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Dr. Schneider: Dr. Leahy, thanks for joining us this morning. Today we are going to explore some new concepts and new understanding about diabetes and pathophysiology of diabetes. And really the relevance to the primary care community, and I look forward to understanding where we should be going as a primary care community in thinking about how to best take care of our patients, from a patient-centered approach. So kind of off the bat, I'm wondering in the paradigm of the past we used to think that Type 2 diabetes was one that really was related to insulin resistance and the beta cell itself was viewed very much as a secondary player in the pathophysiology. My understanding of that is our knowledge of that has actually shifted a little bit. Can you give us just a little bit of background about the current thinking relative to what's going on in Type 2 diabetes?
Dr. Leahy: So the question starts with history and that's actually a wonderful way to do it. The average provider ten years ago when many researchers were focused on the role of insulin resistance in this disease because clearly it was a disease of the older folks, the heavier folks, the ethnic populations where there was more obesity and there was an enormous amount of research that was being done, much of it focused in the United States on defects in insulin signaling and insulin resistance, and as an aside, measuring insulin resistance in patient populations was a little more of a doable prospect ten years ago in clinical research studies. So everybody knew insulin resistance was important in the disease, and that has not changed. This is clearly a disease of insulin resistance, and the reason that it's expanding around the world is because worldwide people are westernizing and getting happier and fatter and moving away from working on farms and working in offices and gaining weight and eating terrible things and all of that's related to worsening insulin sensitivity. The change that occurred, I think … and your timeframe is good … ten years ago was a sort of simple understanding of a lot of beta cell researchers who basically said, "Well, sure, but there's an awful lot of people out there with insulin resistance who never get diabetes. So what's that all about?" And for the clinicians who would go see patients in the hospital who were having a gastric bypass obviously were enormously insulin resistant. No one would debate that. But they didn't have diabetes, so how does that work? And the simple answer is we now skip ahead ten years and there are epidemiological studies, there are basic science studies, there are many intervention studies using different kinds of drugs and there are the newest genetic studies that have all highlighted that for people who get Type 2 diabetes there has to be something wrong with their beta cells. They can't compensate to the kind of metabolic stresses that are out there and are worsening and, in fact, these studies when they're really carefully done and when they're sort of clever trying to move earlier in time to study people before diabetes, before pre-diabetes and when people are still normally glucose tolerate who will eventually go on to get this disease, there's already demonstrated defects in beta cell function and probably a reduction in beta cell mass. So I think the way to look at this is researchers these days consider this really kind of a two-hit disease. You have to have some kind of compromised beta cells at the earliest stages of the disease, and if you don't face metabolic stresses maybe you'll be fine your whole life. But as these metabolic stresses or other issues come along, your beta cells can't compensate and then the slippery slope starts that gets us to the clinical disease that our primary care doctors deal with.
Dr. Schneider: Well, that's a wonderful overview and I'm wondering if you can tell us a little bit about actually what's occurring in the pre-diabetes stage at the beta cell. I understand a little bit about glucose toxicity, fatty acids, oxidation issues. Can you give us just a little bit or a primer as to really what is the beta cell experiencing in that phase?
Dr. Leahy: Yeah, so it's so interesting because your question is a spectacular question, but it's also a little bit dated because in some respects we've even moved earlier in our thought process trying to define what's happening at even earlier stages of the disease, before blood sugars even reach the pre-diabetes stage. And probably one of the most important research accomplishments are genetic studies -- the ability to start to do very, very precise genome-wide genetic studies -- and Type 2 diabetes has been right up there at the beginning with these kinds of studies. And as it stands right now we have at least 20 genetic mutations that have been identified to raise the risk of Type 2 diabetes. There's some debate about a few of these, but most of them appear to be in the beta cell and appear to be related to either impairing beta cell function or beta cell mass. So that's probably where we start, and I think a lot of people think that maybe people who carry these mutations either don't grow enough healthy beta cells early in their life or the beta cells they do have are just not normally functional. They're, just, they're kind of there, they're okay at that stage of that person's life, but not later. And so, something has to happen later. And what happens later is either an ongoing process of these either genetic or environmental defects so maybe the genetic defect makes beta cells die earlier than they ordinarily would. So that's speculation, but someone reaches an age where beta cell mass has slowly been falling and it reaches a stage when even in a normal environment it just can't keep up anymore. Or alternatively, it may be that these metabolic stresses you're talking about -- as one gets heavier and exercises less and eats more of a western diet, then we face all sorts of metabolic issues potentially related to things like increases in free fatty acids or other lipid-related detrimental effects. It could be related to the beginnings of a rising glucose that is fairly modest, but from a cell point of view is not modest at all in promoting oxidative stress or endoplastic reticulum stress. It could be other kinds of environmental factors we haven't even identified. I mean, I think there is some feeling out there may be toxins in the environment or some other environmental issues that are actually detrimental to beta cell function. So early in the course of the disease these metabolic changes that we're all now facing as we westernize put more of a stress on beta cells. Probably the best legitimized concept is as beta cells compensate and work, in some people that becomes overwork and that actually leads to a beginning of the end which is beta cells compensate, but they can't do it long enough, they start to fail and that's the initial part of the slippery slope. So there's a lot of concepts out there not still a lot of definitive information how beta cells go from being able to compensate to fail.
Dr. Schneider: And I think you gave us a really wonderful glimpse into the future and a very important reason why primary care docs need to stay in touch with evolving literature -- genetics is where we're going to go. Right now we're not dealing with genotypes rather we're dealing more with phenotype and really thinking about patients and how they're presenting metabolically. And that was the second half of your answer really and I think why we, in primary care, are really seeing -- patients who are overweight, potentially having the full-blown metabolic syndrome -- and try to best care for that population. As far as the average primary doctor, is there, or are there, any tests that we should be thinking about to really gauge the sensitivity of the beta cell -- the current function of the beta cell specifically -- or should we be thinking more looking at fasting blood sugars or looking to screen for impaired glucose tolerance. What really should we be doing, I guess in primary care today to look at beta cell physiology? Is there anything that is orderable or should be ordering?
Dr. Leahy: So it's a spectacular question and if you think about it science has sort of moved beyond or faster than what we do in clinical medicine. So, you know, I can talk to you about the pathogenesis of the disease. I can talk to you about too much glucose production from the liver, defective beta cell function, insulin resistance of peripheral tissues. The reality is we measure none of those in a clinical setting. In fact, there are not specific tests that a doctor can easily order to really quantify any of those. And, in fact, the surprising and really almost silly answer to your important question is probably the best test we have right now to assess the adequacy of beta cell function is a blood glucose. Because the reality is if you get someone who's insulin resistant -- like a pretty big guy who comes into your office --who doesn't have diabetes, if you measure an insulin level it's going to be really generous. It's going to be high because he's compensating for insulin resistance. Alternatively, if you have a little grandmother who comes in who weights 95 pounds who also has normal blood sugars if you measure an insulin level or C-peptide for her it's going to be really small. It might even be below the normal range because, again, she's so insulin sensitive she doesn't need a lot of insulin. So you can't simply measure in absolute terms a measure of insulin secretion or C-peptide and think that's going to tell us much. The reality is if a glucose value is above a target range than there's something wrong with beta cells and that's probably a fairly gross way to think about this.
Dr. Schneider: It's a very simple one and very easy to understand. So why is it then important if we can't measure beta cell function; if all of these bench top studies really are not necessarily something that can be directly linked to something that primary doctors can be acting on -- why then is the pathophysiology of diabetes and a better understanding of that important and relevant to the primary care doctor and the patient. I think it is very relevant, but what's your perspective? Why should we care as a primary care community about really what's going on at the beta cell level?
Dr. Leahy: So it's a multidimensional question that's going to get several different kinds of answers and I think the most immediate one is I'm just a true believer that our primary care community will be more knowledgeable and be more effective if they better understand at the genesis of such a common disease and start to think about contributing factors that may improve or worsen blood glucose values based on that understanding and also be prepared for effective use of all the drugs we have. I mean the thing that's so interesting in our world is that we went from having almost no drugs for treating Type 2 diabetes to an explosion of drugs over the last ten years. In many ways I think the future will be starting to think about using drugs based on presumed pathophysiological benefit as opposed to simple habit – will I do drug A, then I do drug B, then I do drug C. And I am convinced that there will be a day and I don't think it's light years away were we will be using genetic information to define what drug therapy is potentially going to be most effective in that individual, what other kind of interventions. So that's sort of the big picture. I think also from our grooming of the next generation of primary care doctors, their approach to disease, not just diabetes, is very much going to be pathophysiological based and they will have tests available to them that we don't use today. So even though we don't currently test an insulin level, because I don't think it really tells us a lot, I have no doubt that there will be tests in the future that are legitimized at different stages in the disease that are based on either dynamics of insulin secretion or secretion of other kinds of factors or coordinated looking at different kinds of metabolic testing and putting it together into kind of nomagrams that would make us more effective in thinking about the disease. And then finally, I think as one just talks to a patient we in some respects have to get away from the concept, "Oh this is a disease of insulin resistance. Oh, you've struggled with your diet and exercise your whole life." "Oh," don't say to the patient, but in your mind think, "You're just fat and the problem is if you took better care of yourself, you know, you wouldn't be dealing with this disease." That's not always correct. I mean there is this genetic imprinting that people carry. There are environmental factors that negatively impact different aspects of glucose control physiology -- one of them beta cells. The concept: why is there so much diabetes in developing populations? Well, you know, there's a real idea out there that maybe malnutrition early in life has negatively imprinted beta cells so they don't develop properly. And that could be a huge public health issue for the future. So, I think the general issue right now is to prepare our doctor population for the future, but also to make them more effective about how they communicate the pathogenesis to the disease, how they start to think about interventions and how they try and balance all these different drugs that are out there as to which might be most effective for the patient who's sitting in their office.
Dr. Schneider: Well, I very much appreciate that. I'd like to conclude by, first of all, thanking you. I think your answers were extremely concise and clear and helpful. Thank you for spending time with us today and we appreciate your comments.
Dr. Leahy: So it was a pleasure. Thank you very much.
Quantification of the relationship between insulin sensitivity and beta-cell function in human subjects. Evidence for a hyperbolic function.
Quantitative estimation of the pancreatic islet tissue in diabetic subjects.


and true that time stands still?
A love so pure that angels stop and marvel?
Went envying her and me."
I saw such a love.
It is a love that will last for all time.
Marge moved into the next world and left Mark behind..
But the truth is Mark never lost Marge and Marge never lost Mark.
To love the pain of too much tenderness.
To bleed willingly and joyfully.
Heart and a song of praise upon your lips.
Something most men will never understand.


