back in Montreal, enrolled at McGill as a Ph.D. student in art history, exploring the hunt theme in 18th-century palace decoration in France. Her McGill experience launched her career as a cultural administrator. As director of the McCord Museum (1982-1985), she turned a small university museum into a public research and teaching museum dedicated to the preservation, study and appreciation of Canadian history. After serving as secretary-general of the Canadian Commission for UNESCO, she was appointed director of the National Gallery of Canada in 1987. Dr. Thomson and her professional team developed, over the decade of her tenure, a strong program that helped raise the Gallery's profile. She served as director of the Canada Council for the Arts from 1998 to 2002, and as chair of the Canadian Cultural Property Export Review Board from 2003 to 2007." www.citizenvoices.gg.ca/_pdf/ReportArtMattersVisualMediaArts2008.pdf
Colin Bailey was named as the National Gallery of Canada's chief curator replacing Shirley Thomson.
1995 David Franklin won the 1995 Eric Mitchell Prize for Rosso in Italy: The Italian Career of Rosso Fiorentino (published by Yale University Press, 1994)
1995 David Franklin won the Governors' Award for Yale University Press for best press book by an author under the age of forty.
1997 The exhibition Renoir's Portraits: Impressions of an Age, organized by the National Gallery of Canada in 1997, set a Gallery attendance record of 340,000 visitors.
1997 The exhibition entitled Baroque to Neo-Classical: Sculpture in Quebec was held at the National Gallery of Canada from February through May, Vancouver Art Gallery from July to October and the Mendel Art Gallery in Saskatoon from October to January 1998. It was ten years in the making. Gallery director Shirley Thomson had charged Rene Villeneuve , Assistant Curator of Early Canadian Art with the task of mounting the exhibition in 1988 which was to cover Quebec sculpture from the 17th, 18th and 19th centuries. Villeneuve also wrote the research-intense 201 page exhibition catalogue by the same name. Twenty important works were restored for the exhibition. Charlie Hill provided Villeneuve with constant encouragement during the preparation of the exhibition which Thomson described as having "masterfully convey[ed] an important, rich, and indeed fundamental aspect of our culture, inherited from France (Thomson 1997:7)." With the arrival of Pierre Theberge, Villeneuve's research and unique curatorial skills were no longer promoted with any enthusiasm.
1997 Pierre Théberge, risk-taker in charge at Gallery: Pierre Theberge succeeds Thomson (Gessell 1997). Dr. Shirley Thomson was a popular director who treated everyone in her employ with respect.
1997 Until 1997, the full normal capital- gains tax was due; reducing the "inclusion rate" to 50 per cent in 1997 led to a sharp increase in such donations. The federal finance department told Angus's committee each foregone dollar in tax revenue was linked to $13 in extra giving. Angus believes the multiplier would be even greater if the capital-gains tax were dropped altogether (Angus 2005-01-30)."
"The tax treatment of donations of shares is more favourable in the US than in Canada, and it was argued that the remaining capital gains tax on gifted securities in Canada should be eliminated. Since the 50% reduction in the capital gains tax for such gifts was eliminated in 1997, there has been a dramatic increase in donations. Eliminating the remaining 50% would stimulate even more. A member of the Council for Business and the Arts in Canada stated that, "the single most important step which the government can take to assist our arts organizations and every charitable sector, including health care, education and social services, to raise additional money, is to eliminate the remaining capital gains tax on gifts of listed securities." (NACF 2002:6)
1997 The NGC Foundation was created. Donald and Beth Sobey gave generously oftheir time and financial support through the Foundation.
1997 The Audain Foundation was established. Michael Audain, Chairman of the Vancouver-based Polygon Homes Ltd., and his wife, Yoshiko Karasawa, are active supporters of the arts since the 1980s. Michael Audain served on the Vancouver Art Gallery board for many years, including in the role of president. Michael is now Chair of their Foundation. In 2004, Business for the Arts honoured Michael with the Edmund C. Bovey Award for leadership in the arts. He was appointed to the National Gallery of Canada Board of Trustees in 2005 and to the Order of British Columbia in 2007.
1997-2009 Pierre Théberge served as director of the National Gallery of Canada, the second-longest term for a National Gallery director.
1998 David Franklin joined the National Gallery as Curator of Prints and Drawings.
NGC. 2000-04-03. "National Gallery of Canada Comes to Amicable Agreement with Educator Guides." Press Release. NGC:Ottawa. http://www.national.gallery.ca/english/558_890.htm
2000 Kitty Scott began working at the NGC in contemporary art where she found that the NGC collection did not include many works by highly sought after artists from Western Canada who were working in a complex way across film, photography, video and installation. There were no works by Janet Cardiff and George Bures Miller, or by the younger artists Brian Jungen, Geoffrey Farmer or Althea Thauberger at the time. She began to acquire more works by Jeff Wall and Rodney Graham as well as a film and a photographic series by Stan Douglas. http://www.canadianart.ca/art/features/2007/06/01/serpentine/
2001-02-21 Pierre Théberge National Gallery of Canada Director and Curator Appointed to the Order of Canada
2001-05-10 On May 10, 2001 200 technicians, installers and administrative staff at the National Gallery of Canada and the Canadian Museum of Contemporary Photography embarked went on the first general strike in the history of these institutions. It is noteworthy that David Franklin brought strikers doughnuts on the strike line (Geddes 2008-07-09). Relations between gallery staff and Pierre Theberge remained rocky ever since this strike.
The strike was timed to coincide with an $1.8 million exhibition of the works of Austrian artist Gustav Klimt which opened on June 15. Strikers won the support of the public as well as prominent Canadian artists such as Michael Snow. And the strike seems to have attracted visitors since there were 500 more visitors than the projection figure of 18,000 for June! One of the areas of concern was the need for a corporate anti-harassment policy. Gallery administration spent lavishly to hire lawyers and security officers instead of tabling a fair offer. The red shoes displayed on the Gallery plaza have become the symbol of their strike. Red shoes became a symbol of solidarity as strikers "placed hundreds of pairs of donated footwear — painted a brilliant, scarlet hue — outside the museum (on Rideau Street) and gallery (on Sussex Drive) every day. […] The whimsical appearance of the red shoes inspired workers to create songs, poetry, T-shirts and posters, delighted passers-by, and garnered more frequent media attention than any conventional, non-violent protest action could ever have done (Bemben 2002)."
"Art can be a form of action, and our picket lines can be seen as a work of performance art. In order to reinforce that concept, we, as a group, will create a collective work of art. Walking on the picket line is a burden on our feet, and our shoes become part of our plight. We are literally wearing out our shoes! […] By placing our old shoes next to us on the picket line, we are visually representing the many, many miles that we have walked, and the labour that goes into walking the line. We are labouring on behalf of labour. Our shoes also embody our individuality — they are personal artifacts. By painting our old shoes all the same shade of red, we are symbolizing our passion and solidarity as a group. […] Lately, our feet have been taking us in a different direction, but we hope to soon have a fair contract and be walking back inside our beloved institutions (Strike posters cited by Bemben 2002)."
The NGC was forced to "postpone indefinitely an exhibition of work by Montreal photographer Pierre Boogaerts at the Canadian Museum of Contemporary Photography (part of the National Gallery). "Attendance to our permanent collections has been down," admits Joanne Charette, the National Gallery's public-affairs director. "We've had to cancel educational tours for students, which usually adds to our figures in May and June." The strike was in full force when the museum's Gustav Klimt exhibition opened on June 15. Charette says that attendance for the show, at 18,500 visitors in June, is actually above the projected figure of 18,000. The show cost Can. $1.8 million and required three years to organize. To compensate for the postponement of the Boogaerts show, the current exhibitions of work by Larry Towell and Diana Thorneycroft have been extended until September 3 (Jana 2001)."
