The San Jose Museum of Art Fully Explores Humour in Art

Written by Carol Houseman Thursday, 02 February 2012 20:40

San Jose, California.- The San Jose Museum of Art is proud to present "Renegeade Humour", on view at the museum from February 3rd through July 8th. The exhibition explore artists’ amusing and tradition-defying use of humor and begins with a look at the bawdy irreverence, parody, and puns that are hallmarks of the work spawned at the University of California, Davis, in the 1960s and 1970s. It continues with works by artists of later generations who enlist humor to make a point and ends with new works by Kathy Aoki and Imen Yeh, who satirize election-year politics in projects commissioned by SJMA. Renegade Humor comprises 45 works drawn from the Museum’s permanent collection, including paintings, works on paper, monumental sculptures, and ceramics. Visitors will encounter traditional and untraditional media: a millipede-like couch, a pinball machine, a ceramic plate embedded with taxidermy eyes, and “paper” dolls of Barack Obama and Newt Gingrich.

Davis School artists represented include Robert Arneson, Roy de Forest, David Gilhooly, Peter VandenBerge, William T. Wiley, and others whose flippant attitudes reflected the shifting values of the time. Their humor often belied deeper social messages. In addition, Renegade Humor includes works by: John Bankston, Ray Beldner, Squeak Carnwath, Enrique Chagoya, Robert Colescott, Robbie Conal, Brian Goggin, Llyn Foulkes, Viola Frey, Jane Hammond, Evri Kwong, Lynn Hersman Leeson, Marilyn Levine, Bruce Nauman, Dennis Oppenheim, Nathan Redwood, Walter Robinson, Richard Shaw, and M. Louise Stanley.  “This exhibition gives visitors the opportunity to laugh out loud, and at the same time make meaningful connections to the hot topics examined through the lens of humor,” said Susan Krane, Oshman Executive Director. “With sometimes rowdy, always transgressive humor, the artists in this exhibition raise important social and societal issues. 'Renegade Humor' looks at this play of politics and humor, from the 1960's to today.


SJMA has commissioned new works inspired by the notion of "Renegade Humor" from artists Aoki and Yeh. In this presidential election year, both artists will create interactive works that comment on the political process. For "Renegade Humor," Aoki designed a series of three-foot-tall “paper” dolls (actually constructed of steel) representing Newt Gingrich, Sarah Palin, Barack Obama, and Arnold Schwarzenegger. Aoki will make a set of rugged paper clothes and accessories for each doll, including a windmill costume for Obama and a “mama grizzly” suit for Palin. Visitors will be able to dress the dolls in the galleries; the costumes are interchangeable among the four figures in any combination. Yeh has imagined a fictional political candidate, taking as inspiration a real design challenge for a campaign identity that would appeal to both Latino and Asian voters. She developed a logo for “Juan Ton” through whom she skewers cultural stereotypes and marketing clichés. Her installation will include an array of propaganda with Juan Ton’s logo, such as t-shirts, posters, and buttons. Yeh has also designed a hands-on activity for visitors, who will create their own Juan Ton campaign buttons. The fictional candidate will also have a social media “campaign.” Visitors are encouraged to post their photos, wearing the buttons outside the Museum, to Juan Ton’s Facebook page.

In "Desire for the Other" (2004), a thirty-foot long, millipede-shaped red couch stuffed with household objects, Brian Goggin comments on people’s insatiable desire for things. Walter Robinson’s larger-than-life, hot pink, and melting polar bears ("Melt," 2008) point to the realities of global warming. William Wiley also comments on climate change with his "Punball Machine" (2008). In this working vintage pinball machine, Wiley depicts Eskimos and femmes fatales in the North Pole perched on icecaps with walruses and polar bears. Wiley, Arneson, and de Forest were influential instructors at UC Davis in the 1960s, when they and their students challenged the traditions of ceramics and craft. Among their students were VandenBerge, Shaw, and Gilhooly. In "Couple Watching Saturday Night Movie" (1969), VandenBerge depicts two snuggling ceramic carrots. In "Little French Girl" (1996), Shaw reinterprets Constantin Brancusi’s famous sculpture of the same name using porcelain hot dogs and other eccentricities.


