Interlaced stories and destinies / The Solidarity Cracks  © Roberto Alborghetti – LaceR-Actions, 2014

Interlaced stories and destinies / The Solidarity Cracks © Roberto Alborghetti – LaceR-Actions, 2014



Mount Everest TOP OF THE WORLD Mission, Chaired by Rajendra Nhisutu, Motivational Speaker and Programmes Organiser on CLIMB FOR CAUSES, REACHING THE UNREACHED through HIMALAYA MOUNT EVEREST TOWER ORGANISATION (HIMET), are co-operating with UK based ACT GROUP (ART-CULTURE-TOURISM), voluntary community society,  based Beeston, Nottingham, UK, to spearhead an urgent UK /international charity appeal. This particular and humanitarian appeal is focusing on Nottingham and East Midlands public and its educational universities, colleges and schools, to help 65 orphans and destitute children, whose parents and family members have been killed by current wars prevailing in Nepal.  Also Nepal’s recent floods and land/mud slides there have magnified this plight.

Since April this year, these children have been bereft of their continued schooling at Mt Everest Top of the World Mission Head Quarters and Camp base, because of insufficient funding.  They need essential supplies to re-start their schooling needs such as books, basic stationery supplies, school uniforms and tuition fees and further financial support to help them continue for several years without further appeal.

Rajendra Nhisutu, Chairman, comments :“At first let me give very big thanks to Sis Marysia Zipser and this BBC great service to be able to present this plea from Nepal.  I am Rajendra Nhisutu, a local resident of Kathmandu, Nepal and founder and chairperson of the Himalaya Mt. Everest Tower Organization which is entirely volunteer-based, multi-denominational, non-governmental, non-profit making and social development as a tax exempted NGO in Nepal. I had served a few years as a Mission Coordinator around the Asian countries. Since 2011, I fully served and led wholeheartedly the ‘Mission Team’ from Kathmandu valley to the most remote parts of Nepal. Because the majority of Nepalese parents have and are dying from AIDS aged between ages of 30 – 50, and during the past ten years of CIVIL WAR ((The Nepalese Civil War labelled the People’s War by the Maoists Communist Party) there was an armed conflict between government forces and Maoist fighters in Nepal lasting from 1996 until 2006), famine persecutions and natural disasters have followed. Though there are many vulnerable needy children, we have been seriously caring for mainly 65 critical Orphaned and Destitute Children with little resources we are allowed. Hence, I have come to kindly ‘APPEAL’ for our 65 of Orphaned and Vulnerable Destitute Children of Western Part of Nepal who are missing school since 15th April, 2014 (2nd Baisakh, 2071 BC) in Nepal because we cannot manage to raise the necessary funding.  I am looking for help towards their admission fees, books, stationary and uniforms for 65 children. Your help towards this noble cause will bring, to these lost vulnerable children of Nepal, an opportunity to re-join school. I will send in details update with a big thank you letter from our organization along with the video clips and photographs of the children with very much thanking words from their mouths with tearful joy. I will always be here to assist whatsoever as have detailed mentioned by respected Sis Marysia Zipser. I look forward to receive your help through this your precious great esteemed BBC services. Faithfully yours, Agape, Rajendra Nhisutu, Chairperson For Himalaya Mt. Everest Tower Organization, Kathmandu, Nepal ”


We are also currently seeking British Council help for this in London and Nepal and are awaiting their legal processes to authorise and activate. We desperately are seeking financial aid to buy these essential school supplies to make these children happy again.  They so enjoy their schooling and want to learn English and our cultures so that they can learn to live and learn in a country where there are no more restraints and hopefully no more wars.  It is my particular mission to supply 65 paper-back copies of Oscar Wilde’s “The Happy Prince & Other Stories” for them to read and learn English and to appreciate the English language from one of Britain’s greatest children’s story writers and playwright who knew and wrote about human suffering.”

This is one important humanitarian campaign which appeals internationally, not only to Nottingham, Midlands and UK. By return of donations amounting to $10,000 (UK equivalent £6000), this Mission can immediately re-start this urgent schooling of 65 children. In return for donations to this Mission, Rajendra Nhisutu will organise for individuals and company employees to visit Mt Everest base camp to meet and talk with the children and to also climb Mt Everest with his experienced guide team, and respective company logo banners will be erected at Mt Everest Top and at the Mission camp.  There will be much global publicity for their own charities and causes if they contribute.



