“They have a hard time tying [landscapes] into being African-American
artwork,” said the 34-year-old Westerville, Ohio, resident. “It’s not
only my race that throws people off. It’s also my age. I once met an art
collector who looked at me and said, ‘I expected some 80-year-old guy
painting like this.’”
Breaking stereotypes can be fun, said
Walker, the featured artist of this year’s Black History Month exhibit
at 20 North Gallery,Whilst the preparation of ceramic and porcelain tiles are similar. 18 N. St. Clair St., in Downtown Toledo.
“I
really do enjoy it,” Walker said. “I hope people will be pleasantly
surprised. I hope this will help get the word out about me as I’m still
new to the state and I also just hope they take away a broader scope of
what African-American art is.”
“Black History Month 2013: The
American Experience” opened Jan. 25 and features work from 10 local and
regional African-American artists. The exhibition will be on display
through March 2. Gallery hours are noon to 4 p.m. Wednesday through
Saturday or by appointment.
Other participating artists are
Larenza Arnold, Aaron S. Bivins, Charles T. Gabriel Jr., Elizabeth V.
Jordan, Ahavalyn Pitts, Brenda Price, Robert E. Shorter, Mack Walton and
John Wade III.
The annual exhibit was founded in 1977 by Peggy
Grant shortly after Congress designated February as Black History
Month.We've had a lot of people asking where we had our make your own bobblehead
made. This is the first year the show was not curated by Grant, art
director emerita of 20 North Gallery; instead, it was self-curated by
the participating artists.
“That is giving it a different
feeling, a new direction,” said 20 North Gallery Art Director Condessa
Croninger. “It’s not entirely our show and I think that makes it very
exciting. The combined voices for this exhibit is just such a delight
and such a wonderful change of direction for the show. [Grant] is just
delighted the artists are so invested in it as she has been all these
years.”
Walker said he started painting landscapes as an escape
from the stress of deadlines for children’s book illustrations, magazine
covers and other commissioned work.
“I was an Eagle Scout and I
remember camping was just such a great time for me. And taking road
trips and just staring out the window and seeing all these beautiful
scenes,” Walker said.
“It’s inspired by childhood memories, but I
still go out and take references. I’ll take drives. I’ll go down a road
I’ve never been down before. A lot of times what inspires me is the
time of day and the light.
“When people think of black history
or black art, there’s a stereotype people assign to that.Welcome to Find
the right laser Engraver or laser marking machine
. It’s often a certain color palette. Bold colors. A lot of black, red,
green, yellow. And certain subject matter that tends to be based on
historical events. I think that’s what a lot of people have come to
expect they will see.
“I can only go based on my actual
experience. I’ve never been to Africa. I’m completely immersed in my own
individual experience. People, I think, would be surprised how common
or similar some people’s interests are regardless of your race.”
Because
of sponsors — including Mayor Mike Bell and the City of Toledo, JN
House Enterprises, Dale-Riggs Funeral Home Inc., Aaron S. Bivins and 20
North Gallery — the sale of artwork is not needed to fund the show,
allowing the artists more creative license, Croninger said.
“Some
wonderful community-minded sponsors have supported the exhibit and made
it possible that it’s not a make-or-break situation that the artists
sell their work,” Croninger said. “Sometimes it’s necessary to think
beyond, ‘Will the public like this?’ and think instead, ‘What do I have
to say?’ This year the exhibit is more about the artists sharing what is
dearest and most important to them.”
Participating artist
Bivins chaired the committee that organized the show. The 56-year-old
retired junior high art teacher has been part of the show since the
1980s and a former featured artist. In this year’s show, he will have
three watercolor paintings of jazz artists, a watercolor of Toledo
Harbor Lighthouse on Lake Erie and an acrylic painting of flowers. He
also paints with oils.
Coke Wisdom O'Neal looked at the soggy,
stained and discolored photographs strewn about his Brooklyn studio by
the salty floodwaters of Superstorm Sandy, sure there was nothing he
could do to salvage them. But as he began cleaning up, he became
intrigued by the transformation of a series of old family slides into
cloud-like watercolors with human figures still discernible.
Now
those Kodachromes, reinvented by nature, are part of an exhibition in
Manhattan of art inspired by Sandy, a phenomenon that is being included
in a larger look at how artists respond creatively to disasters, such as
the 2011 tornado in Tuscaloosa, Ala., and California's devastating 2007
wildfires.A ridiculously low price on this All-Purpose solar lantern by Gordon.
"The
storm destroyed tools, books, old artwork, drawings and unfinished
work," said O'Neal, whose studio in Brooklyn's Red Hook section was
swamped by 9 feet of water. "They now feel to me like objects that were
holding me back from going forward."
The "After Effects"
exhibition, featuring 36 storm-inspired works by 23 artists, opens
Friday at the Chashama gallery in the Chelsea neighborhood. The show is
curated by the New York Foundation for the Arts, which is assisting
artists whose livelihoods suffered storm losses. Many studios and
galleries were in waterfront warehouse areas that suffered some of the
worst damage.
"A tragedy can be inspiring or devastating," said
David Terry, the foundation's curator and director of programs. "Artists
are rebuilding and have to do this as a healing process."
Some
works have repurposed storm detritus; Scott Van Campen made a
black-and-white photograph of a 700-ton tanker ship that washed ashore
near his flooded Staten Island studio. He set it in a frame made of
steel corroded by sewage.
Deborah Luken, of the Long Island
community of Long Beach, is showing an oil painting that she started
before the storm and "took on a life of its own."
Conceived
originally as an image of a spiral galaxy, it evolved into a work
depicting the storm when she "realized that the patterns were very
similar to that of a hurricane — the eye in the center and the spiral
winds around it," she said.
Craig Nutt, director of programs for
the Craft Emergency Relief Fund, a national nonprofit that helps
artists in need, said he has long been intrigued by the art community's
response to disaster.
"Artists and arts organizations have the
skills and capacity to craft recovery projects that address the less
tangible cultural and psychological recovery needs of a community," Nutt
wrote in an email, citing concerts, exhibitions and public
art.Manufactures and supplies laser marker equipment.
2013年2月5日 星期二
Art exhibition showcases work of local skateboarders
The worlds of skateboarding and fine arts might not appear to be
intuitively linked. Both have their supporters and detractors, but
finding commonality between the intensely physical and social world of
skateboarding and the often solitary and cerebral world of art can be a
stumper — to those who don’t know better.
