king of inkland body artiste adh300

king of inkland body artiste adh300

Zilahi5325    May 01, 2023    Comment   

Birmingham recently took the crown of being Britain's most tattooed city with almost half of its adult population going under the needle!

The majority of the tattooed population also boast between 11-15 designs. However Birmingham local Matthew Whelan has ink game like no other, he is after all Britain's most tattooed man!

From Bordesley Green, Birmingham, Whelan has spent an incredible £40, 000 on his tattoo transformation so far. Covered head to toe in tattoos Whelan has even legally changed his name to 'King of Inkland King Body Art The Extreme Ink-ite'... he goes by 'Body Art' for short!

Britain's Most Tattooed Man Could Lose Arm After Knuckle Duster Implant 'to Reflect Days As A Fighter' Goes Wrong

Not one to do things by half the King of Inkland has even tattooed his eyeballs and had his nipples cut off to make for a smoother canvas on his chest!! But don't worry, he keeps them in his freezer!!

'My eyeballs are stained, it's also known as an eyeball tattoo. I've got pirates on me, aliens on me and I've got a blue penis. My penis is blue.' 

Since his tattoo transformation Whelan has found it increasingly difficult to find work, or even find employers who take him seriously. Yet undeterred by the stigma he has faced Whelan plans to go into business for himself and currently spends his spare time volunteering as a Liberal Democrat Activist. Although the discrimination he has faced because of his looks has caused him great frustration.

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'There are [body] modified friendly companies. But the majority are like: "Look at these people! You look different from everyone in our office. You're different. You don't fit our criteria. We're not employing you." That's frustrating.'

However it is not just employers Whelan has found reluctant to accept his extreme look, his father Patrick has found the transformation of his son hard to accept and worries it may impact any future career.

'I've never understood it and he knows I've never understood it... 'I can't come to terms with it. But I've accepted it. I'm not happy with it. I'd love him to be the son that I knew but he has chosen his own way of life.'

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The King of Inkland is certainly one of a kind and while being the most tattooed man in Britain is quite the title the prejudice he has encountered because of it makes you question whether it's worth it. Though at the end of the day extreme body modifications don't change who you are as a person and people should look past the ink.Matthew Whelan - who changed his name to King Of Inkland King Body Art The Extreme Ink-ite – has mixed feelings about his extreme appearance always drawing attention.

The UK's most tattooed man says he is frequently pointed and stared at by unnerved children who call him 'scary' for his outlandish look.

Matthew Whelan - who changed his name to King Of Inkland King Body Art The Extreme Ink-ite – says he has mixed feelings about his extreme appearance always drawing attention.

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But the 42-yer-old admits it is understandable and to be expected, as a face covered in inkings is admittedly a rare sight to most people.

“As a species humans are quite judgemental anyway, not everyone will be but it’s just in our DNA and the nature of the beast.

“It depends where I am in the world but it can even happen on my own doorstep if there’s someone I don’t know or if it's a child."

The World's Most Tattooed People Took Their Body Mod Obsession To The Extreme

“But generally the feeling of being scared is you would run away and hide - but instead the kids are just staring and ogling so I’m not really a scary man to them.”

Body Art, from Birmingham, said: “Do I like it? Yes and no. It is a strange thing because I would like to be a colourful shadow just blending in but when you are a big colourful comedian like me it is hard.

“On a night out for example you want to give people the courtesy if they ask a question but when you’re out with your friends and they have heard the questions a thousand times it gets a bit much.”

Inside The Life Of Britain's Most Tattooed Man

The tattoo fan, who was stabbed in 2009 over his body art, added: “People stop and ask me questions for five minutes but when you have those conversations 100 times a night it adds up.

And as for online trolling, he said: "People will post a load of crap on my pictures sometimes just because my appearance is different – but I'm a bouncy character and it doesn't really affect me."

Body Art wanted to get tattoos ever since he was nine-years-old - but he said he never intended to become Britain’s most tattooed man.