Marysia Zipser  Mob 07899 798487                         Email: marysiazipser@hotmail.co.uk

Rajendra Nhisutu   Mob  +97709843097740 Email: mounteveresttower@gmail.com

Skype:  nhisutu





Please see background profiles on Linkedin for Marysia Zipser and Rajendra Nhisutu







Dori Kirchmair   http://dori2k.wordpress.com/   Dori has been invited to speak 1st November at International Peace Conference in Kathmandu with her “Resonance” story



(*) International Events Mgr & Arts/Heritage Tourism Promoter, Founder of ACT Group (Art-Culture-Tourism), Beeston, Nottingham, UK and Rajendra Nhisutu, Chairman, Himalaya Mt. Everest Tower Organisation ‘HIMET’ Nepal.



Death of a Cameraman

organized by Martin Waldmeier


291 Church Street

New York


Opening reception:

Thursday, September 12: 6-8 pm


On view:

September 13 – October 26, 2013


Featuring work by:

Adam Broomberg & Oliver Chanarin, Harun Farocki, Rabih Mroué

Hrair Sarkissian, Rudolf Steiner. An Unsolicited Proposal Program winning exhibition.


On July 1, 2011, in the neighborhood of Karam Shami in Homs, Syria, a young man stands on the rooftop of a building. He uses his cell phone to document gunfire in the streets below as his camera suddenly catches sight of a gunman on an adjacent balcony. For a brief instant, the cameraman and the gunman directly face each other. A single shot is fired. The camera falls, and with the cameraman’s death, image and reality collapse into one.

In the course of recent political events, anonymous cameramen and women have emerged as powerful new figures in the politics of representation and mediation, documenting conditions that surround them while simultaneously carrying the biggest stakes in the telling of th eir story. They create images that do not necessarily show violence, but are visible manifestations of it; images that do not seek to create viewers, but witnesses.

Death of a Cameraman revolves around a powerful moment in which the making of an image becomes a matter of life and death, with the camera functioning both as an extension of the eye and as a weapon. The exhibition explores the power of images to influence reality and alter the course of events. Are cameras weapons? Can they penetrate reality? What’s at stake in the making of images? What does it mean to bear witness through them?

Martin Waldmeier is a curator from Basel, Switzerland, and currently a Ph.D. candidate in Visual Culture at Goldsmiths, University of London, writing a dissertation on translation as an artistic practice. Waldmeier was a Fulbright fellow in Visual and Critical Studies at the School of the Art Institute, Chicago, and received an MA in Modern and Contemporary Art History from the University of Bern. His current research interests include aesthetics of migration, images and narrations of conflict, cultural translations, and the politics of language in the present-day cultural industry.

apexart’s exhibitions and public programs are supported in part by the Affirmation Arts Fund, Andy Warhol Foundation for the Visual Arts, Bloomberg Philanthropies, The Greenwich Collection Ltd., Lambent Foundation Fund of Tides Foundation, and with public funds from the New York City Department of Cultural Affairs and the New York State Council on the Arts. This exhibition is also supported in part by the Stanley Thomas Johnson Foundation; the Swiss Arts Council Pro Helvetia; Kalfayan Galleries, Athens-Thessaloniki; and Video Data Bank.


291 church street

New york, ny 10013

t. 212.431.5270




Guest Writers: Michelle LaBrosse, PMP®, Chief Cheetah and Founder of Cheetah Learning,

and Kristen Medina, CAPM®, Co-Author

Read the new article by Michelle Labrosse.


Choose your favorite format:





BECOME UNSTOPPABLE WITH MOMENTUM Cheetah Learning June 2013.pdf0






Michelle LaBrosse, PMP, is an entrepreneurial powerhouse with a penchant for making success easy, fun, and fast. She is the founder of Cheetah Learning, the author of the Cheetah Success Series, and a prolific blogger whose mission is to bring Project Management to the masses.