What words can you make with mesprize?
An unofficial list of all the Scrabble words you can make from the letters in the word mesprize. Anagrams and words you can make with an additional letter, just using the letters in mesprize!
136 words can be made from the letters in the word mesprize.
This page is a list of all the words that can be made from the letters in mesprize, or by rearranging the word mesprize. These words should be suitable for use as Scrabble words, or in games like Words with friends.


There is a conflict between two ways of understanding the role of an artist: The romantic fantasy of the artist as someone who spends their days being creative, doing what they want to do versus a more practical understanding of the profession as work.
Unfortunately, the romantic vision prevails and functions as a very convenient fall-back for artists not being paid. I can only think of a few instances in my career where I have been paid adequately for my work.
In the past I have called for more openness between organisations and artists in talking about the issue of pay and for artists to be responsible for standing up for themselves so that we have a situation where artists are no longer afraid to express their reservations in the knowledge they can easily be replaced by someone who is willing to work for free.
That's why I'm pleased to see that Transparency and Negotiation feature in the 4 core principles of a-n/AIR's Exhibition Payment Guide, backed up by a sensible approach to Budgeting and Written Confirmation. The processes outlined in the guidance will produce a culture of openness so that artists will know where they stand from the outset and where a discussion about pay will become the norm, diffusing the fear around what can be a difficult conversation.
Paying artists isn't just about fairness; it's intrinsic to a society where people from all walks of life are able to read, critique and challenge their experiences. The implementation of the Exhibition Payment Guide will help make that happen by ensuring diversity amongst artists; because the kinds of people who become artists shape what art is and a less diverse artistic pool makes for a less diverse audience with fewer possible points of engagement, recognition and connection.
Image: Rachel Maclean, Venice 2017. Courtesy of Scotland + Venice 2017. Photograph by Patrick Rafferty.


What are some healthy kid treats for summer?
School's almost out, the weather's heating up, and your kids are craving those icy treats. Since a diet of ice cream and milkshakes isn't what the dentist ordered, here are some suggestions for frozen delights that are less sugary and more nourishing.
Thread grapes onto wooden skewers, then freeze in a gallon freezer bag. Thaw ten minutes before enjoying.
Kids love to help thread the grapes onto the skewers and the end result tastes like a sweet slushy.
Blend bananas, yogurt, raspberries and vanilla until smooth. Spoon into a muffin tin (silicone works best) and top with blueberries and raspberries. Freeze, then pop out and store in freezer bags. Thaw ten minutes before enjoying.
These charming, sweet-tart cups are perfect with breakfast on a hot morning.
Puree fruit in a food processor until smooth, then stir in seeds. Spoon mixture into pop molds and freeze.
These sweet speckled pops provide extra soluble fiber and a fun crunchy/smooth texture.
Probiotic powder is optional in this creamy vegan ice cream.
1 Tbls. natural peanut butter.
Puree banana chunks in a food processor until creamy. Add remaining ingredients and puree a second time, until the consistency is completely smooth, like soft serve. Enjoy immediately.
In a food processor or high-powered blender, puree all ingredients until smooth. Pour into pop molds and freeze overnight.
Put some orange veggies into your sweet treat! They add fiber, vitamin A and depth-of-flavor.
Fresh watermelon, whole or part.
Cut the watermelon into large rounds about ½ to 1 inch thick. Use the cookie cutter to punch out shapes, and insert one stick into the middle of each shape. Stack carefully inside a gallon freezer bag and freeze overnight.
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The dapper gentleman is treated to decadent design with this luxurious Emporio Armani watch. It comprises of a round face that is made from black / deep grey marble which works to add a visually magnetic and natural edge to proceedings. The bracelet and casing of the watch are both crafted in gunmetal - this being a dark metallic steel that has a polished and gleaming finish. In order to keep these exquisite elements at the forefront, only minimalistic additions appear in the form of index hour and minute markers and a neat date feature. An altogether attractive and admirable quartz watch design, its 43mm sizing stands out for all the right reasons.


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Q: Salesforce Fax Integration Please let me know how to integrate Salesforce and Fax? Both inbound and outbound fax integrations.

A: You could also use Twilio to send Faxes:
This code uses the Twilio for Salesforce REST API query builder:
    TwilioFaxRequest request; // create your request

    TwilioSF.TwilioApiClient api = new TwilioSF.TwilioApiClient();
    api.setBaseUrl('https://fax.twilio.com/');
    api.setApiVersion('v1');
    api.addUrlPart('Faxes');

    api.addParam('To', request.To);
    api.addParam('From',request.From_x);
    api.addParam('MediaUrl', request.MediaUrl); // url to a PDF
    api.addParam('Quality', request.Quality);
    api.addParam('StoreMedia', request.StoreMedia);

    TwilioSF.TwilioApiClientResponse response = api.doPost();

    System.debug(response);
    System.debug(response.hasError());
    System.debug(response.getErrorMessage());

    String sid = response.getTwilioJsonParser().get('sid').getString();

If you don't want to use the Twilio for Salesforce package:
public with sharing class TwilioFaxApi {

    private HttpClient client;

    public TwilioFaxApi() {
        client = new HttpClient('https://fax.twilio.com/v1/Faxes');
    }

    public TwilioFaxResponse post(TwilioFaxRequest request) {

        String body = '';
        body += 'From=' + urlEncode(request.From_x);
        body += '&To=' + urlEncode(request.To);
        body += '&StoreMedia=' + request.StoreMedia;
        body += '&Quality=' + request.Quality;
        body += '&Ttl=' + request.Ttl;
        body += '&MediaUrl=' + urlEncode(request.MediaUrl);

        Map<String, String> headers = new Map<String, String>();
        headers.put('Authorization', 'Basic ' + Authorization);

        HttpResponse response = client.post(headers, body);

        String responseBody = response.getBody();

        responseBody = responseBody.replace('from', 'from_x');

        return (TwilioFaxResponse) JSON.deserialize(responseBody, TwilioFaxResponse.class);
    }

    private String urlEncode(String value) {
        return EncodingUtil.urlEncode(value,'UTF-8');
    }

    private String Authorization {
        get {
            String[] args = new List<String> { AccountSID, AuthToken };
            String value = String.format('{0}:{1}', args);
            return EncodingUtil.base64Encode(Blob.valueOf(value));
        }
    }

    private String AccountSID {
        get {
            return 'Account_SID';
        }
    }

    private String AuthToken {
        get {
            return 'Auth_Token';
        }
    }
}

HttpClient
public with sharing class HttpClient {

    private String endpoint;

    public HttpClient(String endpoint) {
        this.endpoint = endpoint;
    }

    public HttpResponse post(Map<String, String> headers, String body) {

        HttpRequest request = new HttpRequest();
        request.setMethod(HttpMethod.POST);
        request.setEndpoint(endpoint);
        request.setTimeout(120000); // 2 Minutes
        request.setCompressed(false);
        request.setHeader('Accept', 'application/json');
        for (String header : headers.keySet()) {
            request.setHeader(header, headers.get(header));
        }
        request.setBody(body);

        HttpResponse httpResponse = new Http().send(request);

        return httpResponse;
    }
}

Fax Request
public class TwilioFaxRequest {

    public String To { get; set; }
    public String From_x { get; set; }
    public String MediaUrl { get; set; }
    public String StatusCallback { get; set; }
    public String Quality { get; set; }
    public String StoreMedia { get; set; }
    public String Ttl { get; set; }

    public TwilioFaxRequest() {
        this.Quality = 'fine';
        this.StoreMedia = 'true';
        this.Ttl = '120'; // 2 hours
    }
}

Fax Response
public class TwilioFaxResponse {

    public String Account_Sid { get; set; }
    public String Api_Version { get; set; }
    public Datetime Date_Created { get; set; }
    public Datetime Date_Updated { get; set; }
    public Datetime Date_Sent { get; set; }
    public String Sid { get; set; }
    public String Direction { get; set; }
    public String Price { get; set; }
    public String Price_Unit { get; set; }
    public String Status { get; set; }
    public String Error_Code { get; set; }
    public String Error_Message { get; set; }
    public String To { get; set; }
    public String From_x { get; set; }
    public String Media_Url { get; set; }
    public String Media_Sid { get; set; }
    public String Num_Pages { get; set; }
    public String Quality { get; set; }
    public String Duration { get; set; }
    public TwilioFaxLink Links { get; set; }
    public String Url { get; set; }
}

public with sharing class TwilioFaxLink {
    public String Media { get; set; }
}

Twilio for Salesforce packages

*

*To install the package in your production instance

*To install the package in your test instance
References:

*

*Use Twilio REST APIs from Apex

*Twilio Fax Quickstart

A: You can use InterFax, RightFax and other fax service providers.
InterFax is well known and easy to integrate with Salesforce using 2 ways:
1) SOAP API
2) Rest API
For REST API, please refer below link:

*

*https://rest.interfax.net/outbound/help

*https://rest.interfax.net/inbound/help

redpajama_set_name: RedPajamaStackExchange


text:
Q: MATLAB Rest API/Rest API Web Service and Matlab Production Server A consulting client will provide a REST API and I need to connect to it through a locally installed  on-premises Matlab (not Matlab Production Server), download and crunch some data and then send the results back.
I don't have experience with REST API yet so please excuse if I am mixing terms.
Right now I am trying to understand which is the relevant documentation for me and there are two options I am looking at:

*

*The methods listed here - https://nl.mathworks.com/help/matlab/internet-file-access.html?s_tid=CRUX_lftnav , all relate to a RESTful Web Service. I don't know yet if the client has a REST API that can be categorized as a web service (I am going to use it to access some client data) - would anybody know what the 'standard' use case for a REST API is and if it will likely be considered as a 'web service'? I guess the 'web' service part refers to the HTTP protocol and it does need to be a website?