The San Jose Museum of Art (SJMA) is a distinguished museum of modern and contemporary art and a lively center of arts activity in Silicon Valley. The leading institution in the area dedicated to the art of our time, SJMA is committed to providing access for its extraordinarily diverse populations and to pioneering new approaches to interpretation. Established in 1969, SJMA presents art ranging from modern masterpieces to recent works by young, emerging artists. The Museum’s permanent collection—1,400 varied artworks from the 20th and 21st centuries—has a special focus on West Coast art, seen in an national and international context. SJMA is accredited by the American Association of Museums, a recognition given to just 750 of the nation’s 8,000 museums. SJMA serves 100,000 people a year, including 37,000 school children: SJMA is the largest provider of arts education in Santa Clara County. Initiatives such as the award-winning school program Let’s Look at Art Program and SJMA’s participatory activity stations in the galleries further distinguish the Museum as an innovator in museum education. The SJMA's collection contains approximately 2,000 20th and 21st century artworks including paintings, sculpture, installation, new media, photography, drawings, prints, and artist books. The collection continues to evolve as a set of works reflecting important movements in recent art history, the accomplishments of emerging West Coast artists, acquisitions from their special exhibitions, and other significant works. Visit the museum's website at ... http://www.sjmusart.org/

The Santa Barbara Museum of Art Showcases Gems in its Permanent Collection

Written by Florence Iverson Friday, 03 February 2012 01:31

Santa Barbara, California.- This winter, the Santa Barbara Museum of Art (SBMA) revisits the gems in its vaults to delight visitors through 2012.  Both “old friends” and new acquisitions grace galleries walls as the Museum looks both domestically and abroad to display some if its most treasured and impressive examples of American and French art from the 19th and early 20th centuries. "Scenery, Story, Spirit: American Painting and Sculpture from the Santa Barbara Museum of Art" opens on February 4th. Between the 1830s and the end of WWI, American art came into its own.  From the majestic Hudson River School paintings of Thomas Cole, John Kensett, and Albert Bierstadt to the gritty urban realism of Robert Henri and John Sloan, this presentation of 60 paintings and sculpture draws on the rich holdings of American works in SBMA’s collection.

Organized by guest curator Peter John Brownlee (Associate Curator at the Terra Foundation, Chicago), this selection highlights the maturation of a distinctly American idiom, one informed by international currents and engaged with capturing the fluxes of modern life. Masterpieces of landscape, genre, still-life, and portraiture, punctuated by a selection of sculptures, trace an evolution in style from an art driven by the mandates of westward expansion to one animated by experimentation.  In both idealized and naturalistically rendered landscapes, in scenes of everyday life, or meticulously detailed images of everyday objects, the presentation also narrates an important chapter in American cultural history that witnessed the Civil War and its aftermath, the expansion of national boundaries and the closing of the western frontier, and the transformations wrought by the emergence of new technologies at the dawn of the 20th century. Framed by the sentimental culture of the early 19th century, landscape painting in the United States quickly shed its idealism to embrace the meticulous rendering of detail that could rightly establish a national art on the representation of America's unique and vastly abundant natural resources.  The purview of landscape painting expanded with and eventually beyond the nation's territorial borders to incorporate a more global view over the course of the 19th century.



However, a shift from the territorially-expansive approach of the Hudson River School to a more subjective, inward view can be seen in the stylistic evolution away from the detailed images of Thomas Cole and Albert Bierstadt (Mirror Lake, Yosemite Valley, 1864) to the evocative and evanescent scenes of George Inness (Morning, Catskill Valley, 1894) and Ralph Blakelock made in the century's final decades. Just as scenes of everyday life served as repositories for racial and ethnic stereotypes in the antebellum decades, narrative painting persisted in the second half of the 19th century as a vehicle for a culture wrestling with the transformations unleashed by the Civil War, increased immigration from Europe and Asia, and rapid urbanization.  From the still-life paintings of William Harnett and John Peto (My Studio Door, 1895), the opulent interiors of painter Walter Gay, and the genteel public spaces of metropolitan centers depicted by Childe Hassam (Manhattan Club, n.d. ca. 1891) to the grandeur of Old Europe as captured by expatriates like John Singer Sargent, American artists, both at home and increasingly abroad, assumed a more cosmopolitan outlook. However, the artistic and cultural sophistication of the Gilded Age coincided with the closing of the western frontier, a moment captured by painters Frederic Remington (Fight over a Waterhole, 1897) and Joseph Henry Sharp. In the opening decades of what Henry Luce would call "The American Century," artists turned to the spectacle of mass entertainments like the cinema and the increasingly urban experience of everyday life for subjects. Energy, vitality, and spontaneity animated American painting and sculpture in this period. All three are captured in the gritty urban realism of the Ashcan School, exemplified by George Bellows (Steaming Streets, 1908), and the artistic variety of the Eight, which featured both the painterly impasto of Robert Henri, John Sloan, and William Glackens and the European-inspired modernisms of Maurice Prendergast, Arthur Davies, and Ernest Lawson.