2003 NGC. 2003-09-23. "Board of Trustess Supports National Gallery of Canada Director. Press Release. NGC: Ottawa. http://www.national.gallery.ca/english/552_1072.htm
2003 Attendance at the National Gallery of Canada 455,000, down 13 percent from 2002. http://www.national.gallery.ca/english/550_988.htm
2003 Donald Sobey, entrepreneur and collector of Canadian art from Stellarton, Nova Scotia, donated $1 million gift through the "Donald and Beth Sobey Chief Curator's Research Endowment. Under the guidance of the Gallery's Chief Curator, Dr. David Franklin, this fund gives the National Gallery the opportunity to conduct and publish scholarly research of national and international scope (NGC. 2007-01-11)."
2003-2004 "The Government increased the Gallery's acquisitions budget in 2003-2004 to restore some of its lost purchasing power and allow it to continue building the national collection for future generations. The budget, supplemented by the generous support of the National Gallery of Canada Foundation, made possible several important purchases, including Quebec painter Ozias Leduc's Portrait of Gertrude Leduc, Jacopo Pontormo's Renaissance drawing Reclining Male Nude, and Douglas Gordon's contemporary video work Play Dead: Real Time. The Gallery increased its holdings of First Nations and Inuit art with works including Norval Morisseau's Observations of the Astral World and Brian Jungen's whale skeleton sculpture Vienna." http://www.national.gallery.ca/english/550_988.htm
2004 David Franklin's book entitled Treasures of the National Gallery of Canada
2005-04-06 The appointment of Diana Nemiroff as the new Director of the Carleton University Art Gallery (CUAG) effective July 4 was announced. "Diana Nemiroff has garnered an international reputation in the contemporary art world. She has been a senior curator at the National Gallery of Canada since 1990 and has held assistant and associate curator positions with the Gallery since 1983 dealing mainly with contemporary and 20th-century art. She has organized many successful exhibitions including her favourite Crossings, a highly acclaimed 1998 exhibition of works in various media that examined the situation of people migrating from one country to another. The exhibition Land, Spirit, Power: First Nations at the National Gallery of Canada, which she organized with Charlotte Townsend-Gault and Robert Houle, broke new ground in the recognition of First Nations artists in Canada, and won the Janet Braide Memorial Award for its contributions to Canadian art history. Two of her exhibitions, 3 x 3: Flavin, Andre, Judd and Protean Picasso: Drawings and Prints from the Collection of the National Gallery of Canada [toured Canada in 2005]. She also planned and installed the collection of contemporary art for the opening of the National Gallery's new building in 1988." http://www.carleton.ca/duc/News/news04060501.html
"Diana Nemiroff has been the director of the Carleton University Art Gallery since 2005. Before joining the staff of Carleton University, she worked for over 20 years at the National Gallery of Canada, where she developed a national reputation as a curator of contemporary art. She has numerous exhibitions to her credit, including recent monographic displays by Damian Moppett (2006), Lyne Lapointe (2007) and Pascal Grandmaison (2008). As a curator at the National Gallery, she has been recognized for her work on group exhibitions such as The Canadian Biennial of Contemporary Art / La biennale d'art contemporain canadien (1989); Land, Spirit, Power: First Nations at the National Gallery of Canada / Terre, esprit, pouvoir: les premières nations au Musée des beaux-arts du Canada (1992); Crossings / Traversées (1998); and Elusive Paradise: The Millennium Prize / Paradis insaisissables : le prix du millénaire (2001). These shows surveyed the national and international contemporary art scene, identifying issues around the presentation of Aboriginal art, globalization, and the environment, and how it has affected the art world in recent years.
Diana Nemiroff was born in London, England, and was raised and educated in Montreal, where she studied at the École des beaux-arts, before earning both a bachelor's degree in fine arts and a master's degree at Concordia University. She is a board member of the Canadian Museums Association and is vice president of the University and College Art Galleries Association of Canada. In addition to her museum experience, she has a background as a critic and writer, and continues to write on contemporary and modern art for a variety of independent projects." http://www.citizenvoices.gg.ca/_pdf/ReportArtMattersVisualMediaArts2008.pdf
2005-05-28. The National Gallery of Canada Foundation held its first national fundraising event, the Renaissance Ball which generated one million dollars. Thomas d'Aquino, Chairman of the Foundation's Board of Directors thanked Marie Claire Morin, President and CEO of the Foundation and her team and she in turn thanked thanked Thomas d'Aquino, saying, "Through his leadership, vision and commitment, Thomas d'Aquino accomplished an incredible feat by bringing together such a prestigious group of art patrons and philanthropists. Without him, the Renaissance Ball would simply not have been possible."(NGC. 2005-06-03).
2005 David Franklin's "first big splash as chief curator was the exhibition Leonardo da Vinci, Michelangelo and the Renaissance in Florence. It was the Florence show that caught the eye of curators at Los Angeles's J. Paul Getty Museum, leading them to partner with the National Gallery on a Bernini sculpture show, slated to open in [July of 2008] at the prestigious Getty, before moving to Ottawa for a fall and winter run (Geddes 2008)."
2006 "Kitty Scott left her post as National Gallery curator of contemporary art [in 2006], in part, because of her frustration in getting gallery management to mount contemporary art exhibitions (Gessell 2008-06-10)." In a interview with Canadian Art she described changes that the NGC should consider, "In terms of contemporary art there needs to be more of it, both national and international. This means more exhibitions, acquisitions, publications, conferences and talks with artists, writers and theorists. The best institutions work closely with their curators, the experts, to bring these programs to fruition. And these programs must be seriously marketed—nationally and internationally—and use the Web in innovative ways. As well, I think the NGC would benefit from being more closely aligned with artists. Many museums have artists on their boards. I also believe that the NGC should play a more formative role in teaching students of museology, art history, conservation, museum management, design history, art and curating across Canada. I am sure universities would welcome this. And I think there could be stronger ties with the major collectors and dealers across the country. These people should be regarded as family and they should be made to feel more welcome. It would also be great if the National Gallery of Canada could develop relationships with other Canadian institutions so that the collection of contemporary art could be seen more widely. While the idea of summer exhibitions in Shawinigan is interesting, I wonder about it, practically speaking. Ottawa is already remote, as the number of people visiting the institution shows, so why explore even more remote territory? What is the logic? Why not open a small space in the heart of Montreal, or St. John's for that matter?" http://www.canadianart.ca/art/features/2007/06/01/serpentine
2006 The National Gallery of Canada Foundation is extremely proud to announce an extraordinary gift of $2 million dollars for the creation of The Audain Endowment for Contemporary Canadian Art. The Audain Foundation, a British Columbia-based family trust, generously made this donation, the largest in the history of the National Gallery of Canada Foundation. "This fund will ensure that the National Gallery of Canada will have the ability to acquire Canadian contemporary art, and to focus on the unique talents of artists from Canada with an emphasis on British Columbia" says Pierre Théberge, Director of the National Gallery of Canada. "We wish to thank the Audain Foundation, and in particular Michael Audain and Yoshiko Karasawa, or their generous gift to the National Gallery and the visual arts commmunity." "Canada from coast to coast has many important contemporary artists who deserve to be in the National Gallery's collection, so our foundation is pleased to be able to give help in this regard," said Michael Audain. "We are deeply grateful for this endowment, the single largest leadership gift to benefit living artists right across the country," says Marie Claire Morin, President and CEO of the National Gallery of Canada Foundation. Established in 1997, The Audain Foundation has made grants to 25 organizations for projects related to the visual arts. Mr. Audain, Chairman of the Vancouver-based Polygon Homes Ltd., and his wife, Ms. Karasawa, have been active supporters of the arts for over 25 years. Serving on the Vancouver Art Gallery board from 1992 to 1998, including the role of president, Mr. Audain is now Chair of their Foundation. In 2004, the Council for Business and Arts honoured Mr. Audain with Canada's Edmund C. Bovey Award for leadership in the arts. He was appointed to the National Gallery of Canada Board of Trustees in 2005. The National Gallery of Canada Foundation is dedicated to supporting the National Gallery and its affiliate, the Canadian Museum of Contemporary Photography, in fulfilling their mandates. By fostering strong partnerships, the Foundation provides the Gallery with the additional financial support required to lead Canada's visual arts community locally, nationally and internationally. The blend of public support and private philanthropy enables the National Gallery of Canada to preserve and interpret Canada's visual arts heritage."