*Then there is a bunch of documentation related specifically for the Matlab Production Server, which seems to me to be a more general version of dealing with REST APIs - https://nl.mathworks.com/help/mps/restful-api-and-json.html
However, if I understand it well, the second option is exclusive to MPS (and this is not what we will be using to access the API - we will be using standard Matlab Standalone desktop version)
Appreciate any help and clarifications!
p.s. I have read REST api vs REST Webservice vs RESTFul web service and that has cleared some questions on the difference between REST Api and REST API web service but it is still somewhat unclear in my head.

A: Sounds like you want to use webread and webwrite.
The MPS stuff is where MATLAB acts as the REST API, i.e. MATLAB is the server...
With webread and webwrite you can read/write data to/from an external server that's nothing to do with MATLAB.


Next month's march and rally to raise awareness of the impact of government spending cuts is set to be one of the country's largest ever gatherings of disabled people, say organisers.
They hope more than 10, 000 disabled people will attend The Hardest Hit March in central London on Wednesday 11 May.
Jaspal Dhani chief executive of the UK Disabled People's Council (UKDPC), said the huge numbers expected would send the signal to the government that its policies "are not just affecting a minority group of disabled people but the whole disabled community".
He said: "This is about protecting disabled people's futures. It is not just about the cuts taking place today, it is about maintaining rights and independence and promoting an independent living agenda into the future.
Dhani said he believed the government was consulting with disabled people and their organisations, but was simply ignoring what they told them.
He said it was vital to have such a protest that would concentrate solely on issues affecting disabled people, as last month's TUC protest did not allow disabled people's voices to be heard.
The 11 May protest – which will include a march, rally and "lobby" of parliament – is being led by UKDPC, with support from the Disability Benefits Consortium and backing from 60 disabled people's and disability organisations.
Dhani said there had been some criticism that organisations "of" disabled people were "sleeping in the same bed" as organisations "for" disabled people.
He said it was crucial that the march allowed the voices of the many service-users supported by the big disability charities to be heard.
The march will be followed by a rally, featuring speeches from disabled activists, while representatives of the three main political parties have been invited to speak.
There will also be a parliamentary "lobby" of MPs – in which disabled people will have the chance to talk to their own MP about their concerns.
Marchers will gather from 11.30am on Victoria Embankment by Horseguards Avenue, with the march set to start at 12.30pm.
The march will pass through Parliament Square and finish in Dean Stanley Street. The rally will take place in nearby Methodist Central Hall from 1.30pm.
The lobby is expected to take place in Westminster Hall between 2.30pm and 5.30pm. Those hoping to see their MP should write in advance for an appointment.
For more information and to register a place in the rally, visit www.ukdpc.net.


Kitchen Table Bench Elegant Brilliant Dining Seat With Seats As The And Back Plans Within 14 | Gunlerdenoyun.com kitchen table bench nook. kitchen table bench built in. diy kitchen table bench.
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Home › Doberman Pinscher Information › Doberman Pinscher History ›
Doberman Advancement Held Up
The onset of WWI, in 1914, put a temporary hold on Doberman production. For military dogs, it was time to go to war. Germany had established in 1884 the first organized Military School for training war dogs at Lechernich, near Berlin, and in 1885 wrote the very first training manual for Military War Dogs.
The German army used as many as 30,000 dogs, many of which were likely Doberman or similar dogs. These dogs were mainly centuries, guard dogs, messengers, mercy dogs, and delivery dogs.
The war deteriorated into a long battle of attrition with men living in trenches on either side of "no-man's land", the area between the lines of trenches. The preceding innovations in engineering and manufacturing made available tools of devastation for which there was no precedence. Dogs were ideal in this hostile environment made mostly of mud, fraught with crater holes and barbed wire; where no living thing was safe anywhere from the mortars and bullets.
Dogs are small and fast. They can leap over a crater hole and barbed wire obstacle, and fly across mud that would trap a grown man. Dogs were able to make deliveries of medicine, cigarettes, and most importantly messages. Mercy dogs were trained to find wounded soldiers out in no-man's land, saving countless lives. In addition to lessoning the burden of war on man, war dogs also paid some of the cost. Many were killed. Dogs were a prime target, especially messenger dogs.
The dogs at home in Germany, including Dobermans, fared worse. Woman and children and any men not fit for combat had few resources that did not go unabsorbed by the war. People were either starving or close to it. Doberman breeders were forced to sell their beloved animals to neutral countries at ridiculously low prices in hopes that they would survive. More often though, these fine creatures were euthanized to save them from the slow agonizing death of starvation.
Gruening wrote in his book The Dobermann Pinscher about how all of his dogs, except for two especially fine puppies, were delivered from starvation with strychnine before he left to fight. He explains that he held on to these two Dobermans in a moment of weakness, induced by the hope of saving them. These two puppies starved to death.
The state of war in Germany ended on June 18, 1919 with the signing of the Treaty of Versailles. Miraculously, Doberman breeding resumed vibrantly. By 1920, Germany was producing the now world famous Doberman Pinscher filling a new demand, partly produced by returning soldiers of the occupying allied and American forces.
In 1921, 119 Dobermans of great quality entered the Munich Sieger Dog Show. The quality was even better the following year with 233 Dobermans entering the Berlin Sieger Dog Show. William Sidney Schmidt, an author remarked: "The breed had reached almost perfection. It was at its pinnacle, carrying through on the same level during a number of years to follow."
‹ Doberman Crosses Parent Doberman Sports ›
Author: AlphaAdmin
Created: Sat, 2010-01-23 21:05
Last updated: Thu, 2017-06-29 14:48
Speaking Doberman
Kinds and Colors
Doberman History
Karl Dobermann
Breeds making the Doberman Pinscher
First Dobermans
Dobermans After Karl Dobermann
Doberman Crosses
Doberman Sports
Doberman Uses
Best product for dry fur?
Big Doberman + Small Breed