Britain's Ink Land King Body Art The Extreme Ink Ite Has 3d Skull Implanted In Chest

He got his first one aged 16 and said he was influenced after travelling overseas to New Zealand and Australia as a child to visit family.

“I’ve never been good at drawing but I just love the fact that art can go on the body, ” Body Art, who grew up to be Britain’s most tattooed man, concluded.

PoliceYoung woman ‘raped’ in Edinburgh's Princes Street Gardens as cops lock down sceneOfficers are investigating after a 20-year-old woman was allegedly attacked in Edinburgh's Princes Street Gardens at around 3.45am on Monday, May 1.

Gory Pictures Of Some Of King Of Inkland King Body Art The Extreme Ink Ite's Procedures

Members of the public are being told to stay away after emergency services were called to the scene in Thurso at around 3.30am on Monday.

The 47-year-old, from Arbroath, was travelling in a grey Porsche 911 Carrera when the smash occurred at roughly 5pm on the B954 between Alyth and Meigle.

Police ScotlandScots cops hunt man with 'tattoos under both eyes' after daylight attack by pair of thugsPolice are also hunting a red-haired teenager who is believed to have been involved in the attack.

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State PensionMarried people over State Pension age could be due weekly income boost of up to £306 this yearNew claims for Pension Credit made before May 19, could also qualify for the £301 cost of living payment.

The 45th president, who announced he will be running for a second term in 2024, touched down in Aberdeen at 11.25am on board his private Boeing 757 jet, nicknamed Trump Force One.

Christopher Ireland, who was found dead in his flat in Dundee, "unlawfully" withheld £4, 890 from an employee in the months before his death.

Birmingham Tattoo Man King Of Ink Has Skull Implant In Chest

Beale admitted there was going to be a massive summer of change as the Ibrox side's season was ended by rivals Celtic at Hampden.

The 45th US president, who lost to Joe Biden in the race to be elected in 2020, touched down at Aberdeen Airport at around 11.25am with his son Eric.

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body art ufc scheduled for sale online

Zilahi5325    April 30, 2023    Comment   

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Brightside body art adrienne grew up around tattoos and body modification she got her first tattoo at 15 she started piercing right after college and apprenticed to tattoo shortly after she loves when her clients have exciting new ideas for their body art being a tattoo artist in a constantly evolving industry is her life and passion

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evolve body article about lifelong

evolve body article about lifelong

Zilahi5325    April 30, 2023    Comment   

If there is one phrase that is most universal in teacher-prep programs, it’s probably “lifelong learner.” And it’s true—when we head off to our first teaching assignment, we are not finished learning by a long shot. In fact, the journey is just beginning. But what we don’t often hear is that part of being a lifelong learner is evolving not only in

Futurist Alvin Toffler famously wrote, “The illiterate of the 21st century will not be those who cannot read and write, but those who cannot learn, unlearn, and relearn.” As educators we should be continually evolving in the practice of learning.

1. Reframe our mindset. Education reformer Dylan Wiliam says, “If we create a culture where every teacher believes they need to improve, not because they are not good enough but because they can be even better, there is no limit to what we can achieve.”

The Lifespan Perspective

One strategy to unlearning is to embrace the mindset of continuous improvement. In our ever-changing world, the way we learn needs to continuously adapt to leverage new possibilities, not because we aren’t good enough but because we have even more opportunities to be better.

To be clear, we, as educators, aren’t the only ones who need to be unlearning and relearning. In fact, one of the biggest challenges we can face in the shift from more teacher-driven practices to learner-driven practices (e.g., project-based learning) is the pushback from kids who are used to learning a certain way, especially if they have mastered how to do what is needed to get that “A.” Both kids and adults can iterate, continuously improving and evolving as learners.

2. Be less helpful. I can imagine the visceral reaction some may have to the title of this section. It is often part of our identity as educators to be helpful, provide answers, and solve problems. However, when we burden ourselves with that hero mentality, we can miss out on the opportunity to learn from others, and we aren’t building capacity in others. We don’t want to rescue, we want to strategically insert ourselves.

