Malika Favre

Malika Favre (born 1 December 1982) is a French illustrator and graphic artist based in London. Her style of works could be characterized by pure minimalism within Pop art and Op art, where it sometimes described as 'Pop Art meets Op Art'. She combines simple illustrations with geometric patterns and has developed a unique style of illustration by using positive and negative space and colours, elegant layouts, especially of the female body and the curves.
Early life and education.
Malika Favre was born on 1 December 1982 in the Paris region, France, and grew up there. Her mother was a painter. After high school education Favre went to a science prep school because she thought that she wanted to become a quantic engineer. But in contrast she decided to go to an art school at Paris named École nationale supérieure des arts appliqués et des métiers d'art, which often known as Olivier de Serres. She was graduated from Olivier de Serres. After finishing her education in Paris, she pursued illustration when she moved to the London, and where she took higher education from the Surrey Institute of Art & Design, University College in Farnham.
Career.
Favre did an internship for three months at Airside, a British design studio which closed in 2012. In 2006, she started work as an Art Director at Airside, which led to collaborations with numerous high-profile magazines and clients including wallpaper and The Sunday Times. She also worked for UNIT9 in 2006. In 2011 she left Airside to set herself up as an independent illustrator.
Works.
Favre is an independent illustrator and has worked on a variety of projects spanning editorial, advertising and publishing. Her unique graphics style, mixing Pop and Op art, is featured by companies such as "Sephora", "Le Bon Marché", "Penguin Books", and newspapers such as "Vogue", "The New York Times", "The New Yorker", "The Sunday Times", and "Vanity Fair", etc.


Walter Noetico

Walter Noetico (born 14 July 1946, Vicenza, Italy) is an Italian painter, sculptor, and writer. He is the founder of two art movements: Indimensionalism and Neoilluminism. He is also the inventor of new artistic techniques and of the new Alphabet, Neoilluminist Alphabet, in which every letter has a symbol of a woman and a man.
Beginnings as a sculptor and painter.
In 1966, Noetico studied Art and Architecture in Ca' Foscari University of Venice and graduated in 1972. He began his first indimensional paintings in 1968, at first with positive and negative geometric opposition and then with relativistic concepts. In his exhibition at Padova, in 1975, Noetico met the art critic Alexandre Cirici of Barcelona, (President of Art Critics' International Association in Paris in 1978), who became particularly interested in his art.
Indimensional period and its new style technique.
Indimensional Art was conceived in 1968, with the first art exhibition in 1975, lasting until 1985. In this technique, a canvas of the painting is contracted inside a transparent perspex sculpture. In Noetico's "Indimensionalistic Manifesto", he states: "Indimensionalism is the complete state of the evolutional process of Individual Entity which goes from a prephysical or predimensional state to a physical or dimensional state, finally to reach an extraphysical or indimensional state. Indimensional Art uses these concepts and develops itself in an Einsteinian relativistic way, to give origin to an aesthetic realisation which goes beyond the fourth dimension, to an indimensional state."
Cirici noted that " Noetico has added to the Science and Art of the Cubist Movement, the mathematical philosophy in the representation of the external world. It results from it that Noetico's indimensional art is not only the evolutional continuation of the Cubist effort, but chiefly the evolution of all iconographic representations, first mythical, then religious, of man's history in the search of truth. His paintings from two-dimensional first change into three-dimensional, then into relativistic four-dimensional ones to end at last in the indimensional aspect. "
Neoilluminist (New Enlightenment) period and its style technique.
Neoilluminist (or New Enlightenment) Art was conceived in the year 1987 and runs to present date (published in the newspaper "La Repubblica" on 23 April 1987). Neoilluminist Art (New Enlightenment Art) was inspired by the Essays on the aesthetic philosophy of Denis Diderot. One of the enunciative propositions of Noetico is that Neoilluminism arises from a need to raise contemporary Mankind out of spiritual, moral, cultural and social decandence.
This Art Movement includes an invention of the new Neoilluminist (or New Enlightenment) Alphabet in which every letter has a symbol of a woman and a man, and the use of unique painting technique which develops in bas-relief (low-relief) and high-relief. Thus figures in the foreground are sculptured in high-relief, those in the background in low-relief, which creates a three-dimensional painting on wood panel painted in enamel and embellished with gold leaf.
Art activities.
In Milan in the 1980, Noetico began studying the philosophers of the eighteenth century, in particular the Treaties on the aesthetics by Denis Diderot, who became Noetico's inspiration.
In 1987, an exhibition of his works inspired by the Enlightenment, was held in the Gallery of Ada Zunino, with a catalogue by Gillo Dorfles, who concluded his presentation by saying: "The lucidity of Noetico's mind merits to be in the Sacredness of Art".
In April 1988, an exhibition "From the first Alphabet of the Phoenicians at Palazzo Grassi - To the Last Alphabet of W. Noetico at Graziussi Gallery" was held at the Graziussi Gallery, San Marco, Venice, Italy, from 12 to 30 April, where it has been noted that Noetico with his Neoilluminist Alphabet has remade the Alphabet of the Phoenicians to coincide with a major exhibition at Palazzo Grassi.
In October 1988, Noetico founded the art movement called "Neoilluminismo" ("Neoilluminism" or "New Enlightenment"), with the first exhibition alongside with other Italian Sculptors: Bruno Chersicla, Walter Francone, Nino Maggio, Giovanni Canu and Noetico(known as a Group of 5"), with a catalogue presentation by Raffaele De Grada, at the Art Gallery of Ada Zunino in Milan, which will become the headquarters of Neoilluminismo.
For the celebration of the bicentenary of the French Revolution in June 1989, Noetico was invited by the French Government to participate in the exhibition of his monumental sculptures in bronze "Mental Elevation", "Globe and Civilization", "Seed of Love and Life", in the gardens of Versailles. In 1990, the Neoilluminist group was invited by the City of Cortina dì Ampezzo to exhibit at Cortina Terrace, with catalogue presentation by Raffaele De Grada.
In the same year, Noetico was invited with his Neoilluminist group to the Municipality of Sarnano, where Silvio Ceccato (philosopher and friend of artists such as Lucio Fontana) made the presentation in the catalogue for this event. Walter Noetico received an Arts First Prize from the Municipality of Sarnano city.
Also in 1990, in Salò, Italy (BS) Noetico created the Neoilluminist Foundation with a permanent exhibition of Neoilluminist Artists group. . This Foundation relocate din 1999, to Cortona (AR) and then to Limoges, France in 2008.
In 2005, the International Exhibition of the Greatest Contemporary Artists was organized by Bruno Chersicla, entitled: "The Collector" at the Galliata Art Gallery, Alassio in Italy, with participation of Noetico.
Throughout the 1970s, 1980s and 1990s, Noetico had received the support of major International Art Critics, such as: Gillo Dorfles, Raffaele De Grada (who for a number of years had been the curator of the Venice Biennale, the biggest art event of the world), Silvio Ceccato (who is also a philosopher), and Alexandre Cirici i Pellicer, (President of the AICA (UNESCO) International Art Critics Association in Paris, 1978-1981)
Noetico being quite a singular Artist, philosopher and intellectualist, thinks that the Art is a cultural value which belongs to all human-beings, and not just to a few privileged ones, who tend to commercialise art. Believing that the true, real Art belongs only to the spiritual sphere, instead of selling his work to major Art Museums worldwide, Noetico has expressed his wish to donate all of his works to the American Nation, which represents the entire Human Race, in order to honor the diffusion of Art and Culture in the world.
Writing.
Simultaneously with artistic creations, in 1976 NOETICO published his philosophical novel: "Capobranco" ("Herd Head") (IPH Publisher Milano).
In 2013, in homage to the third centenary of birth of French Philosopher of the 18th Century, Denis Diderot, he published a book: "Diderot's Dream " ("Il Sogno di Diderot"), "Fiacolla" Publisher, Ragusa, Italy.