redpajama_set_name: RedPajamaCommonCrawl


text:
Annual Budgets are for stealing money – Eze Onyekpere
Eze Onyekpere is Lead Director of the Centre for Social Justice, CENSOJ, which has been in the forefront of advocating for fiscal responsibility and...
Editorial - June 12, 2012
President Jonathan is Not Interested in Anti Corruption War – Rafsanjani
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We Stand for Free Speech and That's What Threatens the Left
RUSH: All right, this is now about racial politics, folks. The Reverend Sharpton is out there saying, 'This is only the beginning. This must be a walk that CBS now does. It must be a walk that others will do, then we must have a broad discussion on what's permitted and what's not permitted,' and the Reverend Jackson and the Reverend Sharpton have been empowered as the final arbiters on this in the United States of America. How absurd and ridiculous. But they exist for one reason: liberal, white, plantation owner racists have created these two figures and have granted them power and authority as Democrats, and now, guess who have become the targets of the wrath of Sharpton and Jackson? For now it's the white liberal executives at CBS and NBC. So it's about racial politics. It's about racial politics, and when it comes to the lack of minority reputation of the big three networks, MSNBC as well as CNN, I have to agree that Reverend Jackson, Reverend Sharpton are right. On to something now that's the practical reality of all this. If it's about racial politics then what shall be the ideal percentage? This argument we've been having since the first affirmative action argument came up, the whole quota argument.
I made the point back in the early eighties, mid-eighties when this all started, 'Affirmative action is about making sure that the race wars never end.' You won't get 'em to come. That's why they hate the quota business. Because when you start saying, 'Yeah, there should be quotas,' then they're willing to put a finite number on the number of minorities can by anywhere and in any job, and that's not what this is about. This is about shakedowns. This is about keeping the premise of discrimination alive and well to be profited from, but if we just look at the population of the country, we now have more Hispanics in this country than we do blacks. The black population is 11%, 12%, something like that. So 89, 88% of the population is not black. So should we say in the guise of the racial politics here introduced by the Reverends Sharpton and Jackson, that the proper representation for blacks anywhere would be 11% — football teams, basketball teams — I know this is absurd, but I'm making a point here. Now stick with me, because this is not about merit. You have to understand, there's nothing about merit in anything these people are doing or talking about. It's pure racial politics. So if we go by the population of the country, there can never be more than 11% of blacks in any field.
Never. Let's look beyond the broadcast networks. Let's look at urban radio stations. Are they 89% non-black? No. Let's look at the content of the songs that are played on public airwaves. Sharpton has now said, dozens of times, and we gotta clean up the public airwaves. We've gotta detoxify the public airwaves. Well, look at some of the music and look at some of the lyrics played on the public airwaves being sung — not spoken, by hosts, sung — by recording artists and stars, and I don't hear the Reverend Sharpton concerned about that. In fact, I hear the Reverend Sharpton and the Reverend Jackson defending those lyrics as 'art,' ladies and gentlemen. I heard Snoop Dogg. How many times has he been indicted? Well, he's under charges. Snoop Dogg said the other day (paraphrased), 'Look, don't come after us and our music and our art. This reflects the way we were raised, reflects where we were growing up. When that H-word is used by us, it means women who are fat and dumb in the projects who are just waiting to steal our money. We're not talking about basketball players at college. So don't lay this off on us.'
Somebody said, 'Wait a minute. Don Imus didn't just learn this phrase. He didn't wake up and have it come out of his own mind. He had to hear it someplace.'
'Don't blame us for that,' said the famous Snoop Dogg.
Anyway, if you look at the lyrics that are on radio, the public airwaves that need to be detoxified, where are the Reverend Sharpton and Reverend Jackson dealing with those lyrics, not just the words uttered by deejays and hosts. I mean after all they are the public airwaves. These songs should be banned now! If this is about cleaning up all this garbage, these songs need to be banned, and when we're done fixing TV and radio, folks, next we're going to move on to Hollywood, because a lot of pollution in popular culture is coming from and produced by, a bunch of white liberals in Hollywood. Of course, they never come under attack, by the same liberals who are now attacking me and others, saying we're next. 'We've only just begun here. You people are all next!' We gotta straighten out Hollywood. We gotta make sure the rotgut garbage that sacrifices for pictures and dialogue in these movies that's offensive, gets stopped. They're poisoning the culture. It's public film. Public projectors. Go into a theater; it's the public there. When we're done with Hollywood, we move on to the publishing industry. We look at what percentage of authors are of a given race. Now, has Reverend Sharpton picketed anybody in Hollywood? Has Reverend Sharpton or Jackson picketed any urban radio stations?
Have Reverend Sharpton or Reverend Jackson picketed anywhere where these horrendous lyrics are toxifying the public domain? Chris Tucker? Chris Rock? These guys all need to be banned, folks. They make their living off stereotypes of whites and sometimes of blacks. Why should Sharpton and Jackson be the only two people deciding who can say what, when and where, and why should they be deciding who can and cannot be offended? As I've explained, the beauty of this is the libs have given us Sharpton and Jackson as the final arbiters. We're going to sit here and we're going to allow these two race hustlers to dictate to us? They have it figured out? They're always offended! They're always angry. They target certain individuals or events, and they and the lib media manipulate the outcome, and notice they're always dividing the country. They don't talk about people, they talk about race, and they want chaos, and they want tumult and they want people unsettled. They want the country divided. We can use whatever figure we want to. We can say 11 or 12%. We can go down the road and we can say, 'Hispanics deserve more jobs in these places than blacks. They're a larger minority.' If we're going to be fair about this, if we're really going to make this about racial politics.
Of course, censorship, that's also here. I want to say something for the record here, folks, and I want it to be recorded. Today, April the 12th, the day of the cigar dinner, let it be recorded that we conservatives are the ones standing for free speech. We conservatives are the ones standing for diversity of thought and honest communication. You do not hear a conservative anywhere suggest that anybody be taken off any radio station, television station, movies or what have you. We do not urge censorship because we are not afraid of the free flow of ideas. Liberals are. Thomas Sowell said something that is so brilliant. It's a brilliant insight. Dr. Sowell said, 'The liberals' favorite argument is that there is no argument. Nothing uttered in opposition to liberal beliefs exists, in their minds, at least nothing worthy of their intellectual engagement.' That's why global warming, we can't argue about it! There are global warming 'deniers.' We gotta shut up! We cannot have alternative views of global warming. There is no alternative view. There is only the liberal view. Liberals fail on talk radio because they can't make their case!
They don't dare make their case in public. They can't anyway. They can't argue it. That's why liberals fail in talk radio. It's why they fail anywhere where they don't dominate. It's why they refuse to go on Fox! There is no alternative to liberalism. They refuse to acknowledge it. They are the ones trying to censor. They're the ones trying to indoctrinate — and it's now funny because one of their chosen ones, Don Imus, is the victim of liberalism, and he did his best to be one of them, but he was never a liberal with a capital L. He never really got in the club like he thought he was. His buddies are abandoning him left and right now. The people that enabled him, the people that propped him up, the people that looked the other way when they heard him say far worse than what he said about the Rutgers basketball team. Now they're acting like they never heard this stuff before. 'I didn't know this, why, this is (grumbling),' blah, blah, blah, blah, blah. We conservatives talk of equal opportunity based on merit, not quotas, not pigment, not anything else. Liberals want to shut down radio programs. They want to shut down Fox News. They want to shut down political speech.
They want to shut down anybody who doesn't embrace their ideology, and they want to criminalize those who don't embrace their ideology. Today it's the race baiters. Tomorrow it's going to be some other cause, but liberalism is what it is, and it exists to silence people who don't agree. They can't win the debate, which they admit by their own actions. They don't want debate. Now, Imus is not the issue anymore. He's the catalyst for advancing their agenda. Listen to Jesse Jackson. He's long gone, long past Imus. If they can shut down talk radio — and they'll try — they'll shut it down tomorrow. Make no mistake. They cannot compete, folks. Air America was an embarrassing, blithering, total bomb-out of a failure. Every liberal talk show that's been tried is insignificant, at best. They can't silence their opposition, so they take a run at it here and there through proposals to renew the Fairness Doctrine or use intimidation or the threat of sponsor boycotts or whatever to demand the things they don't want to hear, not be allowed to be said. They can't compete in the open marketplace of ideas because their ideas are flawed and airing those ideas makes it clear that they are flawed.
They succeed politically when they conceal their true intentions during elections, as we have discussed. But there's no hiding on talk radio. When you're on the air for three hours, I don't care if you waste your time interviewing guest after guest after guest after guest, if you can't hide what you think on talk radio, you are going to be exposed, and when you cannot back up what you say, and when your ideas sound stupid, it's out there to be exposed for one and all, and that's why Air America and liberal talk radio doesn't get an audience because it's not worth listening to! People can't make the case — and they do not think they should have to argue, because there is no alternative in their minds. I'll tell you what, Sharpton and Jackson have their eyes on talk radio. You know what's going to save talk radio? You know what's going to save this program is going to be you people because you have the depth of loyalty and a bond here. You and I have a connection, successful hosts do, and you understand it. You know the gig here. You know what's up. You're aware of how they're trying to shut people down, and you will not allow it to happen.
Nor will I, don't misunderstand, but this is what the left doesn't understand. They do not understand the connection that exists between me, the host of this program, and you. They don't understand it. You're mind-numbed robots. You're idiots. You're just like everybody else that's not a liberal. You really don't even exist! You're just a hayseed hick, a southern Christian or what have you. Whatever bigoted stereotype they have created, you will fall into one of them, as do I. But talk radio? Talk radio today is one of the last open markets for ideas — and that's why it is a threat to the left. Talk radio, look at everybody who wants to get into it! All these television failures, all these stand-up comedians that lose their way, guess where they all want to go? They all want to go to radio! I wonder why? What's happening on radio lately that they see the opportunity for wealth and success, hmm? I wonder. Radio, ladies and gentlemen, is one of the last open markets for ideas. Newspapers aren't anymore. Television isn't anymore. Have you seen what the left is trying to do now? They're trying to say Imus is a conservative.
The LA Times had a piece quoting Media Matters for America, that Imus is a conservative. Imus, who supported Kerry and who is against the war, is no conservative. He wouldn't have the crowd of media guests that he has if he was, but calling him a 'conservative' fits into their broader agenda. So we are defending speech here. We stand up for speech. We engage in it. We allow it when liberals call. We never demand anybody be censored. We are content to let the marketplace deal with liberals as it does on talk radio: it rejects them. One final question here. Since race is the sole criteria now, I want to know why Al Sharpton has not endorsed Barack Obama. I know the Reverend Jackson has. But I'll tell you why. Al Sharpton, who's making everything about race today, will not endorse the black candidate in the Democrat presidential primaries — and why? Because Obama's name is not Sharpton. There is jealousy. There is outrage. Sharpton doesn't like the fact that Obama — and, by the way, Sharpton has maneuvered an end run around Obama, in terms of the struggle. Sharpton talks about role models? We need black role models out there? Say what you want about Obama's politics, but apparently Barack Obama is not a good enough role model for Al Sharpton.
RUSH: Here's Tom in Medford, New Jersey. Tom, thank you for waiting. Welcome to the broadcast.
CALLER: Thank you, Rush, and I just want to give some stuff to your comment earlier about the liberals and these two shakedown artists, Jackson and Sharpton. I've been trying to get a hold of MSNBC all morning about Keith Olbermann, who is a hatemonger, whose whole show is based upon hate of people like me and you. You're doing a hell of a job. Thank you. But I want your audience to know that last night, as I was channel surfing — I don't watch Olbermann because he's a hateful person — he asked Jesse Jackson if he would use the same tactics boycotting sponsors against Imus, would he do that with other people, 'like Rush Limbaugh'?
RUSH: Yeah, I know, he tried —
CALLER: Jackson said yes.
RUSH: I've been told. I didn't see it. I've been told he tried to bait Jesse Jackson three times.
CALLER: He did bait him, and Jackson fell for it the last time. He said, 'Yes.' That's what I'm talking about.
RUSH: But Jackson did not take the bait from what I'm told.
CALLER: He did confirm what hateful Olbermann said, about going after people like you. Rush, you're the target.
RUSH: I know. We will all know that I am the target. I've been the target. That's why did I this brilliant monologue mere moments ago, to explain what the left is about. They don't want to debate; they want argument; they don't want alternative viewpoints out there, because we succeed. They can't deal with it, but folks, I have to tell you (sigh). There's a reason the Reverend Jackson didn't take the bait last night, and I know why, but I'm not going to say. I'm not going to open up that door. I know why he didn't take the bait. He's focused on other things right now. There's no reason to take that bait right now. As far as Olbermann is concerned, you gotta understand it: 700,000, 500,000 people, it's insignificant. It is in our world, anyway, it's a thimble in terms of the audience. It's just not even worth commenting on!
RUSH: Bob in Sacramento, my adopted hometown, nice to have you on the EIB Network.
CALLER: Thanks for taking my call, mega dittos from California. Listen, I want to follow up on a point you were making earlier. You know, we know that you're not at all, you're head and shoulders of that idiot Imus and you're not likely to shoot yourself if the foot. But let's face it, the Justice Brothers are on a role. Sure they got their hair mussed with Duke. But, you know, they're on a roll. They put a big scalp up on the wall with Imus, and they're hungry, and they're looking for an issue. Tom was saying, you know, those guys might boycott, they might try to get these sponsors to boycott you, but they'll need an issue. So who knows what form some trap might come in. Maybe we need Mr. Snerdley to be on that kill switch super vigilant to make sure that nobody tries to lay a trap for you the way —
RUSH: Let me address this, because I'm glad you called. I don't want to give too much away here because I don't want to help these people. I'd love to launch on this, but I'm trying to be guarded in the ammo I give people, and not the kind of ammo you think. In the first place, I know, and I don't see this out of ego, this a pure business thing. I know I'm next because they've run everything at me they can. Michael J. Fox — do you know that CNN on Tuesday night, Paula Zahn, to whom I have been nice. When she at Fox I went on her show a number of times. I never said a word about Paula Zahn. Paula Zahn does a whole feature on the Michael J. Fox episode from last October, repeating all of the lies, replaying the looped video of my supposedly making fun of and impersonating Michael J. Fox. Now, as I said earlier, the reason this stuff doesn't work is because you people who listen are tremendous in number, and you know the truth. They have to lie about what happens on this program in order to be critical of it. And they lied again on Tuesday night.
They just repeated everything I have refuted and said that they got wrong on this Michael J. Fox episode. When I saw that, and it was done under the context of, 'Hey, you think Imus is bad, look at this Limbaugh guy,' and they went out and had failed liberal talk show hosts on to comment, failed liberal talk show hosts who never, ever got an audience, went bankrupt and had to quit and go do something else. I'm under no illusions that I am the real target, and Hannity, and Mark Levin, and Neal Boortz. We all know this. What they don't understand — look, they've tried — there was the ESPN thing, the Michael J. Fox thing, the legal situation in Florida whatever year that was. They've given a pretty good run at it and we haven't lost a single sponsor. They tried. We haven't lost a single station. They tried.
Now, there are reasons for this that they don't understand and that's what I'm not going to tell you. But I'm just telling you, I understand why everything here has continued to grow, by the way, despite all of these attempts to destroy this program, we do nothing but grow, both in business and in audience, and I know why, and they don't, and they will never understand it unless I tell them. And if I tell them, they probably wouldn't believe it anyway, but there's no sense taking the chance. It's all about having a connection with people, a real, daily personal connection, such as you and I all have. I'm not a preacher and I'm not talking at you, we're talking to one another, you're talking back. My empathy allows me to know what you're thinking in terms of instincts and so forth. So I appreciate the concern but I want you to know I'm fully aware of it, prepared for it, and know how to deal with it when it happens.