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We also have to be brave enough to say, “I don’t know, and I’d love to learn that with you.” With both kids and our peers, we need to (cue Aaron Burr in

3. Ask more questions. I will date myself here, but I’m old enough to remember a time when if you needed information, you had two choices: find someone who knew a lot or head to the encyclopedia.

Now we have a portal to information in our pocket, but with that comes new challenges such as finding and validating information to avoid confirmation bias and get out of our filter bubble. We need to evolve the way we learn because the world has evolved, and we have new and different opportunities to learn now.

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When we move outside our building and our role/content area to gain a new perspective, there are even more options. We can use social media, read, and listen to podcasts. Here are some great examples. This shift to asset-based thinking is critical to embrace the robust options as we move forward.

Many of us spent our formative years with a teacher exclusively lecturing at the front of the room while we remained quietly and passively seated in rows to absorb information, but in the immortal words of Maya Angelou, “When you know better, you do better.”

? This is an entertaining look at how neural pathways enter into the process of unlearning. Before that, though, how do we even know what we should unlearn?

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In the book Evolving Learner, my coauthors and I share how learning from kids, peers, and the world (our learning network) gives us the social and emotional support to be strong enough to be vulnerable. A cycle of inquiry, such as

, provides a structure to challenge our beliefs through action research. The two combined give us the capacity to learn, unlearn, and relearn as needed. As adaptive experts, we can do the following:

This is an ongoing, iterative process. We will almost certainly fail along the way, but that is a natural part of this messy, nonlinear, and sometimes scary process.

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Last year, organizational psychologist Adam Grant tweeted, “What we need in leaders is not confidence, but confident humility.” Whatever our role is in education, we are all leaders, and as someone who battles with impostor syndrome, I try to leverage that humility, but I also need confidence to move forward.

Somewhere between paralyzing impostor syndrome and insufferable arrogance, there is a sweet spot, and using the strategies shared above, I believe we can find it. We can challenge ourselves to continuously learn, unlearn, and relearn. When we make ourselves better learners, we are also better teachers, and we model to kids what it means to evolve as a learner.

When we move outside our building and our role/content area to gain a new perspective, there are even more options. We can use social media, read, and listen to podcasts. Here are some great examples. This shift to asset-based thinking is critical to embrace the robust options as we move forward.

Many of us spent our formative years with a teacher exclusively lecturing at the front of the room while we remained quietly and passively seated in rows to absorb information, but in the immortal words of Maya Angelou, “When you know better, you do better.”

? This is an entertaining look at how neural pathways enter into the process of unlearning. Before that, though, how do we even know what we should unlearn?

Lifelong Learning Is The Way To Overcome Disruptive Economic Forces

In the book Evolving Learner, my coauthors and I share how learning from kids, peers, and the world (our learning network) gives us the social and emotional support to be strong enough to be vulnerable. A cycle of inquiry, such as

, provides a structure to challenge our beliefs through action research. The two combined give us the capacity to learn, unlearn, and relearn as needed. As adaptive experts, we can do the following:

This is an ongoing, iterative process. We will almost certainly fail along the way, but that is a natural part of this messy, nonlinear, and sometimes scary process.

A New Educational Framework To Improve Lifelong Learning For Cardiologists

Last year, organizational psychologist Adam Grant tweeted, “What we need in leaders is not confidence, but confident humility.” Whatever our role is in education, we are all leaders, and as someone who battles with impostor syndrome, I try to leverage that humility, but I also need confidence to move forward.

Somewhere between paralyzing impostor syndrome and insufferable arrogance, there is a sweet spot, and using the strategies shared above, I believe we can find it. We can challenge ourselves to continuously learn, unlearn, and relearn. When we make ourselves better learners, we are also better teachers, and we model to kids what it means to evolve as a learner.