Anthony Benjamin

Anthony Benjamin (29 March 1931 – 17 February 2002) FRSA, RE was an English painter, sculptor and printmaker. Referred to as a 'polymathic artist' by critic Rosemary Simmons when writing about his work for the "Borderline Images By Anthony Benjamin" show at The Graffiti Gallery in 1979.
Summary.
Benjamin was born in England on 29 March 1931. He began his study at Southall Technical College in 1947 as an engineering draughtsman and was accepted into Regent Street Polytechnic, now known as the University of Westminster (1950–1954). After his first year at Regent Street, Anthony travelled to Paris and studied for three months with Fernand Léger (1951). After graduating, while working and travelling between St. Ives and Paris, he was awarded a one-year French Government Fellowship for painting and printmaking, studying at Atelier 17 with WS Hayter in Paris (1958–1959). Following his time with WS Hayter, he was awarded an Italian Government Fellowship in Anticoli Corrado near Rome (1960–1961). Between 1961 and 1973 Anthony lectured and taught in the United Kingdom (Ealing, Ipswitch, Winchester, Ravensbourne, Colchester, and St. Martin's School of Art), the United States (California State College) and in Canada (University of Calgary, York University). He returned to London in 1974 and in 1986 moved to Norfolk. Anthony was a fellow of the Royal Society of Arts (FRSA) and a member of the Royal Society of Painter-Printmakers (RE). He died in London on 17 February 2002.
Biography.
Born in Boarhunt, Hampshire he endured a difficult childhood, due to an unstable family life and being a wartime London evacuee. He claimed to have attended at least 12 different schools, learning little except self-defence in the many playgrounds he had to cross. He did not lose his interest in fighting and he took up boxing, eventually becoming a professional fairground fighter.
Leaving school in 1947 he took up an apprenticeship as an engineering draughtsman at the firm of Bell Punch, in Hayes, Middlesex. Anthony had an aptitude for careful drawing, as well as an appreciation and understanding of the logical principals of three-dimensional construction, but the lack of creative possibilities frustrated him. He dropped out of the apprenticeship in 1949 and was accepted on the sculpture program at the Regent Street Polytechnic. Unhappy with the academic restrictions prevailing in the department at the time and going against convention, he applied colour to a carving he was working on. When told to remove the paint or face expulsion from the department, he decided to leave, but he retained his deep interest in sculpture.
Benjamin's talent had been recognised by a senior member of staff, Norman Blamey, who was a fine draughtsman and teacher. Blamey accepted the rebellious student into the painting department, where soon Benjamin produced some accomplished paintings. Using a restricted, almost monochromatic palette, his subject matter featured the surroundings of the dark basement flat he shared with fellow student and partner, Stella, whom he drew and painted many times. As well as portraits of his neighbours, ‘"Bill and Nellie"' he also painted some exotic London Pearly Kings and Queens. At the end of the term, he travelled to Paris where he studied drawing with Fernand Léger for 3 months.
On graduating from College in 1954, his paintings were accepted for exhibition by Helen Lesore, the hardline, Social Realist director of the Beaux Arts Gallery, the London home of the kitchen-sink artists. However, when he started using a broader range of colour and looser brushwork, including elements of abstraction, he was told by Lesore to toe the line or leave the gallery. Once again, faced with established restrictions, he chose to leave, rather than compromise his freedom to explore the possibilities of extending his creativity in new directions. He served time in Prison as a Conscientious Objector, not just against military service, he was opposed to all forms of conscription.
He moved to St. Ives, using a legacy from his Mother, to buy a small cottage that had belonged to the sculptor, Sven Berlin. St. Ives had been dominated by the influence of Ben Nicholson and Barbara Hepworth but by 1956 the "Middle Generation" of Peter Lanyon, Patrick Heron, Bryan Wynter and Terry Frost were becoming well established in Britain and were soon to be known in New York City. He accepted Peter Lanyon's suggestion to join the Newlyn Society of Artists and had his first one-man exhibition there in 1958. His work, inspired by the Cornish light, land and seascape led him to a new understanding of tone and temper. Henry Moore encouraged him, Francis Bacon gave him canvasses, and working within this rich atmosphere, Benjamin produced work which became more expansive and colourful, and gradually more abstract in concept sliding into Abstract Expressionism.
Benjamin, became friends with the eloquent Scots Poet, Sidney Graham, who lived in the Coastguard Cottage at Gurnard's Head. When in 1959 he was awarded a coveted French Government Bourse to study etching at S W Hayter's, renown Atelier 17 in Paris, (where some revolutionary new techniques of plate making and colour printing were being explored) he took with him a copy of the recently published collection of Graham's poems titled "The Night Fishing". This work became the inspiration for a suite of etchings which Anthony named "An Homage to the Night Fishing". These fresh, colourful etchings have the energy of Tachist paintings. The Bourse Committee, very impressed with the work, extended Anthony's study time by a month, so he could finish his work. Some test proofs were printed at the time, but the plates were not editioned somehow they were misplaced during a studio move and not found again until the late 1990s when Anthony's nephew and printer, Simon Marsh discovered them, still wrapped in a French newspaper. Partial editions were then printed. They were shown in an Exhibition curated by Chris Stephens, about Sidney Graham and his artist friends. The suite of innovative prints is now in the Tate Britain Collection.
Anthony was awarded an Italian Travel Study Scholarship in 1960. He was profoundly moved by the art of the Early Renaissance that he saw in the museums, palaces and cathedrals. He was struck by the use of repeated flat geometrical shapes in many works, particularly by the strong impact and visual rhythm set up by the rows of saint's halos in "Duccio's 'Madonna in Majesty"' in the Siena Duomo. When he returned to London in mid-1961 this rediscovery of defined, flat shapes, shallow but articulate space and much more vibrant colour informed his new painting. Full of renewed energy as a result of his Italian experiences, he painted prolifically and exhibited widely. He had several one-man shows at the Grabowski Gallery in South Kensington, as well as at St. Catherine's College in Oxford and Belfast University.
The Ealing School of Art: Groundcourse.
He started teaching with Roy Ascott on the controversial Groundcourse at Ealing Art College in West London. This was a groundbreaking experiment in radical creative education, starting afresh from 'the ground up ... throwing out the old preconceptions'. Benjamin, Ascott and the other staff and most of the students were alight with new creative energy and enthusiasm, but the old guard staff and the more conservative authorities were alarmed by what they saw as a dangerous spirit of anarchy. The traditional hierarchical system ("Teachers teach the rules, students follow the rules") was set aside, ignored or trampled on. Pete Townshend was a student on this course. In his autobiography "Who I Am" he refers to the profound influence that this new approach to creativity had on his life and his approach to music. It also had an influence on Benjamin.
The revolutionary Course was not granted the new Diploma in Art and Design (DipAD) so the staff took up an offer to try the new approach outside London at the College of Art in Ipswich. One of the new students was Brian Eno. They were all on the same rebellious wavelength. They quickly became friends and soon started engaging in wide-ranging conversations about the broader nature of all creativity, not just in the visual arts, also about music and 'everything' else as well.
About this time Benjamin was starting to experiment with a new approach to 3-dimensional works. He did not want to follow the conventional sculptural approach of carving and modelling figure like shapes from the usual materials, stone, wood, clay, etc. He admired Henry Moore's work, but he did not want to follow in his footprints. The work was beautiful, but it was stuck firmly in the traditional figurative past. Moore's figures had big holes in them, but they were still Figures.
Benjamin intended to make 'sculpture' that was more relevant to the exciting modern fast-moving, a transient world that was opening up at the time in London. He wanted to use modern materials, coloured plastic, fibreglass, polished metal, stainless steel and bronze. Intense glowing colour and reflections; amorphous and ambiguous shapes he wanted to create works that crossed the conventional boundaries. He also started making series of silkscreen prints that used the same vibrant colours and similar shapes as the sculpture.
Working with Nancy Patterson, a Canadian artist and industrial model maker, they started making maquettes for larger pieces, using both the opaque and the transparent, fluorescent coloured Perspex. Intense heat was used to bend the shiny, expensive and unforgiving material into undulating ribbons that flowed off the rectangular 'bases' that were fixed to the walls. The reflections danced and enchanted viewers. Roland Penrose, director of the ICA, was very supportive and arranged to have the work, which included related paintings shown there in 1966. Norbert Lynton, Dennis Bowen, David Bindman and others wrote enthusiastic reviews. Photographers loved the work. Theatrical celebrity photographer Lewis Morley took some wonderful photos of the work as well as many innovative portraits of Benjamin. Similar shows were held soon after at the Oxford Museum of Modern Art and at the Winchester Contemporary Art Society. Pieces were also shown at the Gimpel Fils Gallery in Davies Street and a show arranged for the new Gimpel & Weizenhoffer Gallery on Madison Avenue in New York.
When Benjamin moved on in 1965 to teach at Winchester College of Art, he managed to convince the reluctant but adventurous head of the college, sculptor Heinz Henges, to accept Eno on the Diploma in Painting Course, although as the authorities later observed when discussing the 'Eno Problem': "Eno was not a Painter, and had no intention of becoming one." He did eventually receive a Diploma for Painting although he never made any actually 'paintings'. He was interested in painting soundscapes, not landscapes. He and Anthony remained in contact.
In the early 1970s, Eno, as a member of Roxy Music, started developing music using synthesisers. After a long and enthusiastic conversation about the new possibilities, Anthony was inspired to make some screen prints that paralleled visually the effects that Eno produced with electronics. Working in partnership with master silkscreen printer, Kevin Harris, the suite of six images they named Roxy Bias was the produced by a complicated method of interchangeable stencils and endless colour proofing. The titles, Ringing Filter, Butterfly Echo, Inverse Echo, Erase Function, Multi–Mode Jitter, all came from the realm of electronic music. The images effectively demonstrated Benjamin's visionary conception and Harris's patience and incredible skill. Together, they achieved a remarkable partnership. The colours and images vibrated and danced on the surfaces, a visual and joyful equivalent of music creating "maximum visual aggression". The suite was very successful and won several major graphic prizes the first at the San Paulo Biennale in 1974.
In the late 1990s, after several years of working only in pencil and graphite, Benjamin started painting again in colour on large canvasses inspired by frequent visits to Marrakech, where he became immersed in colour and surrounded by music.
Benjamin was certainly enjoying himself fully when he was working on these late paintings, completely engaged and immersed in the act of painting and bursting with new ideas. He was also revisiting and developing the spatial and colour concepts, and the connection to musical ideas that he had first explored in the 1970s in the Roxy Bias Screen prints, establishing surface rhythms by the use of repeated geometrical shapes that he had discovered in the early Italian Renaissance paintings and used in his own work in the 1960s. He was also using the skill and precision he had learned as an engineering draughtsman at Bell Punch in Hayes Middlesex.
Selected public and corporate collections.
Anthony Benjamin's work is held in corporate collections around the world including Rank Xerox UK, U.S. Steele USA, J Walter Thompson UK, Grindlay's Bank UAE, Canadian Imperial Bank of Commerce Canada, and NKR Sweden.


Margery Edwards

Margery Edwards (1933–1989) was an Australian Abstract Expressionist artist working in mixed media.
Biography.
Edwards was born in Newcastle, New South Wales in 1933, she studied in Sydney, the Brera Academy of Art in Milan, and at the Morley College Art School in London, before moving to New York in 1974.
In New York, Edwards arrived at her signature style of abstract painting and collage, influenced by Abstract Expressionism, the dominant movement in American painting in the late 1940s and 1950s. At the core of Abstract Expressionism was a belief in the spontaneous freedom of the individual artist and the expression of the inner world of the artist's psychology and spirituality. Such art referred only distantly or obliquely, if at all, to the outside world.
As a style, Abstract Expressionism also ranged over two very different sensibilities, both reflected in Edwards' work. One was characterized by energetic brushwork and rhythmic, dynamic compositions, as seen in the works of Jackson Pollock, Robert Motherwell and Antoni Tàpies. The other was more contemplative in mood and made up of subtle color harmonies, often sombre, with relatively static compositions and simple forms, exemplified by the paintings of Mark Rothko and Ad Reinhardt.
Edwards preferred people to interpret her art in their own way, which is why she titled her work with the initials 'NY' (for work done in New York) and with a number, rather than a more descriptive title. She first exhibited a series of black paintings in New York in 1978. In hand written notes on her work in 1983, Edwards explained that, for her, black "is essential for directing the viewer...into a spiritual dimension, acknowledging the hidden mysterious nature of the eternal". Edwards noted that a black surface attuned the viewer to strive to glimpse subtleties of forms, some of which gave an illusion of depth (with some planes receding and others approaching the viewer), an illusion which could be related psychologically to the experience of varying levels of human consciousness: "If the painter achieves sufficient depth in the process of painting an experience of passing through an open door into a feeling of oneness or unity or complete freedom is attained".
Then, in Edwards' work of the early 1980s, strong verticals and horizontals appeared across textured canvases. The physical presence of these dynamic works is compelling in itself, but there are also forms reminiscent of both natural and urban environments:linear elements may refer to tree trunks, horizons, rocks, rivers, cliffs, shorelines. And it has been noted that the gritty, rusted-industrial or bituminous looking surfaces of the paintings echo Edward's experiences of twice renovating filthy, former commercial loft spaces in the SoHo and TriBeCa areas of New York.
In 1985, Edwards' black paint began to merge into deep colors: ochres, earthy reds and deep blues. These paintings, writes curator Jeanne Wilkinson, "portrayed darkness as a universal constant; not empty but filled with some mysterious presence; an origin, not a lack of light".
Works on paper were also important in Edwards' art. She was constantly creating collages, prints and visual diaries, which are a record of ideas, an echo of experiences and environments as in the paintings, and sometimes a lighter and humorous foil to the darker, more intense paintings.
When she died in 1989, Edwards had created a series of images that trace a journey both earthbound and spiritual; in her own words: "a progression through darkness and light". (Sue Smith - Curator Rockhampton Art Gallery 2007)
Works by Edwards are held by the Art Gallery of New South Wales, the National Gallery of Australia, the National Gallery of Canada, the Metropolitan Museum of Art, and the Minneapolis Institute of Arts.


