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Hierarchical agglomerative clusteringgroups together the data in a stepwise fashion matching oneexpression profile with the next, one at a time, until all theprofiles are matched and form clusters, as shown in Figure 4.3.K-means clustering starts out by randomly clustering theexpression profiles into groups or bins and then performingthe comparisons between the bins, by selecting like profilesto stay and putting different profiles into other bins, until allthe profiles are matched and reorganized into bins or clustersthat show similarity. The data are calculated according to theequations derived by Otis et al. pylori and dyspepsia benefit from its eradication

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Chapter 6 I had now completed half of my required 56 hours for my graduate MFA degree and was in the middle of the spring 1972 semester. Because of my anticipated graduation I started preparation for my Senior Exhibit. The first step was contacting my graduate committee advisors and scheduling the show. My committee consisted of Gene Bavinger, George Bogart and Pete Bache. My first contact was George Bogart. When I approached him and told him I wanted to talk about my senior show he said “Why, you have a whole year left before graduation.” I immediately knew I was in trouble. I explained what I was trying to do and why and he said the program was a minimum 2 year program and that it was not possible to complete it in only one year. I explained that I had talked to the Director, Joe Hobbs, and he had told me there were no restrictions on minimum time spent. George was very concerned and sympathetic but was not very optimistic that I would be allowed to graduate in one year. I again stated that after the current semester I would only have 12 hours remaining and that I had already completed 12 hours during the last summer term and was sure I could repeat that performance. He said that he would talk to the Director and get back with me, but not to get my hopes up. I quickly approached the rest of my committee and got the same shock and disbelief. They also said they didn’t think that this would be possible. When Joe Hobbs was confronted about the situation he simply denied ever having said that and said I must have misunderstood. It was obvious that I was not going to win this battle. A new policy was created that specified there was a minimum of a 2-year residency that was required before completing the MFA degree program. At the time I was devastated. This would mean that I would miss my window of opportunity for the teaching position at Cameron (my dream job) and there would be no guarantees of a teaching job anywhere. In addition, I would have to spread my remaining 12 hours over another year. This just seemed unfair and a waste. Looking back on it now, it wasn’t such a bad thing. The truth is I don’t really know if the casual commitment from Jack Bryan was a real job offer. At the very least, I would have had to apply like everyone else and win the job with my credentials, body of work and personal interview. Sure, I had some things going for me but I was also very, very young. As it turned out I told my friend Dwight Pogue about it and he applied and got the job. I hoped that by the next year there might be another position or that Dwight would not like it there and move on, but I knew the chances were pretty slim. OK, welcome to my new reality. What do I do now? After 5 years in college, 4 undergraduate years and 1 in grad school, what do I do now? I wasn’t going to quit; there was no logic in that. One thing was certain, I could S L O W down. There was no reason to enroll in summer school, I only had 12 hours left and I had to spread those out over the next year. After taking 16 hours each regular semester taking only 6 was going to take some adjustment. So, I decided to take the summer off, try and relax and wrap my head around finishing and the job search that would follow. I was still working with the bag series and was still pretty excited about the potential there so I enrolled in 6 hours of painting for the fall semester. You know the funny thing about it, this exercise in writing has forced me to remember everything possible about past events that relate to my work and I can’t remember anything about that summer. I guess for the first time my thoughts were not consumed with work and love number two. I guess I relaxed and just enjoyed life for a while. I do remember a lot of spring and summer evenings with fellow grad student friends playing Ping-Pong and drinking beer at our little rent house. Most of our friends at that time were fellow grad students and their wives who were a year ahead of me in the program. Most of them had just graduated and were in the process of looking for a University teaching position. This was something that I knew I now would be consumed with in another year, so watching them go through it really helped me prepare. I had a part-time job as a maintenance man for an apartment complex, which eventually led to us moving to a newer complex where we became assistant managers. This job only lasted about a month. The job paid for half of our rent, which was the equivalent of $75.00 a month, and for that huge amount of money we got to be responsible for the entire complex of about 50 apartments. You know Jo and I have never been real good with money or anything that had to do with finances, but in less than a month we both realized that this was not a good financial decision. I only had about 8 months left until I graduated so we decided to stay and just pay the full amount for rent. Chapter 7 Fall semester started and I continued to work with bags of colored liquid. Each piece became more elaborate in construction and the development of each component. They