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body art mercato saraceno restaurant supply store near me

Zilahi5325    April 29, 2023    Comment   

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daysmart body arthur tv series cast

Zilahi5325    April 29, 2023    Comment   

Developed by Kathy Waugh for PBS, and produced by WGBH. The show is set in the fictional U.S. city of Elwood City, and revolves around the lives of Arthur Read, an anthropomorphic aardvark,

The television series is based on the Arthur book series writt and illustrated by Marc Brown. WGBH Boston along with Montreal-based Cinar (now WildBrain) began production of the animated series in 1994, and aired its first episode on October 7, 1996.

A pilot for the spin-off series Postcards from Buster aired in December 2003 as a season 8 episode of Arthur. Postcards from Buster aired from October 11, 2004, to November 21, 2008; the series faced several years of hiatus, until a brief revival in February 2012, only to be cancelled after airing three unse episodes that had be held over from the show's third season.

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Arthur concluded its original run on PBS Kids on February 21, 2022. Despite concluding after 25 years, the show will continue to have new contt on PBS Kids and on the video app.

And autism spectrum disorder. It also courages reading and relationships with family and frids by explaining that people have differt personalities and interests.

It was the longest-running childr's animated series in the U.S., and is the third longest-running animated series in the U.S., behind Comedy Ctral's South Park.

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Arthur Read, the series' titular character, is an anthropomorphic brown aardvark who lives in the fictional town of Elwood City. He is a third-grade studt at Lakewood Elemtary School. Arthur's family includes two home-working parts, his father David (a chef) and his mother Jane (an accountant), his two younger sisters, Dora Winifred (D.W.), who is in preschool, and Kate, who is still an infant, and his dog Pal. Arthur also has several frids who come from diverse ethnic and socioeconomic backgrounds, and he also occasionally meets with members of his extded family.

Elwood City is portrayed as a largely suburban area which bears a strong resemblance to the Boston area; the TV series is partially produced by WGBH. There are also firm referces to Brown's hometown of Erie, Pnsylvania. Most notably, the local shopping mall in the TV show is called "Mill Creek Mall", a referce to Millcreek Mall. Brown himself stated that the series is influced by his upbringing as a child in Erie, and specifically noted that Mr. Ratburn is based on a middle-school algebra teacher he had at Westlake Middle School.

In 1994, Marc Brown was approached by WGBH and PBS about the possibility of adapting the Arthur books into a television series. Brown was reluctant at first to become a part of a medium for which he had little respect, but soon agreed wh he learned that the objective of the television series would be to use the powerful medium of television to courage childr to read books.

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Although the program was primarily writt and produced by WGBH of Boston, the production of the animation and voice acting were done in Montreal, Toronto, South Korea, and Hong Kong. The animation of the show was done at AKOM Production Company from season 1 to 11, th at Animation Services (HK) Ltd from season 12 to 15. The tire cast of Arthur lives in Montreal or Toronto, where Cookie Jar tertainmt's studios are located. The only segmts of the show that were filmed outside Canada were the "A Word from Us Kids" interstitials, filmed at elemtary schools or other educational sites in the Boston area. Beginning in Season 11, the "A Word From Us Kids" segmt was replaced by a segmt called "Postcards from You", where live action videos st in by young viewers were spotlighted per episode, and th replaced with "A Word from Us Kids" in season 12. The segmts are omitted from all airings outside the US.

Marc Brown's childr, Tolon, Eliza, and Tucker, are referced in the show several times, just as they are in the Arthur book series. For example, the town's moving company is called "Tolon Moving", and everyday items such as cups or pcil sharpers have the word "Eliza" printed on them. Referces to Cookie Jar tertainmt and WGBH also appear oft on the show. In one episode, Francine and Buster are shown playing a table hockey game in which one team's players wear shirts in the Montreal Canadis' signature colors with Montreal-based Cinar's logo on them (Cinar was the predecessor to Cookie Jar tertainmt) and the other team's players wear shirts in the Boston Bruins' colors with Boston-based WGBH's sting logo on them.

