Preview Conner's Pulse Booth

You can preview Leigh Conner's booth at Pulse Miami here. The gallery will be at booth 311 and will feature new digital light sculpture by Leo Villareal, new video and photography by Maria Friberg and large-scale figurative paintings by Erik Sandberg.

Speaking of Erik, his latest works at Conner Contemporary were reviewed by ArtForum's Nord Wennerstrom as "tremendous achievements in figuration - masterfully painted and richly sculptural, they establish the artist as a worthy heir to John Currin and Lisa Yuskavage."

Subject matter aside... say what? Has Wennerstrom ever actually taken a close look at either a Currin or a Yuskavage? Upon close inspection they fall apart as "paintings," and reveal themselves more as flat washes of "straight from the tube" works, which (as any experienced painter will tell you) is often the first gritty evidence of a painter lacking technical skill (few seldom "avoid" it, like Picasso often did).

Sandberg can paint circles around both Currin or Yuskavage, with one hand tied behind his back, an eye-patch covering one eye, and an old brush with only sixteen bristles left in his left hand. His painting skills are in part the result of a lot of hard work, and having benefitted from the amazing teaching and painting skills of GMU's Margarida Kendall (now retired). Since her retirement, Kendall has sort of disappeared from the DC area "scene," while enjoying spectacular success in Europe.

This is a case where the "heir" is far better than the King and Queen.

Washington Glass School's New Spaces

The Washington Glass School's Annual Holiday Party and Glass Sale will be on Saturday, Dec. 9th from 2 to 6pm. Food ,music, class specials and a lot of glass and art for sale as well as a Fire Spinning Performance by Sarah Lovering and her class from 4:30 to 5:30!

They will also be showing off their new space bringing the school's size to a total of 6500 sq ft.!

Having done this in the past, this is a great way to get some great art at incredible prices while having a great time!

What : Washington Glass School Annual Holiday Party and Open House
When : Saturday, Dec 9th from 2pm to 6pm.
Where: Washington Glass School, 3708 Wells Ave., Mt. Rainier, Md. 20712. 202-744-8222

Catch these two three this Saturday in DC

Angela Jerardi's "CONSUME" opens November 30 at the Gallery at Flashpoint. The opening reception for the exhibition is Saturday, December 2 from 5-7 pm. Timed to "coincide with the busiest shopping time of the year, the exhibition features a diverse group of artists from the region taking a playful look at consumption in its broadest terms, exploring what it means to consume, or be consumed, from eating and drinking, to using and squandering, to our obsessive desires to buy, and our consumption of popular culture in its myriad forms. The show will include installation, video, photography, painting, and prints, as well as a "store" selling exclusive 'CONSUME' products."

CONSUME features a video installation by Lani Iacovelli (Washington, DC); mixed media paintings by Chris Lawrence (Philadelphia, PA); an installation (made of blown sugar) by Jessie Lehson (Baltimore, MD); prints by Heidi Neff (Baltimore, MD) - Heidi is "fascinated and inspired by our consumption of and connection to sexuality. Her present project takes inspiration from pornography magazines; through her appropriation of these images they are recreated as quiet, softly colored hand-pulled prints." Finally also photographs and video by Michael Wichita (Washington, DC).

Jayme McLellan's show at the Warehouse Arts Complex opens the same night from 7-9 pm, so it's a nice night to catch two DC openings within walking distance to one another. More on this show later...

Update: Keep on walking and over at Irvine Contemporary you can also see two concurrent exhibitions opening Saturday, December 2: The Trophy Room, a solo exhibition of new sculptures by Joshua Levine, and Three New Chinese Artists: A Preview, featuring new paintings by Li Jian Ping, Liu Jian, and Ye Qiang. Opening Reception, Saturday, December 2, 6-8:00 pm. The exhibitions run through Saturday, January 7, 2007.

With the exhibition Three New Chinese Artists: A Preview, Irvine Contemporary also announces the representation of Li Jian Ping, Liu Jian, and Ye Qiang through their newly-established office and artists’ agency in Beijing, China.

This exhibition is a first preview of three artists whose work has already achieved international importance, and who will be featured in solo exhibitions at Irvine in the gallery’s 2007-2008 program. Li Jian Ping, Liu Jian, and Ye Qiang are already widely recognized in China and Asia. This show is their first US and international exhibition through gallery representation in the US.

