Information obtained from Richard Prince’s three-times-a-week online column, Journal-isms:
Freelance writer Katherine Reynolds Lewis, former money/work reporter in Newhouse News Service’s Washington Bureau, has organized a free teleconference on “How to Succeed As a Freelancer or Consultant.” Co-sponsored by the Washington chapter of the Asian American Journalists Association and CurrentMom.com, the teleconference runs from 2-3:30 p.m. EST on Wednesday. To register, visit http://workfreelance.eventbrite.com/

According to AAJA, the speakers include

Speakers include:
* Joe Grimm, creator of JobsPage.com, Poynter columnist and visiting journalist at Michigan State University
* Stephenie Overman, freelance writer and DC Society of Professional Journalists’ freelance coordinator
* Katherine Reynolds Lewis, freelance writer for outlets such as About.com, MSN Money and Parade, and founder of CurrentMom.com, a site for entrepreneurs
* Victoria Lim, media trainer, freelance journalist, consultant and convergence expert
* Arnesa Howell, freelance writer for magazines including People and Money.

Topics to be covered:
* Starting a freelance career on the sidelines of your day job
* Balancing fun or prestigious assignments with bread-and-butter work that pays the mortgage
* Is this the golden age of freelancing? Or a good time to flee to the safety of a solid employer?
* Pitching and cultivating relationships with editors or other clients
* How to think like an entrepreneur, not an employee

In the latest edition of Journal-isms, a three-times-a-week online column produced by Richard Prince, officials at Howard University denied intentions of closing the 95-year-old Moorland-Spingarn Research Center. Prince cited Camille Augustin’s article Monday in the university’s student newspaper, the Hilltop, that noted the “university’s Chief Academic Office issued a statement vowing the center will not be closed.”

On Friday, Augustin wrote about how structural, staffing and financial challenges threatened the future of the renowned center.

“‘There is no intention to close the center,’ said Associate Provost for Academic Affairs Alvin Thornton, Ph.D., in an e-mail to The Hilltop on Sunday. ‘It is a treasured and valued part of Howard and will continue,’” according to the Hilltop article.

Thornton noted that the university is searching for a national director and reviewing how to maintain the research center “part of a larger university-wide academic and support program review.”

This past Saturday, Stages opened the New York leg of the tour at Deitch Projects. Presented by the Lance Armstrong Foundation and Nike, Stages brings together leaders in contemporary art with counterparts from the graffit/street art world. Included are Richard Prince, Edward Ruscha, Os Gemeos, and Jose Parla. Aside from the artwork, the exhibition also works to promote Mr. Armstrongs LIVESTRONG campaign.
On view in New York until November 21, 2009, 489 Broome St, New York.
via curated:

Dear U.S. Department of Homeland Security, I write to you today on an urgent matter. I received news this morning that several hundred copies of my novel One Break, A Thousand Blows (BookWorks 2008) have been effectively destroyed and likely banned in the United States by US customs, to fulfill CBP’s dual mission of “preventing terrorists and terrorist weapons from entering the United States, while also facilitating the flow of legitimate trade and travel.” I do not want to make any final judgments, as I am not aware of all the facts at the moment; I would immensely appreciate clarification and answers on this issue. So far neither U.S. Customs and Border Protection nor the Department of Homeland Security have been of much help.

According to my editor Stewart Home, two weeks ago “an attempt to sell titles in [his] Semina series at the New York Art Book Fare had descended into farce because the books had been impounded by US customs. Book Works told [him] they’d flown from Europe to America to sell the novels, but ended up manning an empty table. The publications have now disappeared and may have been destroyed; from New York any unsold copies should have gone on to a distributor in Los Angeles, but there is still no sign of them on either the east or west coast. . . . Word on the grapevine is that the Semina books were impounded because a US customs official took a look at [Mark Waugh’s novel] Bubble Entendre and decided it was a blue-print for a terrorist attack on the 2012 Olympic Games.”