Frederic Matys Thursz

Frederic Matys Thursz (1930–1992) was a Moroccan-American abstract painter. His paintings have been shown at the Galerie Lelong, Jefferson Place Gallery, and in the Documenta 9 exhibition.
Career.
Thursz received his BFA from Queens College in 1953, his MFA from Columbia University in 1955, and did his doctoral studies in art history at Institut d'Art et d'Archeologie, Paris France. In 1978 he founded the group "Radical Painting" with Jerry Zeniuk, Joseph Marioni, Günther Umberg, and Marcia Hafif.
Thursz taught at University of Kentucky from 1958-1968, and at Aspen School of Contemporary Art from 1967-1969. He taught at Kingsborough Community College (CUNY) from 1968-1991, where he was chairman of the Art Department.
From 1978-1988, he taught at the New York Studio School of Drawing, Painting and Sculpture.
Personal life.
Thursz was born in Casablanca and moved to the United States with his parents in 1941. He was married three times, Miryam Neulander, Teresea Bennett, Nina Lunenborg Thursz. He had four children Gail Thursz, Isa Ross, Michele Thursz, and Erica Thursz-Rivest and four grandchildren, Derek Ross, Malinda Thursz-Galindo, Jonathan Zuckerman, Ava Zuckerman and great grandson, Xanti Galindo.
Thursz lived in Paris, France until his death in 1992. He died of complications after heart surgery on July 4, 1992 in Cologne, Germany.


Yoshiyuki Matsumoto

 is a Japanese professional shogi player ranked 6-dan.
Promotion history.
The promotion history for Ueno is as follows:


Jean Spencer (artist)

Jean Mary Spencer (22 April 1942 – 4 January 1998) was a British artist known for her abstract paintings and relief sculptures.
Biography.
Spencer was born in Frimley in Surrey and studied teacher training at the Bath Academy of Art from 1960 to 1963. While still a student at Bath she created her first abstract reliefs, having been introduced to systematic constructivism by her tutors John Ernest and Malcolm Hughes. For a time, Spencer taught at the Loughborough College of Art before moving to the Bulmershe College of Higher Education in Reading where she was a staff member for twenty years until 1988 when she joined the faculty of the Slade School of Fine Art in central London, where she remained for ten years in different posts.
As an artist, Spencer had her first solo exhibition at the Bear Lane Gallery in Oxford in 1965 and a second exhibition, at the University of Sussex, followed in 1969. During the 1960s, Spencer often produced cubes in relief form, with proportions based on a mixture of mathematical rules and her own intuition. Later in life she focussed on painting and the use of bold blocks of colour. In 1967 Spencer was a prize winner at the annual John Moores exhibition in Liverpool. Spencer exhibited with a group of British artists concerned with systems-based abstraction, the Systems Group, that included Jeffrey Steele, Peter Lowe, Michael Kidner as well as Malcolm Hughes. Her work was shown widely in Europe between 1969 and 1973 as part of various Systems Group exhibitions. In Britain, her work was included in the 1972 Arts Council touring exhibition of Systems Group artworks. During 1977 and 1978, Spencer produced a series of publications, "Working Information", featuring drawings and designs by Systems Group and other Systematic-Constructive artists. She then spent a year at the University of Sussex studying the History and Theory of Art for her M.A. Spencer was an active member of the group behind the "Exhibiting Space" series of multi-disciplinary collaborations held in Whitechapel in 1983 and was included in the 1986 exhibition "Colour Presentations" at the Gardner Centre Gallery at the University of Sussex, which then toured Britain.
Spencer lived in London and for twenty-five years was the partner of her former Bath tutor and Systems Group artist, Malcolm Hughes who she married in 1997, shortly before he died. They worked on a number of projects together including a 1990s exhibition and symposium, "Testing the System" held at Kettle's Yard in Cambridge, where, subsequently, Spencer was an artist-fellow at Churchill College. The Tate held a joint memorial exhibition for Spencer and Hughes in 1999. Works by Spencer, both paintings and sculptures, are held in several public collections, most notably at the Tate, in the collections of the Arts Council and of the University of Warwick.


Natalia Dumitresco

Natalia Dumitresco (born Natalia Dumitrescu; 20 December 1915 in Bucharest, Romania – 3 July 1997 in Chars, France) was a French-Romanian abstract painter associated with the "Réalités Nouvelles" salon of Paris after the Second World War, a movement influenced by the art of Wassily Kandinsky and Alberto Magnelli. Other abstract expressionist painters associated with the "Réalités Nouvelles" include Serge Poliakoff and Alexandre Istrati. Dumitresco later married Alexandre Istrati
After a number of years working in black and white, she tackled the problem of colors, showing originality and a great freshness of colors in her compositions.
She and her husband are buried in the same grave with Constantin Brâncuși.


Hovhannes Masehyan

Hovhannes Khan Masehian (, February 23, 1864 in Tehran - November 19, 1931 in Kharbin) was an Iranian Armenian translator and diplomat, well known as the translator of Shakespeare's and Byron's works into Armenian. Since 1912 he was the Persian Ambassador to Germany. From 1927 to 1929 he was the Persian Ambassador to the Great Britain. He was the first Ambassador of Persia in Japan.
Masehian's translation of Hamlet was printed in 1894 by the Armenian publishing society. Hovhannes Hovhannisyan and Hovhannes Tumanyan praised this translation in their reviews. According to Gevorg Emin, Masehian's translations are "excellent" and "sound so wonderful in Armenian". The polished and refined translations by Masehian have always been among the greatest treasures in the long history of Armenian translation activities.
Masehian was the editor of the Armenian journal "Shavigh" Tehran, 1894).
As a diplomat, he was responsible for introducing Western political thought and technological innovations into Iran. He was a delegate to the Sixth Majles.
After holding the position of Iranian ambassador to Great Britain from 1927-1929, in 1930 Masehian was appointed ambassador to Japan, but resigned the following year because of severe illness. On his way from Tokyo to China he died in Harbin. He was mistreated by the Islamic ritual in Harbin, causing the indignation of the local Armenians. The Armenian National Department of Harbin demanded Khan Masehian's coffin. After presenting relevant documents, the board members received the coffin, which was taken to the Armenian church in the presence of the local Armenian community. The funeral ceremony was held in an Armenian restaurant. He was buried in Tehran.


Werner Rataiczyk

Werner Rataiczyk (23 June 1921 – 3 January 2021) was a German painter.
Biography.
After an apprenticeship as a graphic designer and illustrator, Rataiczyk fought for Nazi Germany in North Africa and Italy. After World War II, he was a British prisoner of war until 1947 when he began studying at the Burg Giebichenstein School of Art and Design. After graduation, he joined the Verband Bildender Künstler der DDR.
In the 1950s, Rataiczyk began the practice of abstract art, which went along with the culture of East Germany. In 1952, he married the artist , with whom he had two children, Matthias and Marcella. In the 1960s and 70s, he worked on lithography, starting his own lithographic workshop. He also designed stained glass windows for Catholic and Protestant churches, as well as secular buildings.
Werner Rataiczyk died in Halle on 3 January 2021 at the age of 99.


Ali Talib (artist)

Ali Talib (born 1944 in Basra) is an Iraqi painter, noted for his abstract works and for curating exhibitions featuring Iraqi artists.
Life and career.
Ali Talib was born in Basra in 1944. He was among the first graduates of the Academy of Fine Arts, Baghdad, gaining a BA in painting in 1966, He returned to Basra for a short period in the 1960s, but ultimately settled in Baghdad, which at the time had a thriving arts scene. Along with artists such as Amer al-Obaidi, Saleh al-Jumai'e, Salman Abbas, Talib Makki, Nida Kadhim and Faik Husein he became part of a group of artists and intellectuals that "defined Iraqi arts" in the 1960s.
He joined the faculty of the Institute of Fine Arts as a lecturer in painting, a position he held throughout the 1970s. He was known to exhibit a "rebellious attitude to what he and his colleagues regarded as a stagnant arts scene." Determined to be part of a change, he became very active in the local arts community through his participation in Iraq's numerous art groups. He was founding member of the Innovationists established in 1965; a group of younger artists that wanted to advance Iraqi art by through the use of new media and new methods. Artists in this group often took war and conflict as their themes. Following the demise of the Innovationists group in 1969, Talib established a new art group, known as the Shadow Group. He was also a member of the New Vision Group, joining it a few years after its formation in 1968.
He studied graphic design at Helwan University in Cairo, where he attained a Master of Arts in 1980. In 1991 he left Iraq for Amman, Jordan where he was employed as a professor of fine arts at Yarmouk University between 1991-1997. He currently divides his time between the Netherlands and Amman, Jordan. In the Netherlands, he has curated exhibitions such as "Iraq: Still Going Strong" which featured works by Iraqi artists who did not flee the country during the 1990s.
He is the subject of a number of scholarly publications, including:
and;
Work.
Talib held his first solo exhibition at Mubarakia Gallery, Kuwait, in 1964, while he was still a student at the Academy. Since then, he has participated in scores of solo exhibitions and group exhibitions, including "Gallery d'Art 50x70", Beirut, 1994; "De Vrije Academie," The Hague, 2003 and "United Nation Humans Settlements Programme," Barcelona, 2004. His work is held in collections including Mathaf Arab Museum of Modern Art, Doha and Jordan National Gallery of Fine Arts, Amman.
His artwork deals with themes of the human experience and the power of nature. The art historian and art critic, Jabra Ibrahim Jabra commented on Talib's work: "His paintings skillfully tackle an experience insistent with its inner contradictions: evasive and recurrent, leaving its impact each time in certain forms on the canvas-and in our memory."
Select list of paintings
Awards and prizes.
During the 1986 inaugural Baghdad International Arts Festival, he and Shakir Hassan Al Said and Dia Azzawi, were the three Iraqi artists who were awarded prizes. He has been the recipient of two prizes:


Jan Trepczyk

Jan Trepczyk (Kashubian: Jan Trepczik; 22 October 1907 in Strysza Buda, Kartuzy – 3 September 1989, in Wejherowo, Poland) was a Kashubian poet, songwriter, ideologist, lexicographer, and teacher. He was a member of the Regional Kashub Association of Kartuzy, of the "Zrzeszeńcy" ("associationists"), and of the Kashubian-Pomeranian Association. He compiled a Polish-Kashubian dictionary and co-founded the Kashubian-Pomeranian Literature and Music Museum in Wejherowo.
Early years.
Born as the youngest of the five children to a farmer couple of Jan and Berta (maiden name: Hebel), between 1914 and 1921, he attended elementary school in Mirachowo (first in German, later in the Polish language). It was where he met Aleksander Labuda for the first time. In 1921, he entered the state run Teacher's Seminary for Males in Kościerzyna. Here, one of his teachers was a priest, Leon Heyke, who instilled in Trepczyk interest in the Kashubian culture. Following his graduation, Trepczyk started teaching at an elementary school in Kartuzy. In 1927, he accepted a teaching position in Miszewo, near Żukowo.
During the summer of 1928, together with A. Labuda, he paid Dr. Majkowski a visit, and the latter soon became Trepczyk's spiritual mentor. Along with A. Labuda and A. Stoltmann, Trepczyk organized a teachers' conference in Kartuzy which culminated with the establishment of the regional Association of the Kashubians. Elected its secretary, he later became one of the most active members of the "Zrzeszeńcy" organization. In 1930, Trepczyk married Jan Rompski's sister Aniela, with whom he fathered Bogusława, Mirosława, Damroka, Sława, Świętopełek, and Mestwin. Also in 1930, he debuted as an author in the "Chëcz Kaszëbskô" periodical, concurrently publishing in "Grif Kaszëbsczi" and "Zrzësz Kaszëbskô" (later becoming its editor in chief.)
In 1934, Trepczyk was ordered to move to Rogoźno and a year later, to Tłukawy in Wielkopolska, as a result of the Polish government's attempt to weaken the local Kashubian establishment accused of separatist tendencies. While "banned" he released a tome of Kashubian songs; continuously publishing, he remained committed to his views on Kashubian matters.
World War II.
September 1939 found Trepczyk in Tłukawy, where he was sentenced to live and work. In the summer of 1940, he returned to Kashubia, accepting a job as a cashier at the Sianowo's administration office. In Italy he associated with an Italian resistance unit. Later he joined the ranks of General Władysław Anders' Polish Army.
Personal life, work and Kashubian activism.
In June 1946, he returned to Kashubia and resided in Wejherowo (first on Bukowa St., then Kopernika St.) Here, for 20 years he worked as a music teacher in the elementary school (school no. 4.). Apart from music, he also taught geography, arts, and mathematics. In 1951, following the death of his wife Adela, he married Leokadia Czaja, becoming a stepfather to her daughter, Zofia. He retired in 1967 and two years later moved to a new house on Zwycięstwa Street. He lived there with some of his family members until he died.
Following his post-World War II return to Kashubia Trepczyk supported local cultural and social affairs. He continued publishing in "Zrzesz Kaszëbskô", "Echo Ziemi Wejherowskiej", "Kaszëbë", and later also in "Pomerania" and a few other periodicals. He wrote short novels and sketches, but chiefly poems and songs featuring his own and other authors' lyrics. Albeit better known for his singing skills, he also played piano and violin. Between 1952–54, he collected relics of Kashubian culture in villages and towns. While focusing on Kashubian literature and language (along with its grammar and vocabulary), he put forth an effort to normalize its spelling.
In December 1965, while supporting the task of organizing the Kashubian-Pomeranian Association, Trepczyk became president of its Wejherowo chapter. Finding for it a suitable downtown location, he expanded its engagement to include drama, music, lectures, and exhibitions. He asked to be relieved from his position at the Kashubian-Pomeranian Association in 1961, following the accusations of holding separatist sentiments and sympathizing with German revisionists. Consequently, the organization he helped to establish, issued him a formal reprimand, thus temporarily crippling his cultural and artistic endeavors. Still, Trepczyk continued to write poetry and songs, patronizing the Wejherowo Sea Song Festival, instituting choirs and folklore groups, and striving to establish the Kashubian-Pomeranian museum in Wejherowo. In 1967, he was awarded the "Stolem Medal" and in 1971, Poland's Golden Cross of Merit. He was harassed by the Polish Security Service. Rehabilitated to his former position at the Kashubian-Pomeranian Association, he led it for two more cadences (1967–1973).
Period of greatest activity.
In the 1970s, for the first time after World War II, Trepczyk resumed publishing. He commenced with a volume of poems "Mòja stegna" (1970) followed by two song collections based on the work of a Lębork-native musician, Juliusz Mowiński, entitled "Rodnô Zemia" (1974). He published "Mòja chëcz" in 1978, and the children's rhymes called "Ukłôdk dlô dzôtk" in 1975. However, his main accomplishment of this period was a substantial volume of poetry titled "Òdecknieni", published in 1977 and consisting of more than 80 poems. The preface to the book was written by Tadeusz Bolduan, with Trepczyk's biography added by Edmund Puzdrowski. In 1979, Trepczyk became a member of the Polish Writers Association. In 1980, his "Ukłôdk dlô dzôtk" was republished, and the celebrated song collection "Lecë choranko" containing more than 80 songs was issued. Works by Trepczyk were also added to several anthologies, including the "Kaschubische Anthologie" (1973). In 1979, the author was honored by the publication of "Pasja twórczego życia", dedicated to Marian Mokwa and Aleksander Labuda. At the end of 1986, Trepczyk became an honorary member of the Kashubian-Pomeranian Association.
Trepczyk's late years were spent very fruitfully. He kept writing poems, songs, and memoirs while continuing publishing. He conducted various choruses, often performing solo or in small groups with his wife, daughter Zofia, and son-in-law, Edmund Kamiński. He completed his great Polish-Kashubian Dictionary and was looking for a publisher (unfortunately he did not live to see the publication.) He claimed that Kashubian is a distinct language. He was also a translator of German texts into Kashubian language. Suffering from laryngeal cancer, he relied on a voice amplifier. In addition, toward the end of his life, he also suffered from shingles. He died suddenly on 3 September 1989 in Wejherowo, where he also is buried. His wife Leokadia died almost 10 years later, on 28 November 1998.
Legacy.
Jan Trepczyk is known to have been a very active contributor to Kashubian culture. Trepczyk's song collection consists of 133 recognized songs arranged mostly by Juliusz Mowiński and Zbigniew Szablewski.
"Słownik Polsko-Kaszubski" was published post mortem in 1994. It contains about 60 thousand entries and contains an addendum written by prof. Jerzy Treder. Republished in 1997, in its augmented version, was Trepczyk's song collection "Lecë choranko" accompanied by an audio cassette including 27 songs while in 2004 some of these songs were released on a CD entitled "Mòrze: Kaszubskie piesni o morzu." On 18 June 2004, Miszewo Elementary School, were Trepczyk had been a teacher for seven years, was given his name. Similarly, the Wejherowo Singing Association added Trepczyk's name as an integral part of its name designation. In fact, the Wejherowo Singing Association's debut performance took place in Miszewo during the school's name change ceremony.
Streets in Wejherowo, Rumia, and Bolszewo have been renamed to commemorate Trepczyk; he is also present in newspapers and periodicals. In 2008, his biography was released in "Feliks Marszalkowski i inni Zrzeszincy a rozwój jezyka oraz literatury kaszubskiej." The 20th Sea Song Festival was the justification to the release of Trepczyks' two song collections arranged for solo vocalist and chorus (""Hej mòrze, mòrze" and "Marika"). At the same time an anthology was released, titled "Jubileusz Ogólnopolskich Festiwali Piesni o Morzu w Wejherowie" (1966-2008)", summing the songs performed at various festivals with the sea theme. A comprehensive biography of the author is being prepared by E. Kamiński.
He has made important contributions to the revival of Kashubian as a written language, and greatly influenced the cultural milieu in Kashubia.
Publications.
His works were part of following anthologies:


Calvert Coggeshall

Calvert Coggeshall was an abstract painter and a designer.
Biography.
Calvert Coggeshall, an abstract painter and a designer. His last New York exhibition was sponsored by the Rothko Foundation in 1987 at Artists Space, a nonprofit gallery on West Broadway. The paintings he showed were glowing, monochromatic canvases that echoed the colors of Maine skies, trees and earth.
From the early 1950s, Mr. Coggeshall exhibited regularly with the avant-garde Betty Parsons Gallery and later with its successor, the Jack Tilton Gallery. In 1978 a retrospective of his work was mounted by the Bowdoin College Museum of Art in Maine.
Selected exhibitions.
Pittsburgh Plan for Art, Pittsburgh, PA. University of Colorado, Boulder, CO
Whitney Museum of American Art Painters Annual, Whitney Museum of American Art, New York, NY
41st Annual Exhibition of Contemporary American Paintings, The Toledo Museum of Art, Toledo, OH, June- August (exhibition brochure)
Group Exhibition, Dorothy G. Hales Gallery, New York, NY, October
Annual Exhibition of Contemporary Painting in the United States, Los Angeles County Museum of Art, Los Angeles, CA, August
Exhibition of Paintings: Mrs. D. Percy Morgan Jr., George L. K. Morris, Calvert Coggeshall of New York, and Alexander Calder of Paris, Berkshire Museum, Pittsfield, August 12–25


Marc Darimont

Marc H. Darimont (1903 in Liège; date of death unknown) was a Belgian painter. He painted mainly expressionist landscapes and portraits, gradually evolving towards an increased simplicity and abstract compositions. He also produced drawings, book illustrations and prints.
Marc Darimont was a member of the Liège Modern Art Group and of Liège Royal Circle of Fine Arts.