Job in the Arts in Philly

The Philadelphia Museum of Art seeks an art historian and experienced leader for the position of Curator of Education for Adult Public Programs.

This position heads up a team of museum educators who plan and implement a broad range of programs for adult and college audiences, and who work with curatorial departments on interpretive strategies such as audio tours, didactic gallery material, and interactive technologies that engage the adult public in learning in and about the collections. The Curator of Education for Public Programs reports to the Senior Curator of Education, and plays a key management role in a 26-person Division of Education. The individual lectures in the galleries and in auditorium settings on a variety of art historical topics related to museum collections and exhibitions and participates in training museum guides. He or she represents the Museum in the regional academic community and in the broader community.

Qualifications: The successful candidate will have an MA or PhD in the History of Art and a minimum of five years museum experience. He or she should have strong experience in teaching, working on interdepartmental teams, supervising staff, training volunteers, and implementing programs. Communication, leadership, and organizational skills are important, as is familiarity with new technologies for interactive interpretation. Physical requirements include the ability to stand for 2 hours at a time and climb multiple flights of stairs. Weekend work required. Please send resume and cover letter to: PMA-HR, 215.684.7977 or jobs@philamuseum.org.

Please include salary requirement and JOB TITLE. Resumes will not be considered without a job title in the subject line. No phone calls.

Job in the Arts in DC

Deadline: January 5, 2007

American University is looking for a new Associate Dean for the Arts.

The College of Arts and Sciences invites applications for a tenured position at the rank of Associate Professor or Professor to administer the arts programs at the university, beginning in Fall 2007.

The Associate Dean for the Arts will be expected to ensure excellence in each of the arts disciplines and to work collaboratively to create an integrated identity for the arts at American University. Responsibilities include leadership and coordination of arts activities; recruiting students and faculty; teaching in an appropriate arts discipline; fostering inter- and multi-disciplinary academic and public programs; and outreach to the region and the arts communities. Applicants should hold the appropriate terminal graduate degree in an arts discipline represented at American University (studio art, art history, graphic design, multimedia, theatre/music theatre, music, dance, audio technology and production, and arts management) and have a proven track record of academic leadership in the arts. Excellence in teaching and scholarship or creative work required. Experience in both academic and professional settings preferred.

Send letter of application addressing teaching and research interests and experience, curriculum vitae, and three letters of recommendation to:

Dean Kay Mussell
Attn: Associate Dean for the Arts Search Committee
College of Arts and Sciences
American University
4400 Massachusetts Ave. NW, Washington, D.C. 20016

Housing for Artists in DC

Brand new renovation of existing units! Hardwood floors throughout , ceramic tile in kitchen and bath, built-in storage, new stainless steel appliances, central air conditioning, skylights, 500 square feet with one bedroom, 1 bath.

Address: 1706 16th Street SW, Washington DC 20020. They will be renting the units to local artists for $700/month (utilities not included). Qualifying artists can work in visual, performing or literary fields. They do not have to make their full living as an artist, but they must be able to supply documentation of being a working artist, for example a portfolio, recording, writings, etc.

For an application and to make an appointment to view the housing, email bevans@archdc.com or call 202-889-5000 x 113.

Some Philly Galleries

Last weekend I finally had some free time and once again I dropped by some of the excellent Philadelphia galleries located in a big cluster around North Second Street, in an area apparently once the center of the universe for restaurant supply retailers, none of which I visited, although next time I will pop into one of them and see if they will sell me a Jaccard machine, which is the real secret as to why steaks always taste better and are super tender in restaurants.

You never know whatcha gonna learn by reading MiddieArtNews do you?

Anyway, I spent quite a long while chatting with the fair Christine Pfister, owner and director of Pentimenti Gallery, who was getting ready to head down to Miami, where she will be at the Bridge Art Fair (booth 206). She was more than generous with both her time and sharing her knowledge of Philly's art scene. It was easy to discover that this is one of the key independent commercial fine arts galleries in Philadelphia.

Also saw Nexus, which is moving and will reopen January 2007 at the Crane Arts Building. Also spent some time in Muse Gallery, which is a nice co-op, at Artists' House, where I really liked the paintings of Anthony Palumbo, who also shows in the DC area at Principle Gallery in Alexandria.