also became more and more dimensional. The final couple of pieces were free standing structures made with a complex redwood 1”x2” frame that supported the bags. They were large massive pieces and even I would have a difficult time justifying them as paintings. The largest was a grid construction that was 8’ x 8’ x 1’. This piece had 144 bags that were 12” square hanging in each open 12” space of the grid. The weight was unbelievable. I assembled this piece in my studio at the time, which if you remember, was an old bathhouse. My space was the shower area so there were drains in the floor and the floor slanted toward the drains. This slant made the piece lean slightly. People were afraid to come into the room because they were afraid the structure would fall on them. In reality there was no way it could fall because the weight stabilized the piece. In retrospect, I think the reason I continued to build and highly craft these elaborate pieces had to do with me wanting to give or make these pieces more permanent, more like traditional paintings, more like pretty pictures. Toward the end of the semester I started doing some drawings of the colored bags. They were a little smaller and more personal than the large major pieces. They were still big, particularly for drawings, they were 18”x24” up to 22”x30” in size. I used a variety of media to produce these drawings including graphite pencils, colored pencils, oil pastels and acrylic paint. The paint was primarily used for the backgrounds and was applied with a spray gun and traditional brushes. These were important transitional pieces because they bridged the gap between two distinctively different bodies of work. I had been working with bags and the arranged process for about a year. This is not a particularly long time but it resulted in a large body of work that explored a lot of related but different concepts. I found myself really missing the physical aspects of making more traditional art, “pretty pictures.” These drawings were a way to use my hand skills and produce more traditional art that had a relationship to the current “bag” series. The interest in these drawings led me back to an interest in printmaking, my original undergraduate degree. I decided to enroll in a lithography class my final semester. This was an area of printmaking that I had not explored. At OU at that time graduates did not actually have specific classes. They enrolled in hours under a specific instructor and worked independently. I enrolled in 3 hours under one of the printmaking instructors. As it turned out, Ralph Steeds, the other graduate student that was admitted with me was a printmaker. The graduate studio for printmaking was back on the main campus. Ralph and I were the only students working in this space so we got to know each other pretty well. Ralph was a very disciplined technician and taught me a lot about stone lithography. During this period of time I worked on perfecting my skills in printmaking, particularly in lithography. This skill set eventually proved to be very beneficial and I’ll talk more about that in a future chapter of this book. I produced several small editions of lithographs primarily to learn more about the craft of lithography. The subject matter for these prints came from the drawings of bags I mentioned earlier in this chapter. [caption id="attachment_839" align="aligncenter" width="728"]buy provigil in canada "Projection Bags" - plastic bags, wood, food color & fluorescent light[/caption] [caption id="attachment_840" align="aligncenter" width="481"]buy provigil in south africa "Zip Lock I" - limited edition stone lithograph[/caption] [caption id="attachment_841" align="aligncenter" width="487"]buy provigil india "Zip Lock II" - airbrush, graphite & stone lithograph[/caption] [caption id="attachment_842" align="aligncenter" width="636"]buy provigil in australia "Twelve Baggies on a Bed of Acrylic" - graphite, acrylic, oil pastels on paper[/caption] [caption id="attachment_843" align="aligncenter" width="554"]buy provigil in mexico "Zip Lock III" - limited edition stone lithograph[/caption] Chapter 8 During the final semester at OU, I split my time working on prints and painting. As I mentioned the concepts and subject matter for the prints came directly from the “bag series” but the paintings were becoming harder to generate new ideas and quite frankly I was becoming less interested in pursuing the visual avant garde direction of the bag series. It had been over a year since I had stretched a canvas and applied paint in a traditional fashion. I missed the craftsmanship. I missed the act of painting. I consistently read about contemporary art and artists in books and magazines. I started this practice as an undergrad student in an effort to learn about and keep up with art trends. In most reference books and magazines like “Art in America” and “Art Forum,” I learned about the conceptual thinking of individual artists but rarely did I learn anything about their techniques or personal methods of painting. Occasionally I would learn what media was used but that was about it. I was particularly fond of the Abstract Expressionists. I often thought how exciting it would be to have lived in New York City in the early ‘50’s with the explosion of Abstract Expressionism and Cool Jazz. Watching artists like Jackson Pollock, Willem de Kooning, Franz Kline and Robert Motherwell mixing with Miles Davis, John Coltrane, Dave Brubeck and Stan Getz as they developed their unique and new styles of art and music. On rare occasions I would come across some information about an artist and their experimentation with different non-traditional materials. I was always very interested in the process, something I definitely picked up from Gene Bavinger. While reading about Willem de Kooning, I learned that