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Q: PCIE endpoint to endpoint transaction I would like to clarify that the endpoint to endpoint transactions (peer to peer transaction) of two PCIE endpoints behind a PCIE switch are not forwarded to the root complex.
I googled around and understand that if the transaction from Endpoint #1 targeted to the PCIE address space which the root port assigned to the Endpoint #2, the switch will forward the transaction to the downstream port where Endpoint #2 located.
Please correct me if I misunderstand this point. Is this forwarding feature mandatory according to the PCIE spec or implementation-specific?

A: At first, if a PCIe Switch supports Access Control Services(ACS) and the host software configures the Switch to redirect a P2P transaction to upstream, the Switch forwards the transaction towards Root Complex. So there is a case that a P2P transaction is forwarded to upstream.
If the Switch does not support ACS or the host software disables ACS, the PCIe Switch will forward a P2P transaction to downstream directly. I think this routing is mandatory because the internal bridges of the PCI Switch should perform as conventional PCI-PCI bridges.

Here are some references:
If you can access the latest PCIe Specification, you can read about ACS capability in the spec. But if you are not a member, you can read the ECN of ACS because it is public, which will also be helpful. PDF
Intel provides the useful document that describes why ACS is required.
Here VMware requests that the PCIe Switch must support ACS to use PCI Passthrough.


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Carver Boys Basketball continues to turn heads in Class 4A
Sen. Gillibrand announces nearly $25M for nationwide Poison Control Center network
by: Chelsea Siegal
Sen. Kirsten Gillibrand, D-N.Y., speaks to reporters on Capitol Hill in Washington, Tuesday, March 10, 2020, following a Democratic policy luncheon. (AP Photo/Susan Walsh)
WASHINGTON (NEWS10) — Senator Kirsten Gillibrand announced that $24,846,000 in federal funding was secured for the Poison Control Program in the bipartisan FY 2021 appropriations package. Gillibrand originally called for $30.1 million to support the nationwide network of 55 Poison Control Centers (PCCs).
As public health and addiction support services operate on thin margins, these increased federal funds will be used to provide life-saving health care services in every state. During public health emergencies, poison control centers serve as first responders to prevent injuries, help reduce poisoning-related health care costs, and save countless lives.
Gillibrand secures $360M in federal funding for lead hazard control
"For over 50 years, the Poison Control Program has been our nation's top defense against injuries, unintentional poisonings, and deaths from poisoning," said Senator Gillibrand. "In addition to saving countless lives, this funding is a smart economic investment and will save $1.8 billion annually in medical costs. As the pandemic has exacerbated our country's addiction and drug poisoning crisis and has placed a severe financial strain on health services, this program is needed now more than ever to keep our communities safe."
The Poison Control Program, authorized by the Health Resources Services Administration (HRSA), is available to the general public and health care providers 24/7. The program supports the PCC network for information to help manage public health emergencies, including COVID-19, Ebola, and the Zika virus, and the growing opioid crisis. The COVID-19 pandemic has interrupted addiction support services across the country, which were overburdened before the pandemic.
Schumer, Gillibrand announce $5.6B for statewide public transit funding
The services provided by PCCs lower treatment and medical costs by reducing emergency room visits, hospital stay time, and work-loss days each year. For every dollar invested in the poison control center system, $13.39 is saved in medical cost and lost productivity, for a total savings of more than $1.8 billion every year, according to Gillibrand's office.
The Poison Control Program also provides surveillance and real-time data to federal, state, and local agencies, including the CDC and Food and Drug Administration.
by Haley Townsend / Jan 20, 2021
WASHINGTON (NewsNation Now) — Facing a 50-50 partisan split in the U.S. Senate, the chamber's top Democrat and Republican discussed adopting a power-sharing deal similar to one struck two decades ago in similar circumstances, a Democratic spokesman said on Tuesday.
Democrat Chuck Schumer, set to become majority leader on Wednesday thanks to incoming Vice President Kamala Harris' tie-breaking vote, told the chamber's top Republican, Mitch McConnell, that he favored adopting a deal along the lines of the 2001 arrangement "without extraneous changes from either side," a Schumer spokesman said.
At just one place, take a bite from 65 king cakes
Body of missing swimmer recovered from Lake Pontchartrain
Louisiana National Guard deploys troops to Washington D.C.
White flags placed in Lafayette Square to honor & remember COVID-19 victims
Not guilty plea from NOHSEP Director Collin Arnold
2:30PM Weather: 70s in January? This is Louisiana!
'Chucks and Pearls' in tribute to new Vice President Harris
NOPD looking for two suspects in New Orleans East armed robbery, simple battery


The Lizzy Disc 3 Strand leather wrap bracelet is classic and fun. This unique artisan bracelet doubles as a necklace. Customize with leather colors and charms or stack it with a Lizzy Classic on your wrist or neck.