One final quick pop in to the curiously named Third Street Gallery, which is also on Second Street next to Muse Gallery, and which also appears to be a nice co-op, and then ran out of time.

AOM and ArtDC

In part because they did not find a physical space in 2006, Artomatic has linked up with ArtDC.org to create a virtual Artomatic for participating galleries and performance venues to see the work of Artomatic visual artists and performers.

Details here.

Gross Protests

Philadelphians protest the sale of Eakins' Gross Clinic.

Details and pictures here from artblog.

Moore College Looking for new Curator

Moore College of Art and Design is looking for a new Senior Curator/Director of the Galleries. Interested applicants should forward their resume, statement of background and qualifications and salary requirements to:

President Fernandez
Moore College of Art and Design
20th Street and The Parkway
Philadelphia, Pa. 19103

William J. Marrazzo to Lead Effort to Keep Gross Clinic in Philly

The Philadelphia Museum of Art and the Pennsylvania Academy of the Fine Arts announced today that WHYY President & CEO William J. Marrazzo will "convene and lead a committee of national cultural, civic, and community leaders to broaden the public’s understanding of the social and artistic importance of Thomas Eakins’ 1875 masterpiece, The Gross Clinic, and to ensure it stays in Philadelphia."

According to the news release, "Marrazzo will convene the group, members of which will be announced in the next few days. The members will be national and regional leaders who share the view that The Gross Clinic should remain in Philadelphia, the city in which it was painted."

"I am honored to have been called upon to facilitate the process of generating a dialogue," Marrazzo said. "I feel passionate about the importance of this artwork, and the richness of its history and importance to the city. For me, it is a surrogate of what a mature American city stands for. Projects like this committee represent what it takes for a community to become the next great American city by encouraging civic engagement about a city’s history, and what it means for the present and the future."

WHYY is the leading public broadcasting station in the greater Philadelphia region, and they also offer the Arts & Culture blog called The Sixth Square.

On Thursday, November 30th at 10PM, WHYY will air its documentary from 2001: Thomas Eakins: Scenes From Modern Life.

Lucien Freud Rules in YBAland

German-born British representational painter Lucien Freud has been voted as Britain's favorite artist "in a survey of the UK artistic community."

According to the BBC story:

"He beat the likes of Rembrandt and Van Gogh - who also made the top ten - to become the artists' favourite artist.

Other modern day giants such as Howard Hodgkin and David Hockney also featured in the poll, carried out by The Great Art Fair.

But so-called Young British Artists such as Tracey Emin, Chris Ofili and Damien Hirst were overlooked.

Hirst, who won the Turner Prize in 1995, garnered only one vote from the 500 artists polled, while Emin and Ofili failed to get a single nod, although 70% of the top ten artists are still alive."

How else does one say to those YBA's: "You are so yesterday!"

The Top 10 Artists, according to the survey were:

1. Lucien Freud
2. Howard Hodgkin
3. David Hockney
4. JMW Turner
5. Antoni Tapies
6. Rembrandt
7. Jack Vettriano
8. Barbara Rae
9. Frank Auerbach
10. Van Gogh

The real bad boy of British art, the plebian ex-miner and self-taught Scottish painter Jack Vettriano (apparently the world's best selling artist), who is both despised and ignored by the British art establishment while he laughs all the way to the bank and gets great publicity for his work as a result of their dislike of him and his work, made the list once again, this time as the 7th place artist.

Vettriano might as well not exist in the eyes of British museums and the hot curators of the upper crust of the British arts cabal, and yet this somewhat harsh man seems to have touched not only the nerve of the British art establishment, but also the pocketbooks of both art collectors and poster-buyers all over the world, including the US.

I think of Vettriano as the planet's counterbalance to Thomas Kinkaid. They are both hugely popular with the public, but while Kinkaid delivers saccharine scenery ad nauseum, Vettriano delivers an immense range of work that has proven to be both popular and often edgy, as his darkly sexual work testifies.

If an American museum curator had the balls to give the world's best selling artist his first museum show, it would not only be immensely popular, but also create an amazing storm of publicity, arguing and debate as American elitists join forces with their Brit counterparts, while the public votes with their attendance records. It would also plant the opinion that museum are public spaces, not the playground of the rich and snobby.