2007 "Publication National Gallery of Canada Review V gets the support of the renowned Donald and Beth Sobey Chief Curator's Research Endowment." Mr. Sobey was Chairman of the NGC's Board of Trustees and a member of the NGC Foundation's Board of Directors. Donald Sobey was Chairman of the Board of Trustees, National Gallery of Canada; Director, Board of Directors, National Gallery of Canada Foundation; Member of the Founding Partner's Circle of the National Gallery of Canada Foundation; Chairman Emeritus, Empire Company Limited; Director: Sobey Inc., Alliance Atlantis Communications Inc., Atlantic Shopping Centres Limited, High Liner Foods Incorporated and President of the Sobey Art Foundation (NGC. 2007-01-11).
2007-12 Michael Audain, Chairman of the Vancouver-based Polygon Homes and his wife donated another $2 million to the NGC towards the creation of the Audain Curator of Indigenous Art Endowment. Combined gifts from the Audain Foundation have created a new threshold of $4 million for gifts by a single donor.
2008-05 Arts journalist noted in his blog that "Official advertisements seeking a replacement for the retiring Pierre Theberge have started appearing in newspapers. Far more emphasis is placed in the ad on management abilities than on knowledge of art. Maybe one of the government's friends in the Calgary oil patch could take the job, assuming he or she was bilingual (Gessell 2008-05-21)."
2008-04-03 Pierre Theberge announced 10 job cuts, including five layoffs including highly regarded Anne Maheux, a senior paper conservator with more than 25 years of service. Among those laid off are three members of the Public Service Alliance of Canada (PSAC) and one member of the Professional Institute of Public Service of Canada (PIPSC).
2008-04-16 The The Canadian Association of Emerging Conservators (CAEC-ACRE) argued that the removal of [Anne Maheux who has been constantly active in the conservation field, supervising paper conservation interns on a regular basis and contributing to conservation associations, research and publications] is ill advised. "Furthermore, the remaining senior paper conservator at the NGC, who is due to retire in a short period of time, has not for many years maintained a practice of taking on curriculum interns. The CAEC is concerned that after this gap in practice, the remaining senior paper conservator may not be willing and/or fully able to take over Ms. Maheux's role as supervisor to future students in the NGC paper laboratory. In addition, the elimination of this position also brings forward the issue of succession planning, or lack thereof, a question which is central to the CAEC's activities. With this loss in mind, one has to wonder what the state of the paper conservation department at the NGC will be in a few years." http://caecacre.wordpress.com/2008/04/16/special-announcement/
2008-04 "Dear Mr. Theberge, The membership of the Canadian Association for Conservation of Cultural Property wish to convey our shock and extreme disappointment over the National Gallery of Canada's recent decision to eliminate a full time position in the Conservation/Restoration Laboratory. Works of art on paper are among the most fragile and unforgiving of the Gallery's collections, and are readily subject to irreparable damage if handled inexpertly. The CAC finds it unthinkable that the Gallery would dismiss a Conservator as highly regarded nationally and internationally as Anne Maheux, and assure you that we believe that neither the Gallery's impressive collections of works of art on paper nor its professional reputation will be well served by this short sighted decision. The letter of explanation delivered to Gallery staff notes that the aim of the cuts was a 5% reduction in the "least performing programs". By what measure, we ask, is Ms. Maheux's work considered to be "underperforming"? Ms. Maheux is widely regarded as one of the preeminent leaders in the field of conservation of works of art on paper worldwide. As well as a graduate of both Queens and Harvard Universities' conservation programs, she is a fellow of the American Academy in Rome, an accredited member of the Canadian Association of Professional Conservators, a former President of this organization and member of our Board of Directors for many years. Her enormous commitment to her profession is self-evident. Among her many internationally significant accomplishments are her seminal research into the works of Degas, her contributions on development of mounting systems for oversized works, her work with contemporary works of art, and her efforts toward establishment of a federal Museums Policy. Colleagues with whom I have spoken are unanimous in describing her work as exemplary. The CAC urges you to reconsider the elimination of this position and the employment of Ms. Maheux personally. Not to do so will cause the Gallery's reputation irreparable harm in the eyes of the Canadian conservation community. Sincerely, Dee A. Stubbs-Lee, President, CAC/ACCR CC: Mr. Donald R. Sobey – Chairperson of the Board of Trustees, National Gallery; Mr. David Franklin – Deputy Director and Chief Curator, National Gallery; Mr. Stephen Gritt – Chief, Restoration Conservation Laboratory, National Gallery; Ms. Lise Labine – Director, Human Resources, National Gallery." http://www.cac-accr.ca/pdf/Ministerletter.pdf
2008-05-08 PSAC. 2008-05-08. "Federal Program Reviews Mean Layoffs and Downgraded Services at the National Gallery of Canada." Ottawa. "Jobs will be lost and corners will be cut at the National Gallery of Canada as a result of the federal government's revolving "strategic review" of program spending in targeted departments and agencies across the federal government. Selected to undergo a review in 2007 along with 16 other departments and agencies, the National Gallery was directed to cut its budget by five per cent. Where the recent federal budget released in February referred to "better use of internal resources and administrative efficiencies" in the museums sector, the plain truth was announced by the Director of the National Gallery on April 3 when he announced 10 job cuts, including five layoffs – one of those to a senior paper conservator with more than 25 years of service. Among those laid off are three members of the Public Service Alliance of Canada (PSAC) and one member of the Professional Institute of Public Service of Canada (PIPSC). Director Pierre Thèberge also said the five per cent cut dictated by the strategic review process will necessitate other cuts that will have an impact on the Gallery's publishing and marketing capacity. Events and exhibitions will have to be scaled back and training will also have to be curtailed, according to Thèberge. Reaction to the cuts, and in particular to the position of the senior paper conservator, has been swift. Numerous letters to Thèberge from senior gallery staff, trustees and conservators say the cuts call into question the gallery's commitment and its ability to fulfill its mandate to expand and conserve its extensive collections. PSAC is currently considering a range of actions in response to the employer's actions. Ed Cashman, PSAC Regional Executive Vice-President for the National Capital Region, argued that, "These cuts will not only hinder the Gallery's ability to carry out its mandate, they will also have a significant impact on smaller museums across the country that rely on the gallery's collections to draw visitors into their facilities." http://www.newswire.ca/en/releases/archive/May2008/08/c6375.html?view=print
2008 "The gallery's contemporary art shows [1998-2008] have been largely limited to retrospectives of aging artists who generally did their best work half a century ago when Pierre Theberge was curator of contemporary Canadian art at the very institution he now heads. Examples in recent years: Alex Colville, Norval Morrisseau, Gathie Falk, Bette Goodwin (Gessell 2008-06-10)."