The Board Meeting, an art exhibit showcasing the artistic work of more than a dozen local skateboarders, is a lot of things. First and foremost, it’s a traditional art show, with a variety of original pieces on display (and for sale). But it’s also, in its own way, a kind of cultural crossroads, and an opportunity to learn more about the depth and talent of Montreal’s skateboarding scene.
Organized by well-known local skaters Barry Walsh and Chris Dyer, the Board Meeting goes far beyond the traditional media and methods — graffiti and painted decks, mostly — associated with the skateboarding lifestyle. There are sculptures, carvings, paintings, photography. The only thing the pieces have in common, really, is the link between their creators: all of them are avid skateboarders, and it comes across in the work.
“I want people to come out of the art show feeling like they learned something about skateboarding in their community,” Walsh says. “I want them to actually learn something about skateboarding culture in the city.”
Walsh and Dyer deliberately avoided putting on the traditional skater art show, which is usually comprised of differently painted decks. “That’s been done, stomped on,” Walsh says. “Skateboarding is so mainline now, so this is more of a cultural show. This is just people doing artwork, it’s not based on the hype or glory” of pro skating.
Neither is approaching the art world cold. Dyer, who has been on a board for at least a quarter of a century, is a well-known artist in his own right, and Walsh, a former skateboard pro, is finding himself devoting more and more time to organizing art shows for the Greenlight Gallery on St. Laurent Blvd., where the exhibit is hanging, and Le Dep, a skate shop on St. Dominique St.We've had a lot of people asking where we had our make your own bobblehead made. overlooking Peace Park on St. Laurent Blvd. just north of René Lévesque Blvd. that sometimes doubles as an ersatz gallery and offers wall space to local artists.
To Dyer, the two worlds are more closely linked than one might imagine.
“Art and skateboarding go hand in hand,” he writes in an email from Europe, where he’s attending a family function. “Skateboarding is an art, a physical expression of a soul as much as a painting,wind turbine sculpture or drawing. The skate plank has always been such an inevitable canvas for art, both commercially and as fine art. I think skateboarding attracts a different kind of person that is naturally artistic or appreciative of it.”
According to Dyer, Montreal’s skate art scene isn’t that big, but it is vibrant, and appreciated.
“There is a huge skate art scene, but it is only super big in California, the epicentre of skateboarding (both historically and as an industry),” he writes. “Out here in Montreal, it’s not really a big movement, but always very appreciated, especially by skaters themselves. I think every skate scene has skate art shows every now and then, (but) if you want your skate art to shine worldwide, you can move to California (something I declined to do many years ago).”
The show’s flavour, its very essence, derives from the streets. Fitting, given its genesis, but it is also a reflection of the unpretentious, do-it-yourself ethos and the near tribal sense of community skateboarding breeds in its hard-core practitioners. Blood and broken bones can be pretty effective bonding agents.
Artistic expression is a natural outlet for skaters, Walsh says, especially for those on the other side of 40 like him. The aches and breaks incurred take longer to heal and eventually lose their cool factor.
“A lot of skaters, they get so beat up over the years that they often venture into something else to fill the void” lost by the physical toll skateboarding exacts.
Skateboarding can also be as idiosyncratic and personal as the creation of any art piece.
“The connection to art culture comes through the individuality of each skater,” he says. The variety of the media on display at the Board Meeting is proof of that. “We’re showing skater artwork, and it’s all different.”
The CEO and pitchman’s appearances helped create an iconic brand that more than 70 percent of consumers recognize despite having only a 5 percent share of the upright vacuum market 10 years ago, according to the company.
But there was a problem: Oreck vacuums had a bag. And in 2002, British engineer James Dyson introduced his sleekly designed,Welcome to Find the right laser Engraver or laser marking machine . bagless vacuums to the U.S., put them in larger retail outlets and gobbled up customers, forever altering the way vacuums are designed and marketed. A decade later, about 80 percent of upright vacuums sold are bagless.
Now, Oreck Corp. is in a different city (the company moved its headquarters from New Orleans to Nashville, Tenn., in 2008), has a different CEO and an almost entirely different staff. And it is in the process of recreating itself after years of transition and sluggish sales of its trademark vacuums.
“We feel like a 50-year-old startup,” said Doug Cahill, who became Oreck’s CEO in 2010 after stints as chief executive of Mars Petcare and president of Winchester Ammunition.
With $2.3 billion in sales in 2012, upright vacuums are a sizable market, one in which Oreck’s share has slipped to 4 percent. About 70 percent of its revenue comes from selling and repairing vacuums, mostly through direct sales and its 325 specialty stores.
As the company looks to transfer some of that brand recognition to sales, it’s invested heavily in consumer research, product development and marketing, and has made a host of changes.
For starters, Oreck has extended its TV advertising beyond infomercials and has purchased spots during popular shows, including “General Hospital” and “Law and Order.”
“We know we have 92 percent of the insomniac market,” Cahill said. “Why don’t we sell vacuums to people who sleep at night?”
Oreck is in the midst of introducing several new products, including its first bagless vacuum,Manufactures and supplies laser marker equipment. an air purifier and an item Cahill was especially proud of: a lightweight,Whilst the preparation of ceramic and porcelain tiles are similar. bagless vacuum/steam mop hybrid. “The industry’s never seen that,” he said.
The Board Meeting, an art exhibit showcasing the artistic work of more than a dozen local skateboarders, is a lot of things. First and foremost, it’s a traditional art show, with a variety of original pieces on display (and for sale). But it’s also, in its own way, a kind of cultural crossroads, and an opportunity to learn more about the depth and talent of Montreal’s skateboarding scene.
Organized by well-known local skaters Barry Walsh and Chris Dyer, the Board Meeting goes far beyond the traditional media and methods — graffiti and painted decks, mostly — associated with the skateboarding lifestyle. There are sculptures, carvings, paintings, photography. The only thing the pieces have in common, really, is the link between their creators: all of them are avid skateboarders, and it comes across in the work.
“I want people to come out of the art show feeling like they learned something about skateboarding in their community,” Walsh says. “I want them to actually learn something about skateboarding culture in the city.”