Also, in the episode "The Big Blow-Up" in Season 2, a racecar driver wears a jersey with "Cinar" writt on it and a car with "WGBH" writt on it. In the episode "Prove It" in Season 4, Brain introduces D.W. to scice while watching a live-action episode of Nova, a scice series also produced by WGBH. Brown's son Tolon, for whom Brown first invted the character of Arthur the Aardvark in a bedtime story, was the executive director of the show.

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It was revealed that both the chairman Micheline Charest and presidt Ronald Weinberg invested $122 million (US) into Bahamian bank accounts without the board members' approval. Cinar had also paid American screwriters for work while continuing to accept Canadian federal grants for contt. However, Arthur itself was not involved in the scandal as it was publicly known to be co-produced with an American company. Head writers Joe Fallon and K Scarborough left around that time, but not because of the scandal; Fallon left about a year before the investigation began.

Following the departures of Charest and Weinberg, former CBC and YTV executive Peter Moss took over Cinar, assuming Charest's former position on the show as an executive producer alongside WGBH's Carol Grewald. By season 7, Moss had left Cinar to join Nelvana as a developmt executive, and financial director Andrew Porporino took his place as executive producer. He was replaced by longtime producer Lesley Taylor in season 8.

In the Season 14, the series began producing and airing episodes in 1080i HD. However, until October 15, 2012, in the U.S., the episodes still aired in 4:3 aspect ratio, with the left and right sides cropped out. They have since begun airing in 16:9 on October 15, 2012. Season 12 also marked the switching of animation studios from AKOM to ASHK. Starting with season 16, the series was produced by 9 Story tertainmt (now 9 Story Media Group) and aired in 16:9 aspect ratio. Alongside this change, 9 Story produced a re-mastered oping theme for the series in 16:9, and animation was moved in-house using Adobe Flash. Season 19 was the last season to be produced by 9 Story, with Montreal-based-Oasis Animation taking over starting in season 20.

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In November 2018, Bruce Dinsmore (voice of Binky, Mr. Read, and Bailey) revealed that he has finished recording the final episodes in advance.

The TV show's reggae-style theme song, "Believe in Yourself", was writt by Judy Hderson and Jerry de Villiers Jr. and was performed by Ziggy Marley and the Melody Makers. A remixed techno version of the song has be officially released on the third album and a shorted version has be played during the closing credits for the sixth season. The Backstreet Boys covered the song with the original instrumtals for the ding credits of television special Arthur: It's Only Rock 'n' Roll.

In season 2, the song "Crazy Bus", writt and performed by th-head writer Joe Fallon, was introduced. It served as the alternate anthem of the television series. Cellist Yo-Yo Ma and jazz composer Joshua Redman covered the song on the ding credits of the season 4 finale episode, "My Music Rules". Wh Joe Fallon left Arthur after season 4, the song was officially retired from the show. The show mtions to this on the TV special Arthur: It's Only Rock 'n' Roll wh D.W. says, "Crazy Bus is for babies; I know a million better songs."

Style Magazine, November 2022 By Akers Media Group

Many celebrity guest stars have appeared on the show, each providing the voice for their anthropomorphic animal counterpart, except for Joan Rivers, who played as Francine's maternal grandmother. Lance Armstrong and Joan Rivers are the only guest stars to make more than one appearance on the series.

(Clockwise from upper left): Brain, Binky, Sue Ell, Francine, Muffy, Buster, Prunella, George, Arthur, Baby Kate. From the episode, "That's a Baby Show!"

Arthur's immediate family is the focus of the series, with most episodes involving Arthur, his younger sister D.W., their parts David and Jane, Baby Kate, and their dog, Pal. Arthur's closest frids include Buster, Francine, Muffy, Binky, Brain, and Sue Ell, along with others such as Fern, Prunella, Jna, and George as frequt supporting characters.