The Santa Barbara Museum of Art opened to the public on June 5, 1941, in a building that was at one time the Santa Barbara Post Office (1914–1932). Chicago architect David Adler simplified the building’s façade and created the Museum’s galleries, most notably Ludington Court which offers a dramatic sense of arrival for museum visitors. The newly renovated Park Wing Entrance and Luria Activities Center open in June 2006. Over its history the Museum has expanded with the addition of the Stanley R. McCormick Gallery in 1942 and the Sterling and Preston Morton Galleries in 1963. Significant expansions came when the Alice Keck Park Wing opened to the public in 1985 and the Jean and Austin H. Peck, Jr. Wing in 1998. The Ridley-Tree Education Center at McCormick House, a center for art education activities, was established in 1991. Today, the Museum’s 60,000 square feet include exhibition galleries, a Museum Store, Cafe, a 154-seat auditorium, a library containing 50,000 books and 55,000 slides, a children’s gallery dedicated to participatory interactive programming and an 11,500-square-foot off-site facility, the Ridley-Tree Education Center at McCormick House. The Museum’s collection of the arts of Asia, Europe, and the Americas includes paintings, sculpture, prints, drawings, photographs, ceramics, glass, jades, bronzes, lacquer, and textiles. The broad areas in which SBMA holds a significant number of works of exceptional quality include international antiquities from China, India, Greece, Rome, Egypt, and the Near East and 19th-, 20th-, and 21st-century art from Asia, Europe, and the Americas. Particular strengths of the collection are 19th- and 20th-century American and European art, contemporary American painting, photography, and the arts of Asia, especially China. Visit the museum's website at ... http://www.sbma.net

Apparent Suicide Kills Artist Mike Kelley at Age 57

Written by Julia Westover Thursday, 02 February 2012 20:41

LOS ANGELES, CA - Mike Kelley , the daring and influential contemporary installation artist who counted the band Sonic Youth and artist Paul McCarthy among his collaborators, has died, police said Wednesday. He was 57 Kelley's body was found at his home Tuesday night and it appeared he had committed suicide, South Pasadena Police Sgt. Robert Bartl said, without providing further information on the death. An autopsy was pending. "Mike was an irresistible force in contemporary art," Kelley's studio, Gagosian Gallery , said in a statement that the Los Angeles Times published on its website. "We cannot believe he is gone. But we know his legacy will continue to touch and challenge anyone who crosses its path. We will miss him. We will keep him with us."

Read more: [[Apparent Suicide Kills Artist Mike Kelley at Age 57]]

Art Knowledge News Presents "This Week In Review"

Written by Editor, Art Knowledge News Wednesday, 01 February 2012 21:29

This is a new feature for the subscribers and visitors to Art Knowledge News (AKN), that will enable you to see "thumbnail descriptions" of the last ninety (90) articles and art images that we published. This will allow you to visit any article that you may have missed ; or re-visit any article or image of particular interest. Every day the article "thumbnail images" will change. For you to see the entire last ninety images just click : here .

When opened that also will allow you to change the language from English to anyone of 54 other languages, by clicking your language choice on the upper left corner of our Home Page.  You can share any article we publish with the eleven (11) social websites we offer like Twitter, Flicker, Linkedin, Facebook, etc. by one click on the image shown at the end of each opened article.  Last, but not least, you can email or print any entire article by using an icon visible to the right side of an article's headline.

MUMOK to Show Groundbreaking Early Works by Claes Oldenburg

Written by Francis Westmorland Thursday, 02 February 2012 03:18

Vienna, Austria.- The Museum Moderner Kunst Stiftung Ludwig Wien (MUMOK) is proud to present "Claes Oldenburg: The Sixties", on view at the museum from February 2nd through May 28th 2012. With his humorous depictions of everyday objects, Claes Oldenburg is one of the most important and popular artists since the late 1950s. He is not only a main proponent of pop art, performance art and installation art, but also and in collaboration with Coosje van Bruggen has produced monumental "Large Scale Projects" in numerous cities around the world. Claes Oldenburg (born in 1929, Stockholm, Sweden) has not only been a major artist in Pop Art, Performance Art and Installation Art but, in partnership with Coosje van Bruggen, also a strong influence on art in public spaces with his monumental Large Scale Projects in numerous major cities worldwide.