Walsh and Dyer deliberately avoided putting on the traditional skater art show, which is usually comprised of differently painted decks. “That’s been done, stomped on,” Walsh says. “Skateboarding is so mainline now, so this is more of a cultural show. This is just people doing artwork, it’s not based on the hype or glory” of pro skating.
Neither is approaching the art world cold. Dyer, who has been on a board for at least a quarter of a century, is a well-known artist in his own right, and Walsh, a former skateboard pro, is finding himself devoting more and more time to organizing art shows for the Greenlight Gallery on St. Laurent Blvd., where the exhibit is hanging, and Le Dep, a skate shop on St. Dominique St.We've had a lot of people asking where we had our make your own bobblehead made. overlooking Peace Park on St. Laurent Blvd. just north of René Lévesque Blvd. that sometimes doubles as an ersatz gallery and offers wall space to local artists.
To Dyer, the two worlds are more closely linked than one might imagine.
“Art and skateboarding go hand in hand,” he writes in an email from Europe, where he’s attending a family function. “Skateboarding is an art, a physical expression of a soul as much as a painting,wind turbine sculpture or drawing. The skate plank has always been such an inevitable canvas for art, both commercially and as fine art. I think skateboarding attracts a different kind of person that is naturally artistic or appreciative of it.”
According to Dyer, Montreal’s skate art scene isn’t that big, but it is vibrant, and appreciated.
“There is a huge skate art scene, but it is only super big in California, the epicentre of skateboarding (both historically and as an industry),” he writes. “Out here in Montreal, it’s not really a big movement, but always very appreciated, especially by skaters themselves. I think every skate scene has skate art shows every now and then, (but) if you want your skate art to shine worldwide, you can move to California (something I declined to do many years ago).”
The show’s flavour, its very essence, derives from the streets. Fitting, given its genesis, but it is also a reflection of the unpretentious, do-it-yourself ethos and the near tribal sense of community skateboarding breeds in its hard-core practitioners. Blood and broken bones can be pretty effective bonding agents.
Artistic expression is a natural outlet for skaters, Walsh says, especially for those on the other side of 40 like him. The aches and breaks incurred take longer to heal and eventually lose their cool factor.
“A lot of skaters, they get so beat up over the years that they often venture into something else to fill the void” lost by the physical toll skateboarding exacts.
Skateboarding can also be as idiosyncratic and personal as the creation of any art piece.
“The connection to art culture comes through the individuality of each skater,” he says. The variety of the media on display at the Board Meeting is proof of that. “We’re showing skater artwork, and it’s all different.”
The CEO and pitchman’s appearances helped create an iconic brand that more than 70 percent of consumers recognize despite having only a 5 percent share of the upright vacuum market 10 years ago, according to the company.
But there was a problem: Oreck vacuums had a bag. And in 2002, British engineer James Dyson introduced his sleekly designed,Welcome to Find the right laser Engraver or laser marking machine . bagless vacuums to the U.S., put them in larger retail outlets and gobbled up customers, forever altering the way vacuums are designed and marketed. A decade later, about 80 percent of upright vacuums sold are bagless.
Now, Oreck Corp. is in a different city (the company moved its headquarters from New Orleans to Nashville, Tenn., in 2008), has a different CEO and an almost entirely different staff. And it is in the process of recreating itself after years of transition and sluggish sales of its trademark vacuums.
“We feel like a 50-year-old startup,” said Doug Cahill, who became Oreck’s CEO in 2010 after stints as chief executive of Mars Petcare and president of Winchester Ammunition.
With $2.3 billion in sales in 2012, upright vacuums are a sizable market, one in which Oreck’s share has slipped to 4 percent. About 70 percent of its revenue comes from selling and repairing vacuums, mostly through direct sales and its 325 specialty stores.
As the company looks to transfer some of that brand recognition to sales, it’s invested heavily in consumer research, product development and marketing, and has made a host of changes.
For starters, Oreck has extended its TV advertising beyond infomercials and has purchased spots during popular shows, including “General Hospital” and “Law and Order.”
“We know we have 92 percent of the insomniac market,” Cahill said. “Why don’t we sell vacuums to people who sleep at night?”
Oreck is in the midst of introducing several new products, including its first bagless vacuum,Manufactures and supplies laser marker equipment. an air purifier and an item Cahill was especially proud of: a lightweight,Whilst the preparation of ceramic and porcelain tiles are similar. bagless vacuum/steam mop hybrid. “The industry’s never seen that,” he said.
2013年1月29日 星期二
'Superimpose' at Twelve21 Gallery
The
best group shows are not explicitly themed, but merely by juxtaposing
the work of two or more artists, expose a parallel or create something
new from the dialogue between works. Superimpose, opening Friday at
Twelve21 Gallery, gathers work by three artists that explores the
notion of juxtaposition itself.
Seattle's Weston Jandacka, Gainesville's Victor Perez and Orlando's Brian Phillips all show paintings in a fairly traditional figurative style,Compare prices and buy all brands of solar panel for home power systems and by the pallet. though poppy and graphic. The conceptual work takes place in your head, as you make the connection between disparate items or apprehend the ironic gap between image and title.
Perez's superflat acrylics smash together conflicting elements with a jokey force – a long skinny red balloon twisted through the empty eye sockets of a skull, a condom skinned down over a cactus. In the better pieces, the contradiction isn't just a visual pun, but also a pithy expression of emotion – a painting titled "Conquest" (right), an astronaut whose helmet is being stove in by the leg of an ornate red couch, is as potent an illustration of the fear that domesticity will strangle one's freedom as I've seen in a while.
Phillips' small oils also survey the intersection between domesticity and disturbance, perhaps somewhat more literally, in images of burning houses ("Under the Illusion of Exploration Learning What Should Simply Be Recognized," below) and a series of fiery-haloed eclipses.
Jandacka uses a masking technique to transpose cutout lettering over his landscape, superimposing the commentary over the very image – or forcing his imagery into the mold of his sardonic titles: "It's to Die For" (oil on wood) subverts the implied fabulosity of that phrase with the blunt force of a firing gun.
It's not all death and destruction, though; even the darkest ironies and most bitter puns show a lightness – a grin at the abyss rather than a falling tear. Superimpose, while not exactly lighthearted, is a fun show, a blithe, zero-fucks-given shrug at the doomsayers.