Geoffrey West

Geoffrey Brian West (born 15 December 1940) is a British theoretical physicist and former president and distinguished professor of the Santa Fe Institute. He is one of the leading scientists working on a scientific model of cities. Among other things, his work states that with the doubling of a city's size, salaries per capita will generally increase by 15%.
Biography.
Born in Taunton, Somerset, a rural town in western England, West moved to London when he was 13. He received a Bachelor of Arts degree in physics from the University of Cambridge and pursued graduate studies on the pion at Stanford University.
West became a Stanford faculty member before he joined the particle theory group at New Mexico's Los Alamos National Laboratory. After Los Alamos, he became president of the Santa Fe Institute, where he worked and works on biological issues such as the allometric law and other power laws in biology.
West has since been honoured as one of "Time" magazine's Time 100. He is a member of the World Knowledge Dialogue Scientific Board.


High stakes backgammon

High stakes backgammon was a TV series capturing world class match-play backgammon from the 2005 World Championships in Monte Carlo.
Hosted by Kara Scott, commentary by Paul Magriel and John Clark.
Production Company, 8mm Productions
Series Producer, Andy Bell
Producer/Director, Gavin McGarry


Tatsunosuke Kanda

 is a deceased Japanese professional shogi player who achieved the rank of 8-dan (the highest dan at the time) and also 9-dan, which was an honorary rank, after death.
Kanda's son, Shizuo Kanda (神田鎮雄), also became a professional player.
Shogi professional.
Kanda was involved in a controversy over his promotion to the rank of 8-dan, which led to a western faction of shogi players (the Japan Shogi Reform Society 日本将棋革新協会 "nihon shōgi kakushin kyōkai") splitting away from the newly formed Japan Shogi Association.
When the shogi world united into the (an early form of the Japan Shogi Association) in 1936, Kanda became the head of the western Kansai branch.
Titles and other championships.
Kanda was one of the 8 competitors in the very first tournament league for the first Meijin title in 1937, when the title shifted from a hereditary system to a tournament competition. Yoshio Kimura was the winner and became the first Meijin.
In 1942, Kanda was the challenger for the third Meijin title tournament against Yoshio Kimura. However, he lost all four games, and Kimura retained the title.


Hiroshi Okazaki

 is a Japanese professional shogi player ranked 7-dan.
Promotion history.
The promotion history for Okazaki is as follows:


Tomohiro Murata

 is a Japanese professional shogi player ranked 7-dan.
Promotion history.
The promotion history for Murata is as follows:


Hovhannes Erznkatsi

Hovhannes Erznkatsi ( — John of Erznka or Erzinjan) ( 1230– 1293) was an Armenian scholar and philosopher. He was nicknamed Blouz, probably because of his short stature.
The little that has reached us of his voluminous works reveal an exceptionally gifted scholar, with treasured knowledge of vast scope. Living mostly in the latter part of the thirteenth century, he was also the last of the higher class of the Armenian authors of the ancient and medieval ages. Erznkatsi wrote hymns, commentaries, odes, eulogies, a Martyrology, an astronomical treatise on celestial elements, and a grammar. He was personally known and honored in almost every center of learning in Greater Armenia and Cilicia.
An outstanding orator, he was the main speaker on the occasion of the conferring of knighthood on Hetoum and Thoros, sons of King Leon III, which was celebrated at Sis in 1284. Having studied Latin, apparently at an advanced age, he translated certain parts of the Theology of Thomas Aquinas into Armenian.


Patrick Heron

Patrick Heron (30 January 1920 – 20 March 1999) was a British abstract and figurative artist, critic, writer, and polemicist, who lived in Zennor, Cornwall.
Heron was recognised as one of the leading painters of his generation. Influenced by Cézanne, Matisse, Braque and Bonnard, Heron made a significant contribution to the dissemination of modernist ideas of painting through his critical writing and primarily his art.
Heron's artworks are most noted for his exploration and use of colour and light. He is known for both his early figurative work and non-figurative works, which over the years looked to explore further the idea of making all areas of the painting of equal importance. His work was exhibited widely throughout his career and while he wrote regularly early in his career, notably for "New Statesman" and "Arts New York", this continued periodically in later years.
Personal life.
Born 30 January 1920 at Headingley, Leeds in Yorkshire, Patrick Heron was the eldest child of Thomas Milner Heron and Eulalie Mabel (née Davies). When Patrick Heron was five and his brother Michael (later known as Benedict) was 4 the family moved to Cornwall, where Tom joined Alec Walker at Cryséde to manage and expand the business from artist-designed woodblock prints on silk to include garment-making and retail. The whole family, now four children (Joanna born 1926 and Antony Giles born 1928), moved again in 1929 to Welwyn Garden City where Tom established Cresta Silks. Notable designers including Edward McKnight Kauffer and Wells Coates, Paul Nash and Cedric Morris worked with Cresta, and Patrick also created fabric designs for the firm from his teenage years. At school, Patrick Heron met his future wife, Delia, daughter of Celia and Richard Reiss, a director of the company which founded Welwyn Garden City.
Registered as a conscientious objector in World War II, Heron worked as an agricultural labourer in Cambridgeshire before he was signed off for ill health. He returned to Cornwall to work for Bernard Leach at the Leach Pottery, St Ives, in 1944–45. During this time, he met many leading artists of the St Ives School, including Barbara Hepworth and Ben Nicholson. Reacquainted with Cornwall, Heron spent each summer there until it became his permanent home in 1956 after his purchase and refurbishment of "Eagles Nest" the year before from Mark Arnold-Forster, a house Heron had lived in during his childhood. He spent the rest of his life here, until he died at home in March 1999.
Patrick and Delia married in 1945 and had two daughters: architect and educator Katharine (1947) and sculptor Susanna (1949).
Heron was appointed a CBE in 1977 under Harold Wilson, but rejected a knighthood under Margaret Thatcher.
Career as a painter.
Heron used that most rare and uncanny of gifts: the ability to invent an imagery that was unmistakably his own, and yet which connects immediately with the natural world as we perceive it, and transforms our vision of it. Like those of his acknowledged masters, Braque, Matisse and Bonnard, his paintings are at once evocations and celebrations of the visible, discoveries of what he called "the reality of the eye".
Heron's early works were strongly influenced by artists including Matisse, Bonnard, Braque and Cézanne. Throughout his career, Heron worked in a variety of media, from the silk scarves he designed for his father's company Cresta from the age of 14, to a stained-glass window for Tate St Ives, but he was foremost a painter working in oils and gouache.
Early years.
Heron first saw the paintings of Cézanne at an exhibition at the National Gallery in 1933, an influence which continued throughout his career. Having seen "The Red Studio" by Matisse (one of his other significant influences) at the Redfern Gallery in 1943, Heron completed "The Piano", which he considered to be his first mature work. His first solo exhibition was held in 1947 at the Redfern Gallery, London. That same year, Heron began a series of portraits of T. S. Eliot, one of which was acquired by the National Portrait Gallery in 1966. In 2013 this highly abstracted portrait was the centre of an exhibition at the gallery, displayed for the first time alongside a selection of Heron's original studies from life and memory from which it was produced.
From 1956.
Heron's permanent move to Eagles Nest above the Cornish village of Zennor in 1956 coincided with his commitment to non-figurative painting and resulted in a very productive period of his work. Its roots can be seen in the "Space in Colour" exhibition held at Hanover Gallery, London in 1953 where the works of Heron and nine of his British contemporaries were displayed, which he both curated and wrote the catalogue for. His Tachiste paintings made reference to the garden at Eagles Nest, such as "Azalea Garden", in the Tate collection.
His 'Stripe' paintings, described by Alan Bowness as being 'suffused with light and colour and full of a positive life-enhancing quality so free and so refreshing' emphasised this move towards the principles of colour. Writing in 1968, Bowness went on to describe how he could 'think of few more disconcerting paintings in the last twenty years than Herons stripe paintings of 1957'. Heron described how the 'vertical touch' of the Tachiste paintings were pushed to the ultimate conclusion, as the lines "became longer and longer, until on one painting in early 1956 they became so long that the strokes touched top and bottom". From 1958 onwards, Heron was represented by Waddington Galleries in London, and in the 1960s he was also represented by the Bertha Schaefer Gallery in New York. When Ben Nicholson moved to Switzerland in 1958, Heron took over his studio at Porthmeor Studios, overlooking the beach at Porthmeor, St Ives, and began to take advantage of the larger space to paint at a bigger scale – first soft-edged and then the self-described "wobbly hard-edge painting", such as "Cadmium with Violet, Scarlet, Emerald, Lemon and Venetian: 1969" in the Tate.
From 1979.
The shock of Delia's unexpected death in 1979 meant Heron did little painting for some time. When he did return to the canvas, he turned to the garden at Eagles Nest. Just as it had shown a route to abstraction when Heron first moved there in the 1950s, through it he found a way to reinvigorate his creative approach: rather than rapidly drawing large shapes in pen across the canvas which would then be filled in with a fine Japanese watercolour brush as he had through most of the 1970s, Heron used a large brush, mixed different colours together, and painted from the arm rather than the wrist, allowing the works to develop through the act of painting. This burst of creativity, resulting in paintings such as "28 January: 1983 (Mimosa)", formed Heron's Barbican exhibition of 1985.
In 1989 Heron was invited to be artist-in-residence at the museum of New South Wales in Sydney, and this resulted in another highly prolific period of his work. Drawing inspiration from his daily walk to his studio through the city's Botanic Gardens located by the harbour, Heron produced six large paintings and 46 gouaches in sixteen weeks. These works are reactions to real visual experiences, yet are not direct representations; instead the line and colour encapsulate "specific visual realities without ever depicting them".
These intense periods of activity characterised Heron's later career, made obvious through his exhibitions at the Barbican, and another at Camden Arts Centre in 1994. Taking advantage of the space of the centre, Heron created a series of paintings of grand proportions – at and ranging from long, they were conceived with Camden Arts Centre's galleries in mind. These paintings formed the exhibition entitled 'Big Paintings' that went on to tour Britain. The year before, Heron designed a coloured glass window for the new Tate St Ives with his son-in-law Julian Feary, which opened in 1993. Heron was commissioned to paint a portrait of author AS Byatt (1997), and the following year Tate Gallery, London staged a major retrospective of his work in 1998. This was the most comprehensive exhibition of Heron's work and brought together items from the different decades and periods of his working life. Selected by David Sylvester, the works were displayed so that the last gallery with his late paintings adjoined the first gallery with his earliest works, making explicit how the elements on which Heron's career was founded were already in place. Nicholas Serota, former director of the Tate Gallery, who was a friend as well as patron, described Heron as "one of the most influential figures in post-war British art".
Once the exhibition closed, at the Tate Gallery, London, Heron embarked on a series of 100 gouache paintings, each no bigger than A4. He stopped at 43rd, the number it took to cover the carpet in his sitting room at Eagles Nest.
Career as a critic.
Naturally I like the article [in the" New English Weekly"] very much indeed – but not only because what you say about my work pleases me, but also because it is criticism that could only come from someone who has practised himself – and responded to the work in the way it was done. Henry MooreDear Mr Heron, I have translated certain sections of your book on paintings which I have read with interest. You throw a new light on those things about which run-of-the-mill criticism is bewildering. My sincere compliments, Georges Braque
Heron was highly acclaimed as a writer as well as an artist, and respected by his contemporaries for being able to articulate art from the perspective of a practitioner. His writing about art began in 1945 when he was invited by Philip Mairet, editor of "The New English Weekly", to contribute to the journal. His first published article, on Ben Nicholson, was written while Heron was still at Leach Pottery. This was soon followed by essays on Picasso, Klee, Cézanne and Braque. Within the next two years Heron began broadcasting a series of talks on contemporary art on the BBC World Service and the newly founded Third programme, and wrote regularly for "New Statesman". In 1955, he became London Correspondent to Arts Digest, New York (later renamed "Arts(NY)"), and in the same year a selection of his criticism was published by Routledge as "The Changing Forms of Art". In 1958, Heron took a "vow of silence" as a critic, giving up his regular columns as he said he wanted to be a painter who wrote, not a writer who paints.
He did continue to contribute to exhibition catalogues, and wrote some key articles. Notably in 1966, 1968 and 1970 he published a series of articles in "Studio International" questioning the perceived ascendancy of American artists, at the expense of British and Parisian artists. His final essay on the subject was in a closely worded article of some 14,000 words published over a period of three days in "The Guardian" in October 1974. He also wrote passionately in defence of the independence and autonomy of English Art Schools against their integration into the polytechnic system. Heron's articles and essays have been republished in collected works, such as 'Selected Writings by the Artist' in "Patrick Heron" (Oxford: 1988)", "Patrick Heron on Art and Education" (Leeds: 1996), and "The Colour of Colour" (Texas: 1979).
Major solo exhibitions.
Heron exhibited his work throughout his career. Key solo exhibitions include:


Ardhangini (film)

Ardhangini () is a 1959 Indian Hindi-language romance film produced and directed by Ajit Chakrabarty. The film stars Meena Kumari and Raaj Kumar. It was later remade in Tamil as "Panithirai" (1961).
Plot.
A woman dies while giving birth to her daughter Chhaya. The girl's father loses his job and the family home is burned. For this reason, everyone around her superstitiously see her as a harbinger of bad luck. Chhaya falls in love with Prakash, a non-superstitious airline pilot who treats her normally, but problems arise when Prakash's aeroplane goes missing.
Production.
"Ardhangini" was produced and directed by Ajit Chakrabarty under Mars and Movies. The film's story was written by Chandrakant, the screenplay by Vishwamitter Adil and Shashi Bhushan, and the dialogues by Vishwamitter Adil. Cinematography was handled by R. M. Sabnis, and editing by C. Ramrao.
Themes.
The film speaks against untouchability and superstitious beliefs. Many commentators have identified it as a "romantic tragi-comedy".
Soundtrack.
The soundtrack was composed by Vasant Desai, and the lyrics were written by Majrooh Sultanpuri.


Sbectel

Sbectel () is the name of S4C's former ancillary teletext service. It was named after the Welsh language S4C programme magazine called "Sbec" (Welsh for 'peek') which was originally a pull-out of the "TVTimes" in the ITV Wales area.
Content.
Sbectel provided listings and information about S4C's programmes, such as previews of programmes and further information related to the programmes. Pages were provided in both Welsh and English. The programme was separate from the auxiliary and separately-licensed teletext service also available on the channel. Sbectel also provided subtitles for S4C's programmes on page 888 in English and page 889 in Welsh.
History / Future.
Sbectel was first run in conjunction with ORACLE, the auxiliary teletext provider on Channel 4 in the 1980s. Sbectel occupied pages 410-499 within the page space.
When ORACLE lost its licence and was replaced by Teletext Ltd. in 1993, Sbectel moved to its own page space on pages 300-399 and became directly run by S4C.
In 2003, Sbectel moved to pages 400-499 (which replaced pages 300-399 as S4C's page space). This was due to Channel 4 (the equivalent of S4C in the United Kingdom outside Wales) closing their Sbectel equivalent, FourText (formerly "4-Tel"), and launching a new teletext service in conjunction with Teletext Ltd, Teletext on 4, on pages 400-499.
In September 2007 the bilingual digital text service available on S4C Digidol was launched only to Freeview viewers in Wales.
When the first area in Wales (most of South West Wales) completed its Digital Switchover on 9 September 2009, 'Sbectel' also ceased. Partly it has been replaced by service pages from s4c and bbc on the internet, as:


Process-oriented programming

Process-oriented programming is a programming paradigm that separates the concerns of data structures and the concurrent processes that act upon them. The data structures in this case are typically persistent, complex, and large scale - the subject of general purpose applications, as opposed to specialized processing of specialized data sets seen in high productivity applications (HPC). The model allows the creation of large scale applications that partially share common data sets. Programs are functionally decomposed into parallel processes that create and act upon logically shared data.
The paradigm was originally invented for parallel computers in the 1980s, especially computers built with transputer microprocessors by INMOS, or similar architectures. Occam was an early process-oriented language developed for the Transputer.
Some derivations have evolved from the message passing paradigm of Occam to enable uniform efficiency when porting applications between distributed memory and shared memory parallel computers . The first such derived example appears in the programming language Ease designed at Yale University in 1990. Similar models have appeared since in the loose combination of SQL databases and objected oriented languages such as Java, often referred to as object-relational models and widely used in large scale distributed systems today. The paradigm is likely to appear on desktop computers as microprocessors increase the number of processors (multicore) per chip.
The Actor model might usefully be described as a specialized kind of process-oriented system in which the message-passing model is restricted to the simple fixed case of one infinite input queue per process (i.e. actor), to which any other process can send messages.