Cheetah Learning is a virtual company with 100 employees, contractors, and licensees worldwide. To date, more than 50,000 people have become “Cheetahs” using Cheetah Learning’s innovative Project Management and accelerated learning techniques.

Recently honored by the Project Management Institute (PMI®), Cheetah Learning was named Professional Development Provider of the Year at the 2008 PMI® Global Congress. A dynamic keynote speaker and industry thought leader, Michelle was previously recognized by PMI as one of the 25 Most Influential Women in Project Management in the world.

Michelle’s articles have appeared in more than 100 publications and websites around the world. Her monthly column, the Know How Network, is carried by over 400 publications.

She is a graduate of the Harvard Business School’s Owner President Manager’s (OPM) program and also holds engineering degrees from Syracuse University and the University of Dayton.


 William Shakespeare

Teachers in Singapore are being supported to change their approach to teaching Shakespeare by adopting techniques used by actors and directors as part of a pioneering new project from the UK’s Royal Shakespeare Company (RSC) and the University of Warwick that aims to transform classroom experiences of Shakespeare. According to research undertaken by the RSC and the British Council up to 64 million children across the world learn about Shakespeare’s plays, but for some it is not the life enriching experience it could be.

The RSC, based in Shakespeare’s birthplace in Stratford-upon-Avon, Warwickshire, UK, has teamed up with Warwick Business School, which is part of the University of Warwick, UK, to change that. Together, they have produced a one-stop shop online professional development programme, called Teaching Shakespeare, that holds a treasure trove of materials including over 100 films featuring modelled lessons and interviews, with leading RSC directors and practitioners along with academics from the University of Warwick. This ground-breaking programme provides teachers with the essential skills and knowledge to develop active, drama-based approaches to teaching Shakespeare in their classrooms.

Encouraging students to get up on their feet and actively explore Shakespeare’s plays has already brought the text to life for thousands of youngsters in Britain through the work of the RSC’s Education department. This new online learning platform, created by the RSC and Warwick Business School will be able to reach millions more globally.

Now Warwick Business School Professor Jonothan Neelands is travelling to Singapore to show at first-hand how these teaching methods can not only improve children’s understanding of Shakespeare, but boost their self-confidence and communication skills as well. Professor Neelands will be holding a workshop from Saturday March 16 to March 20 at the Singapore Repertory Theatre.

Our humble ambition is to transform how Shakespeare is taught across the world,” said Professor Neelands, who is a National Teaching Fellow and Chair of Creative Education at Warwick Business School. “We find that the best way to encourage young people to develop a joy in reading Shakespeare is through getting them up on their feet, moving around, speaking the words and making the choices that actors do. The RSC’s research has shown that this approach is more likely to lead to a lifelong love of Shakespeare rather than sitting around in class and reading dusty books.”

Jacqui O’Hanlon, RSC director of education, said: “We know there is a global community of teachers that are passionate about teaching Shakespeare and who want to explore new ways of teaching in order to unlock language, inspire learning and release imagination in students of all ages. “We hope to reach thousands of teachers through our new online programme and in doing so transform classroom experiences of Shakespeare for all kinds of learners. We hope that Teaching Shakespeare enables both teachers and their students to enjoy and achieve more together in their Shakespeare work.”

English eight year-old Ben now ranks Shakespeare alongside the most exciting things in the world after taking part in one of the RSC’s classes. The Stokeinteignhead Primary School pupil said: “My dad said Shakespeare was boring, but he’s got it wrong! I’m gonna tell him about Hamlet. It’s got murders and ghosts and castles and stuff and that’s not boring.”

At Honley High School in Holmfirth in West Yorkshire, UK, teachers said: “Over 93 per cent of students were ambivalent or vehement in their belief that Shakespeare was not fun. After using theatre-based teaching over 79 per cent of students saw the study of Shakespeare as fun.”

And Lillian, a London primary school teacher in the UK, said: “After using practical approaches to Shakespeare we found the writing levels of pupils in a highly disadvantaged class had improved considerably: 86 per cent were now on target to achieve level four in their SATs. Before the Shakespeare teaching unit, only 53 per cent were on target.”