he experimented with several different types of oil medium. He first departed from the traditional linseed and stand oil and tried poppy-seed oil that gave him a more fluid mixture. He then abandoned the poppy-seed oil for safflower cooking oil. He bragged that he had found a salad oil that he could use in lieu of expensive artists’ oils. This sounded great to me. I had never painted much with oils and I really wanted to try it. I had become very dependent on acrylic paint and polymer additives to produce large volumes of paint inexpensively for my large paintings. This new “salad dressing” formula sounded like a great way to approach large-scale oil paintings. So, I headed to the grocery store to purchase art supplies. At my local Safeway (pre Homeland) store they didn’t have any safflower oil, so, regular old Wesson oil would have to do. I bought a gallon and headed back to the studio. I stretched up a large canvas, primed it with house paint gesso and set it aside to dry. That night I continued to read and research about de Kooning’s techniques. I read that he really like this new medium because of its liquid state. He stated that it “stays wet a long time, it doesn’t dry like linseed oil, I can work longer.” He was definitely right about that. I found out that his brand of choice was Saff-o-life safflower oil. That must have been a New York only brand; I couldn’t find that brand or any other brand of safflower oil in local grocery stores. I also read he often mixed the oil paint, safflower oil, solvent and water together, whipping it into a fluffy consistency. Wow, mixing it with water, I had never heard of such a thing, but it gave me a lot of ideas. The next morning I headed to the studio with a few new tubes of oil paint and a lot of ideas. I took the canvas and placed it on the floor. I took my oil paint and mixed a specific color then added a large amount of the Wesson oil and started mixing it with a 1” brush. Amazing, this stuff was great. Beautiful rich color with that famous buttery smooth consistency. I added a little thinner until I got a very fluid mixture. I went to the canvas and started pouring, spattering, slinging, brushing, all with my newly found energy and passion. I loved what I was accomplishing so this added to the energy and it all showed. I quickly went back to my paint and mixed another color and rushed back to the canvas. Then I got really crazy. I mixed up another color with acrylic paint; let’s break all the rules! Unlike de Kooning, I didn’t whip the oil and water mixture together; I let them repel each other. This rule of opposites is the fundamental reason lithography works as a printing method and I wanted to see what would happen with paint. It created a beautiful marbling effect on the canvas. I continued the entire day barely stopping to eat. I left the painting on the floor and headed home very satisfied with my new approach and very excited to continue this new series. When I returned the next day I was pleasantly surprised to find the painting rich in color and very energetic. The oil paint was dry to touch so the de Kooning / Hefner formula (my part was the substitution of Wesson oil) seemed to work. My semester work-load was very light so I decided to continue this new direction with the possible goal of showing these new pieces in my senior show, which was scheduled at the end of the semester. I started building more stretcher frames immediately. As the paintings progressed, it looked like I was going to have enough to show, so I started asking for more space in the gallery area to accommodate a good selection of the bag paintings and the new oil paintings. The show was scheduled in the new Art building in the light well gallery. The light well gallery was really only one long wall and I felt that it would be adequate for the bag paintings, but would not be well suited for the oils. The honest truth was the two series were so visually different, they did not show well together. The basic concepts had not changed much but the process and application was so different they really didn’t look like the same person produced them. I asked the Chair of the Department if I could have more space and he allowed me to have an entire adjoining room. This room was designed to be an independent classroom, but it worked well as an overflow room for the gallery. I liked it because I could physically separate the work. This room did not have gallery lighting but it was a good space with open walls. I hung the bag pieces in the light well. I hung the oil paintings in the overflow room along with the three-dimensional bag pieces. I was pleased with the show even though it looked like two completely different artists. I decided earlier to focus on painting in my final thesis show rather than mixing in prints and drawings even though I was producing new work in both categories. Now I was ready to defend my work before my committee before receiving my MFA and I was expecting to have quite a debate because of the visual diversity. It was finally here, the end was in sight, my graduate degree was just days away. The required two years had been finished, the thesis show hung and reviewed and my defense was scheduled. As I mentioned, I was a little concerned about that last step but determined to finish strong. Well, as it turned out, it was no big thing. My committee and I met in the overflow room. After they took one last look at the entire show, we all sat down. They asked a few questions about technique on the most recent oil paintings and then asked if I had any teaching job leads. That was it, all the preparation on concept, rationale and philosophy, all the physical work, all the pain and joy – over in 5 minutes. To this day, I don’t really know how they felt about the work. It was obviously good enough or maybe they