A quick Google search for “Chinese art reproductions” or “Chinese oil paintings” leads to a fascinating tour into the world of art reproduction. After clicking through some of the top sites that pop up – Refine Oil Painting Art Gallery, China Oil Painting Gallery, Oil Paintings China – it becomes apparent that Chinese oil painters are the masters of copying the Masters from Europe.
From Cezanne and Goya to Monet, Renoir and Rubens, spot-on replicas of the West’s most treasured works on canvas can be purchased and delivered at the click of a button for as little as U.S. $20. Take this hand-painted,we sell dry cabinet and different kind of laboratory equipment in us. 8”x10” Da Vinci mock-up, for example.
While it’s easy to link China’s copying of artistic masterpieces to its copying of technology and myriad other issues associated with copyright and creativity, there is still a high level of skill involved in hand-painting a facsimile of Velasquez’s Portrait of Felipe IV in five days flat,wind turbine as Chinese Artist Yang Feiyun has done.
In a report by Agence France-Presse, we are given a glimpse of this process in action. According to the report, a group of respected Chinese artists are now on a two-week excursion to Madrid’s Prado Museum to get up close and personal with the bona fide originals many reproduction painters in China will never see.Totech Americas delivers a wide range of drycabinets for applications spanning electronics.
Yang, seen putting the finishing touches on his copy of 17th century Spanish King Felipe IV by Velasquez, told AFP, “I have been painting my whole life, ever since I was a child, and Velasquez is a master among painters. He is known in China for his great depth.”
But Yang is no art hack. The head of oil painting at the state-controlled Central Academy of Fine Arts in Beijing, he explained that the real point of his work in Madrid is not for profit but education.
“Our aim is to learn a lot and have these works as teaching material in China,” he said. “There is not a long history of oil painting in China – just the past 100 years or so. We are in a learning period.”
Other artists on the Prado tour represent the prestigious China Academy of Art. Each of the artists has made it their mission to copy at least two works from the museum’s extensive collection during their time in Madrid. Some of the paintings they’re eyeing include Rubens’ The Three Graces and The Third of May 1808 in Madrid by Goya.
Upon their return to China, their paintings will be shown in Beijing and used to train artists.Which Air purifier is right for you? Many in the West may not relate to this approach to developing creative expression, but in China this tradition stretches back millennia.
Seattle's Weston Jandacka, Gainesville's Victor Perez and Orlando's Brian Phillips all show paintings in a fairly traditional figurative style,Compare prices and buy all brands of solar panel for home power systems and by the pallet. though poppy and graphic. The conceptual work takes place in your head, as you make the connection between disparate items or apprehend the ironic gap between image and title.
Perez's superflat acrylics smash together conflicting elements with a jokey force – a long skinny red balloon twisted through the empty eye sockets of a skull, a condom skinned down over a cactus. In the better pieces, the contradiction isn't just a visual pun, but also a pithy expression of emotion – a painting titled "Conquest" (right), an astronaut whose helmet is being stove in by the leg of an ornate red couch, is as potent an illustration of the fear that domesticity will strangle one's freedom as I've seen in a while.
Phillips' small oils also survey the intersection between domesticity and disturbance, perhaps somewhat more literally, in images of burning houses ("Under the Illusion of Exploration Learning What Should Simply Be Recognized," below) and a series of fiery-haloed eclipses.
Jandacka uses a masking technique to transpose cutout lettering over his landscape, superimposing the commentary over the very image – or forcing his imagery into the mold of his sardonic titles: "It's to Die For" (oil on wood) subverts the implied fabulosity of that phrase with the blunt force of a firing gun.
It's not all death and destruction, though; even the darkest ironies and most bitter puns show a lightness – a grin at the abyss rather than a falling tear. Superimpose, while not exactly lighthearted, is a fun show, a blithe, zero-fucks-given shrug at the doomsayers.
A quick Google search for “Chinese art reproductions” or “Chinese oil paintings” leads to a fascinating tour into the world of art reproduction. After clicking through some of the top sites that pop up – Refine Oil Painting Art Gallery, China Oil Painting Gallery, Oil Paintings China – it becomes apparent that Chinese oil painters are the masters of copying the Masters from Europe.
From Cezanne and Goya to Monet, Renoir and Rubens, spot-on replicas of the West’s most treasured works on canvas can be purchased and delivered at the click of a button for as little as U.S. $20. Take this hand-painted,we sell dry cabinet and different kind of laboratory equipment in us. 8”x10” Da Vinci mock-up, for example.
While it’s easy to link China’s copying of artistic masterpieces to its copying of technology and myriad other issues associated with copyright and creativity, there is still a high level of skill involved in hand-painting a facsimile of Velasquez’s Portrait of Felipe IV in five days flat,wind turbine as Chinese Artist Yang Feiyun has done.
In a report by Agence France-Presse, we are given a glimpse of this process in action. According to the report, a group of respected Chinese artists are now on a two-week excursion to Madrid’s Prado Museum to get up close and personal with the bona fide originals many reproduction painters in China will never see.Totech Americas delivers a wide range of drycabinets for applications spanning electronics.
Yang, seen putting the finishing touches on his copy of 17th century Spanish King Felipe IV by Velasquez, told AFP, “I have been painting my whole life, ever since I was a child, and Velasquez is a master among painters. He is known in China for his great depth.”
But Yang is no art hack. The head of oil painting at the state-controlled Central Academy of Fine Arts in Beijing, he explained that the real point of his work in Madrid is not for profit but education.
“Our aim is to learn a lot and have these works as teaching material in China,” he said. “There is not a long history of oil painting in China – just the past 100 years or so. We are in a learning period.”
Other artists on the Prado tour represent the prestigious China Academy of Art. Each of the artists has made it their mission to copy at least two works from the museum’s extensive collection during their time in Madrid. Some of the paintings they’re eyeing include Rubens’ The Three Graces and The Third of May 1808 in Madrid by Goya.
Upon their return to China, their paintings will be shown in Beijing and used to train artists.Which Air purifier is right for you? Many in the West may not relate to this approach to developing creative expression, but in China this tradition stretches back millennia.
UNR stuck amid federal, state weed laws
Walk
past Kim Phillip’s art gallery in San Diego, or, go ahead, walk
inside. You’ll see walls adorned with student paintings that Kim is
more than willing to sell you,Totech Americas delivers a wide range of drycabinets
for applications spanning electronics. even though the art world is
not Kim’s forum of business. Show her your green card, and you’ll get
access to the real store: a dispensary hidden between yoga and dance
studios in plain sight, selling medical marijuana to customers ranging
from 21 to the their 80s, from reputable lawyers to dread-headed
hippies.