2008 National Gallery promotes its blockbuster (June-September 2008) called "The 1930s: The `New Man'" – which promises to be one of the most intriguing art shows of the year. Featuring more than 200 works by artists including Wassily Kandinsky, Max Ernst, Pablo Picasso, Salvador Dali, Alberto Giacometti, Joan Miro, Diego Rivera and many others, it looks at an era when Marxist and Fascist regimes in Russia, Germany and Italy were trying to create a "superman" without human weaknesses (Knelman 2008). This is a strange choice by a man known for his dictatorial management style. The 1930s has been the subject of major thematic exhibitions in Berlin, Vienna, Madrid, and Paris. The NGC version examines the connection between art and biology. "In the 1930s, biology became a force for change, often destructive, notably in its racist and eugenicist forms that sought to "improve" the human species. During this decade, the opposed concepts of the "degenerate" – or "mentally ill" – artist, as described by the Nazi ideology of the Third Reich, and the "superman" or "new man" became widespread. These ideologies were to have a profound influence on forms of art and representation." The works presented in this exhibition come from private and public collections in Austria, Canada, the Czech Republic, Germany, Holland, Israel, Mexico, Russia, Spain, Switzerland, the United Kingdom, and the United States grouped under nine themes: Genesis, Convulsive Beauty, "The Will to Power", The Making of "The New Man", Mother Earth, The Appeal of Classicism, "Faces of our Time", "Crowds and Power", and The Charnel House. The organizing committee is chaired by the director of the National Gallery of Canada, Pierre Théberge. Its members comprise the following curators: Jean Clair, retired director of the Musée Picasso in Paris; Didier Ottinger, of the Centre Georges Pompidou; Constance Naubert-Riser, professor emeritus, Université de Montréal; Ann Thomas, the NGC's Curator of Photography and the NGC's director of National Outreach and International Relations, Mayo Graham, who acts as the committee's coordinator. excerpts from http://national.gallery.ca/english/540_2091.htm
2008-07-03 National Gallery director Pierre Théberge sent an email to gallery staff "dedicated one nondescript sentence to announcing deputy director David Franklin's leave and two extensive paragraphs detailing the career achievements of his "interim" replacement, Mayo Graham, who worked closely with Mr. Théberge at the Montreal Museum of Fine Arts before following him to the gallery a decade ago. Some have even described Ms. Graham, who was serving as director of national outreach and international relations, as Mr. Théberge's protégé. Sources close to the gallery said the current tensions are rumoured to have come out of a dispute between Mr. Franklin and Mr. Théberge over the planned dismissal of another employee, which then escalated into a rift between them and made Mr. Franklin feel unwelcome (Alphonso and Bradshaw 2008-07-18)." Although David Franklin often replaced Pierre Théberge in public relations they were not close colleagues. Mr. Blockbuster, Pierre Theberge promotes activities that are part of a movement within museums globally in the 1990s that are criticized by some as being categorize are part of the dumbing-down of museums. David Franklin is a scholar.
It was widely believed that the two men were not close colleagues.
Webliography and Bibliography
Alphonso, Caroline; Bradshaw, James. 2008-07-18. "Gallery's dirty laundry receives private airing
Federal Court seals file on application for judicial review of case involving dispute between top administrators at National Gallery." Globe and Mail
Angus, W. David. 2005-01-30. "A gift for givers." Montreal Gazette.
Bemben, Linda. 2002. "Poetry: Striking Red Shoes, An Introduction" Our Times.
Geddes, John. 2008-07-09. "Intrigue at the National Gallery: An out-of-the-blue announcement that the chief curator is on leave has people talking." Macleans.
Gessell, Paul. 2008-05-21. "But can he discuss art?" Art and the City.
Gessell, Paul. 1997. "Risk-taker in charge at Gallery: Pierre Theberge succeeds Thomson." The Ottawa Citizen.
Gessell, Paul. 2008-06-10. "Let's have a biennial" Art and the City.
2008-07-03. "National Gallery curator takes an indefinite leave." The Ottawa Citizen.
Gessell, Paul. 2008-07-17. "National gallery heads faceoff in court: Judge dismisses mystery case involving directors." The Ottawa Citizen.
Jana, Reena. 2001. "Staff Strike at the National Gallery of Canada." Artforum International Magazine, New York, NY.
Knelman, Martin. 2008-03-19. "Not coming to a gallery near you." The Star.
McCooey, Paula. 2008-07-18. "Day after secret court hearing, national gallery says all's well." The Ottawa Citizen. with files from Paul Gessell.
NACF. 2002-09-18. "National Arts Centre Foundation. Roundtable on Philanthropy in the Performing Arts." September 18, 2002. Public Policy Forum.
NGC. 2000-04-03. "National Gallery of Canada Comes to Amicable Agreement with Educator Guides." Press Release. NGC:Ottawa.
NGC. 2001-02-21, "National Gallery of Canada Director and Curator Appointed to the Order of Canada." Press Release. NGC:Ottawa.
NGC. 2001-06-04. National Gallery of Canada and Canadian Museum of Contemporary Photography sign new agreement with the Professional Institute of Public Service of Canada.
NGC. 2001-07-11. "Tentative agreement reached for PSAC members at the National Gallery of Canada." Press Release. NGC: Ottawa
CBC News. 2003-09-23. Gallery director under fire for $600,000 expense tab."
NGC. 2003-09-23. "Board of Trustess Supports National Gallery of Canada Director. Press Release. NGC: Ottawa.
NGC. 2005-06-03. "One million dollars for the Renaissance Ball." Press Release. NGC: Ottawa.
NGC. 2006-06-20. "The National Gallery of Canada Foundation receives the most important financial gift of its history." NGC: Ottawa.
NGC. 2007-01-11. "Publication National Gallery of Canada Review V gets the support of the renowned Donald and Beth Sobey Chief Curator's Research Endowment." Press Release. NGC: Ottawa.
Picard, André. 1997-11-22. "A Call to Alms: the New Face of Canada." The Toronto Star.
Starn, Randolph. 2005. "A Historian's Brief Guide to New Museum Studies." The American Historical Review. 110:1. Last accessed 2008-07-20.


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http://www.stltoday.com/sports/baseball/professional/article_663ad0b8-d8fb-5cdd-8fd3-8f397f7a263a.htmlOne night after his longtime friend and teammate Red Schoendienst was honored on his upcoming 90th birthday, fellow Cardinals Hall of Famer Stan Musial died quietly at age 92 at 5:45 p.m. Saturday at his St. Louis County home under Hospice care.
Musial's family members who did not live here had gathered in the last day when Musial's health had deteriorated. A family spokesman made the announcement.
Musial, who turned 92 in November, has been in declining health for the last several years, including being afflicted with Alzheimer's disease. Lillian Musial, his wife of more than 70 years, had died last May 4.
Considered the greatest Cardinal of them all, Musial also likely was the most popular Cardinal of them all, continuing to make his home in St. Louis after his retirement in 1963.
Playing his entire 22-season career with the Cardinals, Musial is the franchise leader in virtually every category, including hits at 3,630, splitting them evenly at 1,815 at home and 1,815 on the road.
Selected to play in a record-tying 24 All-Star Games, Musial won seven National League batting titles.
Signed to a professional contract by the St. Louis Cardinals as a pitcher 1938, Musial was converted into an outfielder, where he made his major league debut in 1941.
At the time of his retirement, Musial held or shared 17 major league records, 29 National League records, and nine All-Star Game records. In addition to overseeing businesses such as Stan Musial and Biggie's restaurant, Musial served as the Cardinals' general manager in 1967 and then quit after his team won both the National League title and World Series that year.
Musial was selected to the Major League Baseball All-Century team in 1999 and President Barack Obama presented Musial with the presidential medal of freedom, the highest honor that can be bestowed on a civilian, at the White House on Feb 15, 2011.
A bronze statue has stood outside the last two Busch Stadium facilities, now residing on newly-dedicated Musial Plaza. The inscription reads, "Here stands baseball's perfect warrior. Here stands baseball's perfect knight."

subset: commoncrawl


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The Dodgers' complex at Camelback Ranch – Glendale includes six practice fields as well as the stadium. The award-winning facility, which the Dodgers share with the Chicago White Sox, includes a total of more than 118,000 square feet of Major and Minor League clubhouse space, 13 full baseball fields and three half-fields. The site also features picturesque walking trails, landscaped grounds, an orange grove, two ponds and a lake.
2012 is the fourth year the Dodgers will play their Spring Training home games at Camelback Ranch - Glendale. In the club's inaugural season at the award-winning facility in 2009, the Dodgers set a franchise attendance mark by hosting 131,134 fans throughout the season. The average game attendance mark of 9,367 from 2009 is also a franchise record. Last season the Dodgers hosted more than 103,000 fans at Camelback.