What was this official’s name? What was his exact reasoning? If this was indeed the case, why was my novel additionally impounded along with Mark Waugh’s book? One Break, A Thousand Blows has its measure of obscenities, pornography and shock – but nowhere does it justify, let alone condone terrorism. If anything I am a literary terrorist. Moreover, why was Jana Leo’s Rape New York impounded? And why were copies of Bridget Penney’s Index impounded? An innocuous title – no? For myself, Penney’s book was the para-literary equivalent of a Richard Serra masterpiece. How could any one, even a government official, see anything terrorizing in it?

Speculations here abound: my Goldsmiths colleague in London thinks the title itself One Break, A Thousand Blows was too connotative of a terrorist plot. That and the fact that the enigmatic cover was colored Communist red with many depictions of wigs (as in disguises). And it probably didn’t help that at the beginning of the book I quoted a phrase from the Bernadette Corporation: “People want to be someone. But the really exciting challenge is to become no one. And where will you find no ones? In nowhere. Where things are exploding.”

A long pause. On second thought (in a parallax way), I can’t really blame US customs for doing what they ultimately did. I can well imagine an average, naive customs official (let’s imagine him to be completely unaware of the avant-garde) coming across the Semina series – totally baffled, and reading something like Bridget Penney’s Index as a highly elaborate coded index on weapons of mass destruction. If all of this seems a bit farfetched, I hate to think what might really be behind the conspiracy; in a word – censorship.

These days I find myself thinking more and more about Kathy Acker’s Blood and Guts in High School, considered her most popular and best-selling novel – the story is seemingly about Janey Smith, a ten-year-old American girl who has an incestuous sexual relationship with her father, who is also her boyfriend, brother, money, and amusement. Blood and Guts was banned in Germany, and I can’t help but feel that the authorities in New York effectively banned Jana Leo’s Rape New York for similar Blood and Guts reasons concerning taste and decency. Rape New York is a book about a real case in January 2001 where Leo herself was held hostage and raped during the course of an afternoon in her New York apartment. Perhaps the pulping of Kim, Penney and Waugh was simply collaterol damage, incidental to the conservative backlash against Leo.

Wherever the truth lies, we here at the New School for Social Research, San Francisco are all tickled pink by it. And if in the end it turns out that this was all just an elaborate media hoax by Arts Council England (like the recent “bomb threat” publicity stunt at Cooper Union for Slavoj Zizek’s new book) – I don’t think I’ll have any regrets on the way that I approached this topic. As Kathy Acker put it, “I think the best thing in cases of censorship or things like this is to get as much media as possible.”

Yours sincerely, Maxi Kim, Beaubourg 268.

It’s been a real art overload this week – Frieze, AVA, something in Soho, and then there was an evening trip to Tate Modern to see ‘Pop Life: Art in a Material World’.

First and foremost it was the most fun I’ve had in a gallery for a long time. That’s not to say I don’t tend to enjoy exhibitions or galleries, but it tends to be a quiet contemplation and one that doesn’t involve other people. Wandering galleries can be a bit of a solitary pursuit. Pop Life combines areas for reflection with sections that completely refuse that sort of thing.

The exhibition takes Warhol’s quotation: “good business is the best art” as a starting point and goes on to explore Pop Art’s legacy from the 1980s onward.any art exhibition focusing on a timeline or progression generally featurse work of three types – things that were very much of their time and now look vaguely odd/quaint/inoffensive, things that are enduringly controversial and problematic, and things which are current but will probably fall out of favour.

The most interesting of these is the second category because it means that rather than tapping into something zeitgeisty the artist has prodded at something fundamentally more raw. Richard Prince is one such artist. His photograph ‘Spiritual America’ (1983) – which is actually a photograph of a photograph by Garry Gross of a ten-year-old Brooke Shields, nude and oiled, wearing make up and staring directly at the camera – was removed from the exhibition after the Metropolitan Police began investigating whether it breached obscenity laws. It was replaced (with the consent/collaboration) of the artist with the 2005 recreation featuring a 40-year-old Shields in a gold bikini leaning on a motorbike.