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Your Concise Guide to Miami Art Week 2018
Your essential guide (by a local) of what to see and do during Miami's popular art week.
by Monica Uszerowicz December 3, 2018 December 6, 2018
Alicia Smith, "Erendira," on view at Pulse Art Fair (image courtesy the artist and Pulse Art Fair)
MIAMI — Miami Art Week itself, which takes over the entire city and nearly all its cultural institutions, is longer than Art Basel Miami Beach — the main fair at South Beach's Convention Center — but the two are synonymous in name and hashtag. There are about a hundred guides to Art Week, its satellite shows and attendant lectures, parties, openings, DIY spaces, "pop-ups" — guides that'll tell you where to go, what to avoid, how to survive.
Like every year, there is plenty more of the same, and then, in some arenas, much less of that. You might laugh or cry; you will absolutely encounter horrific traffic; you will wish you'd brought different footwear. The work this year will be inevitably referred to as sobering, which is only true if you've been living under a rock or never expected art to reflect the times, which are a-changin', or maybe not — depending on who you ask. (For starters, go to Nautilus South Beach, a SIXTY Hotel and check out Suzy Kellems Dominik's INVISIBLE, a series of soft-sculpture totems without feet: "For without feet, one cannot escape," the artist writes, referring to the complexity of being a female-identifying person today — the work is pleasant to the eye and a clench on the heart. It's free to look.)
My rules remain unchanged every year: carry bottled water, wear comfortable shoes, cover yourself with sunscreen, bring a raincoat. Don't yell at service workers or venue security guards about anything out of their control, particularly the weather — just don't ever yell at service workers. Be extra kind to your Lyft drivers, too.
Not on this list are many excellent shows at many excellent local galleries, and that's okay, because you can source those elsewhere, along with panels, parties, concerts, and momentary reprieves. That said, a few brief honorable mentions: Make sure to check out Women in Art: A Conversation, a talk at The Wing's Little Cabana at American Express Platinum House. It's free, open to the public, and moderated by media sensation and writer Kimberly Drew. On the panel: artist Jamilah Sabur, artist/filmmaker Jillian Mayer, and founder of CHROMAT, Becca McCharen-Tran.
For interactive play, go to ARTECHOUSE, a digital art space, to see XYZT: Abstract Landscape, an exhibition of ten "virtual environments" generated using augmented reality, motion sensors, and what's described as "a toolset following Pepper's Ghost Principle." When the fairs are over, or when you're over the fairs, head south to the gorgeous Fairchild Tropical Gardens to check out The NightGarden: an illuminated fairyland of lighting displays, holograms, 3D projection mapping, and digi-optical illusions. Bring a child or your inner one, or get tipsy while you're there. But never drink and drive.
Below you'll find a guide to the 20-plus fairs and museum events. Keep in mind: the beaches are eroding. The Red Tide only just receded. You should go to the sea, anyway, because it is still beautiful.
The Fairs
Art Basel Miami Beach
When: December 6–9 / Thursday: 3pm to 8pm; Friday–Saturday: noon–8pm; Sunday: noon–6pm
Where: Miami Beach Convention Center, 1901 Convention Center Drive, Miami Beach
The one that birthed them all, this year's fair functions just like last year's. There are various sectors to peruse outside of the over 200 galleries on display: "Nova," to showcase the recent work of one, two, or three artists; "Positions," for single-artist projects; "Kabinett," the artist-curated sections of gallery booths; "Editions," a space for publishers to exhibit editioned works and prints; and "Survey," for art-historical presentations. Sadly, there are a few features missing: there is no film program, nor a Public Art Program. But! There is a live performance by Abraham Cruzvillegas.
Also worth noting: Sean Kelly's booth at the fair, where the gallery will present an activation of its Collect Wisely program. The point? "Slowing down and paying attention to the art," says the press release. Don't forget to do that.
Suzy Kellems Dominik, "INVISIBLE" (2018), on view at Nautilus South Beach (image courtesy the artist and Nautilus South Beach)
Aqua Art Miami
When: December 6–9 / Thursday: noon–9pm; Friday–Saturday: 11am–9pm; Sunday: 11am–6pm
Where: The Aqua Hotel, 1530 Collins Avenue, Miami Beach
A companion to Art Miami, Aqua Art Fair is located in a South Beach Hotel and has, this year, 53 galleries on view and a few wonderful special events. Keep an eye out for IRREVERSIBLE PROJECTS's local artist Adrienne Chadwick. Her work, "Ticky-Tacky," utilizes earthenware clay to depict the crowding of apartment buildings in the Miami skyline and all the issues that come with them: housing inequality, sea-level rise, gentrification. Looking at them, I immediately thought of Malvina Reynolds's song "Little Boxes": And they all play on the golf course/and drink their martinis dry…/and the boys go into business/And marry and raise a family/In boxes made of ticky-tacky.
Also look for Katarra Peterson's Uppity hair braiding project, a reinterpretation of Rapunzel, reimagined this time, says Aqua, "by an artist of color who now reimagines this story … about how she will 'pull up' others less fortunate." Also cool: Shanzey Afzal's Mobile Tattoo Tent. Afzal is the only trained and certified Muslim tattoo artist in the US, and she uses the body as a platform through which to speak.
Art Africa
When: December 5–9 / noon–8pm
Where: 920 NW 2nd Avenue, Miami
Art Africa's programming is heftier than ever this year: an after-school workshop in which Overtown youth will learn about local art, parties, and film screenings, including Through the Lens Darkly: Black Photographers and the Emergence of a People.
When: December 5–9 / Wednesday–Saturday: 11am–8pm; Sunday: 11am–6pm
Where: One Herald Plaza, NE 14th Street & Biscayne Bay, Miami
One of the first-ever satellite fairs, this year's programming includes an exhibition of work by alumni from the New York Academy of Arts MFA program, a multisensory art installation for children by Young at Art Museum, and, wildly, this: Avant Mining and Interprospekt together will present DeXtinction, a display of artifacts and jewels, including a dinosaur egg nest from the Cretaceous period (75 million years ago).
Context is Art Miami's younger, smaller sibling, and this year — its seventh — features 96 participants from 64 cities. Highlights: a print signing by Art Angels (Los Angeles) for Beau Dunn, Havana gallery Studio Arte Contemporaneo's solo show by Rubén Alpízar, and Kim Foster Gallery's tranquility-themed booth.
Design Miami
When: December 5–9 / Wednesday, Saturday: noon–8pm; Thursday: 10am–8pm; Friday: 11am–8pm; Sunday: noon–6pm
Where: Meridian Avenue & 19th Street, Miami Beach
Directly across the street from Art Basel Miami Beach is a quieter, smaller affair. The winners of this year's annual architectural commission entrance are fashion designer Carla Fernández and artist Pedro Reyes, whose booth showcases a map that features the names of over 300 original settlements across the pre-Columbian Americas. They'll give a talk this week, "Practice with Purpose." Bonus: One of this year's Curio exhibition platforms caught my eye — Harry Nuriev's The Office, inspired by the designer's time as an intern in a windowless office in Russia. Here, an air conditioner is a symbol for "fresh air and death" and a window represents "freedom and watching your life rather than living it."
Art Basel in Miami Beach 2017 (© Art Basel)
Faena Festival: This Is Not America
When: December 3–9 / programming hours vary and are listed here
Where: Faena Forum, 3201 Collins Avenue, Miami Beach, and other locations in the Faena Art District. For more details, see above link
It was a matter of time before Faena — that is, the Faena Art District, envisioned and developed by Argentine hotelier/developer Alan Faena — premiered its own Art Week festival. This Is Not America, curated by Zoe Lukov, is free, open to the public, and seems amazing: it features work by Derrick Adams, Wu Tsang + boychild, Isabel Lewis, Luna Paiva, Tavares Strachan, Miya Ando, Cecilia Bengolea, and more. The entire district will be activated with screenings, installations, and performances, some of which I imagine will spill right into the sand. Look out for Alfredo Jaar's "A Logo for America" — which inspired the festival's name — and a conceptual project, "Flow," by artist Agustina Woodgate and artist, activist, and ordained Miccosukee minister Reverend Houston R. Cypress.
(F)empower Presents: 2040
When: December 6–7 / Thursday: 7pm–11pm; Friday: noon–5pm
Where: 5789 NW 7th Avenue, Miami
This isn't a proper fair — it's a two-day exhibition — but the show's themes are too important to exclude it from this list. Organized by (F)empower, an activist collective here in Miami that seeks to empower black and brown femmes — and unite Miami's artistic community — 2040 is about the apocalypse. They describe it better than I can: "Through art installations, panels, performances, and multidisciplinary media, 2040 submerges you into the future, that in this moment, has already passed us by. To stay afloat, elevate your spatial and temporal awareness of the then, the now, and the will be." Events include Afro-Futurist Visions, a set of short film screenings; The Future is Non-Binary, Stas Schmiedt and Lea Roth's performative lecture; and The Language of Survival, a panel moderated by poet/community organizer Niki Franco on the ways in which we might decolonize concepts of survival.
FREE! Art Fair
When: December 6–9 / 11am–7pm
Where: Brickell City Centre, 701 South Miami Avenue, Miami
A follow-up to last year's Fair., FREE! brings a different punctuation mark and a similar sentiment: it is, again, non-commercial, and takes place at the massive Brickell City Centre. FREE! means free to love, to unite, to exist, to heal — at a time when it feels dangerous to do any of it. Curated by Anthony Spinello of Spinello Projects, FREE! features work, programming, and performances by Hank Willis Thomas, Octavia Yearwood, Cheryl Pope, Emily Shur, Genevieve Gaignard, Antonia Wright, Agustina Woodgate, Nathalie Alfosno, Misael Soto, Michelle Lisa Polissaint, Emanuel Ribas, and more.
Octavia Yearwood, whose work will be on view at FREE! Art Fair (image courtesy Passion Ward)
Fridge Art Fair
When: The Fridge Art Fair Grand Gala is Thursday, December 6, 6:45pm to 11:45pm
Where: Eurostar's Langford Hotel, Bloom Sky Bar, 121 SE 1st, Miami
Fridge is proudly weird, so I'm not sure if their website is meant to be read humorously at the moment (if anyone at Fridge is reading this, sorry, but I'm out of the loop). This year's fair is entitled The Velvet Rope: 1600 Edition, and it's totally full, "as is the waiting list." To keep it public, they've "decided to bring the components that are possible to replicate to the All for You—the Fridge Art Fair Experience Project at Eurostar's Langford Hotel," says their website.
Ink Art Fair
When: December 5–9 / Wednesday: 9am–5pm; Thursday, Friday, Saturday: 10am–8pm; Sunday: 10am–3pm
Where: Suites of Dorchester, 1850 Collins Avenue, Miami Beach
As usual, Ink is small (15 exhibitors this year), sweet, and dedicated to works on paper.
Mana Contemporary at 777 International Mall
When: December 5–9 / 10am–9pm (later some nights)
Where: 777 International Mall, 145 E. Flagler Street, Miami