Following the 2010 season, Camelback Ranch – Glendale received the 2010 Facility of Merit Award from Athletic Business Magazine and the Best of the West Award from WESTMARC, a coalition of West Maricopa County businesses. In 2009, the facility received the Editor's Choice Award from BallparkDigest.com for "significantly advancing the state of the art for spring training complexes" and the Best of 2009 Award from the Phoenix New Times recognizing CR-G as the "Best Place to See A Spring Training Game, New School."
The Dodgers will open their Spring Training schedule on Monday, March 5 as the visiting team in a game against the Chicago White Sox at Camelback Ranch – Glendale. Their first home game is the following day, as they take on the Giants on March 6. The Dodgers will play a total of 17 games at Camelback Ranch this spring and during each of the four Spring Training weekends, providing fans ample opportunity to make the five-hour drive or one-hour flight to the desert.
The Los Angeles Dodgers and Chicago White Sox along with the Pima County Sports and Tourism Authority and the Tucson Padres will play a Spring Training contest in Tucson with all proceeds going to the Christina-Taylor Green Memorial Foundation. The game will be held at Kino Veterans Memorial Stadium on Friday, March 23, at 1:05 p.m. The Dodgers and White Sox are committed to supporting the Tucson community by helping raise funds for the victims and families affected by the events of January 8, 2011.
On Saturday, March 3, Camelback Ranch – Glendale will host a Fan Fest from 9:00 a.m. – 1:00 p.m. The event will be free of charge and the Dodgers and White Sox will be participating in public batting practices and autograph signings. More details and a full list of Camelback Ranch – Glendale promotions are available at www.camelbackranchbaseball.com.
Tickets for the Dodgers' Cactus League schedule at Camelback Ranch – Glendale are available at www.dodgers.com/spring or by calling (623) 302-5000. Single-game ticket prices begin at $8 ($13 premier games) and all tickets for the Dodgers' first three games at Camelback (excluding "All You Can Eat" tickets and suites) are half price. Baseline reserved seats are now available for an advanced price of $10, previously $15, and baseline field box seat prices have dropped from $28 to an advance price of $19. More information about Spring Training, including the Camelback Ranch promotional schedule and full ticket pricing information, is available at www.camelbackranchbaseball.com.
The Los Angeles Dodgers and Los Angeles Angels of Anaheim will play three Freeway Series exhibition games in Southern California before the regular season begins. The Dodgers will visit Angel Stadium on Monday, April 2 at 7:05 p.m. and then host the Angels at Dodger Stadium on Tuesday, April 3 at 7:10 p.m. and Wednesday, April 4 at 12:10 p.m. When the Dodgers and Angels meet for the first exhibition game on April 2, it will be exactly 50 years after the first-ever contest between the two franchises on April 2, 1962
Parking is free to all fans.
Pitchers and catchers report on Tuesday, February 21, with their first workout one day later. Position players report on Monday, February 27, with the first full squad workout to be held on February 28.


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The New Testament consistently associates the gift of the Holy Spirit with repentance, conversion, and baptism. Yet there is no clear pattern as to whether the outpouring of the Spirit precedes or follows baptism.
A shift away from biblically-based decisions by Presbyterians provides a warning for Adventists in dealing with issues such as homosexuality.
An examination of Leviticus 26:18 in its context shows that it is not a prophecy but conditional statements of blessing and cursing depending on Israel's response to God. Statements made by James and Ellen White support this interpretation.
Important principles for God's people to survive the end time are found in the early chapters of Daniel, Revelation, and The Great Controversy. These are briefly considered and explained.
The church's relation to the issue of homosexuality, including biblical, ethical, biological, and practical aspects are described in light of recent and extensive research.
The "Methods of Bible Study" document voted by the 1986 Annual Council, which affirms Scripture's divine inspiration and authority, as well as how to study the Bible, is explained and contrasted with more recent critical approaches to biblical interpretation. The role of culture is also addressed.
Details key decisions made at the 2010 GC Session, including an emphasis on revival and reformation, the ordination of deaconesses, clarifying the definition of marriage, and an affirmation of the biblical account of creation.
The miracle of turning water into wine is the first recorded miracle of Jesus. But what kind of wine was it? Did He make fermented wine or grape juice? If it was not fermented, how was it preserved?
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READ about Piers Morgan's long career in journalism here.
Just three years ago, 22-year-old Oscar Grant lost his life at the hands of a police officer in Oakland, Calif. Now, Ryan Coogler is telling the story of that fateful night with his new film "Fruitvale Station." On Thursday evening, the 27-year-old director joined Piers Morgan for a live, face to face interview, during which he referenced assumed parallels between his story's main character and the late Trayvon Martin.
"Oscar was killed by law enforcement. Trayvon was killed by an ordinary citizen," he told the "Piers Morgan Live" host. "The biggest difference [with Martin] was somebody wasn't there to record what happened. With Oscar, several Bay Area citizens were on the platform that recorded it with their cell phones."
However, said Coogler, in both instances unarmed minorities lost their lives unnecessarily, a fact he finds concerning:
"Gun violence is the leading cause of death among young African-American males in this country."
Watch the clip for more of Morgan's interview with Ryan Coogler, and for the next edition of "Piers Morgan Live," watch CNN every night at 9.
» Follow "Piers Morgan Live" on Twitter
» Follow "Piers Morgan Live" on Instagram
It seems that when an African-American young person is murdered, the reason can be trivial. When young Emmett Till was murdered in the late 1950's, he was said to have whistled at a white woman. If that was true, that was a trivial reason. To the men who did it, it was outrageous and worthy of a brutal beating death. Trayvon was walking home minding his own business, being followed by a man who "suspected" him of something. Being armed with courage, he followed and caused a confrontation which resulted in the death of an innocent African-American young man. Trivial matter exacerbated by pre-conceived image of black youth.
Now that the jury is deliberating, I hang my head low and pray that there is JUSTICE for Trayvon Martin and hopes that his family will finally get a bit of closure to this awful and avoidable tragedy. R.I.P. TRAYVON!!!!
I did not buy the demonstration with the dummy. I think it was Newton who said that every action invokes an equal and opposite reaction. So if a man is straddling a man he has pinned to the ground and is pummeling him his legs will be in motion while he does so. The video proves this to be true. As the punch is delivered to the nose the left leg moves and lifts. The same thing would happen when in the kneeling position, allowing the person pinned to the ground to reach the gun. Additionally, the ground that he is pinned to, as an immovable object would add to assist him by giving him additional leverage to move the person on top of him making it possible to reach the gun. I believe Mr. Zimmerman was able to reach the gun and pull it and a fight for the gun ensued after it was out.
PLEASE do what I usually feel y'all do a wonderful job of. I am an American with brown skin who is ALWAYS classified as "black" & I strongly disagree wit the general (and largely the only perspective expressed) notion that the Zimmerman verdict, the jurors & Zimmerman supporters are shockingly insensitive to race, justice, and the Martin family. As a 32yr. old American man of color ("African American"), New Orleans native & 7.5 yr. veteran of the USMC, I identify with Zimmerman and strongly support the verdict! Please pull up some credible and honorable men and/or women of color who support the verdict, jury & Zimmerman to share their perspective. We need to balance the strong willed "black" men & esp. women who have expressed their disgust with all pro verdict elements. Thanks for doing what y'all do the way y'all do it!
You must be married to a white woman, I have notice all minorities that have white partners are afraid to comment about this case if they do they size with white folks . I feel sorry for you I would never be in a position that I can't stand up for my people when needed . I hope nothing ever happens to your mother.
Charles Barkeley was on Erin Burnett. He supports the verdict. He was thoughtful. But he's not in the majority so he's not getting as much coverage.
Yes, and 92% of those gun deaths are black on black killings.