Paedophilia-panic seems to be the key thing here. Michael Portillo noted on This Week that in the current climate concerns about loss of civil liberties are waved aside when the matter in question is paedophilia. It seems that, rather than viewers or institutions becoming more blase as time passes, with perceived child sexualisation the kneejerk response is getting stronger and less well reasoned.

The actual gallery placement of the image bears this out – the room it was in is a dead end. Art cannot progress from this point and instead must return to the path and make its departure from another point. It is also interesting to note that when the image was recreated in 2005 with the same actress and it was far more socially acceptable for her to appear nude, she did not. Further to this, a 1983 US court judgement ruled that the picture was not “sexually suggestive, provocative or pornographic”. The fact that it continues to worry viewers (and was intended to) demonstrates just how troubled we are by the fact there is no real and defined border between childhood innocence and adult experience.

For my tuppenceworth I don’t think it’s to do with child sexualisation at all. I think it’s the child’s gaze along with the trappings of something more adult than we thinks she is entitled to that provokes the complaints as it makes the child a knowing participant – too knowing – in the sleazy world of celebrity. It flies in the face of out attempts to believe in the world of High School Musical where the big finish is a chaste kiss on the lips between abstaining 20-year-olds and a world without gawky awkward inbetween-ness.

In my research of Marina, I have uncovered these interesting and titallating videos, and now I am sharing it for your enjoyment:

This first video features Marina interacting with a writer from The Guardian during a show that Marina curated that involves 12 young and upcoming performance artists in New York.  The reason why I was so excited about this clip was to see new performance work actively being done today, good and bad:  http://www.guardian.co.uk/culture/video/2009/jul/06/marina-abramovic-manchester-festival-adrian-searle

Balkan Erotic Epic

This video is a short film that Marina directed as part of a collection of short films called Destriction.  Other directors include Matthew Barney (Cremaster and Drawing Restraint), Larry Clark (Kids), Marco Brambilla, Gaspar Noe (Irreversible), Richard Prince and Sam Taylor-Wood.   This collections of films explores the connection between art and sex.  I haven’t watched all the shorts in Destriction, but Marina’s piece “Balkan Erotic Epic” is strange and humorous, and I really enjoy it:  http://www.dailymotion.com/relevance/search/balkan+erotic+epic/video/xk7m0_balkaneroticepicmarinaabramovic_creation

God Punishing

And finally, I just recently watched a movie titled Our City Dreams.  The movie documents 5 women artists who live and work in New York City, one of whom is Marina.  The other women in the documentary are Swoon, Nancy Spero, Kiki Smith, and Ghada Amer.  The movie is incredibly interesting, especially (to me) the section on Marina.  If you’re looking to learn more about art, especially women artists, definitely check it out. I give the movie a 8/10.   Here’s the trailer: 

Clearly, I am becoming more and more obsessed with Marina.  And this obsession isn’t stopping any time soon, I don’t think.

Hello, and thanks for visiting my blog about art and related matters.

Being about art, there’ll be a fair smattering of photographs of works of art in this blog. And due to the fact that I’m a cartoonist by profession there’ll be more than a few cartoons distributed among them.

It seems appropriate to start with a photo that combines art and cartoons in one image (Cartoons are art in themselves of course, but we’ll come back to that one later.)

This photo was taken at the Frieze Art Fair here in London, from which I’ve just returned.

It shows a screen print by Richard Prince that is based on a cartoon. The work had sold for £150,000 (or at least that’s what I think the gallery assistant told me).

