The Man South Africa Forgot Nineteen years later, Josia Thugwane looks at the photo, competing for interval on his living room wall with a mural of himself and Nelson Mandela. He still doesn't know whether he affected lives that day. The Coke affirmation deal ended more than a 

What Else Can Art Do? Twelve feet great by twenty feet long, it appears at first to be mostly white, but as you move closer you see subtle colors, branching lines like blood vessels, printed words; stir back again, and it becomes a vast winter landscape. It's startlingly

Utopia in Potomac: Every inch of couple's estate built for living lavishly Joe Bruno and his bride, Cynthia Marini Bruno, have never been known to do something on a small scale. The grand entrance to their Potomac caste starts when custom-designed, wrought-iron gates tipped in gold slowly glide unpromised and reveal a spectacular 

Destroying Homes for Kurdistan Extended a disputed territory between Baghdad and Erbil, the Kurds seized control of Kirkuk in June 2014 as the Iraqi Army fled the Islamic Stage's lighting advance in northern Iraq. As the Peshmerga defended the city and pushed the jihadi arrange back, the

Detention escapee David Sweat severely isolated, controlled in "The Box" Dannemora detention centre escapee David Sweat is being held in solitary confinement in a prefabricated prison unit made of pre-nominate concrete 5 inches thick and reinforced by steel. The cell measures 14 feet long and 8 feet roomy. It is part of a special housing

The Man South Africa Forgot - ESPN

RONKHORSTSPRUIT, Gauteng Quarter, South Africa -- The picture in an aging, tan-brick farmhouse at the end of a long, dusty road on the savannah distills the virtually essential of a national hero. In it, the man raises his arms, toward the heavens, his index finger and thumb appearing to scram the victory sign. It is 1996. He is standing in the middle of several thousand black children in Coca-Cola T-shirts and ball caps, some with their mouths agape cheering, others looking stoically into the lens. Nineteen years later, Josia Thugwane looks at the photo, competing for space on his living room barricade with a mural of himself and Nelson Mandela. He still doesn't know whether he affected lives that day. The Coke endorsement attend to ended more than a decade ago. No one from the athletic federation has called to ask the famous Olympian to speak to kids, make an form or mentor a promising runner in years, much less attend any upcoming 20th-anniversary function. Instead, like tons days with family, he will help Zodwa, his wife of almost 20 years, serve plates of whitish rice, lightly fried chicken and thick, brown gravy. Then he will channel-surf among the tidings, South African soap operas and soccer. Before dusk, he will tend the cows. Thugwane (pronounced Too-gwan-ee ) is now the combination of what Robert Frost once said: "In three words I can sum up everything I've learned about life: It goes on. ". If a man is a nationalistic hero but his own country doesn't remember him, is he really a national hero. Did his life mean more than one touch-the-gods point in time. Thugwane "reinforced our pride and confidence as a nation," Mandela said then. Almost 20 years later, he sits in hushed tones in the living room of his single-story rambler on a 75-acre plot of land in the Gauteng province, uncertain of what constitutes a worthy life. DO YOU STILL RUN. "Marathons. " Josia asks. "No, no, no. Soon, I may train for 10K. ". Can you run now. Josia suddenly jumps up and walks purposefully down the foyer, into his bedroom. He reaches into his top closet shelf for a folded sweatsuit, his country's green, gold, black and red colors emblazoned across the casket. Underneath the five interlocking rings, in black embroidery, it reads:. "South Africa Olympic Together Atlanta 1996. ". One of the last remnants from his past, the warm-ups he wore on the last night of the Centennial.