I can almost smell the gunpowder of debate between those who say that he's nothing but a glorified illustrator, and those who say that he's a sexist pig, and those who say that he's a "fill in the lines" painter, and those who say he's just an ex-miner who has never been educated, and those who pay millions for his paintings at auction, and the Hollywood illuminati, who curiously enough, are some of his biggest defenders and collectors.

But I daydream, as I know not of a single museum director, or curator, who even looks in the direction of where the Vettrianos of this world exist.

The Great Art Fair, the UK's largest art show, will be held at London's Alexandra Palace from 30 November to 3 December, 2006.

Washington City Paper hires new Arts Editor


From: Erik Wemple
Date: November 21, 2006 2:44:30 PM EST
Subject: New Arts Editor

Washington City Paper editorial managers are excited to announce the hiring of Mark Athitakis as our new arts editor. Mark comes to us from a familiar place. The Chicago Reader has employed Mark as an assistant editor since October 2004, and in that time Mark has done everything his people have asked and more. He's been involved in the Reader's Web makeover and is a champion of clean, strong narrative copy. The guy came in here with barely a couple day's notice and produced an outstanding critique of our arts coverage and showed a command of all that you must know to be an arts editor in a town like D.C. He'll be starting shortly after the New Year.

Katie Tuss on Mark Cameron Boyd at the Katzen

Logocentric Playground at the Katzen

By Katie Tuss

Washington area based artist Mark Cameron Boyd has been using his own deconstructed, re-contextualized sentences as the subject of his current body of work since 2003. Boyd’s thoughtful, challenging pieces utilize “text as a language for painting” while questioning the accepted systems of meaning and conventional constructs of art and communication.

In the installation Logocentric Playground, currently on view at the Katzen Arts Center, Boyd encourages visitors to engage him in an unspoken conversation using any of the three blackboards in the first floor gallery space. The boards display handwritten, original text by Boyd in red and white chalk.

Employing painter’s tape in his signature erasure method, Boyd obscures either the top or bottom of the upper case letters in each sentence. Crisp black lines alternate horizontally between truncated peaks of the letter “A” and severed curves of the letter “P.” Bisected red words meet bisected white letters, one on top of the other, altering the artist’s initial transcription.

A piece of chalk, but no eraser, can be found underneath each blackboard. Seemingly without hesitation Katzen Center visitors have picked up the artist’s discourse.

Viewers have interpreted the inconclusive text by completing interrupted letters and adding words and original symbols above, on top of, and around Boyd’s phrases.

Despite the interactive component of the piece, it doesn’t require any contribution to the installation to appreciate the original enigmatic markings and the development of Boyd’s relationship with the viewer and the piece over time.

Boyd plans on returning to Logocentric Playground at least once a week to remove, restore, and respond to his conversation partners. The installation's progress can be tracked on the artist’s Web site.

Logocentric Playground is on view through December 15, 2006.

---

Disclaimer: I (Lenny not Katie), in the past, have curated Boyd's work into several shows focused on "text."

City Hall Art Collection Walkthrough

A few days ago I had the opportunity to walk through the new Washington, DC City Hall Art Collection at the Wilson Building.

Together with Jonathan Binstock and Sarah Newman (both curators at the Corcoran), and Kristen Hileman and Anne Ellegood (both curators at the Hirshhorn), and Kim Ward (Executive Director of the WPA/C), we were given a personal tour of the collection by its curator, Sondra Arkin.

I had never been to the Wilson Building before, and I must admit that I have probably walked or driven by it a dozen times in the past without being aware that this is the place where the District's business as a city take place. The building is very beautiful and recently renovated, and the insides incorporate and marry the building original neo-classical appeal with a modern sense of stainless steel and minimalist design in places.

Sondra Arkin with Kim Ward, Anne Ellegood and Kristen Hileman

After passing through the excellent security check-in at the front entrance (ID required), Sondra gave us all a copy of the superb catalog that she was able to create in about six weeks.

The Hirshhorn curators and I were astonished that Arkin was able to pull off such a quality catalog, plus do a huge number of studio visits, plus curate the exhibition, and organize the framing, in a handful of weeks.

Arkin begins tour
I am always complaining that DC area museum curators seldom pay attention to district artists, and I think that the major contribution that this collection offers is a central point for them and visitors to see the vast array of talent that our capital area has to offer.