Richard Prince: Untitled (I Had a Dream): Frieze 2009, London

The cartoon is very much a straight copy of an original cartoon from an American magazine. Prince made his reputation by appropriating images from diverse media and incorporating them into his own artwork. A favourite procedure of his was to rephotograph photographs that had been taken by other people. Needless to say, this violated numerous principles underlying copyright laws.

To me it also violates numerous principles underlying the creative process.

On top of this, the fact that the copy of the cartoon shown above could sell for £150,000 whereas the original cartoonist probably got paid the equivalent of about £100 for the initial cartoon violates any laws of fairness. But it does illustrate perfectly the distorted values of the contemporary art market.

It seems Richard Prince’s Spiritual America is still causing a debate.

A controversial piece of art based on a 1975 nude photograph of actress Brook Shields has been removed from a London art exhibit over concerns that it breaches the U.K.’s obscenity laws. The piece shows a 10-year-old Shields, nude, oiled, and heavily made-up, standing in a bathtub and looking directly at the camera.

The Tate Modern took down the provocative 1983 piece called Spiritual America by American artist, Richard Prince, after Metropolitan Police launched an investigation.

The artwork was based on the infamous image of Shields taken by photographer Garry Gross.

The work was removed from the Tate Modern exhibit Pop Life: Art in a Material World. The temporary closure of the room where the photo was exhibited comes after the Metropolitan Police said they were investigating to see if the artwork might violate obscenity laws.

The Obscene Publications Committee, a division of the Metropolitan Police department in London, requested the temporary removal of the piece, on the grounds that it might violate the Obscene Publications Act of 1964, which states its intention to “strengthen the law for preventing the publication for gain of obscene matter.”

Due to the photograph’s controversial nature, the Tate Modern says it sought legal advice before deciding to display the piece and planned to display it behind a curtain in a dark room with a sign in front warning viewers of “challenging” material.

– Read the full article by Alexa Lightner at ABC News

Untitled (girlfriend) 1993

Untitled (girlfriend) 1993

Untitled (girlfriend) 1999

The images derive from a popular rubric in certain American biker magazines, such as Easy Riders and Iron Horse, which cater to men who, even if they serve as dentists or accountants for forty hours each week, spend the balance of their time riding or hanging around Harley Davidsons (all other brands, necessarily foreign, are anathema) and generally try to pass themselves off as members of outlaw gangs. The magazines invite their readers to submit photographs of their possessions, their girlfriends are invariably pictured as an accessory – not on the level of the bike itself, of course, but perhaps comparable to its custom spokes or its fitted cowhide saddle. The women are standing; often they are shown reclining along the length of the machine, or draped over it like an animal skin. They are usually semi-nude, and such parts as are clothed are encased in skintight leather or denim. The poses are always stiffer than the photograph appears to realise. Their expressions tend to be fixed. Professional models can stimulate delight or arousal, but these women can only turn in feeble imitations, reproducing such emotions at one or two removes.

___

Richard Prince

Taschen

B

Venecia tiene un nuevo museo. La noticia no parece tan sensacional en una ciudad que regala a cada paso escenarios increíbles, palacios, canales y, por supuesto, decenas de museos y galerías. Lo que pasa es que entre las paredes de la antigua Dogana di Mare se guardan algunas de las piezas más importantes de una sorprendente colección privada de arte contemporáneo. Es decir, Europa tiene un nuevo museo. Es más, todos (los interesados en el arte contemporáneo) tenemos un nuevo museo.

Algunas obras

Sin título, 2007, Maurizio Cattelan
Planta baja, Punta della Dogana
Se ubica en la primera sala del Punta della Dogana, lo que provoca un encuentro inquietante e inevitable para todos los visitantes: un caballo disecado pegado en la parte del cuello a la alta pared de ladrillos y suspendido en una absurda postura. Un salto entre la pared o una trampa irremediable, una conmemoración de gestas heroicas y de antiguos trofeos (sólo que al revés), o simplemente la expresión grotesca de la impotencia. El artista autodidacta italiano Maurizio Cattelan, de la corriente postduchampiana, es un maestro de la provocación, amado por sus creaciones polifacéticas e irrespetuosas, o aborrecido como impostor.