Beatrice Mandelman

Beatrice Mandelman (December 31, 1912 – June 24, 1998), known as Bea, was an American abstract artist associated with the group known as the Taos Moderns. She was born in Newark, New Jersey to Anna Lisker Mandelman and Louis Mandelman, Jewish immigrants who imbued their children with their social justice values and love of the arts. After studying art in New York City and being employed by the Works Progress Administration Federal Arts Project (WPA-FAP), Mandelman arrived in Taos, New Mexico, with her artist husband Louis Leon Ribak in 1944 at the age of 32. Mandelman's oeuvre consisted mainly of paintings, prints, and collages. Much of her work was highly abstract, including her representational pieces such as cityscapes, landscapes, and still lifes. Through the 1940s, her paintings feature richly textured surfaces and a subtly modulated, often subdued color palette. New Mexico landscape and culture had a profound influence on Mandelman's style, influencing it towards a brighter palette, more geometric forms, flatter surfaces, and more crisply defined forms. One critic wrote that the "twin poles" of her work were Cubism and Expressionism. Her work is included in many major public collections, including large holdings at the University of New Mexico Art Museum and Harwood Museum of Art.
Early life.
Beatrice Mandelman was born on December 31, 1912, in Newark, New Jersey, to Jewish immigrant parents who imbued their children with progressive social values and love of the arts. By age 12, Mandelman had begun taking classes at the Newark School of Fine and Industrial Art and determined that she would become an artist. Throughout her formative years, Mandelman developed an enduring international sensibility and absorbed influences from various forms of Modernism. In 1924 artist Louis Lozowick, a family friend, returned from a four year sojourn in Europe and Russia and was an important source of information about Russian Constructivism and other avant garde developments abroad. Mandelman met graphic designer and illustrator Robert Jonas, who introduced her to Willem de Kooning, Arshile Gorky, and other New York vanguard artists.
Education.
From 1930-32, Mandelman attended New Jersey College for Women in New Brunswick, part of Rutgers University, and then the Newark School for Fine and Industrial Art, where she studied with Social Realist painter Bernar Gussow. Gussow had studied in Paris at the École des Beaux-Arts and introduced Mandelman to Cubism and the School of Paris. Her plans to study in Paris, however, were interrupted by the death of her father in 1932 and the Great Depression, and it was not until 1948, that Mandelman was able to realize her dream of Paris, where she studied in the studio of Fernand Léger, became friends with Cubist painter Francis Picabia.
WPA Years: 1935-1942.
Between 1935 and 1942, Mandelman was employed the Works Progress Administration's Federal Arts Project (WPA), first as a muralist and later as a printmaker. In 1937-38 she was sent by the WPA to Butte, Montana, to work in the Project Art Center teaching art to children and adults. Upon returning to New York, she resumed her studies at the Art Students League to learn printmaking, and joined the WPA Graphic Arts Division. She became one of the original members of the Silk Screen Unit, who, under the leadership of Anthony Velonis, transformed what had been primarily a commercial medium into an artistic one. Her work in this new medium received an immediate and enthusiastic response. By 1941, her work was associated with the early phase of the New York School, and by the early 1940s her prints began to be acquired by museums and were included in exhibitions at major venues such as the Chicago Art Institute, Museum of Modern Art (New York) and the National Gallery of Art (Washington, D.C.). Mandelman worked for the WPA until 1942, when it was disbanded. Although her style would gradually evolve from Social Realism to abstraction, her works from this period reflect a leftist political bent that continued throughout her life, and would resurface later in a series of collages against the Vietnam War that she created in the 1960s and 70s.
Taos Years.
Mandelman married fellow artist Louis Ribak in 1942. While still in New York the couple became involved in the early years of the New York School, including vacationing with Jackson Pollock in the summer of 1943, as his career trajectory was taking off. Ribak also became politically active with associates who were under FBI surveillance.
In 1944, Mandelman and her husband visited the artist John Sloan in Santa Fe and traveled up to Taos, which so appealed to them that they impulsively decided to settle there. By the time Mandelman and Ribak arrived, the Taos art colony was already a well-established community of mainly representational artists. Aside from Thomas Benrimo and part-time resident Emil Bisttram there were few local artists working in a Modernist vein, and no local galleries showing Modernist art. Taos offered artists the proximity to Native American culture at Taos Pueblo, spectacular natural surroundings, a low cost of living, and a geographic location that was at the crossroads between the East and West Coasts, and a convenient stopover on the route to and from Mexico. A generation earlier, during the 1920s, it was this same combination of factors that had attracted the New York socialite and arts patron Mabel Dodge Luhan to establish herself in Taos with a salon that attracted many of her day's most important Modernist artistic talents, writers, intellectuals, and activists. She took Mandelman and Ribak under her wing and included them in her book "Taos and Its Artists" (1947).
Mandelman adapted well to life in the Taos art colony. She and Ribak connected with other modern artists settling in Taos in the 1940s and 1950s, such as Edward Corbett and Agnes Martin, and this group became known as the Taos Moderns. In 1947, Mandelman and Ribak founded the Taos Valley Art School, where they taught until it closed in 1953. The school attracted a convergence of New York and San Francisco Bay area artists. Many were World War II veterans taking advantage of the opportunity to study through the G.I. Bill. The school closed in 1953 after losing GI Bill funding. Mandelamn and Ribak decamped for New York where they lived from 1954-56 before returning to their home in Taos.
Her work was included in the 1940 MoMA show "American Color Prints Under $10". The show was organized as a vehicle for bringing affordable fine art prints to the general public. Mandelman was also included in the 1947 and 1951 Dallas Museum of Fine Arts exhibitions of the National Serigraph Society.
Far from the strictures of the mainstream art world, Mandelman found the creative freedom to develop her own distinct style, which merged an Abstract Expressionist sensibility with inspiration from the light, color, landscape, and cultures of the American West. Other influences derived from Mandelman's love of adventure. She traveled widely throughout her lifetime, visiting South America, Europe, Asia, and Africa and living for extended periods in Mexico, where she and Ribak would go virtually every year to escape the cold northern New Mexico winters Like many of their contemporaries, including their Santa Fe friend, designer Alexander Girard, they were enamored of folk art and collected it.
The 1950s: The Taos Moderns.
During these years the art world was heavily male dominated and the Taos Art Colony was no exception. In the 1950s when fellow abstractionist Agnes Martin arrived on the scene, she and Mandelman became close friends. The friendship between the two women became strained when Martin moved back to New York in 1958, and began her professional ascent. Remaining in Taos, Mandelman was disappointed in the lack of commensurate recognition her own work. Tensions aside, the friendship between Mandelman and Martin resumed in 1992, when Martin returned to Taos, where she lived until her death in 2004.
Mandelman and Ribak's home served as the gathering place for an informal group of artists who began calling themselves the Taos Moderns. Key members of this group included Edward Corbett, Agnes Martin, Oli Sihvonen, and Clay Spohn. Mandelman was included in a 1952 group exhibition "Taos Painting Yesterday and Today" at the Colorado Springs Fine Arts Center. It was the first museum exhibition to address the development of Modernist art in Taos.
By the 1950s, Taos was home to over 200 artists and 18 art galleries. Mandelman and some other local artists organized two artist cooperative galleries, the Ruins Gallery, named in honor of the crumbling adobe that housed it, in 1952, followed by the founding of the Taos Artists' Association and its cooperative, the Stables Gallery. In 1955 Mandelman and Ribak also established Gallery Ribak, occasional public exhibitions in their home, mostly showcasing their own work and that of a few of their friends.
The 1960s - 1980s.
Mandelman preferred to work in series, a total of 33 starting in the 1940s until her death in 1998. Interspersed were exuberant collages, a medium she first began to explore in the 1950s and continued throughout her career.
After Ribak's death in 1979, Mandelman remained in Taos.
The 1990s: Final Years.
In her final decade, Mandelman continued painting despite debilitating bouts with cancer. In May, 1998, two months before she died, Mandelman was featured in an article in Forbes magazine, which drew international attention and sales. Her spirits buoyed by recognition and sales, and propped up by her caregivers as she painted, Mandelman was able to produce thirty-one works comprising the Winter Series. She died of cancer on June 24, 1998, in her Taos home, at the age of 85.
Legacy.
The Mandelman-Ribak Foundation was established to preserve the legacy of Mandelman and her husband. Among other activities it catalogued a half century of their work held in the Mandelman-Ribak Collection. In 2014, the collection and associated personal papers were donated to the University of New Mexico., an endowment for future exhibitions and scholarship, and the naming of the Mandelman-Ribak and Caroline Lee and Bob Ellis Galleries at the UNM Harwood Museum of Art in Taos. The University's Zimmerman Library Center for Southwest Research received the extensive personal papers of both artists, including the notes and poetry written by Mandelman over the years


Robert Axtell

Robert Axtell is a Professor at George Ma son University, Krasnow Institute for Advanced Study, where he is
Departmental Chair of the Department of Computational Social Science. He is also a member of the External Faculty of the Santa Fe Institute. Axtell is also the co-Director of the new Computational Public Policy Lab at Mason.
Early life and education.
Axtell received his first degree at the University of Detroit in 1983 and earned his Ph.D. in Carnegie Mellon University in 1992, where he studied computing, social science, and public policy.
Career.
In the early 1990s, whilst still a graduate student, he met Joshua M. Epstein who was to become a key collaborator. This led to Axtell joining Epstein at the Brookings Institution in 1992. The pair developed a keen interest in mathematical modeling influenced by the work of Thomas Schelling, with their primary research interest the modeling of complex social, economic, and biological systems using computational agent based models.
In "Growing Artificial Societies: Social Science From the Bottom Up", Epstein and Axtell wrote about the first large scale agent-based computational model, the Sugarscape, developed by Axtell, which they used to explore the role of social phenomenon such as seasonal migrations, pollution, sexual reproduction, combat, and transmission of disease and even culture.
Whilst at Brookings, Axtell also undertook visiting roles at Georgetown University, New School University, Johns Hopkins University and the Santa Fe Institute.
In 2007 Axtell left Brookings for his current post at George Mason University.
Axtell is also a member of the steering committee of the Atalaya Institute, using agent based models to help provide evidence to influence social policy.
In 2013 Axtell became a visiting professor at Oxford's Hertford College during his sabbatical.
Selected publications.
Axtell has authored and co-authored several works including:


Backgammon chouette

The backgammon chouette is a variant of backgammon for three or more players. Traditionally played in person, today, the internet allows this form of backgammon to be played across different countries and various platforms. The chouette is a fast-paced game, featuring frequent use of the doubling cube, discussion and dispute of possible moves, and shifting rivalries among players.
General play.
One player—the box—plays against a team consisting of all other participants. One member of the team is designated as the captain. The box and the rotation order are generally determined by the roll of dice.
The game is played on a single backgammon board according to standard rules. The captain makes the final decision on all checker plays for the team, although help from team-mates can be requested in some situations. Usually, all members of the team have their own doubling cube vs. the box, and can double regardless of what other team-mates do, and they can accept or refuse a double independently of the other players. The result is that, although they are using a single backgammon set, each member on the team is playing a separate game against the box.
A chouette is generally played in the same way as backgammon money play. There is no "match score"; one game is played, scores are tabulated, and another game begins. The positions of the players are rotated after each game. In general, if the box wins, this player remains the box. If the captain wins, the captain becomes the box for the next round. The loser goes to the bottom of the order and all other players move up one spot. In one variation, team members who successfully accepted or declined a double progress ahead of those who made the wrong decision.
Each player maintains a running score, corresponding to the number of points won or lost in each game, adjusted for gammons, backgammons, and the value of the doubling cube.


Aimee Schweig

Aimee Gladstone Schweig (1897–1987) was an American artist known as one of the founders of the artist colony in Sainte Genevieve, Missouri. Her paintings depict primarily local subjects from the Ste. Genevieve and other Missouri areas.
Life.
Aimee Schweig studied at the St. Louis School of Fine Arts and at Washington University in St. Louis. She continued her studies at the Provincetown Art Colony (Provincetown, Massachusetts), and later became one of the founders of the Ste. Genevieve Art Colony. She was a member of the National Association of Women Artists, the St. Louis Art Guild, and the Provincetown Art Association. Her artwork was exhibited in numerous shows and she won a number of awards, including the 1945 City Art Museum Exhibition. She was also featured in publications such as "An American Art Colony; The Art and Artists of Ste. Genevieve, Missouri." She primarily used oil paints and her subjects varied from people to abstract art.