“With my last business, (the federal government) sent a letter to the owner of the building saying that they would take over the property,” Kim said. “What they do is threaten the owners. For a while they were closing down everything, but we just keep re-opening again.”
Kim is one of the many dispensary owners and marijuana users caught between contrasting federal and state laws regarding medical and recreational marijuana.Compare prices and buy all brands of solar panel for home power systems and by the pallet. In northwestern Nevada, devoid of dispensaries, the fight has been driven to federally funded institutions obliged to obey national laws to keep their funding – including the University of Nevada,wind turbine Reno.
One of Kim’s customers is her daughter Tori Phillips, a Truckee Meadows Community College student transferring to UNR in the fall. She does not have a medical marijuana card but receives medical marijuana through the dispensary that her mother owns in San Diego.
When Tori’s gallbladder was removed three years ago, she knew the pain was going to be intense, but she had no idea she would be crippled by the corrosive vat of acid her stomach became when her liver was her only line of defense.
“The shit that gives you heartburn? That goes right into my stomach,” Phillips said. “Western medicine is the worst thing for shit like this. I don’t have insurance right now, and weed helps! It helps my stomach calm down, and I’m not in pain afterward.”
Tori Phillips is one of many students who smoke for medicinal purposes, many of whom have Nevada or California medical marijuana cards they frequently try to defend themselves with to Campus Police.
At UNR, medical marijuana cards also lose their leverage. Carol Millie, Coordinator of the Office of Student Conduct, explained that while under federal funding, college campuses are subject to federal laws, which is difficult to explain to cardholders who try to justify using marijuana in the residence halls or elsewhere on campus.
“Our college campus is federally funded,” Millie said. “We have to abide (by federal law) to keep student-loan funding. We can’t jeopardize other student’s ability to get funding. The Supreme Court has already decided that.”
Methods for apprehending marijuana users on campus are not limited to catching students in the act or even with marijuana on them.
“I think smell is now the number one thing to an incident,” Millie said. “Be it in the dorms or out … at Manzanita Bowl: the odor of marijuana is the key telling fact.”
After students have been accused, they have the option of going to take a drug test at a testing center downtown. Students are not allowed to supply their own drug tests. However, marijuana can be in one’s system for more than 30 days depending on the frequency of use, making some students question whether the process is in place to prevent students being high on campus.we sell dry cabinet and different kind of laboratory equipment in us.
“That’s completely subjective,” said Jeff Hemig, a 19-year-old information systems major. “I can come to campus completely sober and have the smell lingering on my coat. That’s way too much. It does more harm than good.”
The OSC has taken further steps to combat marijuana use on campus, largely due to surveys conducted by the OSC that indicate marijuana and alcohol users are less likely to graduate. A sharp rise in students who use marijuana, also indicated by the survey, caused the OSC and Campus Police to seek stricter enforcement. Students who admitted to smoking marijuana within the past year rose from 26.5 to 40 percent between 2006 and 2012, and those who admitted to smoking within the past month rose from 18.3 to 21 percent.Which Air purifier is right for you?
“Twenty-five percent of those who receive A15 violations (campus substance violations) do not return to campus,” Millie said. “Plagiarizing, cheating, fighting — they all had higher retention rates. The data shows that younger students who are smoking pot are not making it to class. Of course, there are those who can, but, overall, that is the trend.”
Hemig is one student quick to dispel any direct correlation between marijuana use and poor scholastic performance. He has been using marijuana recreationally since the age of 16 and graduated from high school with honors.
“Its not the smoking (that inhibits academic performance),” Hemig said, “It’s that kids who are more likely to smoke are already people who are less likely to take on responsibility.”
To combat marijuana use on campus, the OSC employs Cannabis Screen and Intervention for College Students. These are funded by Justice Assistance Grants, federal money from the U.S. Department of Justice allotted for crime prevention programs at state, local, and tribal levels. The program consists of two sessions where students come in and meet with counselors to learn about potential health risks.
“As the adult, they try to understand whether marijuana helps or hurts the student,” Millie said. “One thing that grosses me out is that a lot of dispensaries are in houses with rats. Rat poison gets in your pot. Some analysis even finds black mold spores from the pot being grown in enclosed spaces.”
University of California, Davis veterinary scientists presented evidence last July that rat poison used by marijuana growers may be pushing the fisher, a rare forest carnivore, toward extinction. Marijuana advocates such as High Times magazine discourage smoking moldy weed, particularly of the toxic, black mold variety, Still, many students defend the marijuana they use as superior to the toxic crops that CASICS warns against.
“We have students saying, ‘Oh, my weed isn’t like that. I use hydroponics. It grows in the forest next to a waterfall’ and that may be true,” Millie said. “There’s still evidence that before the age of 24, it does keep your brain from developing appropriately.”
Although marijuana is more difficult to test for than alcohol, safety issues related to public intoxication are still viable. Even marijuana advocates think a line needs to be drawn with impaired driving.
“If you got pulled over, it happened for a reason,” Kim said. “You’re still under the influence. It’s not the same as drinking, but if you can’t function, you shouldn’t be driving.”
Whether campus enforcement comes across as intrusive or genuinely compassionate about the health of students, Millie insists the efforts are not a political statement but a matter of following the law.
“Many individuals make the decision (following their incident) to not be a part of the (UNR) community,” Millie said. “I can respect that. They’re saying, ‘I understand your rules, but they’re not working for my lifestyle.’ If they decide or if the law decides different – you bet we want them back.”
“With my last business, (the federal government) sent a letter to the owner of the building saying that they would take over the property,” Kim said. “What they do is threaten the owners. For a while they were closing down everything, but we just keep re-opening again.”
Kim is one of the many dispensary owners and marijuana users caught between contrasting federal and state laws regarding medical and recreational marijuana.Compare prices and buy all brands of solar panel for home power systems and by the pallet. In northwestern Nevada, devoid of dispensaries, the fight has been driven to federally funded institutions obliged to obey national laws to keep their funding – including the University of Nevada,wind turbine Reno.