Boy with Frog, 2009, Charles Ray
Exterior, Punta della Dogana
Comisionada por Franois Pinault al artista estadounidense Charles Ray, esta obra fue pensada y realizada expresamente para dominar la esquina de Punta della Dogana. Ahí donde se encuentran la tierra y la laguna, una escultura de más de dos metros y medio en acero inoxidable pintada de blanco representa un niño, levantando con la mano una rana. En la mente del artista, uno de los escultores contemporáneos más importantes, se trata de la representación de la adolescencia, del juego, de la curiosidad. Pero también de la misma ciudad de Venecia, anfibia y codiciada entre el agua y la tierra.

Sin título, 2007-2008, Cindy Sherman
Primer piso, Punta della Dogana
En la misma sala de la escultura de Jeff Koons se encuentran seis grandes fotografías de la artista estadounidense Cindy Sherman. Los retratos, que representan mujeres al parecer muy distintas, reproducen en realidad siempre a la misma fotógrafa, disfrazada y camuflada. Se trata de su crítica y su comentario a la identidad femenina en la sociedad moderna. De sus imágenes surge una mujer obligada a una continua mutación, en espera de encontrar el favor de los hombres y de la sociedad entera. Disfraces humillantes y máscaras grotescas que en el contexto de Venecia adquieren un nuevo significado.

Alpino, 1976, Rudolf Stingel
Planta baja, Punta della Dogana
El cubo en cemento de Tadao Ando hospeda en su interior tres monumentales telas del artista italiano Rudolf Stingel. Representante del arte conceptual, en una de ellas ofrece su propio autorretrato, reproduciendo la foto de una tarjeta de identidad de cuando era joven. Al observarla, resulta evidente cómo el medio fotográfico se transforma en un estilo pictórico virtuoso, en una imagen casi religiosa que completa la atmósfera calma y contemplativa de este espacio físico.

Bourgeois Bust, 1991, Jeff Koons
Primer piso, Punta della Dogana
El artista estadounidense Jeff Koons, destacado por sus obras kitsch y monumentales, está presente en la colección de Pinault con una escultura clásica, delicada y discreta. Representa al artista mismo abrazando a Ilona Staller, actriz porno húngara conocida como Cicciolina, con la cual se casó en 1991. La obra pertenece a un ciclo llamado Made in Heaven, que incluye obras que representan posturas sexuales muy explícitas. Esta pieza en mármol blanco, al contrario, expresa la ternura de un ligero roce.

Algunos artistas

Takashi Murakami
Félix González Torres
Richard Prince
Bruce Nauman
Hiroshi Sugimoto
Franz West
Rachel Whiteread
Fischli & Weiss

Para leer el artículo completo ingresa a la página de Travesías aquí

Dennis Tyfus has made a a string of Sonic Youth posters and t-shirts and also did a bunch of stuff for Thurston Moore’s Ecstatic Peace! label (logo, t-shirts, skateboard,…). So it was no big surprise that some of his art also features in the Sensational Fix exhibition.
Sensational Fix is a travelling expo wich focuses on the multidisciplinary activities of Sonic Youth since its formation in 1981. It features the band’s collaborations with visual artists, filmmakers, designers and musicians, as well as a choice of other works selected by the band. The exhibition is in Malmö until September 20. It will move to Madrid in 2010 and other places around the globe after that.

The works of Tyfus are displayed in a section of so-called ‘noise artists’ with the likes of Richard Prince, John Olson, Richard Kern, Patti Smith and Dan Graham (Belgians might remember his big glass artwork on the Sint-Jansplein in Antwerp which kept on being vandalised until they decided to move it to the Middelheim museum).
Tyfus is showing a number of drawing that show a new direction in his work: more hectic drawing, the use of photos in them, the blobs of colour and ink smudges,…  Noise art indeed!