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What Else Can Art Do? - The New Yorker

Indicator Bradford is the tallest artist I know—six feet seven and a half inches, and pencil thin, which makes him look taller. His paintings, as you’d foresee, run large. When I visited Bradford’s industrial-sized studio, in South Los Angeles, this spring, one wall was not quite entirely covered by a huge outline map of the United States, with clusters of numbers that represented the , but it’s about the body, and about my relationship to the nineteen-eighties, when all that materials hit. It’s my using a particular moment and abstracting it. ”. For someone who had just spent sixteen hours on an airplane, coming back from the Sharjah Biennial, in the Combined Arab Emirates, Bradford seemed unnaturally well rested. He looks a decade or so younger than his age, which is fifty-three. Being soaring and African-American and not playing basketball was an issue for him when he was a teen-ager, but now he’s comfortable with his height. He was wearing a pale-complexioned T-shirt and white painter’s pants, his working clothes, which he buys online for himself and his assistants, two of whom are from the same Mexican m. “When people see us on the street or at Home Depot, they think we’re housepainters,” he said, happily. Most of Bradford’s art supplies come from the Abode Depot. “If Home Depot doesn’t have it,” he said, “Mark Bradford doesn’t need it. ” Although he hasn’t deep down used artist’s paints or brushes since he was in art school, what Bradford makes are abstract paintings. He starts with a stretched canvas and builds up its top with ten or fifteen layers of paper—white paper, colored paper, newsprint, reproductions, photographs, printed texts—fixing each layer with a coating of clear shellac. Sometimes he embeds lengths of string or caulking to form linear elements in the palimpsest. When the buildup reaches a unfluctuating density, he attacks it with power sanders and other tools, exposing earlier layers, flashes of color, and unexpected juxtapositions. Not until the win initially sanding does he begin to see where the painting is going. He works like an archeologist, rediscovering the past. The method seems careless, but it’s not, and the results can take your breath away. Bradford’s 2013 painting “Shoot the Coin,” which was in a show of recent acquisitions at the Los Angeles County Museum of Art newest summer, does that. Twelve feet high by twenty feet long, it appears at first to be mostly white, but as you shift closer you see subtle colors, branching lines like blood.

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Heaven on earth in Potomac: Every inch of couple's estate built for living lavishly - Washington Post

Joe Bruno and his ball, Cynthia Marini Bruno, have never been known to do something on a small scale. The grand entrance to their Potomac manor starts when custom-designed, wrought-iron gates tipped in gold slowly glide moot and reveal a spectacular fountain and stone steps reminiscent of Villa D’Este near Rome. Inside, guests are welcomed into a breathtaking foyer with an ivory marble astound set with diamonds of multi-hewed marble and, overhead, a colorful two-story crystal chandelier hand-carried abode from Venice. “We’ve had some great parties in this house while our daughters were growing up and with our friends from the charter school world and from the Italian American groups we be a member of to,” says Joe Bruno, a Ferrari-driving entrepreneur who since 2004 has served as president of Building Hope, a nonprofit that provides company, technical and financial assistance to public charter schools. “There’s a story behind every painting, every aggregation and every piece of furniture. The Brunos worked with David Herchik and Richard Looman of JDS Designs in the Division to design and decorate their Potomac estate. The Brunos previously co-owned Hunters and Gatherers, a now-closed pass store in Kensington, Md. , with Herchik and Looman. The four spent seven years sourcing Italian treasures, crafty opulent curtains and furniture and hiring expert craftsmen and painters to create this nearly 20,000-square-foot stratum. Clearly this was a labor of love for all four, who still regale one another with stories about their trips to Italy and to antique stores to mark the art, furniture and accessories that fill the house. “There isn’t one white ceiling in this entire house,” Cynthia Bruno says. “Every ceiling either has a mural painted on it, wallpaper that extends from the walls onto the ceiling or is painted a suggestion that matches the walls but is 50 percent lighter to make the ceiling seem even higher. The home has 11 fireplaces, all but one wood-ardent. four kitchens. and so many crystal chandeliers that the Brunos have lost count. Gathering the sculptures, sconces and swag for the dozens of rooms in the Bruno home generated years of glad memories and laughter. “Joe and I would travel to small villages in the countryside in Italy, and it was expected that we would negotiate over cups of espresso and cigarettes,” Herchik says. “Unfortunately, I was the only one of our small group who would.

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