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The adults in Arthur play important roles: Mr. and Mrs. Read display a significant amount of stress from parting, Arthur's frids' parts are shown struggling in middle-class jobs, and Mr. Ratburn dures the demands and expectations of teaching elemtary school. Ev in difficult, adult situations, these grown ups maintain a cheerful attitude. Arthur, D.W., and Kate also visit their paternal grandmother, Thora Read, and maternal grandfather, Grandpa Dave.

Unlike most animated television series, Arthur

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body art insurance policybazaar logo

Zilahi5325    April 20, 2023    Comment   

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Body art definition an artistic practice or style of the 1960s and 1970s developing from conceptual art and performance art and utilizing the artist s body as both the subject and object in such experimentation as decoration wax casts and even mutilation

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Zilahi5325    April 20, 2023    Comment   

Joan Simon has worked as a writer, editor, and curator over the past 30 years. Of her approach to researching subjects, Simon observes, “I take a bath in it. Get immersed in it. And then see, feel, sense, think about, what’s there, the details as well as emerging patterns, and follow-up with further research.” Anne Sherwood Pundyk spoke with Simon this March in Paris. Their far-ranging conversation came as she was completing her monograph on performance art and video pioneer Joan Jonas,

Simon traced her own girlhood focus on books and biographies, along with dance and theater, to an early embrace of conceptual, performance, installation, and video art in New York City in the 1970s. Starting at age 25, Simon was managing editor for 10 years at

. Her work in magazine and independent publishing led to endeavors as editor and author of monographs and exhibition catalogues devoted to such artists as Bruce Nauman, Ann Hamilton, Susan Rothenberg, Alexander Calder, Gordon Matta-Clark, Jenny Holzer, Rosemarie Trockel, and Sheila Hicks. Among her exhibitions are

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Anne Sherwood Pundyk (Rail): I am intrigued by the breadth of your work and that the touchstone throughout is putting your experiences and responses into written form.

Joan Simon: The thread that goes through is research, and making the research public in different ways, in print and later in film, and exhibitions—with their intimately related catalogues, brochures, labels, text panels, press releases, not to mention initial project and grant proposals. The process of publication, that is, making something public in any of many forms, begins with trying to figure out something for myself, sorting out questions that other viewers likely share. I identify more with being a member of the audience than with being a writer. So writing, including doing in-depth interviews, became a tool for exploring subjects that I thought were important and that I wanted to know more about. This led to travel to see things, to work with artists and in archives, and to search primary documents and to develop them through interviews.

Simon: The research, if you could call it that, began when I was living in New York, going to galleries, living downtown, being in studios, seeing performances in alternate and artists’ spaces, and attending many poetry readings. That’s one, living it. Two, working at

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I can’t think of a more perfect working situation. I went to work there just when Betsy Baker was hired as the editor. She hired me as the managing editor when there was a very small staff. Everything—from the way ideas were approached to how assignments were given to writers, to how the manuscripts moved through the editing process and into layout—was done with a real care, a sense of tending, questioning, respect, attention, and pleasure. Conversations between the editors and the writers, and among the editors, had this same sense. There was a rigor, along with an openness to many different voices.

Simon: The contributors had many different perspectives, as did the editors. There was a balancing out, or actually an acceptance of differences in the debate among the staff. You couldn’t have people more different than Scott Burton, an artist and formerly a critic who could be tremendously intimidating and fierce in his likes and his dislikes, and in the way he would edit a manuscript and curl it up in his hands and almost wear it out. Or poet and critic Peter Schjeldahl, who could put a piece of paper into his typewriter, look at the manuscript submitted, and then type it out from beginning to end and do his editing that way, copy editing and often rewriting as he went along. Or later Roberta Smith and Craig Owens, one who focused on the experience of looking and the form of an essay, the other a theoretician and historian, each very different from the other, and both terrific writers and editors. Sarah McFadden, who has had a long career as writer and editor, was at the outset the assistant to Betsy.