With his humorous and profound depictions of everyday objects he is one of the most important and admired artists since the late 1950s. One central point of reference in Oldenburg’s oeuvre is the industrially produced object—the object as a commodity which, in ever-new metamorphoses of media and form, becomes a conveyor of culture and a symbol of the imagination, desires, and obsessions of the modern world. Organized by the MUMOK, this is the largest show ever of Oldenburg’s ground-breaking and emblematic early work of the 1960s. Numerous icons of Pop art will be seen in the exhibition, beginning with the installation The Street and its graffiti-inspired depictions of modern life in the big city and continuing to the famous consumer articles of The Store to the spectacular everyday objects of the modern Home: telephone, toilet bowl, bathtub, fan, saw, and light switch. Another chapter is dedicated to Oldenburg’s first designs for the colossal monuments of his consumer objects for public spaces. The exhibition concludes with mumok’s Mouse Museum a walk-in miniature museum in the form of a Geometric Mouse, for which Oldenburg collected 385 objects. With its souvenirs, kitsch objects, and studio models, the Mouse Museum demonstrates the incredible cultural variety—and mysteriousness—of capitalist society. With its reduction to abstract basic figures of formal invention, the Geometric Mouse, a central motif within the artist’s oeuvre, represents a dovetailing of high art and popular culture. It also functions as Oldenburg’s alter ego.


The MUMOK (Museum für Moderne Kunst Stiftung Ludwig Wien) is Austria's largest and most significant museum for contemporary art. First opened in 1962 as the Museum of the 20th Century in the Schweizergarten park, the MUMOK is now at its third address and with its third name (regularly moving to accommodate its expanding collection). MUMOK’s commitment to both history and the present and its museological, scientific and educational mission demands its profound engagement in the collection, research and communication of international artworks of modernism, the recent past, and the the present. With its emphasis on Pop Art and Photorealism, taken from the Austrian Ludwig Foundation, Fluxus and Nouveau Réalisme, taken from the Hahn Collection, and Viennese Actionism, MUMOK offers a unique blend of art focusing on society and reality as well as of performative art of the 20th century. MUMOK communicates the social relevance of art by illustrating the changes in art perception and their causes, both historical and contemporary. With reference to the present, MUMOK participates in the socio-political discourse and opposes tendencies which challenge the freedom of art and cultural policy. The collection spans from the Cubist, Futurist, and Surrealist works of classical modernism to Pop Art, Fluxus, and Nouveau Realism from the 1960s and 1970s. The early 20th century is represented with paintings and sculptures by masters Like Henri Matisse, Wassily Kandinsky, Paul Klee, Pablo Picasso and Alberto Giacometti.

The collection includes important works of Pop Art by Andy Warhol and Roy Lichtenstein as well as definitive examples of Fluxus, and conceptual art, In recent years, the collection has been expanded with present-day film, video, photo and graphic art. In total, the MUMOK collection contains around 9,700 works: paintings, sculptures, installations, drawings, graphic works, photos, videos, films, architectural models and furniture from the first half of the 20th century. The collection of Classic Modernism contains the most important movements and artists of the heroic years of modernism right up to the abstract and expressive tendencies of the post World War II period. Expressionism (Richard Gerstl, Oskar Kokoschka, Karl Schmidt-Rottluff), Cubism and Futurism (Henri Laurens, Giacomo Balla), constructive tendencies, Bauhaus (Piet Mondrian, Paul Klee) are represented as are important works from the areas of Dada and Surrealism (Marcel Duchamp, Francis Picabia, Max Ernst, René Magritte). Amongst the pioneering works of modernism to be found are André Derain’s Cowering Figure and František Kupka’s Nocturne, two of the earliest examples of conscious abstraction. The great ‘lone warriors’ who were committed to the human figure such as Pablo Picasso, Alberto Giacometti and Francis Bacon are represented with outstanding works and form an antipole to the abstractionists of the 50’s (Jackson Pollock, Ad Reinhardt, Morris Louis, Lucio Fontana, Piero Manzoni). Nouveau Réalisme is one of the focal points of the Hahn collection which was acquired by MUMOK in 1978, and the collection includes important works by Arman, François Dufrêne, Raymond Hains, Yves Klein, Martial Raysse, Daniel Spoerri, Jean Tinguely and Jacques de la Villeglé. César, Mimmo Rotella, Georg Baselitz, Niki de Saint-Phalle, Gérard Deschamps and Christo. Equally important in the collection are works from the Fluxus movement. Alongside numerous important works of Viennese Actionism the museum also holds extensive documentation in the MUMOK’s archive of actionism. A younger generation of artists is showcased in the 'MUMOKFactory', a separate exhibition space with a cinema, where the emphasis is on experimental media and performance art and several exhibition levels are used for special exhibitions. Visit the museum's website at ... http://www.mumok.at