Forrest Bess

Forrest Clemenger Bess (October 5, 1911 – November 10, 1977) was an American painter and fisherman. He was discovered and promoted by the art dealer Betty Parsons. He is known for his abstract, symbol-laden paintings based on what he called "visions."
Early life.
Bess was born on October 5, 1911, in Bay City, Texas to Arnold "Butch" Bess, an oil field worker, and Minta Lee Bess. Bess first experienced the "visions" he would use later in his art as a young child. His first introduction to oil painting were works done by a neighbor, and at thirteen years old he began lessons in painting from another neighbor.
A semi-migrant childhood was followed by some years at college, where he began by studying architecture, but found himself diverted into religion, psychology, and anthropology, readings that would later inform his own radical theories. Dropping out of university in 1932, Bess worked for several years roughnecking in the Beaumont oil fields, and also made several trips to Mexico, where he saw the work of muralists Diego Rivera and David Alfaro Siqueiros.
During World War II, he enlisted in the Army Corps of Engineers and was given the task of designing camouflage. However, he was later moved to MacDill Air Force Base at Tampa, Florida, to teach bricklaying. He suffered a psychological breakdown, took a leave of absence, and then transferred to teaching painting at a convalescent hospital.
After living and painting for a while in San Antonio, he finally settled at his family's fishing camp at Chinquapin, near Bay City.
Painting.
He worked as a commercial fisherman, but painted in his spare time. He experienced visions or dreams, which he set down in his paintings. He began to exhibit his works, earning one-person shows at museums in San Antonio and Houston. On a trip to New York to find an art dealer, he met Betty Parsons who agreed to represent him. During his most creative period, 1949 through 1967, Betty Parsons arranged six solo exhibitions at her New York City gallery.
Bess's paintings are generally small and abstract. They incorporate symbols that Bess felt could bring him and others to a different state of consciousness.
Philosophy.
In the 1950s, he also began a lifelong correspondence with art professor and author Meyer Schapiro and sexologist John Money. In these and other letters (which were donated to the Smithsonian Archives of American Art), Bess makes it clear that his paintings were only part of a grander theory, based on alchemy, the philosophy of Carl Jung, and the rituals of Australian aborigines, which proposed that becoming a hermaphrodite was the key to immortality. He was never able to win any converts to his theories or validation from the many doctors and psychologists with whom he corresponded. In his own home town of Bay City, he was considered something of a small-town eccentric.
Surgery.
The events of the night in 1955 or the "late 1950s" on which Forrest Bess became a pseudo-hermaphrodite are not clear. According to Bess, he paid a local physician, Dr. R. H. Jackson, $100 and several paintings to perform the necessary surgery. Sex researcher Dr. John Money later corresponded at length with Bess and concluded that Bess, who exhibited an extensive knowledge of anatomy, medical procedures and painkilling drugs, had operated on himself and invented the doctor's participation to legitimize his experiment. The doctor apparently did attend Bess on the night in question. Jackson died shortly after supposedly performing a second operation on Bess in late 1961.
The anatomical facts, however, are clear. In accordance with the aborigine ritual, an opening or fistula was created beneath Bess's penis at its junction with the scrotum. This opening led through an incision in the urethra to the bulbocavernous urethra, a naturally enlarged section of the urethra that Bess insisted was capable of intense orgasmic stimulation. According to Bess's theories, the bulbous section of the urethra could, if sufficiently dilated, receive another penis in what would be the ultimate, eternally rejuvenating form of sexual intercourse. This physical manifestation of his theory never achieved the results he had hoped for and, ironically, this quest for immortality was the beginning of a slow decline in both his health and his creative output.
Death.
Forrest Bess died on November 10, 1977, in a Bay City, Texas, nursing home from skin cancer at the age of 66.
Legacy.
In the years following his death, Bess was nearly forgotten to history, but a 1981 solo show curated by Barbara Haskell at the Whitney Museum of Art helped revive his reputation as an artist. In the catalog, Haskell wrote, "Indeed, this painter's direct, almost primitive images, loaded with symbolic meaning and emotional content, are finding echoes in the so-called New Image painters. It may be that the show at the Whitney is the first step toward readdressing the import of his work." Bess's legacy was further enhanced in 1988, when Hirschl & Adler Modern exhibited 61 of his works.
In 1999, an award-winning 48 minute documentary film, "Forrest Bess: Key to the Riddle", was produced by Chuck Smith and directed by Chuck Smith and Ari Marcopoulos. The film features interviews with Meyer Schapiro, Robert Thurman, and other friends and artists who knew Bess. In 2013, Smith turned the film into a book, "Forrest Bess: Key to the Riddle", published by powerHouse Books. The book features a foreword by Robert Thurman.
As part of the 2012 Whitney Biennial, sculptor Robert Gober curated an exhibition of Bess' paintings from the late 1950s, as well as archival material.
In 2013 and 2014, the museum retrospective "Forrest Bess: Seeing Things Invisible" exhibited nearly 50 of his paintings and was curated by Clare Elliott, assistant curator of the Menil Collection.
Today, Bess is regarded as a unique phenomenon, an artist who cannot be grouped with any one school, but who answered solely and completely to his own vivid, personal vision. His best art consists of only about 100 small paintings, many with simple driftwood frames that he built himself. The majority of these paintings are in private collections, although the Menil Collection, Houston; the Museum of Contemporary Art, Chicago; Museum of Modern Art and Whitney Museum of American Art in New York; and San Francisco Museum of Modern Art have Bess paintings in their collections.


Shadows and Sun

Shadows and Sun / Ombres et Soleil: Selected Writings (1913-1952) is a comprehensive bilingual collection of the poems of Paul Eluard. Translated by Cicely Buckley and published in 1995 by Oyster River Press, the book is illustrated with the cover art “The dreamer” by Pablo Picasso, and six pen and ink drawings by Picasso, René Magritte, Marc Chagall, and André Lhote. Eluard’s simple language and sensitivity in the early and later love poems, and in the ‘poèmes engagés’ (poems committed to recovering justice for all), earned him the name of “the people’s poet.” Eluard wrote before and after two world wars when he served as medic and infantryman. His poem "Guernica" was written when Picasso created an anti-war painting inspired by the bombing of Guernica during the Spanish Civil War, when Nazis bombed the market place at midday.
This collection of Eluard’s poems includes his early and late poems, and six prose pieces: the Surrealist manifesto of 1925; thoughtful essays on Picasso his friend and Picasso the energetic, innovative artist; essays on “The future of poetry”; “Involuntary poetry and intentional poetry”; and “The poetry of circumstance.” The book also includes "Liberté", which RAF pilots dropped over France during World War II.


Paul Burlin

Paul Burlin (September 10, 1886 – March 13, 1969) was an American modern and abstract expressionist painter.
Childhood.
Paul Burlin was born Isadore Berlin to Jacob and Julia Berlin in 1886 in New York. The family name was originally Berlinsky. His father was from London. His mother from a small city in Northern Germany near the Polish border. Paul grew up in New York City and London, the oldest of three children. His sister, Carrie, was born in 1890, his brother, David, in 1895. Paul disliked the name Isadore, and stopped using it as soon as he could, when he left home at 16. He found it too painful to discuss his early years, and he refused to do so. Once on his own, he changed his name to Harry Paul Burlin. By 1911, Harry had become H. and by 1915 it was gone altogether. Paul had completely separated from his family and his past, and continued to be forward thinking his whole life.
Artistic education.
From 1900 to 1912, Burlin was a part-time student at the National Academy of Art and the Art Student's League.
Travels.
Burlin was able to travel in Europe in 1908 to 1909. He visited the southwest United States in 1910. The southwestern paintings he made on the trip to Santa Fe were shown in New York in 1911. The critical acclaim of this exhibition led to his invitation to participate in the Armory Show.
Armory Show.
Burlin was invited to participate in the 1913 69th Regiment Armory Show in New York, the first Modern art exhibition in the United States. This was the exhibit that brought the work of the European vanguard, such as Picasso, Manet, Monet, and Degas to the United States.
Santa Fe.
Burlin moved to Santa Fe in 1913 and painted there until 1920, while exhibiting his work in New York City. He painted portraits of Pueblo Indians, landscapes, and scenes of local daily life. These themes sold well in New York. Burlin was heavily influenced by the spirituality of the Pueblo Indians. Realist works gave way to experimentation with symbols and anthropomorphism. His work was shown at the Pennsylvania Academy of Fine Arts exhibition in 1919.
First marriage.
Paul Burlin met Natalie Curtis (1875–1921), in 1914. Burlin married Natalie Curtis, in 1917. She was an ethnomusicologist working to preserve Native American Indian music in New Mexico. Natalie Curtis is best known for her 1907, "The Indians' Book".
European artistic exile.
Paul and Natalie moved to Paris in 1921. Shortly after a successful presentation at a conference on ethnomusicology, Natalie was struck by a taxi on the street and killed. Paul was devastated. He remained in France. In 1924, he married his second wife, Margarete (Margot) Koop. Margarete was the mother of his only child, Barbara, who was born in 1927. Paul exhibited in New York, and in Paris. He studied European abstract painting styles, which influenced his increasingly socially concerned themes. Living in Europe for a decade may have contributed to Burlin's reception back home. It certainly gave him an opportunity to develop his style. His work was included in the New York Museum of Modern Art's Ninth Exhibition of Painting and Sculpture by Living Americans in 1930. Three of his paintings were shown: Flowers, 1927, Horses in Stable, ca. 1928, and Hills and Houses. Burlin was not able to attend, however, since he was still in Paris.
Return to the United States.
In 1932, Paul, his wife, and daughter moved back to the United States. They settled in New York, where Paul lived for the rest of his life, when he was not traveling or working as an artist in residence. He worked as a member of the Federal Project of the Whitney Museum. Paul Burlin was also among those who signed the call for the American Artist's Congress in 1936. In 1936, Paul and Margarete divorced. Paul married in 1937, to Helen Simonson.
Second World War.
Burlin used images from Greek mythology to paint commentary against the brutality of war. He was especially concerned with Jewish persecution. Burlin's own abstract expressionist form crystallized. His key symbols begin to emerge. Paul Burlin exhibited in the 1944 Art in Progress show.
Abstract expressionism.
Paul Burlin begins to use abstract expressionism as a mode for personal expression. Burlin divorced his third wife in 1946 and married Margaret (Peggy) Timmerman in 1947. He and Margaret remained together for the rest of his life. Burlin was invited to be Artist in Residence at many universities and museums such as the University of Minnesota, Washington University in St. Louis, University of Colorado, University of Wyoming, USC, Union College of New York]], and the University of Texas.
Last days.
In the 1950s, Burlin began to lose his sight. In the next ten years he underwent eight cornea implants. His despair at losing his sight was often a theme in his work. He painted, even at the times when he was declared legally blind. In a respite from the darkness, he painted "The Series of Nine" very near the end of his life. Paul Burlin died in 1969. The nine final paintings, which summarize and celebrate the life of the painter were shown at the NY MOMA in 1971, and at the Pasadena Museum in 1972.


Haruka Aikawa

 is a Japanese women's professional shogi player ranked 1-dan.
Early life.
Aikawa was born in Suginami, Tokyo on April 18, 1994. She learned how to play shogi from her father when she was about seven years old.
In August 2007, she finished runner up in the girl's division of the 28th as a junior high school student, and was honored by the Suginami City Board of Education as a result.
In the Fall of 2008, Ailkawa entered the Women's Apprentice Professional League under the guidance of shogi professional , but was moved to Training Group Class D2 in April 2009 after the JSA ended the Women's Apprentice Professional League system at the end of March 2009. Aikawa was promoted to training group Class C1 in May June 2011, which earned her the right to request to be promoted to the women's provisional shogi player status and the rank of 3-kyū. Aikawa submitted her request to the JSA, which announced in August that and she was to be officially awarded the rank and provisional women's professional status on October 1, 2011.
Promotion history.
Aikawa's promotion history is as follows:
Note: All ranks are women's professional ranks.


FIG Script

 Script is a typeface designed by Eric Olson in 2002 for Process Type Foundry.
The name is an acronym for "Frank (Sheeran), Ian (Chai), and Glenn (Chappell) who collaborated in the development of the FIGlet computer program developed to generates text banners, in a variety of typefaces, composed of letters made up of arrangements of smaller characters. Olson used let in creating his -based typefaces. Olson describes the types as an "exploration into the generative possibilities type design software and simple grid structures." While suggestion of a raster is clearly visible in the face, a hominess similar to that found in nineteenth century cross-stitched samplers is also found. Many characters have swashes, and the overall effect is reminiscent of cursive.