One exception and a DC area artist who needs little introduction to curators is the ubiquitous and hard-working Maggie Michael, and one of the first works that we were taken to was "Phantom," a large painting by Michael on the first floor.


Arkin, Ward and Hirshhorn curators in front of Maggie Michael painting
I must admit that as we approached the painting I thought that it was a piece by Trawick Prize winner Jiha Moon and said so, which brought some quizzical looks directed at me from the fair Anne Ellegood. But I stuck to my guns and noted that the painting seems to borrow heavily from Moon's visual ideas, and the "center" of it appears to be a Jiha Moon on top of a Maggie Michael painting.


Curators Looking at Prescott Moore Lassman's photographs

Another artist whose work caught some good detailed attention were the photographs by Prescott Moore Lassman, which when associated with the story behind them (the subject were the people in one of the first integrated churches in the nation), seemed to merit some extra time from them. Prescott's skills with the camera to capture the essence and depth of a moment, while making the image burst with attention-grabbing intrigue, is what makes his work special.

The Hirshhorn curators both seemed to like "In Red," a beautiful canvas of Tom Green's invented symbols, which also appealed to me based on my interest in "text" in art. As such I had to take the opportunity to taken them to Mark Cameron Boyd's "No Way to Convey," and explain Mark's fascinating process to create art out of textual references.

Somewhere along the tour, we discovered Judy Jashinsky's 1980s vintage portrait of Corcoran photography curator Philip Brookman, and Binstock, Ward and Newman had a bit of good fun enjoying their fellow curator's portrait. "He still has that watch!" someone said.


Philip Brookman by Judy Jashinsky


Jonathan Binstock records the Brookman

The representational holdings in the collection, as usual, brought out interesting stories about them, and the reaction to them from the building's occupants. The ability of a representational work to clearly convey an idea or suggestion immediately makes its selection for a public art display a very difficult process - at least in the United States.

One artist who must have been very hard for Arkin (no pun intended) to select is the talented Joe Shannon, who regularly appeals in his own paintings, not only nude, but also often sporting a massive erection. But not the piece in this collection, "Two Poets with Champion," in which Joe does sneak in a shirtless male.

The physical attributes of the space itself, and the occupants themselves, also played an important role in Arkin's selection and placement process, as some of the city fathers and mothers "own" certain halls (where their offices are) and were part of the process for what "hung" there.

Tucked away in the furthest corner of one such hall is Michal Hunter's "The Fountain," a overtly sensual 1981 painting by one of Washington's top realists. There is no nudity in this work of two women enjoying the sun and refreshing themselves in a public fountain. But there's plenty of implied sensuality and Eros in this work, which may be the sexiest public art piece in the nation's capital.

The DC glass gods are also well represented in this collection (although so far ignored by DC area museums and curators, while at the same time being picked up by other American museums), with two mixed media pieces by Tim Tate and Michael Janis.

Photography is an important part in the collection, with the usual suspects represented by a mix of well-known work or new images. Works by top photographers such as William Christenberry, Maxwell MacKenzie, and Chan Chao are complemented by newly emerging camerartists such as Alexandra Silverthorne, Prescott Moore Lassman, Holly Foss and others.


Curators looking at Maxwell MacKenzie's new work

The collection is also well stocked with some of the District's top names from the "old school", such as Gene Davis, Jacob Kainen and Felrath Hines, while active well-known names such as John Winslow, Sam Gilliam, Michael Clark, Robin Rose, James Huckenpahler and others are also augmented by very good works by Pat Goslee, Jiha Moon, Lisa Montag Brotman, Anil Revri, Michele Banks and Andrew Wodzianski.

Not all is perfect. While looking at Kainen's two rather forgettable etchings in the collection (Blue Cocoon and Dr. Mabuse), I made the comment that I wasn't a big Jacob Kainen fan, which brought out an alarmed look and immediate response from Jonathan Binstock. We discussed the issue, and while I certainly admire Kainen's amazing work ethic and his persistence in making an art footprint in the District (which he did), I have never been particularly attracted to his work, although I will allow that a DC collection without a Kainen is missing a key component, so I am glad that he's represented here.

Talking about "missing," there are some notable missing names from this collection, such as Maggie Michael's talented husband (Dan Steinhilber), some Color School guys like Morris Louis (completely unaffordable at this point, so a donation would be nice), Margarida Kendall (same issue), Annie Truitt (same problem), Manon Cleary, Erik Sandberg, Molly Springfield, Kelly Towles, Mark Jenkins, Colby Caldwell, Kathryn Cornelius, etc.