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Let $X$ be a separable metric space and $p$ a probability measure on the Borel Sets of $X$.
Denote $S_p$ the support of $p$, i.e. the set of points which have positive measure for any ball around them
How to prove that the support of p is of full measure, i.e. $p(S_p)=1$?
Thanks, Shlomi


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As has already been mentioned in other threads, all this is true, and irrelevant. Anyone who's interested can find this out for themselves, but only a small % are so interested.alozzy wrote:The general public seems ignorant of the fact that government subsidies for ICE cars, to cover the hidden environmental and health costs associated with burning fossil fuels, make EVs look comparatively expensive. If EVs were as heavily subsidized as ICE cars (via incentives and infrastructure), then EVs would, without a doubt, be much cheaper than ICE equivalents.
This article discusses the cost implications if consumers had to foot the bill for the true cost of a gallon of gasoline:
https://thinkprogress.org/heres-what-ga ... ed088e8f38
So, if the price of gas at the pump was $6.27 per gallon, there would be a landslide of consumers switching to EVs. Thanks to oil industry lobbyists though, transparency with respect to the true operating costs of an ICE vs EV will never trickle down to the consumer because governments worldwide are complicit.... accounting for the social costs of burning gasoline would add an average of $3.80 per gallon to the pump price, raising the price to $6.27 ...


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WM3's Damien Echols on Tattoos & Tattooing
You would think after spending 18 years and 78 days on death row for a crime he never committed that Damien Echols of the West Memphis 3 would be hardened and bitter. Far from it. Affable and open, he's quick to make jokes and friends. He's got a poet's sensitivity. You can read it on his Twitter feed. And he's been immersing himself in art, from museums to his regular hangout, Sacred Tattoo & Gallery in SoHo, NYC.
At Sacred, Damien has not only been tattooed by their well respected artists but, in fact, has taken up the tattoo machine for the first time (with his blood borne pathogens certification) and is doing "X" tattoos, and occasionally his initials, which he stresses are for fun and not high art. Proceeds from the tattoos go to pay off the rest of the WM3 legal fees.There's a misconception that, with all the benefit concerts and fundraising by celebrities, the three walked out debt-free, but in fact, Damien's wife Lori had to take out two personal loans, and even on the very day they were set free, the Arkansas Attorney General called for an audit of the funds raised and slapped them with a $5,000 tax bill. So in getting tattooed by Damien you'll continue to support the WM3 cause.
Contact Sacred for details on how to make an appointment. [There may be a wait.] You can also donate any amount to the WM3 Freedom Fund.
A couple of weeks ago, Brian [Grosz] signed up to get an X from Damien on his toe (considering most of his other body parts are being covered now). Here's his blog post on that experience, which was indeed a lot of fun. I hung around and got to chat with Damien about tattooing and his own collection. Here's a bit of what we talked about:
Is this the first time you've ever tattooed?
The one I just did was my tenth tattoo. All X's and I'm not even very good at that! When Kevin [Wilson, the manager at Sacred] asked if I wanted to do this -- because we were getting tons of emails from people saying they wanted them done -- I said yes as long as he explained to them beforehand that I am not a tattoo artist. You will leave with some sort of mark on your body, but I make no claims as an artist. So as long as they come in and do it as fun, I love doing it.
Tell me about the very first tattoo you put on.
The very first one I did was on Nick [Wilcox]. He's done all these tattoos on me and so it was like why don't I do one on him. It was Kevin's idea initially. Kevin was then number two.
Kevin adds: I had to throw someone under the bus first!
How did Nick's come out?
Really good actually. But Kevin's are the best ones so far. The more I do them, the more downhill I go. [laughs] I think the reason theirs ended up the best ones was because I was laughing the whole time. Like, I stepped on the peddle accidentally and said, "Oh shit, did that go in?" That's the thing you never want to hear your tattooist say!
You're also doing your initials as well as X tattoos.
I'll do it if people want it but it's really hard for me to get them right.
Like you said, it's fun. People know that it's not a serious tattoo.
Kevin: People who email us say they just want to be a part of the process. They know the tattoos are not going to be spectacular. [Laughs]
Damien's X & initials tattooed on Kevin Wilson.
Is this something you want to do, become a tattooer?
I see a lot of people in the field, and they are real artists. When I look at someone like Paul Booth, I see something that I would work the rest of my life for just to be half as good. This is actually an art form. Back in the 70s and 80s, I remember, the only people who had tattoos were military and bikers. Now it's everybody. It's come a huge distance -- the quality of the artwork, the people who are getting it, and where they are getting it. Housewives and mothers get very visible tattoos. I wouldn't want to cheapen it.
But you are an artist yourself.
Usually not visual art. I do some visual art. These I designed myself - the talismans (points to tattoos). This is what I do, not something like portraits. I have four of these of my own design. Three on my arms and one on my chest. They're designed for different purposes. This one, for example, is for protection, the Archangel Michael. This one is for success in all ventures. And that's what it says around it in the Theban alphabet; it's also nicknamed the Witches' Alphabet. And inside is my name and the word "success" entwined. This one I actually got with Johnny Depp. It says "brother" on the outside and my name and his name in the middle of it. Mark Mahoney did it. He also did this one and this one, which means "Wind Over Heaven" from the I Ching. What this represents is, whenever you're facing huge obstacles, you don't focus on them or you'll lose heart and be defeated. Instead focus on just putting one foot in front of the other, one step at a time. I wrote about this in my journal log in prison. Well, they had a big concert to try and get me out and bring awareness to the case and one of the things they did was Johnny went on stage and read some of my journal entries, and the one he read was about this. So we got this tattoo because it was tying us together and also because my wife's nickname is "The Small," and this is called "The Taming Power of the Small."
Does Lori have a tattoo?
She got her first this morning!
What did she get?
She got three little birds in flight around her ankle.
You didn't do it I'm assuming.
No! She asked me at first and I said no.
Did you have tattoos going into prison?
Just little things. If you look closely here you can see it's a cover up of a girlfriend's name when I was 16 years old. It was ridiculous.
Did you hand poke it yourself?
Yeah. [Laughs] And I have other hand poked things on my leg and my chest. I was too young to actually go to a real studio.
What's the long standing attraction to tattoos for you?
For me, what it feels like is literally armor. Every time I get tattooed, I feel like I have a protective layer. Something that acts as a buffer zone between me and the world. There's a certain amount of physical pain that comes with it but for me it's very psychologically and physically comforting. There's something about it that is just completely and absolutely relaxing. People talk about how bad it hurts, but for me, it's comforting enough where I've actually dozed off while I was being tattooed. But again, it's something that protects me from the rest of the world.
Damien and I continued to chat while he tattooed Brian's toe like a pro. He's discussed his new book "Life After Death," which will be released by Penguin Books in September. In it, he describes the hell of living on Death Row and his battles with the American justice system. You can pre-order it on Amazon.com as well.
A film on the WM3 ordeal, West of Memphis, co-produced by Peter Jackson and Fran Walsh, will be released in December. Here's the trailer below.
For more on Damien, definitely check his wonderful Twitter feed.
Tattoo TAGS:
Damien Echols
Kevin Wilson
Sacred Tattoo & Gallery
West Memphis 3


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to Irving Consumer Products
We're glad you're interested in our organization. Irving Consumer Products Limited. is one of North America's leading manufacturers of premium quality private label & store brand household paper products, baby diapers, and children's training pants.
We also proudly manufacture some of the most recognizable, top-selling paper product brands in both Canada and the United States.
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If you're interested in joining the Irving Consumer Products Limited. family, or to learn more about other career opportunities with J.D. Irving, Limited
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J.D. Irving Group of CompaniesTM
J.D. Irving, Limited is a family-owned company that employs over 16,000 people throughout North America. Forestry, food, shipbuilding and transportation are just a few of the business segments they operate in.
Proudly manufacturing premium household paper products, baby diapers and training pants for North American markets.