felt they had given me all they could and it was just time for me to go. The one thing I do know is I was extremely relieved. Now, for the rest of the story. . .remember I mentioned how important that last semester and the printmaking course was, well as it turned out, I entered every print and drawing show that I could find that semester and was accepted in several. One of the most prestigious was a national competition at Davidson, North Carolina. I didn’t realize at the time how prestigious this show was or how competitive, but it was one of the top print and drawing competitions in the Country at that time. Later, during the summer, in the middle of the massive job hunt, I got a positive response from a small school in North Carolina, Pembroke State University in Pembroke, North Carolina. As it turned out, I sent out over 600 letters of inquires to Colleges and Universities all over the United States and got one interview. That interview turned out to be that small school in North Carolina 30 minutes down the road from Davidson, North Carolina – the same Davidson that hosted the national print and drawing competition where I had recently been accepted. A coincidence, maybe but I doubt it. [caption id="attachment_845" align="aligncenter" width="733"]buy provigil in uk After the bag series, I missed the traditional aspect of applying paint to canvas, so I experimented with mixing oil and acrylic in a small but significant group of work. This series of work was inspired by Willem de Kooning.
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The Mid-Way Show was a success and the museum retained one piece for their permanent collection. This was an honor or at least I thought it was at the time. I often wonder what became of that piece or if it was ever shown again. The influence from my fellow grad students was really beginning to affect my thought process and I was slowly starting to experiment with different materials. The entire time I was working with the wrinkle technique I was obviously working with an illusion of depth or space and I was trying to enhance or destroy this illusion with color and texture. I slowly started to play with this deconstruction using alternate materials like Plexiglas suspended in front of the wrinkle to visually prove the flatness. Then I started playing with making the wrinkle permanent with the use of polyester resin to stiffen the canvas. This led to combining the Plexiglas with the resin, then using the resin on lighter weight material i.e. muslin, then tinting the resin with dyes and paint, then casting separate elements of paint to apply or arrange on top of the other materials. Yea, you got it, lots of crazy experimentation but that is what graduate school is for or at least at OU (total freedom.) Now that I look back on it, what a wonderful time and place! All this experimentation and Otis’s influence eventually led to some arranged pieces. These pieces were similar in size and style to Otis’s work but I changed the materials slightly. Honestly, they weren’t very good and certainly lacked the passion and commitment that Otis and Dalton had with their work. It never happened but I think if almost anyone would have come in and told me that my work sucked and I was full of crap for even trying it, I would have agreed with them, stopped immediately and started something else. I truly was not committed to this type of work! I think of this work and this time period as a transitional period but even with my lack of commitment the effort and the exploration led to new developments in concept as well as process. I became acutely aware of the individual materials that I was choosing and their visual impact on the finished pieces. In traditional painting processes the materials are combined together to create a work where the individuality of each element was hidden in the totality of the whole. In these arranged pieces all the elements remained visible and uniquely separate from the whole. Each element had a distinctive visual effect on the finished piece. This was a new concept for me and I started working with this concept and its relationship with traditional painting materials. In particular I became intrigued with the idea of separating the materials completely yet still having them combine visually. This idea led to separating the paint from the canvas and the canvas from the stretcher frames and bringing them back together in a new presentation. About this time I found an old heat seal machine at the government surplus that I mentioned earlier. This machine was a bulky set of steel bars that were configured into a clamp that was hydraulically operated by compressed air. The bars of the clamp were coated with Teflon and heated to a high temperature so you could put two pieces of polyethylene plastic in and clamp it for about 30 seconds and it would melt the two together. I started using this machine to seal 12”x12” clear pieces of polyethylene plastic on three sides, then fill the bag with colored water then close or seal the remaining side. The end result was a clear plastic bag with colored liquid inside. These bags became my solution to separating the paint from the other elements. This led to an entire series of pieces that were visually a little more structured than the arranged work. This work definitely pushed the boundaries of sculpture and painting. I always thought of them as paintings even though some of the pieces were freestanding, floor structures. I thought of them as paintings because conceptually they were conceived from painting concepts. There was an interesting occurrence dealing with this controversial aspect of these pieces. During the fall semester of 1972, the Museum sponsored a painting competition for students. The competition was open to all art students including graduates. It