The MUDAM Showcases "I've Dreamt About ~ Collection Mudam"

Written by Alice Gallagher Wednesday, 01 February 2012 21:50

Luxembourg.- The Musée d’Art Moderne Grand-Duc Jean (The MUDAM) is pleased to present "I've Dreamt About: Collection Mudam" on view through March 4th. The exhibition features works from the MUDAM collection by Vyacheslav Akhunov, Michael Ashkin, Chto Delat? / What is to be done?, Julien Grossmann, Steven C. Harvey, Filip Markiewicz, David Maljkovic, Chad McCail, Yves Netzhammer, Paulo Nozolino, Sven Johne, Philippe Parreno, Michel Paysant, Pavel Pepperstein, Nikolay Polissky, François Roche / R&Sie(n), Fernando Sánchez Castillo, Tomás Saraceno, Eric Schockmel and Judith Walgenbach. Exhibition on view until 4th of March. The societies we live in are the outcome of thinking; they take form, they are re-formed, they are transformed and they are revolutionized, above all by the mind. The idea of coming up with “realist utopias”, which may seem a paradoxical expression, is, indeed the feat achieved by those artists endowed with both daring and fantasy who invent worlds with unsuspected outlines, and whose works offset our most diehard habits.

So Tomás Saraceno has a go at the free flight game and imagines nomadic dwellings, inflatable structures which can be modulated and also make any idea of boundaries and circumscribed territories obsolete. Above the mere pleasure of conducting experiments, he invites us to shift the way we look at things, and think differently about the political world. Michel Paysant, for his part, metaphorically conjures up that space in the making which is the European Community, a burning issue if ever there was. For Peradam (project), he has thus pushed back the strictly administrative confines, and taken, samplelike, 55 bits of asphalt from different symbolic places, from Mitrovica bridge to the square where Frankfurt’s stock exchange stands, which he has then filmed in a slow continuous movement, like a changing organic entity. We find this same moving dynamic, forever gestating and evolving, in François Roche’s experimental work, and the R&Sie(n) research platform he has initiated. His multi-facetted maquettes propose novel models of urban expansion. He replaces the principle of city planning applying pre-established rules, by the dynamic of an organic development in which forms produce themselves, and thus become, not the outcome of a concept, but something generated by a principle of energy. Stimulated by the most unexpected architectural experiments, François Roche, together with the artist Philippe Parreno, has responded to the invitation of Rirkrit Tiranavija and Kamin Letchaiprasert - who have developed the The Land project in the very heart of Thailand, to wit a space of creation and life linked in with surrounding communities and connected to the whole world. They have duly come up with an open structure supplied with electricity by a buffalo’s power. A collective venture during which Tiravanija and Letchaipasert’s utopian project, R&Sie(n)’s forward-looking architecture, and Parreno’s film with its bewitching atmospheric poetry, The Boy from Mars, all emerge in a connected way, and reciprocally enrich each other.


The characters in Judith Walgenbach’s photographs seem informed by a similar spirit of quest and experiment, all given the distinctive signs of the perfect scholar as he appears in our collective imagination. Grey smock, the look on his face concentrated, and spectacles with severe frames, all at once alert to the world and isolated in their searches, they seem to focus on phenomena which the advances and techniques of science enable them to observe.