Over the last year, Mana has taken the now-defunct 777 International Mall and turned it into a haven of studio spaces for local artists — including Puerto Rican artists who relocated here following Hurricane Maria — and hosted some of the most fun, inclusive, and "locals-only" events in the city. This Art Week, expect a bunch of exhibitions. A must-see: Tschabalala Self has a site-specific installation on view, presented by Fringe Projects with lead support from Facebook Art Department. Lucky Me! is at Lee's Deli and Market nearby at 28 SE 1st Ave, hosted by Mana; on Friday night, check out Self's accompanying performance. There are also fashion shows, performances, and live music, including the infamous Art Basel Distraction— this year with Slack, Derrick Baseck, puppeteers Poncili Creación, and more. Bonus: Coin In/Coin Out, a new kiosk-slash-gallery by local artists Geovanna Gonzalez and Angel Lauren Garcia.
And if you'd like to see what Mana is doing at their other downtown and Wynwood locations during Art Week, click here.
When: December 6–9; hours vary and are listed here
Where: HistoryMiami Museum, 101 West Flagler Street, Miami
The Miami Street Photography Festival, which highlights documentary and — obviously — street photography, takes place at the HistoryMiami Museum, which you should be visiting anyway. 90 selected finalists from the festival's official competition will be on display, as well as three finalists from the International Series Finalists Exhibition and three more from the Miami Photo Series competition. The programming is dense, too, with plenty of talks and workshops to choose from.
When: December 6–9 / Thursday: 2–7pm; Friday and Saturday: 11am–7pm; Sunday: 11am–5pm
Where: Ice Palace Studios, 1400 North Miami Avenue, Miami
Consistently exciting and affordable (single-day admission is $20), the 16th edition of NADA will host 125 organizations and galleries from 23 countries. Highlights: Rawhide works, installed among palm trees, by the writer and artist Rindon Johnson; Reyes Projects' exhibition of Nikita Gale and LaKela Brown (her works on view crystallize and encapsulate her childhood: door-knocker earrings, gold-capped teeth); Poolside sessions with Sex magazine (featuring a live performance by Odwalla 88); and a panel hosted by Black Lives Matter founder Patrisse Cullors-Brignac.
Work by LaKela Brown at Reyes Projects, on view at NADA (image courtesy the artist and Reyes Projects)
No Commission
When: December 6–7 / Thursday: 2pm–7pm; Friday: noon–7pm
Where: Faena Forum, 3201 Collins Avenue, Miami Beach
No Commission, sponsored by Bacardi, is an exhibition organized by Swizz Beatz's art collective, The Dean Collection, but it's included here for its size and general noteworthiness (Swizz!). Swizz Beatz is a collector himself, and 100% of No Commission proceeds go to the artists themselves. 2018's iteration of the program is entitled "Take the Shot," and solely features photographic works — artists from around the country were invited to submit their portfolios for consideration.
Our Basel at Smoke Signals Studio
When: December 6–9 / 10am–5pm (gallery hours); event hours vary and are available here
Where: 6300 NW 2nd Avenue, Miami
Smoke Signals Studio, a space for art education, conversation, and community in Little Haiti, was co-founded by Phil Agnew a.k.a. Umi Selah (co-founder of The Dream Defenders) and poet Aja Monet. The Smoke Signals crew is hosting their own fair, of sorts, this year — it's what I keep telling people to check out whenever they ask, "Any good openings next week?" Yes, definitely Smoke Signals' Our Basel: Damon Davis's exhibition, Darker Gods in the Garden of the Low Hanging Heavens; a talk with Davis, Agnew, and Black Lives co-founder Patrisse Cullors-Brignac (she is truly gracing Miami with her presence this Art Week); and a closing reception performance featuring serpentwithfeet, Eryn Allen Kane, Inez Barlatier, a DJ set by Rich Medina, and surprise guests.
Pinta Miami
When: Decemer 5–9 / Thursday–Saturday: noon–8pm; Sunday: noon–7pm
Where: Mana Wynwood, 2217 NW 5th Avenue, Miami
Pinta, an Ibero-American art fair, includes 60 galleries this year from across Latin America, the Caribbean, and Spain — São Paulo, Santiago de Chile, Montevideo, and Pétion Ville, Haiti are all represented. There's also a new Projects section, curated by Ysabel Pinyol, Curatorial Director of Mana Contemporary — and Pinta Platforms, curated by Roc Laseca, which displays the work of a single artist.
Taha Clayton, "Golden Lady," (2018), oil on panel with walnut frame, 23.5 x 32.5 inches, on view at Prizm Art Fair (image courtesy the artist)
Prizm Art Fair
Where: Alfred I. DuPont Building, 169 East Flagler Street, Miami
Mostly dedicated to artists representing the African diaspora, Prizm, which is founded by Mikhaile Solomon, gets bigger every year. Now in its fourth edition, exhibiting galleries include Miami's Emerson Dorsch, Miami and Detroit's N'Namdi Contemporary, and Atlanta's September Gray Fine Art. This year, the aforementioned artist and Black Lives Matter co-founder Patrisse Cullors-Brignac will be here, showcasing a capsule collection created in tandem with Black Panther artist Emory Douglas. It features work by Sadie Barnette, Kenyatta A.C. Hinkle, Oto Abasi, and more. Black Lives Matter recently launched a platform to support artists of color, and purchases of their merchandise will benefit the organization directly.
In addition, Cullors-Brignac will be part of a performance at Prizm on Wednesday evening.
Pulse Art Fair
When: December 6–9 / Thursday: 1pm–6pm; Friday–Saturday: 10am–7pm; Sunday: 10am–5pm
Where: Indian Beach Park, 4601 Collins Avenue, Miami Beach
For the 14th edition of Pulse, the fair returns to its home at Indian Beach Park. In addition to its group exhibitions, solo booths, artist conversations, and the POINTS booths dedicated to non-profits, there's also PROJECTS, powerful presentations of just one artist each. The work this year is strong: look for Ann Lewis's One in Five of Us, a display that acts as allusion to the country's horrifying rape statistics; in the PLAY section, look for Alicia Smith's Erendira, in which the artist addresses anti-Indigenous rhetoric by channeling the story of a Purépecha warrior princess.
Red Dot Miami, Spectrum Miami
When: December 6–9 / Thursday and Saturday: 1pm–9pm; Friday: 1pm–10pm; Sunday: noon–5pm
Red Dot is showcased alongside Spectrum Miami — a ticket to one grants you admission to the other — but this year, they're both back in Wynwood, at the Mana Contemporary warehouse. Like last year, Red Dot hosts lots of local galleries — from Miami, Aventura, Lake Worth, Hallandale, Ft. Lauderdale — and a few international exhibitors, too. The theme at Spectrum this year is [ALLURE], brackets included.
Satellite Art Fair
When: December 6–9 / Thursday: 6pm–11pm; Friday–Saturday: 3pm–11pm; Sunday: 2pm–7pm
Where: 18 NW 14th Street, Miami
Always an unpretentious delight, Satellite is now located right next door to NADA, with 40 exhibitors — including solo artists (like Miami's Sleeper), projects (The Femocrats, Brooklyn), programs (SVA's Fine Arts MFA program), and immersive spaces (Flatsitter, from Buffalo). Performance Is Alive will partner with the fair again to present Miami's only non-stop performance art program during Art Week. It'll be four days of live and video performances from over 20 artists: political protests, face ballet, the weirdness of the body.
Drum & Lace performing live by Priscilla C. Scott. Drum & Lace will be performing at Satellite Art Fair (image courtesy the artist, Priscilla Scott, and Satellite Art Fair)
SCOPE Miami
When: December 5–9; 11am–8pm
Where: 801 Ocean Drive, Miami Beach
This year, SCOPE, now in its 18th edition, partners with Hi-Fructose magazine, and features massive installations and projects curated by the publication. Beyond that, at Booth H01, you'll find AICAN, Dr. Ahmed Elgammal's art-making A.I. "machine." Dr. Elgammal works at the Art and Artificial Intelligence Laboratory at Rutgers University; AICAN "creates new artwork without human intervention." Unlike the algorithm used to create artwork auctioned at Christie's, AICAN is "modeled from psychological theories of the brain's response to aesthetics." It can, reportedly, create something new. You'll have to check it out yourself.
Superfine! Miami
When: December 5–9 / Thursday–Saturday: 11am–10pm; Sunday: 11am–8pm
Where: 1001 Ocean Drive, Miami Beach, FL
Superfine describes itself as having been "built on the ethos of accessibility and transparency (read: you will find artwork you love, and you can afford it!)," and that's one reason we like them. This year, keep an eye out for plenty of local galleries and a panel discussion on climate change-slash-the responsibility of artists to address it. Superfine! Collectors' Society members are also granted free admission to the Bass Museum during Art Week.
Carmen Neely, "In an Alternate Reality" (2018), oil on canvas, with plastic flower crown, 81 x 63 inches, on view at Jane Lombard Gallery at UNTITLED Miami Beach, Booth D14 (image courtesy the artist and Jane Lombard Gallery)
UNTITLED Miami Beach
Where: Ocean Drive and 12th Street, Miami Beach
Under director Manuela Mozo, the fair will feature #NeverNotWorking, an ongoing performance piece featuring local participants "working" in 30-minute shifts, hanging and removing sheets from a clothesline. There are 10 special projects on display this year, by artists like Claudia Peña Salinas, as well as a collaboration with local organization the BLCK Family and Locust Projects. Their project will feature performances and readings by poet Aja Monet, tap dancer Cartier Williams, pianist Samora Pinderhughes, and an opportunity to dance — which is one reason you came to Miami in the first place, right?
Bass Museum of Art
When: Click here for regular hours
Where: 2100 Collins Avenue, Miami Beach
The Haas Brothers' Ferngully, the Los Angeles-based designers' first solo museum exhibition, opens during Art Week, and perhaps it'll feel transporting. Taking its title from the 1992 children's film, Ferngully: The Last Rainforest, the show finds its inspiration in "the cycles of renewal and rebirth found in nature." Their furniture and sculptures here recall palm trees, fungi, and strange monsters. Also on view are Paola Pivi's Art with a View and Aaron Curry's Tune Yer Head, both equally wonderful.
The Haas Brothers, "Uma Worm-an," (2018), black Icelandic sheep skin, cast bronze beast bench, 87 (L) x 26 (W) x 25.5 (H) inches, on view at the Bass Museum of Art (image courtesy the artists, R & Company, New York and Marianne Boesky Gallery, New York and Aspen, © The Haas Brothers, photo by Joe Kramm)
Where: 501 Plaza Real, Boca Raton
Take a drive up north to enjoy the Boca Raton Museum of Art's exhibitions, including the playful Michael Smith: Excuse Me!?!…I'm Looking for the "Fountain of Youth"; Daniel Faust: Florida Photos from the 1980s (deeply uncanny); and the sweeping, 200+-piece show, Imagining Florida: History and Myth in the Sunshine State, featuring paintings and objects from the 1750s through the 1970s, all depicting and imagining the magic of this strange peninsula.
de la Cruz Collection
Where: 23 NE 41st Street, Miami
A lecture by Hans Ulrich Obrist at this storied (and free) collection is already at capacity, so you'll just have to come for the exhibition. More / Less showcases cultural shifts over the last 30 years, and the 200 works from Rosa and Carlos de la Cruz's collection include written word and abstraction. You'll find Ana Mendieta, Félix González-Torres, Salvador Dalí, Sterling Ruby, Rashid Johnson, Martin Kippenberger, Alex Katz, Tauba Auerbach, Jorge Pardo, and far more.
Haitian Heritage Museum