was a juried competition and the juror was not from OU. I entered one of my bag pieces in the competition and installed it early on the deadline date. These pieces were separate components that I had to set up or arrange. The deadline for entries was 5:00 pm and about 4:00 pm the Director of the Museum, Sam Olkinetzky, contacted me and told me my submission was unacceptable. I asked him why and he said that the competition was for painting and my entry was not a painting. I tried briefly to argue with him using the logic that I created it and the concepts were all painting concepts, but I could see that I was getting nowhere so, I left angry. I went directly back to the art building and ran into George Bogart. He could see that I was distraught and asked me what was going on. I told him the whole scenario, he thought for a moment and told me that I should go back over and talk to him again. My immediate reaction was “Why, what’s the point.” George just looked at me and very calmly said, “If you don’t, he wins.” I certainly didn’t want that and I suddenly realized that George was right. I talked with George a little more to plan my strategy. He suggested that I calmly ask Sam what constitutes a painting and what distinguishes a painting from sculpture. I waited a few minutes and went back to the Museum. I found Sam and engaged him in the planned discussion. I asked him what his definition of painting was. At first he was combative, but I worked calmly and tried to convince him that I was trying to understand. He replied that a painting was all about color and that it could not be dimensional. I then asked him if shaped canvases and work like Frank Stella applied. He replied of course not because Stella was a recognized national painter. I then asked if the fame or notoriety of the artist had anything to do with determining weather a work was sculpture or painting. He replied that it did not. He continued to tell me that the work could not be dimensional. We discussed other dimensional painting techniques and other recognized artists and finally I asked him how far from the wall could a work project before it became sculpture. He was hesitant but finally said that a painting could not project from the wall more than 12 inches before it became sculpture. I then asked if I rearranged my work so that it did not project more than 12 inches, would it be acceptable. I had him; he reluctantly said, “I guess so.” I quickly went to where my piece was hanging and rearranged it by shoving all the ladder forms up against the wall so they did not extend more than 12 inches. It looked terrible but at least it was shown to the juror. A temporary victory! The true irony came after the juror reviewed all the work and awarded my piece the best in show award. He did comment that he thought the piece would be even better if the ladders projected further onto the floor. I renamed the piece “Sam’s Grief.” This event taught me a lot about the art of negotiation and how a cool head and rational discussion could be a strong asset. 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Chapter 4 Since I thought it would be possible for me to get a MFA degree in one year from OU and was pretty sure I would be accepted into the program, I didn’t bother to apply anywhere else. Both assumptions were very naïve. As it turned out I did get admitted, barely, into the program. I found out later that the faculty tried a new method of selecting their new graduate students. In previous years each faculty member chose the students for their area, i.e. the painting faculty chose the painting students, sculpture faculty chose sculpture students, etc. This year the entire faculty unanimously voted to accept or deny each student. This proved to be almost disastrous for the program, there were only two graduates accepted for the fall 1972 enrollment. Normally, 12 to 15 students would be accepted. So, I began that summer, enrolling in 12 graduate hours. Armed with my new “wrinkle technique” I started working with a goal of 15 – 20 new pieces during the summer. At that time the graduate curriculum was very loose at OU. They had several graduate level studio classes that you could take multiple times with a maximum of 12 total hours in each class. I enrolled in 4 of the classes for 3 hours each with a different professor for each class. You met with each of your professors once a week for critique and just worked. There were no set assignments or projects unless one of your professors asked you to work on something specific. The idea was that you were a working professional and you would work to produce and improve your craft. A simple process that many students had great difficulty adapting to but I loved it. I started doing smaller color studies on paper. These works were full watercolor paper size (22”x30”) and I primarily worked on color and different paper folds. They were quick and I could easily do one or more a day. I was using an airbrush to apply the paint so I was using a variety of airbrush media. I experimented with colored inks and dyes as well as watercolor and acrylic. Tube paints needed to be thinned to a very thin consistency so even the opaque paints became somewhat transparent. This transparency aided in the color palette by multiplying the color with each application. These paper studies were important in the development of the larger works on canvas. It was a great way to perfect and work out problems with spraying and the application of paint. They also quickly led me to push beyond the natural phenomenon of the wrinkle. I started trying all kinds of fold and wrinkle patterns. Everything from ridged grid patterns to deep complex wrinkles and everything in between. Then I experimented with masked areas and over-painting hard edged elements, this led to pouring thick