It is with the same ironical distance, with regard to the idea of scientific progress that, in 2009, Nikolay Polissky created the work Large Hadron Collider for the museum’s Grand Hall. Now on view outside, this sculpture with its fantastic cogs has lost nothing of its evocative power and its capacity to get us to dream. The series of drawings which preceded and went hand-in-hand with the execution of the project helps us to discover the many different developments of this machine which, though directly inspired by the same-named particle accelerator, and extremely complex, technologically speaking, bears the patina of time and is akin to certain rudimentary but fascinating ancient tools. For their part, Steven C. Harvey’s surprisingly subtle drawings, teeming with details, plunge us into a future with at times apocalyptic overtones. His complex compositions represent so many scenes which draw as much from a collective fount as from fantastic projections. For this artist it is not a matter of being visionary, but of staging visions in which man finds himself confined within an organized, not to say authoritarian system. Chad McCail’s seemingly more larksome, if schematic drawings also plunge us into a world governed by coercive “natural” laws, and the way it is packaged is such that any escape from it seems illusory: the various stages inexorably follow on, one from the other, in a cold progression.

This disenchantment seems to permeate the work of Michael Ashkin, who develops in space what might be vast desolate urban expanses, as are to be found in American cities. Through an anarchic succession of standardized dwellings, the flaws and cracks of our societies are drawn, in the negative. These societies are revealed in all their harshness, in the raw light of the lens wielded by Paulo Nozolino, a longhaul traveller who never stops globetrotting unto the planet’s farthest flung nooks. His candid eye, which makes no concessions but is not without propriety and delicacy, reveals an extremely sensitive portrait of humankind. Because, if various hope-inspiring utopias have informed our societies - Nous sommes tous indésirables (“We all are undesirable”) declares the work of Fernando Sánchez Castillo referring to May ’68 slogans in France - many of them have nevertheless been short-lived. Without counting those caught up in rigid ideological systems, which are themselves now vanished or cotested. Filip Markiewicz’s Mao Dollar, the video The Partisan Songspiel. A Belgrade Story by Chto Delat? / What is to be done? and Vyacheslav Akhunov’s collages involving the figure of Lenin all remind us of the not that distant era when the world was bipolar. So the exhibition I‘ve dreamt about symbolically mingles Thomas More‘s city of Amaurote and Jeremy Bentham‘s Panopticon, proof of the complexity of our societies and above all of the significance of the challenges putting the focus on both the hope and the dark side of our projections.


The Musée d’Art Moderne Grand-Duc Jean (The MUDAM) is the foremost museum dedicated to contemporary art in Luxembourg, and strives to be attentive to every discipline and open to the whole world. Its collection and programme reflect current artistic trends and appreciate the emergence of new artistic practices on a national and international scale. The building, which is the work of Sino-American architect, and Leoh Ming Pei, is a marvelous dialogue between the natural, historical, and modern environment. Standing against the vestiges of Fort Thüngen, it follows the course of the former surrounding walls, and is rooted in the Park Dräi Eechelen which offers magnificent views onto the old town. The museum is spread over three levels with 4,700 m2 of surface area dedicated to the exhibits. Construction was begun in January 1999 and MUDAM was inaugurated on 1 July 2006. The cultural aspects of the Mudam is based on a conception of art seen at a poetical distance from the world. Its key words are freedom, innovation, a critical mind, and all this, not devoid of humor. The programme favors every vector of expression while questioning our habits and our representations. It aims to capture not only a way of contemporary thinking, but also the aesthetic language of an age to come. The Mudam Collection bares witness to contemporary creation in all its technical and aesthetic forms, while remaining open to every other artistic discipline: painting, drawing, sculpture, photography, as well as design, fashion, graphic design and new media are all put on show. Resolutely anchored in the contemporary, the collection endorses poetic variations from the great masters such as Bernd and Hilla Becher, Daniel Buren, Blinky Palermo or Cy Twombly. The collection is devoted to international artworks as well as to local productions. Visit the museum website at : www.mudam.lu

This Week in Review in Art Knowledge News

Written by Editor, Art Knowledge News Tuesday, 31 January 2012 20:29

This is a new feature for the subscribers and visitors to Art Knowledge News (AKN), that will enable you to see "thumbnail descriptions" of the last ninety (90) articles and art images that we published. This will allow you to visit any article that you may have missed ; or re-visit any article or image of particular interest. Every day the article "thumbnail images" will change. For you to see the entire last ninety images just click : here .

When opened that also will allow you to change the language from English to anyone of 54 other languages, by clicking your language choice on the upper left corner of our Home Page.  You can share any article we publish with the eleven (11) social websites we offer like Twitter, Flicker, Linkedin, Facebook, etc. by one click on the image shown at the end of each opened article.  Last, but not least, you can email or print any entire article by using an icon visible to the right side of an article's headline.