One of Kim’s customers is her daughter Tori Phillips, a Truckee Meadows Community College student transferring to UNR in the fall. She does not have a medical marijuana card but receives medical marijuana through the dispensary that her mother owns in San Diego.
When Tori’s gallbladder was removed three years ago, she knew the pain was going to be intense, but she had no idea she would be crippled by the corrosive vat of acid her stomach became when her liver was her only line of defense.
“The shit that gives you heartburn? That goes right into my stomach,” Phillips said. “Western medicine is the worst thing for shit like this. I don’t have insurance right now, and weed helps! It helps my stomach calm down, and I’m not in pain afterward.”
Tori Phillips is one of many students who smoke for medicinal purposes, many of whom have Nevada or California medical marijuana cards they frequently try to defend themselves with to Campus Police.
At UNR, medical marijuana cards also lose their leverage. Carol Millie, Coordinator of the Office of Student Conduct, explained that while under federal funding, college campuses are subject to federal laws, which is difficult to explain to cardholders who try to justify using marijuana in the residence halls or elsewhere on campus.
“Our college campus is federally funded,” Millie said. “We have to abide (by federal law) to keep student-loan funding. We can’t jeopardize other student’s ability to get funding. The Supreme Court has already decided that.”
Methods for apprehending marijuana users on campus are not limited to catching students in the act or even with marijuana on them.
“I think smell is now the number one thing to an incident,” Millie said. “Be it in the dorms or out … at Manzanita Bowl: the odor of marijuana is the key telling fact.”
After students have been accused, they have the option of going to take a drug test at a testing center downtown. Students are not allowed to supply their own drug tests. However, marijuana can be in one’s system for more than 30 days depending on the frequency of use, making some students question whether the process is in place to prevent students being high on campus.we sell dry cabinet and different kind of laboratory equipment in us.
“That’s completely subjective,” said Jeff Hemig, a 19-year-old information systems major. “I can come to campus completely sober and have the smell lingering on my coat. That’s way too much. It does more harm than good.”
The OSC has taken further steps to combat marijuana use on campus, largely due to surveys conducted by the OSC that indicate marijuana and alcohol users are less likely to graduate. A sharp rise in students who use marijuana, also indicated by the survey, caused the OSC and Campus Police to seek stricter enforcement. Students who admitted to smoking marijuana within the past year rose from 26.5 to 40 percent between 2006 and 2012, and those who admitted to smoking within the past month rose from 18.3 to 21 percent.Which Air purifier is right for you?
“Twenty-five percent of those who receive A15 violations (campus substance violations) do not return to campus,” Millie said. “Plagiarizing, cheating, fighting — they all had higher retention rates. The data shows that younger students who are smoking pot are not making it to class. Of course, there are those who can, but, overall, that is the trend.”
Hemig is one student quick to dispel any direct correlation between marijuana use and poor scholastic performance. He has been using marijuana recreationally since the age of 16 and graduated from high school with honors.
“Its not the smoking (that inhibits academic performance),” Hemig said, “It’s that kids who are more likely to smoke are already people who are less likely to take on responsibility.”
To combat marijuana use on campus, the OSC employs Cannabis Screen and Intervention for College Students. These are funded by Justice Assistance Grants, federal money from the U.S. Department of Justice allotted for crime prevention programs at state, local, and tribal levels. The program consists of two sessions where students come in and meet with counselors to learn about potential health risks.
“As the adult, they try to understand whether marijuana helps or hurts the student,” Millie said. “One thing that grosses me out is that a lot of dispensaries are in houses with rats. Rat poison gets in your pot. Some analysis even finds black mold spores from the pot being grown in enclosed spaces.”
University of California, Davis veterinary scientists presented evidence last July that rat poison used by marijuana growers may be pushing the fisher, a rare forest carnivore, toward extinction. Marijuana advocates such as High Times magazine discourage smoking moldy weed, particularly of the toxic, black mold variety, Still, many students defend the marijuana they use as superior to the toxic crops that CASICS warns against.
“We have students saying, ‘Oh, my weed isn’t like that. I use hydroponics. It grows in the forest next to a waterfall’ and that may be true,” Millie said. “There’s still evidence that before the age of 24, it does keep your brain from developing appropriately.”
Although marijuana is more difficult to test for than alcohol, safety issues related to public intoxication are still viable. Even marijuana advocates think a line needs to be drawn with impaired driving.
“If you got pulled over, it happened for a reason,” Kim said. “You’re still under the influence. It’s not the same as drinking, but if you can’t function, you shouldn’t be driving.”
Whether campus enforcement comes across as intrusive or genuinely compassionate about the health of students, Millie insists the efforts are not a political statement but a matter of following the law.
“Many individuals make the decision (following their incident) to not be a part of the (UNR) community,” Millie said. “I can respect that. They’re saying, ‘I understand your rules, but they’re not working for my lifestyle.’ If they decide or if the law decides different – you bet we want them back.”
Tiger Woods' Torrey Pines win a great forecast for his 2013
The
weather in La Jolla, Calif., made a mess of things over the weekend for
the PGA. It turned what should have been a Tiger Woods Sunday into a
Monday coronation.we sell dry cabinet and different kind of laboratory equipment in us.
Things should go back to normal the rest of the year—weather permitting, of course. His coronations will proceed on their regularly-scheduled dates.
No, not so much because we now have a definitive answer to the ubiquitous “Is Tiger Back?” question.Which Air purifier is right for you? (It’s just getting fun to type that five or six times a year now, although not as much fun lately as typing “Are the Lakers Back?”) We don’t have an answer to that, not in January.
We only have history to guide us. History is on Woods’ side.
Monday’s virtual walkover—a 4-stroke victory at 14-under—finished off Tiger’s seventh victory (eight overall, counting the 2008 U.S. Open) in the annual Tour stop at Torrey Pines (formerly the Buick Invitational, now the Farmers Insurance Open). A win there, early in the year, has been an omen for success for him every time, going back nearly to the beginning of his run.
In each of the previous six years he’s won this tournament (1999, 2003 and 2005-08), he has finished the year with at least five victories. In five of those seasons, the win total has included at least one major. The exception was ’03, during what was then considered a catastrophic, career-altering “slump”—10 straight majors without a win, with the ’03 shutout aided by late ’02 knee surgery.
The then-Buick win was his comeback tourney. Even without a major, he won Player of the Year that season, as he did five other times in seasons in which he won at Torrey Pines.