Irving Shipbuilding Inc. provides shipbuilding and repair, drill rig construction and conversion, offshore fabrication, industrial manufacturing, engineering, supply chain management and quality and technical services.
Our retail and distribution companies provide consumer, contractor and business solutions, with quality supplies and services.
Sustainable forest management is our commitment to both our customers and the environment.
Our transportation companies provide courier, trucking, rail, tug, barge, ocean towing, offshore supply and deep-sea shipping for general goods and specialized cargoes.
Cavendish Group produces frozen and fresh potato products and appetizers for retail, quick service restaurants and food service operations throughout North America.
Major Milestones
Saint John Paper Mill
Irving Tissue begins with the purchase of a paper mill in Saint John, New Brunswick. This new mill produces jumbo rolls of tissue, which are converted into quality consumer products.
Dieppe Tissue Plant
Construction is complete on Irving Tissue's first tissue converting plant in Dieppe, New Brunswick. Production begins for private label products and the new Canadian brand Majesta® is launched in Canada.
Fort Edward Tissue Plant
Irving Tissue acquires a paper mill and tissue converting facility in Fort Edward, New York. Irving also acquires the right to market Scotties® Facial Tissue in the USA.
Toronto Tissue Plant
Irving Tissue expands yet again and acquires a tissue mill and converting facility in Toronto, Ontario. Irving also acquires the rights to market the Royale® brand in Canada.
Diapers & Training Pants
Irving Personal Care opens a new state-of-the-art plant in New Brunswick, Canada to produce premium quality private label baby diapers and training pant products for major North American retailers.
TAD Technology
Major investments were made in the Irving Tissue plant in Fort Edward, NY. Along with a building addition, a new through-air-dried (TAD) paper machine is installed, increasing capacity and product quality.
Macon, Georgia Tissue Plant
Irving Consumer Products Limited. expands its North American footprint with the announcement that it will build its 4th tissue plant in Macon, Georgia. The new facility will produce ThruAir-Dry paper products focusing on paper towels and bathroom tissue. The new site is expected to be operational in 2019.
VisionTo have an Irving consumer product in every North American household by 2020.
PurposeTo delight our customers and consumers by providing quality consumer packaged goods that deliver outstanding value.
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Satisfy the customer every minute, every hour, every day.
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The key to our success: We work together with fairness and respect.
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We meet or exceed our internal and external customer's expectations.
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We operate in an honest and ethical manner at all times.
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We maintain the highest level of energy, urgency and responsiveness.
Health, Safety & Environment
We operate at the highest standards to ensure the protection of employees, the public and the environment.


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A Safety Trial of DAS181 (Fludase®) in Adult Subjects With Well-Controlled Asthma or Bronchiectasis (DAS181)
|The safety and scientific validity of this study is the responsibility of the study sponsor and investigators. Listing a study does not mean it has been evaluated by the U.S. Federal Government. Read our disclaimer for details.
|ClinicalTrials.gov Identifier: NCT01113034
Recruitment Status : Completed
First Posted : April 29, 2010
Last Update Posted : March 27, 2019
- Study Details
- Tabular View
- No Results Posted
- Disclaimer
- How to Read a Study Record
|Condition or disease
|Asthma Bronchiectasis
|Drug: DAS181 dry powder, formulation F02 Drug: Respitose ML006 (DMV-Fonterra)
|Phase 1
|Study Type :
|Interventional (Clinical Trial)
|Actual Enrollment :
|11 participants
|Intervention Model:
|Single Group Assignment
|Quadruple (Participant, Care Provider, Investigator, Outcomes Assessor)
|Primary Purpose:
|Official Title:
|A Phase 1 Randomized Double-Blind Placebo-Crossover Safety Trial of DAS181 (Fludase®) in Adult Subjects With Well-Controlled Asthma or Bronchiectasis
|Study Start Date :
|July 2010
|Actual Primary Completion Date :
|August 22, 2011
|Actual Study Completion Date :
|August 22, 2011
|Active Comparator: DAS181 Dry Powder 10 mg qd x 3 days
Drug: DAS181 dry powder, formulation F02
10 mg delivered dose DAS181 in clear HPMC #3 Capsules
|Placebo Comparator: Lactose Placebo
Drug: Respitose ML006 (DMV-Fonterra)
Lactose monohydrate
- Safety and toxicity profile: Unacceptable Serious Adverse Events [ Time Frame: 6 weeks (up to 12 weeks) ]
- Assessment of acute tolerability of DAS181 administration in subjects with well-controlled asthma or bronchiectasis, specifically with regard to airway obstruction (FEV1) and oxyhemoglobin saturation. [ Time Frame: 6 weeks ]
- Examine potential effects of DAS181 on underlying lung disease, i.e., as relates to airway hyperreactivity, mucus production, airway inflammation, frequency of acute exacerbations, and health related quality of life measurements. [ Time Frame: 6 weeks ]
Choosing to participate in a study is an important personal decision. Talk with your doctor and family members or friends about deciding to join a study. To learn more about this study, you or your doctor may contact the study research staff using the contacts provided below. For general information, Learn About Clinical Studies.
|Ages Eligible for Study:
|18 Years to 65 Years (Adult, Older Adult)
|Sexes Eligible for Study:
|Accepts Healthy Volunteers:
Inclusion Criteria:
- A male or female subject must be 18 to 65 years of age.
- Except for underlying airway disease, subject must be in good health as determined by medical history, targeted physical examination based on medical history, and vital signs (that include temperature, blood pressure, heart rate, and pulse oximetry).
- Subject must be able to verbalize understanding of the informed consent form, verbalize willingness to complete all study procedures, and provide written informed consent (sign the informed consent form).
- Subject must be willing to commit to participating in both the initial and cross-over stages of the study.
- Dipstick analysis of subject's urine specimen must be negative or show only trace amounts of glucose, hemoglobin, and protein. A menstruating female who tests positive for urine hemoglobin may be retested.
- Subject must have blood screening test results that are within normal limits (according to standards set within the Clinical Center) for the following tests: alanine transaminase (ALT), alkaline phosphatase (ALKP), activated partial thromboplastin time (APTT), and aspartate transaminase (AST).
- Subject must have hematologic screening tests that are within a specified range, including hemoglobin of 10.9 g/dL, white blood cell count 2500/mm3, and platelet count 125,000/mm3 (all <grade 1 on DAIDS severity scale).
- A female subject must be post-menopausal (1 year without menses), have been surgically sterilized, practice abstinence, or use an effective method of birth control that may include an intrauterine device, spermicide, barrier, and hormonal contraception. A female subject must also have a negative serum test for pregnancy during the Screening period, and a negative urine test for pregnancy on the first day of drug or placebo administration.
Asthma Subjects:
- Subject must have a clinically established diagnosis of asthma based upon a history of episodic symptoms of airway obstruction or airway hyper-responsiveness (i.e., wheezing).
- Subject must have a documented increase in FEV1 or forced vital capacity (FVC) 12% (and at least 200 mL) from baseline after inhaling a short-acting bronchodilator; or a PC20FEV1 response to methacholine (i.e., the concentration of methacholine that produces a 20% decrease in FEV1 from the post-saline value during the methacholine challenge) of 8 mg/mL.
At the time of study enrollment, subject's asthma has been well-controlled for at least the past 3 months, as defined by the following:
- Daytime symptoms occur 2 days per week
- Normal daily activity is not limited by asthma
- Nocturnal symptoms/nighttime awakenings 2 times/month
- FEV1 80% predicted
- Use of short-acting beta-agonist 2 days/week
- Exacerbations requiring oral corticosteroids occur 2 times/year
- There has been no change in asthma medication dose or regimen within 3 months of study enrollment
- Not currently taking oral corticosteroids
Bronchiectasis Subjects:
- Subject will be recruited from ongoing NIH natural history protocols (06-I-0217, 01-I-0202, and 09-I-0172) and/or the National Bronchiectasis Registry.