paint over the flat wrinkle illusion to drastically juxtapose the two textures. That summer was very productive, I finished with about 30 watercolors and about 6 large-scale canvases. It was the first time that I had the time and freedom to just work. It was exciting! That summer the school allowed me to set up a temporary studio in the brand new Fred Jones Memorial Art Center. Even though it was temporary it was great because it was a new state of the art facility with plenty of space and all the necessary technology (compressed air) to explore this new technique of painting. All in all it was a very successful summer and I assumed my professors felt the same way because I received all A’s. The first hurdle of my one-year marathon had been successfully completed. [caption id="attachment_808" align="aligncenter" width="802"]buy provigil online pharmacy "Wrinkle, Pour and Magenta Grid" / Acrylic / 57"x84"[/caption] [caption id="attachment_809" align="aligncenter" width="604"]buy provigil paypal "Yellow Window" / Acrylic / 66"x90"[/caption] [caption id="attachment_810" align="aligncenter" width="415"]buy provigil pills "Here It Comes" / Acrylic / 66"x84"[/caption] [caption id="attachment_811" align="aligncenter" width="493"]buy provigil prescription "Thin Gold Line" / Acrylic / 60"x72"[/caption] [caption id="attachment_812" align="aligncenter" width="602"]cheap provigil prescription "Looking In" / Acrylic / 66"x96"[/caption] [caption id="attachment_816" align="aligncenter" width="450"]buy provigil online paypal "Looking Out" / Acrylic / 72"x72"[/caption] [caption id="attachment_814" align="aligncenter" width="462"]buy provigil reddit "Arc Wrinkle" / Acrylic / 72"x72"[/caption] In the fall I had to move my studio. The University had several old buildings on what was called North Base. North Base was an old Naval facility that dated back to the WWII time period. I know what you are wondering, a Naval Base in the middle of land locked Oklahoma? Well, it’s true; the story I was told was that the Navy used it as artillery training for the big guns on ships during the war. The buildings were mostly old frame barracks but there was one concrete building that was the bathhouse for the base swimming pool. There was space available in this building so that is where I moved. The sculptors seemed to be in the old barracks and the painters were in the bathhouse. I had met several of the graduate students a year earlier when I was a senior. I had become friends with a graduate printmaker named Dwight Pogue. He was working with commercial printing techniques and trying to use them in a fine art approach. I became very interested in these techniques and I helped him build a process camera out of found parts that we scrounged from the Government surplus that we had access to in Oklahoma City. We installed this camera in one of the barracks and eventually used it to shoot large-scale negatives and positives for screen-printing. We eventually wrote a book and printed it at Dwight’s dad’s printing company in Missouri but that is another story. Through these efforts I met many of Dwight’s fellow graduate students and friends. One of Dwight’s friends was a painter by the name of Otis Jones. Otis and Dwight had been friends as undergrad students at a small University in Pittsburg, Kansas. Otis also had a studio in the bathhouse and we became friends. Otis was very progressive in his painting. His paintings at the time were large arrangements of a wide variety of materials including thinly painted cheesecloth, natural muslin and raw and painted wood. These materials were assembled in a variety of arrangements on a long wall with some of the wooden elements giving dimensional support to the draped and flowing cloth elements. This visual style was almost radical for me at the time but was very interesting. The better I got to know Otis and the more I watched him work the more I realized how dedicated he was to this new art form. There were a lot of advantages to this method of working. One was cost of materials; one set of materials could be used over and over and over with almost unlimited variation possibilities. Another advantage was storage. Another close graduate friend, Dalton Maroney, recently told me of a time during this period when he helped Otis transport and install an entire show in Otis’s Volkswagen Beetle. The biggest disadvantage was this type of work had no real permanence. Almost none of this type work exists today; it lives by its photographic record. Otis, Dalton, Dwight and all of my graduate friends would become very important in my personal art development. I continued to work with the “wrinkle technique” but watching my fellow grad students work with arranged work in painting and sculpture accelerated my growth and my desire to go beyond the natural beauty of the wrinkle illusion. I worked with the wrinkle technique through my Mid-Way Show. For most of the graduates this show occurred after the first year when the student had finished approximately half of the required 56 hours. Since I was working on the accelerated plan, I scheduled mine after my first fall semester. I had successfully completed 28 hours at this point. The show was at the new Fred Jones Memorial Museum and consisted of eight large stretched canvases. [caption id="attachment_818" align="aligncenter" width="739"]buy real provigil online Grad School Midway Show / 1971 / Fred Jones Jr. Memorial Art Center[/caption] [caption id="attachment_819" align="aligncenter" width="739"]buy real provigil Grad School Midway Show / 1971 / Fred Jones Jr. Memorial Art Center[/caption] [caption id="attachment_820" align="aligncenter" width="727"]buy provigil singapore Grad School Midway Show / 1971 / Fred Jones Jr. Memorial Art Center[/caption]    
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