In ’08, of course, he won there twice. Not that anyone needs to be reminded of that, or of his new definition of “slump.’’ His drought now stands at 0-for-his-last-18.
For what it’s worth, and in case another parallel to the good ol’ days is needed, part of his renaissance during the post-surgical 2003-04 speed bump involved a re-tooling of his swing. He’s been re-tooling it again over the past two-plus years, with a different coach, the often-scorned Sean Foley.
There hasn’t been a lot of scorning of Foley lately, or of Woods’ swing, or of anything else about his game. There certainly was none of that going on over the weekend at Torrey Pines. Day by day (except Saturday, naturally), Woods rolled on, padding his lead with a combination of his spectacular play and his competition’s inability to rise to the challenge.
He weaved in his usual supply of “wow” moments—a great, fist pump-inspiring chip on No. 4 on Sunday, and on Monday a sensational save from behind a tree, off a driveway out of bounds on No. 9, and later a bunker shot onto the green from another cartoonishly contorted stance on No. 11.
The most cartoonish part of the day, and of the entire tournament, was the fact that down the stretch, Woods had an 8-shot lead, actually padding his own score and the distance between himself and his hapless competitors. He didn’t hold onto all of it, but, of course, it didn’t matter.
It’s also worth pointing out that Rory McIlroy did not play this tournament. Graeme McDowell didn’t either—yet he still got off the line of the week from the other side of the Atlantic, on Twitter: “Was thinking of adding Farmers Open to my schedule next year. Maybe need to reconsider. Tiger owns the place.”
They’ll all meet soon enough—McIlroy and McDowell and Adam Scott and the other contenders. Brandt Snedeker will be around, and the solid tourney he had at the Farmers likely will mean more than it did this time,Compare prices and buy all brands of solar panel for home power systems and by the pallet. when he disappeared from sight behind Tiger.
Phil Mickelson will be there, too, although, on the course that he, like Woods, calls his home turf, it was as if he was never there this weekend. His 2-under total never came close to getting it done.
Azul Systems, the award-winning leader in Java runtime scalability, today announced that it has formed a partnership with jClarity, a provider of Java performance analytics solutions for enterprise and Cloud-based environments. Under the collaboration agreement, jClarity will optimize their tools for Azul's Zing? Java Virtual Machine (JVM) and will recommend it to customers as a component of its Cloud toolkit.
Leveraging their work in the Java and Open Source community over the last five years, the founding members at jClarity create products that allow developers to quickly identify where a performance problem is within an application and what steps need to be taken to resolve it. The tools are designed to analyze the system as a whole without compromising the running system. Azul's Zing is a 100% Java-compatible high performance JVM and the only solution that delivers low latency, large in-memory datasets without performance penalty and elastic resource sharing in the Cloud.
Ben Evans, CEO at jClarity, said: "As the representative for the London Java Community on the JCP Executive Committee, I met Azul Systems and quickly recognized the benefits of the solution and how it complements the performance analytics of jClarity. Both companies specialize in Java and fully appreciate how predictable performance levels can deliver tangible commercial results."
Evans continued: "One of the key Azul stand-outs for me is its C4 garbage collection technology. It ensures consistency of response times - the ideal result when analyzing garbage collection impact on an application. Azul's technology also recognizes more subtle performance influencers such as queuing on the network, which is highly impressive as other JVMs do not do this. If you ignore these subtleties you end up with results which are misleading and ultimately could impact business results.wind turbine"
Scott Sellers, president and CEO of Azul Systems, said, "Being a member of the JCP Executive Committee means that we are at the forefront of Java development and interact with the leading innovators in our field.Totech Americas delivers a wide range of drycabinets for applications spanning electronics. It is very gratifying for a fellow member to recognize the engineering advances we've made and actively want to partner with us. Both firms are heavily involved in the low latency markets so we anticipate working with jClarity extensively to deliver high-value add solutions in this area."
Things should go back to normal the rest of the year—weather permitting, of course. His coronations will proceed on their regularly-scheduled dates.
No, not so much because we now have a definitive answer to the ubiquitous “Is Tiger Back?” question.Which Air purifier is right for you? (It’s just getting fun to type that five or six times a year now, although not as much fun lately as typing “Are the Lakers Back?”) We don’t have an answer to that, not in January.
We only have history to guide us. History is on Woods’ side.
Monday’s virtual walkover—a 4-stroke victory at 14-under—finished off Tiger’s seventh victory (eight overall, counting the 2008 U.S. Open) in the annual Tour stop at Torrey Pines (formerly the Buick Invitational, now the Farmers Insurance Open). A win there, early in the year, has been an omen for success for him every time, going back nearly to the beginning of his run.
In each of the previous six years he’s won this tournament (1999, 2003 and 2005-08), he has finished the year with at least five victories. In five of those seasons, the win total has included at least one major. The exception was ’03, during what was then considered a catastrophic, career-altering “slump”—10 straight majors without a win, with the ’03 shutout aided by late ’02 knee surgery.
The then-Buick win was his comeback tourney. Even without a major, he won Player of the Year that season, as he did five other times in seasons in which he won at Torrey Pines.
In ’08, of course, he won there twice. Not that anyone needs to be reminded of that, or of his new definition of “slump.’’ His drought now stands at 0-for-his-last-18.
For what it’s worth, and in case another parallel to the good ol’ days is needed, part of his renaissance during the post-surgical 2003-04 speed bump involved a re-tooling of his swing. He’s been re-tooling it again over the past two-plus years, with a different coach, the often-scorned Sean Foley.
There hasn’t been a lot of scorning of Foley lately, or of Woods’ swing, or of anything else about his game. There certainly was none of that going on over the weekend at Torrey Pines. Day by day (except Saturday, naturally), Woods rolled on, padding his lead with a combination of his spectacular play and his competition’s inability to rise to the challenge.
He weaved in his usual supply of “wow” moments—a great, fist pump-inspiring chip on No. 4 on Sunday, and on Monday a sensational save from behind a tree, off a driveway out of bounds on No. 9, and later a bunker shot onto the green from another cartoonishly contorted stance on No. 11.
The most cartoonish part of the day, and of the entire tournament, was the fact that down the stretch, Woods had an 8-shot lead, actually padding his own score and the distance between himself and his hapless competitors. He didn’t hold onto all of it, but, of course, it didn’t matter.