When: Click here for regular hours; Miami Art Week reception is Wednesday, December 5, 6pm-9:30pm
Where: 4141 NE 2 Avenue # 105C, Miami
Haïti à La Mode, which features works by the photographer Marc Baptise, opens on December 5 and runs through April 2019. Born in Port-au-Prince, Haiti, Baptiste has worked for magazines like Vogue, Vanity Fair, Rolling Stone, and Harper's Bazaar. His photographs of Haiti are as cinematic as the rest of his oeuvre.
Institute of Contemporary Art, Miami
When: Miami Art Week Hours: December 5–9 / Wednesday, Saturday, Sunday: 10am–7pm; Thursday: 10am–5pm; Friday: 10am–10pm
Larry Bell: Time Machines, its optical illusions, pitch-black room, and strange magic is enough of a pull for this free institution. There's also Manuel Solano's remarkable I Don't Wanna Wait For Our Lives To Be Over and, opening during Art Week, Judy Chicago: A Reckoning, which includes sketches and test plates from The Dinner Party. Also, The Misshapes are DJing during ICA's monthly First Friday party; the reaction has been "Weird flex, but okay" — in a good way.
Judy Chicago, "Bigamy Hood" (1965/2011), sprayed automotive lacquer on car hood, 43 x 43 x 4 1/8 inches (© Judy Chicago/Artist Rights Society (ARS), New York; photo ©Donald Woodman/ARS NYCourtesy Salon 94, New York, and Jessica Silverman Gallery, San Francisco)
Jewish Museum of Florida – Florida International University
When: Click here for regular hours.
Where: 301 Washington Avenue, Miami Beach
There are a few exhibitions on view here, including a retrospective of work by Edna Glaubman and Daniel Chimowitz's Walking Canvases, which combine fine art-on-canvas with hand-sewn clothing. But come for The Art of the Lithograph. Prints by Alexander Calder, Lee Krasner, Camille Pissarro, Marc Chagall, and R.B. Kitaj are displayed, as are litho stones and a step-by-step guide to the process of making lithographs.
Little Haiti Cultural Center
When: See above for regular hours; Miami Art Week opening reception is Friday, December 7, 10am–1pm / Miami Art Week programming is available here
Where: 212 NE 59th Terrace, Miami
The Elusive Master: Emmanuel Merisier, from Haiti to Beyond features the work of Emmanuel Merisier, whose paintings explore, at once, modernity and spirituality. The Little Haiti Cultural Center has extensive other programming throughout Miami Art Week, too, all of which is worth checking out.
Lowe Art Museum
Where: 1301 Stanford Drive, Miami
The University of Miami's art museum is always eclectic. On view now: Elsie Kalstone: Imaginative Things; Giampaolo Seguso: My Page is Glass; Dialogues: Studio Glass from the Werner Collection; and Yousuf Karsh: American Portraits, featuring his photographs of folks like I.M. Pei, Eleanor Roosevelt, and Grace Kelly. Glass is well-loved here, in part thanks to the private collection of Myrna and Sheldon Palley and their generous contributions.
The Margulies Collection at the Warehouse
When: Extended hours for Miami Art Week: December 3–9 / Monday–Saturday: 9am–5pm; Sundaay: 9am–2pm
Where: 591 NW 27th Street, Miami
The Margulies Collection is worth a visit for its dreamy permanent exhibition — featuring pieces by Ernesto Neto, Sol LeWitt, Isamu Noguchi, Willem de Kooning, and more — and new installations of works by Barry McGee, Imi Knoebel, Ibrahim Mahama, Cate Giordano, Peter Buggenhout, and photographers Walker Evans and Helen Levitt. The $10 entry fee is an automatic donation to the Lotus House Women's Shelter.
Dozie Kanu with his holiday commission in the Miami Design District: playground objects and bird feeders (image courtesy the artist and the Miami Design District)
When: Hours vary by event. Click here and here for more info.
Where: Click here for a map.
The Design District is no museum, but there's enough going on here to warrant its inclusion on this list. Here's a small sample: Dozie Kanu's holiday commission, Bird Feeders & Play Structures, which is a playground, of sorts. Jamilah Sabur's mural, Actual Infinity. Nite Owl Theater will host ARTHOUSE A-GO-GO, an endless stream of Arthouse movies on 35mm film. Obsolete Media Miami has open studios all week.
And, at OTL — a coffee shop — there's Wav.Room, which the musician Suzi Analogue told me will be Art Week's "audio-visual listening lounge," presented by Never Normal. Come for coffee and tea; stay for DJ sets by (F)empower and Vinyl Social Club, SUBPAC's Bass Sound Bath Meditation by DJ Earl, and talks with artists and authors Dana Goldstein, Mwanel Pierre-Louis, Jacob Katel, and the radio station HalfMoon BK. Analogue, the aforementioned polymath, will debut a performance art piece at the end of the weekend (December 9th), featuring art direction by Kristabel Delgado. For details on Wav.Room (and to RSVP), click here.
Museum of Contemporary Art-North Miami
When: Extended Miami Art Week hours: December 3–10 / Monday–Friday, 9:30am–6pm; Saturday–Sunday: 10am–5pm; Monday, December 10: 9:30am–5pm
Where: 770 NE 125th Street, North Miami
Chana Budgazad Sheldon, the museum's new executive director, has already helped usher in fantastic and diverse programming. On view just in time for Miami Art Week is AFRICOBRA: Messages to the People, a celebration of the black artist collective of the same name (it stands for African Commune of Bad Relevant Artists). This year marks their 50th anniversary; curated by Jeffreen M. Hayes, Ph.D., on view is the work of the founding artists and five early members.
NSU Art Museum Fort Lauderdale
Where: 1 East Las Olas Boulevard, Fort Lauderdale
If you take the Brightline high-speed train to Ft. Lauderdale, you'll be a very short distance from this gem of a space. Currently on view: William J. Glackens and Pierre-Auguste Renoir: Affinities and Distinctions, and Remember to React: 60 Years of Collecting, the first comprehensive installation of the museum's collection.
Patricia & Phillip Frost Art Museum — Florida International University
Where: Modesto Maidique Campus, 10975 SW 17th Street, Miami
This free museum, attached to Florida International University, is a bit of a drive from the rest of the week's happenings, but it's well worth it. There are three great exhibitions on view: Relational Undercurrents: Contemporary Art of the Caribbean Archipelago, broken into four sections and downright breathtaking; The Writing on the Wall: Hank Willis Thomas and Dr. Baz Dreisinger, a presentation of letters, stories, and notes written by individuals in prison all over the world (they were collected by Professor Dreisinger while teaching in various prisons); and Connectivity: Selections from the Collection of the Frost Art Museum.
Pérez Art Museum Miami
When: Extended hours for Miami Art Week: December 3–9; Monday, Friday, Saturday, Sunday: 9am–6pm (free admission 9am–6pm Saturday); Tuesday: 10am–6pm; Wednesday: 9am–5pm; Thursday: 9am–5pm; 7pm–12am (free admission 9am–5pm)
Where: 1103 Biscayne Boulevard, Miami
There is a lot of beautiful work on view at the PAMM right now, but two are opening during Miami Art Week: José Carlos Martinat's American Echo Chamber, filled with mechanical light sculptures, and Pedro Neves Marques: A Mordida, which translates to "the bite" and is Neves Marques's first solo museum presentation. His two newly commissioned short films will be on view, based on research he conducted at a genetically modified mosquito factory in São Paulo, Brazil — they are films about politics, relationships, gender, Zika. Also incredible: Ebony G. Patterson: …while the dew is still on the roses…, Arthur Jafa: Love is the Message, the Message is Death, and Christo and Jeanne-Claude: Surrounded Islands, Biscayne Bay, Greater Miami, Florida, 1980–83 | A Documentary Exhibition. Commemorating the 35-year anniversary of the duo's 1983 installation, Surrounded Islands, the exhibition chronicles its history with hundreds of photographs, documents, and a large-scale model of the bay.
Rubell Family Collection
When: Extended hours for Miami Art Week: November 30–December 9 / 9am–6pm
Where: 95 NW 29 Street, Miami
On December 3, two new exhibitions open: New Acquisitions, featuring work by Tschabalala Self, Tomm El-Saieh, and Martha Jungwirth, and Purvis Young, a large-scale exhibition of over 100 paintings by the artist, who was born in Miami's Overtown neighborhood and lived in the city during the entirety of his life (1943–2010). New Acquisitions will be, undoubtedly, fantastic, but Purvis Young must be seen.
Ameya Okamoto, "Intersectional Supper" (2017), digital print, on view at Jasmine Wahi's Education as the Practice of Freedom (image courtesy the National Young Arts Foundation)
The Wolfsonian — Florida International University
When: Click here for regular hours; Miami Art Week reception is Friday, December 7, 8pm–11pm. RSVP here.
Where: 1001 Washington Avenue, Miami Beach
Head to the museum to see Enter the Design Age, an installation by the Paris-based studio H5. They're taking over the facade of the building with a video at night and, by day, lots of giant typography. Also on view: The Art of Labor; Frank Brangwyn: Bringing the Empire Down; Wit as Weapon: Satire and the Great War, and more, all in a beautiful Art Deco building on South Beach.
When: December 5–9 / Monday–Thursday: 10:30am–11:30pm; Friday–Saturday: 10:30am–12am; Sunday: 10:30am–8pm
Beyond Words at Wynwood Walls — the center of the Wynwood Arts District — is dedicated to the transformative power of street art and features nine new installations. Work by Tomokazu Matsuyama (Japan), KOBRA (Brazil), VHILS (Portugal), and more will be on view.
The National YoungArts Foundation
When: Extended hours for Miami Art Week: December 3–9 / Monday: 9am–9pm; Tuesday–Friday: 9am–pm; Saturday–Sunday: noon–5pm
For more information on Bay Parc and Givenchy hours, click here.
There's so much going on at YoungArts this year that they're almost having a Miami Art Week all their own. First, at YoungArts itself, there's Education as the Practice of Freedom, curated by Project for Empty Space's Jasmine Wahi. At Givenchy, there's an in-store installation by YoungArts alumni Naomi Fisher. Nadia Wolff (2016 YoungArts Winner in Design Arts and Visual Arts & U.S. Presidential Scholar in the Arts)'s installation, A Place to be Held, essentially takes over a section of the Bay Parc Apartments, transforming it into a re-imagined version of the Black Caribbean home. Back at PULSE Contemporary Art Fair, 15 YoungArts alumni have their own salon-style exhibition. YoungArts is consistently brilliant, so make sure to check out at least one of these events.
Your Concise Guide to Miami Art Week
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Tagged: Art Basel Miami, Articles, Miami Art Week
Monica Uszerowicz
Monica Uszerowicz is a writer and photographer in Miami, FL. She has contributed work to BOMB, Los Angeles Review of Books' Avidly channel, Hazlitt, VICE, and The Miami Rail. More by Monica Uszerowicz


After the success of the past years on the East Coast, in New York, for the first time, the event Vino in Villa USA will arrive on the West Coast, in San Francisco.
This year, the Consortium of Prosecco from Conegliano Valdobbiadene has decided to add an event on the West Coast, at San Francisco's Fairmont Hotel, on June 28, 2007, to the usual New York event, planned for Tuesday, June 26, at Cipriani 23rd Street,.
During the two shows, the producers of Prosecco DOC from Conegliano Valdobbiadene will present a tasting of their selection of the most representative wines made in the DOC zone. The tastings are open exclusively to food and beverage industry professionals and the press.
For information and reservations, please call 866 362 6442, or contact the US organizer via e-mail.


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