- Subject must have a pre-established diagnosis of bronchiectasis based on chest computed tomography (CT) scan findings within 12 months of enrollment (no diagnostic CT scans will be performed during the Screening phase of this study).
- Subject must not have overt allergic bronchopulmonary aspergillosis, cystic fibrosis, or primary ciliary dyskinesia.
Subject's bronchiectasis is stable as defined by the following:
a. Less than 2 acute exacerbations in the preceding 12 months and none in the preceding 4 weeks, with acute exacerbation defined as persistent (>24 hour) worsening of >3 respiratory symptoms associated with bacterial infection including: i. Cough ii. Dyspnea iii. Hemoptysis iv. Increased sputum purulence or volume v. Chest pain b. No change in antimicrobial regimen for at least 3 months before enrollment c. FEV1 80% predicted d. Use of short-acting beta-agonist 2 days/week for at least the past 3 months e. No baseline requirement for oxygen supplementation f. Ability to maintain oxyhemoglobin saturation of 90% during and after 6-minute walk test g. Not currently taking oral corticosteroids
Exclusion Criteria:
- Subject has received any investigational drug or vaccine within 4 weeks prior to study drug dosing, or is planning to participate in another investigational drug or vaccine trial prior to completion of this study.
- Subject is currently taking theophylline or oral corticosteroids.
- Subject is allergic to milk or milk products.
- Subject currently smokes tobacco or has smoked tobacco within 1 year prior to study enrollment.
- Subject has a baseline requirement for oxygen supplementation.
- Subject is unable to maintain an oxyhemoglobin saturation of 90% during and after 6-minute walk test.
- The subject tests positive for human immunodeficiency virus (HIV), for hepatitis B virus (HBV), or hepatitis C virus (HCV).
- The subject's resting blood pressure is outside normal limits (defined as: systolic 90-140 mmHg; diastolic 50-90 mm Hg).
- The subject's heart rate is less than 45 or greater than 100 beats per minute at rest.
- The subject weighs less than 45 kg.
- The subject has a Body Mass Index of greater than 35 kg/m2.
- The subject has experienced an episode of acute upper respiratory tract infection, pneumonia, otitis, bronchitis, or sinusitis within 6 weeks of study enrollment.
- The subject has an oral temperature above 37.8°C (100°F).
- The subject has any surgical, medical, or laboratory condition that, in the judgment of the clinical investigator, might interfere with the safety, distribution, metabolism, or excretion of the drug.
- The subject has overt primary ciliary dyskinesia, allergic bronchopulmonary aspergillosis, or cystic fibrosis.
- The subject has previous or current history of the following conditions: renal, hepatic, cardiac, hematologic (including sickle cell disease), muscular, neurological, metabolic, or immunological disorders, malignancy, hepatitis or cirrhosis, transplant recipients, HIV-infection, or other immunosuppressive illness, which could, in the opinion of the study investigators, compromise subject safety or interfere with the assessment of study drug safety.
- A female who is pregnant or breast-feeding.
- A subject who has received blood products within 6 months of study enrollment.
- The subject has donated or lost more than 500 mL of blood in the 3 months prior to screening.
- The subject has clinically significant medical or psychological conditions that would compromise the subject's safety, influence the results of the study, affect the subject's ability to participate in the study, or impair the subject's ability to provide informed consent.
- The subject has a history of alcoholism, drug dependence, or significant psychiatric illness within 2 years of study enrollment.
- The subject uses anticoagulant medications or drugs with known potential for hepatotoxicity as such agents could interfere with relevant safety assessments.
To learn more about this study, you or your doctor may contact the study research staff using the contact information provided by the sponsor.
Please refer to this study by its ClinicalTrials.gov identifier (NCT number): NCT01113034
|United States, Maryland
|NIH Clinical Center
|Bethesda, Maryland, United States, 20892
|Study Director:
|Ronald Moss, MD
|Ansun Biopharma, Inc.
|Principal Investigator:
|Kenneth Olivier, MD, MPH, LCID, NIAID
|National Institute of Allergy and Infectious Diseases (NIAID)
|Responsible Party:
|Ansun Biopharma, Inc.
|ClinicalTrials.gov Identifier:
|Obsolete Identifiers:
|Other Study ID Numbers:
|First Posted:
|April 29, 2010 Key Record Dates
|Last Update Posted:
|March 27, 2019
|Last Verified:
|July 2010
Bronchial Diseases
Respiratory Tract Diseases
Lung Diseases, Obstructive
Lung Diseases
Respiratory Hypersensitivity
Hypersensitivity, Immediate
Immune System Diseases


text:
Okay, so the previous record-holder in the world's thinnest hard drive category was only 1mm fatter, but still! Records! The Seagate GoFlex Slim portable hard drive—first debuted at CES this January but today a real live shipping USB 3.0, 7200RPM storage accessory—measures up at just 9mm thick. That's 320GB of bonus space in a drive that's about as thick as a #2 pencil. Available today for $100 here: [Seagate]
SCOTTS VALLEY, Calif. - April 5, 2011 - Seagate (NASDAQ:STX) today announced the availability of its new GoFlex® Slim portable hard drive — a svelte, 9mm, 2.5-inch external drive designed for the latest trend of portable, thin, stylish laptops and netbooks. Initially showcased at the 2011 International Consumer Electronics show in January of this year, the new GoFlex Slim performance drive is now available on www.seagate.com, in-store and at select online retailers. A 320GB version of the GoFlex Slim drive can be purchased for a manufacturer's suggested retail price of £79,99.
At an ultra-sleek 9mm-38 percent leaner than the current GoFlex ultra-portable drives-the new GoFlex Slim drive is roughly the width of a pencil. Sliding effortlessly into a pocket, purse or messenger bag, the GoFlex Slim portable drive enables transport, access and enjoyment of personal digital content from anywhere, making it the perfect complement to today's mobile lifestyle. Equipped with a 7200RPM drive and a USB3.0 interface to accelerate transfer speeds up to 10x faster than USB2.0, this attractive super-slim drive delivers quick access to large, multi-media files such as HD movies and video games. The faster drive speed takes full advantage of the included plug-and-play USB 3.0 interface, while still maintaining compatibility with USB 2.0 ports. The GoFlex Slim portable drive also allows for use between Windows and Mac® computers, interchangeably, without formatting or performance loss. Additionally, the drive's included premium backup software provides automatic and continuous backups and encrypts files and folders.
"The continued growth of personal digital media stores, our increasingly mobile lifestyles and the continued proliferation of mobile devices are driving the demand for slimmer, more portable storage solutions," said Patrick Connolly, vice president and general manager of Retail at Seagate. "Netbooks and slim laptops are great for consuming media, but are limited when it comes to creating and storing high-definition films and photos. With the benefit of using Seagate's Momentus® Thin drive, the 9mm GoFlex® Slim ultra-portable hard drive breaks through these boundaries-delivering a beautiful, ultra-slim, lightweight storage solution to complement existing mobile computing devices so they can enjoy even more of the content they love, anywhere they want."
"Consumers have a desire to have digital content available at their fingertips. However, in some cases, personal libraries of digital content are exceeding the storage capacity available in notebook PCs," said John Rydning, IDC's research director for hard disk drives. "USB attached HDD storage that is capacious, affordable, lightweight, and in a slim form factor will be appealing to many of these consumers."
According to IDC, tablets, mini-laptops and netbooks are largely seen as secondary PC devices and are primarily used for information "grazing," or as vehicles of content consumption. Additionally, tablets, mini-notebooks and netbooks have very limited on-board storage requiring them to have access to additional storage, whether it is local attached, networked or from the cloud1. The GoFlex Slim and GoFlex Slim for Mac drives enable people to easily sync files between their computer and the drive, so that they can easily store, transport and enjoy hundreds of DVD-quality movies, hours of digital video, and multiple-thousands of photos or digital music while on-the-go.


text:
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