It’s also worth pointing out that Rory McIlroy did not play this tournament. Graeme McDowell didn’t either—yet he still got off the line of the week from the other side of the Atlantic, on Twitter: “Was thinking of adding Farmers Open to my schedule next year. Maybe need to reconsider. Tiger owns the place.”
They’ll all meet soon enough—McIlroy and McDowell and Adam Scott and the other contenders. Brandt Snedeker will be around, and the solid tourney he had at the Farmers likely will mean more than it did this time,Compare prices and buy all brands of solar panel for home power systems and by the pallet. when he disappeared from sight behind Tiger.
Phil Mickelson will be there, too, although, on the course that he, like Woods, calls his home turf, it was as if he was never there this weekend. His 2-under total never came close to getting it done.
Azul Systems, the award-winning leader in Java runtime scalability, today announced that it has formed a partnership with jClarity, a provider of Java performance analytics solutions for enterprise and Cloud-based environments. Under the collaboration agreement, jClarity will optimize their tools for Azul's Zing? Java Virtual Machine (JVM) and will recommend it to customers as a component of its Cloud toolkit.
Leveraging their work in the Java and Open Source community over the last five years, the founding members at jClarity create products that allow developers to quickly identify where a performance problem is within an application and what steps need to be taken to resolve it. The tools are designed to analyze the system as a whole without compromising the running system. Azul's Zing is a 100% Java-compatible high performance JVM and the only solution that delivers low latency, large in-memory datasets without performance penalty and elastic resource sharing in the Cloud.
Ben Evans, CEO at jClarity, said: "As the representative for the London Java Community on the JCP Executive Committee, I met Azul Systems and quickly recognized the benefits of the solution and how it complements the performance analytics of jClarity. Both companies specialize in Java and fully appreciate how predictable performance levels can deliver tangible commercial results."
Evans continued: "One of the key Azul stand-outs for me is its C4 garbage collection technology. It ensures consistency of response times - the ideal result when analyzing garbage collection impact on an application. Azul's technology also recognizes more subtle performance influencers such as queuing on the network, which is highly impressive as other JVMs do not do this. If you ignore these subtleties you end up with results which are misleading and ultimately could impact business results.wind turbine"
Scott Sellers, president and CEO of Azul Systems, said, "Being a member of the JCP Executive Committee means that we are at the forefront of Java development and interact with the leading innovators in our field.Totech Americas delivers a wide range of drycabinets for applications spanning electronics. It is very gratifying for a fellow member to recognize the engineering advances we've made and actively want to partner with us. Both firms are heavily involved in the low latency markets so we anticipate working with jClarity extensively to deliver high-value add solutions in this area."
2011年5月22日 星期日
Time-domain tailored-pulse laser enables scribing of CIGS solar modules
Matt Rekow, Richard Murison, PyroPhotonics Lasers, a subsidiary of ESI, Inc, Montreal, QC, Canada
Laser scribing is an enabling process for the formation of monolithic series interconnects for large panel thin film solar cells. Interconnect formation typically requires three scribing operations known in the industry as P1, P2 and P3. A fourth operation, often referred to as P4, removes shunts at the edges and prepares the module for electrical interconnect and encapsulation. Laser scribe processes based on nanosecond (ns) pulsed lasers are preferred for both a-silicon and CdTe thin film PV manufacturing. CIGS (copper indium gallium selenide) is a different story. In this case, the shunt and series resistance of laser processed modules suffers unacceptably due to thermal degradation when traditional ns pulse lasers are used.
Success has been claimed utilizing picosecond (ps) lasers for CIGS P2 and P3, however, negative thermal effects still cannot be avoided as is evident in Fig. 2a. Furthermore, such lasers are much more expensive, much larger and considered far less industrially robust than ns lasers. Consequently, they have yet to gain broad acceptance across the solar industry. Because of these concerns, mechanical stylus scribing continues to be the industry norm for CIGS P2 and P3 scribing.
The tailored-pulse laser
The invention of a new type of fiber laser has enabled discovery and exploitation of a previously unknown process window for the CIGS P2 and P3 process. The laser is a 1064nm pulse programmable fiber laser [1]. Unlike more traditional lasers, this laser technology allows the pulse duration to be varied from approximately two to several 100s of nanoseconds, independent of the laser repetition rate, which can be varied up to 500kHz. In addition, each pulse can be arbitrarily programmed to generate a specific desired temporal profile of instantaneous laser power. Pulse trains comprised of these shaped pulses can be applied to the scribing process at high repetition rates. It is precisely these attributes that are not available in Q-switched or ps lasers that enable this novel and effective process.
Laser scribing is an enabling process for the formation of monolithic series interconnects for large panel thin film solar cells. Interconnect formation typically requires three scribing operations known in the industry as P1, P2 and P3. A fourth operation, often referred to as P4, removes shunts at the edges and prepares the module for electrical interconnect and encapsulation. Laser scribe processes based on nanosecond (ns) pulsed lasers are preferred for both a-silicon and CdTe thin film PV manufacturing. CIGS (copper indium gallium selenide) is a different story. In this case, the shunt and series resistance of laser processed modules suffers unacceptably due to thermal degradation when traditional ns pulse lasers are used.
Success has been claimed utilizing picosecond (ps) lasers for CIGS P2 and P3, however, negative thermal effects still cannot be avoided as is evident in Fig. 2a. Furthermore, such lasers are much more expensive, much larger and considered far less industrially robust than ns lasers. Consequently, they have yet to gain broad acceptance across the solar industry. Because of these concerns, mechanical stylus scribing continues to be the industry norm for CIGS P2 and P3 scribing.
The tailored-pulse laser
The invention of a new type of fiber laser has enabled discovery and exploitation of a previously unknown process window for the CIGS P2 and P3 process. The laser is a 1064nm pulse programmable fiber laser [1]. Unlike more traditional lasers, this laser technology allows the pulse duration to be varied from approximately two to several 100s of nanoseconds, independent of the laser repetition rate, which can be varied up to 500kHz. In addition, each pulse can be arbitrarily programmed to generate a specific desired temporal profile of instantaneous laser power. Pulse trains comprised of these shaped pulses can be applied to the scribing process at high repetition rates. It is precisely these attributes that are not available in Q-switched or ps lasers that enable this novel and effective process.
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