Simon: It worked both ways. A writer could propose a subject, or Betsy might offer a selection to choose from. Periodically, Betsy would conceive special issues, some of them thematic, some on different regions. For example, one was focused on Washington, D.C. (July/August 1976), and Betsy asked me to go there to interview two curators who had recently moved from California: Brenda Richardson and Jane Livingston. Oddly, given the work I was later to do, the title of it was “Tending to Art in Washington and Baltimore: The Itinerant Curator and the Museum.” It was the first interview I ever did. I learned that it’s not the questions that are so important, it’s more listening to see where the conversation is going, and being prepared well enough to be light on your feet to follow whatever turns up, and keep going. Then it’s important to follow-up on questions that become apparent to you only after you’ve read the first rough draft of an interview and have some distance.

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, the art world was in the early stages of its current plurality. The magazine covered this, but also followed the relation between European and American Modernism.

, 1976/2005. Six videos (black and white, sound and silent), props, stages, photographs, Duration variable. Collection the Museum of Modern Art; Gift of Richard J. Massey, Clarissa Alcock Bronfman, Agnes Gund, and Committee on Media Funds. 62.2009.a-hh

Simon: A key issue in magazine publishing is covering what is exhibited publicly and in a timely way. So, in one sense,

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Responded to what was in the galleries and the museums. It didn’t review from studios, so that’s already a defining criterion. The other thing to keep in mind is that in the early ’70s especially, there were many different alternatives developing—later sometimes called artists’ spaces or alternative spaces, as well as a whole genre of diverse artists’ books. There was not only a resistance by artists to authorities determining who would show and where, or a reaction to what was not being shown, but also a valuing of the temporal, rather than the “art object” itself. All of this is also related to the fact that there was a recession. There was no art market to speak of for young artists, and many of the works were in any case deliberately ephemeral. Some artists exhibited their work in galleries; others were working for each other and showing in other downtown spaces, often artist-run, whether sculptors or painters, process or conceptual artists, musicians, dancers, performers, or video-makers, and they also often worked collaboratively or took part in pieces by friends. Video was just beginning to be used. Artists were also working outdoors, in sites claimed in cities, and not only in faraway places for monumental earthworks. Important exhibitions were taking place in Europe, and artists traveled there to install works or build them on site, and the magazine followed. I wrote about

At the same time there were artists’ books—alternative small publications that were inexpensive to produce by offset printing, and that were distributed widely, often for free. Given that I knew how to set type and print things, and had published small press poetry editions, and prior to

Had been working at a trade art book publisher, I continued to publish poetry and artists’ books on my own. One of them wasn’t initially a book per se, or even a pamphlet; it was the newsprint sheets of

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By Gordon Matta-Clark, which was exhibited in bundles, or tacked to walls, and then with the sheets sliced published as an artist’s book. On a personal note, an important part of this other literary track is that I lived in New York with a poet, Ted Greenwald; we had been together since 1968 and married in 1971. With him, throughout the ’70s, I was part of the poetry world centered around St. Mark’s Church. There was a circulation of ideas and crossing of media that goes back to your question about the beginnings of a kind of pluralism. The whole idea of being a professional or having a career wasn’t in the air. You did what you did and one thing led to another. Having worked in magazine publishing, small press publishing, and pamphlet publishing, I started a publishing company with two poets.

Simon: Full Court Press. It began with a conversation with Anne Waldman about the gap between the small press publishers and the trade book houses, so Ron Padgett, Anne, and I started Full Court Press in 1974, and ran it until 1989.

—Bill Berkson, John Ashbery, Peter Schjeldahl. Edwin Denby was a dance critic, and of course there is a very long tradition in Europe and the U.S. of poet-critics. There were also artists who were or had been writers or critics—Donald Judd, Mel Bochner, Scott Burton, Adrian Piper, Rackstraw Downes. And there were poets who became artists, among them Vito Acconci and Laurie Anderson. Early on, Laurie also wrote for art magazines. Artists were also founders of and writers for

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Simon: In some cases, we put together larger collections of a poet’s work that