Finally, I've been getting some emails complaining about the scarcity of sculpture in the collection. This is always an issue in "indoor" public art, as a large range of sculpture does not adapt well to being exposed and inside public buildings. But I think that Arkin did an excellent job of acquiring a good set of three dimensional works, such as the previously mentioned works by Tim Tate and Michael Janis, plus excellent pieces by Margaret Boozer, Marie Ringwald, Jae Ko, Andrea Haffner and F.L. Wall. Well-known sculptor Yuriko Yamaguchi is represented by an interesting litho.

I think that I know district area artists as well as anybody, and yet even I "discovered" some new artists who have excellent work in this collection. One such artist is printmaker Alexandra Huttinger, whose series of small linoleum prints not only capture a visual record of people, but also push the limits of that difficult medium. Brenda Hoffman's photographs also caught my attention (and that of a couple of the curators).

In spite of Sondra Arkin's spectacular effort, there are still plenty of empty walls left in this building, and it is my hope that the District of Columbia Commission on the Arts and Humanities will expand on this $400,000 investment and continue, on a regular basis, to grow the collection, and to add to it on a yearly basis, so as to truly make it into an almost Washington Art Museum.

The Gross Clinic

"The Board of Trustees of Thomas Jefferson University has authorized the sale of Thomas Eakins' painting The Gross Clinic (1875) to the National Gallery of Art (Washington, D.C.) and the Crystal Bridges Museum of American Art (Bentonville, Arkansas). Through a private sale arranged by Christie's in New York, the Board has accepted an offer of $68 million for the painting, the highest price ever paid for a work by the artist and, by far, a record for any work of art created in the United States before World War II. Local art museums and governmental institutions have the opportunity to match the offer with a preemptive bid within 45 days."

And in order to "match the offer," The Philadelphia Museum of Art, the Pennsylvania Academy of the Fine Arts, and various public and private Philly institutions, city officials, and civic leaders are joining forces in an effort to raise $68 million to keep Thomas Eakins’ 1875 masterpiece, The Gross Clinic, in Philadelphia.

Philadelphia Mayor John F. Street gave his endorsement of the effort. He said: "I am encouraged by the strong voices of support within our community for keeping this magnificent painting in Philadelphia. Our city has an extraordinary fabric of arts and culture which makes us a magnet for visitors from all across the nation and around the world, and provides a great quality of life for all of our citizens. Retaining The Gross Clinic will underscore that reality and ensure a place in the heart of our city for this treasured painting."

The public can help by giving to the Fund for Eakins’ Masterpiece, established to raise the money to match the sale price of $68 million. Make a tax deductible contribution online here, or mail a check made payable to Fund for Eakins’ Masterpiece and send it to:

Fund for Eakins’ Masterpiece
c/o Philadelphia Museum of Art
P.O. Box 7646
Philadelphia, PA 19101-7646

The Fund for Eakins’ Masterpiece HOTLINE is reachable by calling 215-684-7762.

New blog

DC area artist Melissa Hackmann as a new blog.

Visit her often! Her blog is here.

The Baileyfication of Washingtonian

Washingtonian magazine comments on the Downie memo that I published here a while back.

And am I the only one that notices that the tone and writing style of this Harry Jaffe article reads like a Bailey?

And as if we didn't already know this was coming: according to the article, "Style editors have already put out a memo this week ordering major cuts in length. For instance, 60-inch stories should be 40 to 45 inches."

If you don't get it, you don't get it.

Projects Gallery

Adding to my list of Mid Atlantic area art galleries and private dealers heading to Miami next month, Philadelphia's Projects Gallery will be at Bridge Art Fair Miami at the Catalina Hotel & Beach Club - Room 212.

They will be featuring artists Steve Cope, Peter Gourfain, Tom Judd, Frank Hyder, Florence Putterman and others.

Projects Gallery also has "surprising and unusual works by big-name artists" in an exhibition titled "little secrets." First Friday reception on Friday, December 1st, 2006 5 - 9 PM and running through December 1st - 22nd, 2006. The exhibition includes works by Chuck Close, Sidney Goodman, Peter Gourfain, James Havard and James McGarrell.