Below are some shots with an overview of the noise art section and close-ups of the the Tyfus works on that wall.

All photos by Sensational Fix.

PS Dennis Tyfus was also featured in the first issue of the Sensational Fix zine.

Louis Vuitton circula entre moda e sensibilidades artísticas. E, dessa atmosfera, nasceu o livro “Louis Vuitton: Art, Fashion and Architecture“. A marca francesa apostou em projetos de designers como Stephen Prouse, Richard Prince e Takashi Murakami que agora poderão ser vistos estampados em 400 páginas impressas. Entre eles, o refresh do monograma da marca. Idéia do diretor artístico da marca Marc Jacobs em dar uma nova energia aos símbolos mega conhecidos LV.

“I thought, well, how do we deface the monogram to make something more rebellious? More punk?” Disse Marc Jacobs, em entrevista para a New York Magazine. O livro será lançado dia 1º de setembro de 2009, em três línguas: francês, italiano e inglês. Custará em torno de US$130, segundo o site Hypebeast. Para comprá-lo, pode ser através do site LouisVuitton.com, através do site da editora Rizzoli, ou nas lojas Louis Vuitton.

Takashi Murakami é um dos artistas contemporâneos mais reconhecidos no mundo. É dele a animação abaixo feita especialmente para a Louis Vuitton. Superflat Monogram mostra o ponto de vista da marca (como se tivesse uma câmera dentro de um aloja LV), em relação ao mundo externo. Depois, a experiência de entrar no mundo Louis Vuitton. Vale a pena conferir:

I know far-right blogger Michelle Malkin has a book coming out, but ABC providing her a platform to help her sell books on a panel with far more credible individuals is puzzling at best and indefensible at worst. Was it because she was selling a book and making the media rounds to drum up publicity for the shots she is taking at the Obama Administration? Like some other bloggers, I too found it almost shocking to see her on ANC’s “This Week” trying to talk politics with George Stephanopoulus, Cynthia Tucker, Al Hunt and Gerald Seib. In that group, the almost irrationally-partisan Malkin sticks out like a sore thumb just hit by a hammer.

Here isRichard Prince’s take on Michelle Malkin in a blog titled: ABC’s “This Week” Legitimizes Michelle Malkin:

It’s been 10 years since Michelle Malkin, then a Seattle Times editorial writer and columnist, disparaged Unity ‘99 in her column, saying, “I am not a brown jelly bean. . . . For better or worse, I want readers to know me for my ideas, ideology and idiosyncrasies — not for my Filipino heritage. This is why, after more than a half-dozen years in the newspaper business, I refuse to join race-based organizations such as the Asian-American Journalists Association.”

Malkin moved to Washington and wrote such works as “In Defense of Internment: The Case for “Racial Profiling” in World War II and the War on Terror” (2004)

By and large, however, Malkin was considered a rather fringe, Ann Coulter-type character — until Sunday, when she was invited to share the reporter’s roundtable of ABC’s “This Week” with George Stephanopoulos, with mainstream veterans Cynthia Tucker, Al Hunt and Gerald Seib.

It was her first time. “She’s a provocative conservative voice with a new book,” ABC spokeswoman Emily Lenzner explained to Journal-isms.

“There’s no shortage of wingnuts out there, so why would George Stephanopoulos invite on someone too crazy for even Bill O’Reilly?” John Amato asked on his Crooks and Liars blog.

“Only people with a Malkin brain would believe and push across the notion that Americans would rather collect three hundred dollars a week on unemployment insurance rather than get a job that supplies benefits and pays a salary,” as Malkin did on “This Week.”

“The Huffington Post adds:

“‘Everybody just sort of looked at Malkin, like she was INSANE, and George Stephanopoulos very politely said, ‘Uhm . . . I don’t know if I follow that.’ To which Malkin replied: ‘BUT IT WAS A CLINTON ECONOMIST, BLARGLE!’ Stephanopoulos was still a bit dumbfounded, wondering why anyone in their right mind would take unemployment benefits ‘when a job was available.’”

Certainly she is a provocative voice with a new book, but is this where the bar is set to earn a spot on a show that is supposed to be as prestigious as ABC’s “This Week” is nowadays (selling a book and coming across as provocative)?

To some extent, she tried to hide her partisanship (or at least turn down the volume on it), but it was apparently too difficult for her.

Crooks and Liars gives an example of how obsessed she has become with attacking the Obama Administration (in an interview she did on Fox News with another right-wing extremist, Sean Hannity):

Especially the complete and utter loss of perspective:

HANNITY: Now that you’ve done all this research — and I’ll let the audience, because you really, with great specificity and detail, go into the corruption — how corrupt is this administration compared to others?

MALKIN: Well, I think you have to judge them by their rhetoric. And if you look at the gap between the rhetoric and the reality, this has to be one of the corrupt, most corrupt administrations in recent memory.

Hmmm. I dunno about you, but when I look at the levels of corruption within an administration, I look for actual things like, you know, corruption. Things like Halliburton and Enron.

Apparently, Malkin has a short memory for presidential administration scandals.

I wonder if Malkin will measure Dick Cheney’s rhetoric against the reality of Bush Administration scandals.

Remember these words from Cheney:

We can restore the ideals of honesty and honor that must be a part of our national life, if our children are to thrive. When I look at the administration now in Washington, I am dismayed by opportunities squandered. Saddened by what might have been, but never was. These have been years of prosperity in our land, but little purpose in the White House. Bill Clinton vowed not long ago to hold onto power “until the last hour of the last day.” That is his right. But, my friends, that last hour is coming. That last day is near. The wheel has turned. And it is time. It is time for them to go.

George W. Bush will repair what has been damaged. He is a man without pretense and without cynicism. A man of principle, a man of honor. On the first hour of the first day he will restore decency and integrity to the Oval Office. He will show us that national leaders can be true to their word and that they can get things done by reaching across the partisan aisle, and working with political opponents in good faith and common purpose. I know he’ll do these things, because for the last five years I’ve watched him do them in Texas.

George W. Bush came to the governor’s office with a clear view of what he wanted to achieve. He said he would bring higher standards to public schools, and he has. Walk into those schools today, and you will see children with better scores, classrooms with better discipline and teachers with better pay.

Uh, right.

What say you Michelle Malkin?  … <crickets>

How about the gap between that rhetoric and these scandals (to name a few):

Halliburton’s Corruption
Iraq’s Decline
Weapons of mass destruction
Mission Accomplished
Abu Ghraib Prison Torture
CIAPre-9/11 Intelligence Failures
HHS Deceptive Ad Campaign
HHS Scully Scandal
Government-wide Accounting Problems 
Real Costs of the Iraq War

• Richard Prince’s Nurse series
• Prof. Daniel Dennett re: consciousness (Kinds of Minds)
• Tortoiseshell
• ~~Wavves~~
• PBJ Picnics/Getting books/Loitering at Guilford College Library
• FreeMind
• Dream journaling
• Handwritten notes accompanied by small gifts
• Ryan’s wall-mounted glass cube betta fish tanks
• The Jersey Shore
• Exploding out of Greensboro in the time it takes to cook a baby ~ 9months or less

Se passate in queste Vacanze dall’amata New York, vi consigliamo caldamente di fermarvi al Rental, una delle gallerie più famose, per ammirare la mostra ” Don’t Panic! I’m selling my collection “. Le tele provengono da collezzionisti privati e portano la firma di artisti del calibro di: ” Andy Warhol, Richard Prince, Nobuyoshi Araki, Hope Atherton, Ingrid Calame, Marilyn Minter, Takashi Murakami ” solamente per citarne alcuni.

Opere prestigiose, importanti