Australian teacher Kate Walsh, of Toowoomba in Queensland, said: “I teach at Harristown State High School. Studying with both the University of Warwick and the Royal Shakespeare Company has been a fantastic experience. Working within a global online classroom with great resources and supportive staff has developed my pedagogy, helping bring Shakespeare to life in a number of ways.”

Professor Neelands has given Teaching Shakespeare workshops at The Singapore Repertory Theatre from March 16 to 20.


To visit the Teaching Shakespeare website go to http://www.teachingshakespeare.ac.uk/


Launched in 2011 by the Santa Fe University of Art and Design, Artists for Positive Social Change  is a “university-wide series of events, lectures, and performances that highlights one high-profile issue, artist or genre each year.” Inaugurating this five-year initiative, 2011-12 was the year of hip-hop and saw Public Enemy descend on the SFUAD campus for a free concert.  The school hosted a graffiti workshop alongside classes in writing rap lyrics, hip-hop music and breakdancing. The goal was to distill hip-hop as a significant form of communication, as an art form that at its inception “gave voice to voiceless people.” This first year of Artists for Positive Social Change also proved that SFUAD is kinda cool.

Now in its second year, the theme is “Art and Political Activism.” Behold Shepard Fairey, who came to campus last Sunday night (February 17, 2013) for a Q&A with SFUAD’s graphic design department chair, David Grey.  During the week of February 18, Fairey will also designed and painted a permanent outdoor mural on the school campus. This is the artist whose 1990s Andre the Giant sticker went viral before viral meant on the Internet.  It was a different kind of dissemination, one grounded in street art.  He created the sticker while attending the Rhode Island School of Design where his tendencies toward punk, skateboarding and other countercultures were sometimes disparaged by professors.  Fairey admitted that he never thought he’d be taken seriously as a fine artist. If he had, he alleged, it might have paralyzed him.

In 2008, Fairey designed Barack Obama’s Hope Poster, the very icon of Obama’s grassroots energy.  That poster is why Fairey typifies this year’s “art and political activism” theme.  Its impact was immense and although not officially affiliated with the presidential campaign, it alone must have mobilized hundreds of thousands of voters. In Fairey’s words, he is making art for the world he wants to live in.  That alone is inspiration for SFUAD artists.

The Hope Poster’s imagery evolved from yes, an AP photo, but also its subversion of visual culture. In all of his work, the artist pulls from Russian Constructivism, pop art, hip-hop, punk, skateboarding, and artists like Warhol, Lichtenstein, Rauschenberg, and Barbara Kruger.  He raids the cultural image bank and riffs on it, appropriating elements to change the way we see things and ideally even think about things.  ‘Fair use’ copyright battles aside, Fairey asks us to “consume with discretion” and on his website http://www.obeygiant.com/about sites Heidegger’s account of Phenomenology to “enable people to see clearly something that is right before their eyes but obscured.”

If one thing was clear from listening to Fairey talk, it’s that he knows his culture.  From band trivia and blogging to politics and economics, this guy knows what’s up and he probably has an opinion about it.  He quoted Led Zeppelin, wore a black Ramones t-shirt, spoke openly about “selling out,” patience, his process and how it’s changed with time and the Internet, and when prompted, admitted to being arrested 16 times.  The Greer Garson Theatre was packed with students and community members who lined up for a Q&A that could’ve lasted all night.  Luckily, students have the opportunity all week to ask Fairey questions as he painted an indelible public artwork on the SFUAD campus.







* * *

Lacer/actions Artworks by Roberto Alborghetti.

In memory of 2.974 Victims&Martyrs.

In the 11th Anniversary of WTC massacre.


Title of the work:

“Victims & Martyrs: The Blood’s Tracks # 2 – Nine Eleven 2001, New York”

Canvas + Mixed media, 2011, 46,5 x 70 cm

Silk scarf created in collaboration with textile designer Bruno Boggia



From an article by dr. SRINI PILLAY, Psychiatrist, Harvard clinician, brain imaging researcher, author of “The Life Unlocked”, “Your Brain and Business: the Neuroscience of the great leaders”, “The Science behind the Law of Attraction” , The Huffington Post columnist

Nine eleven did not just affect America.  It affected the world. Roberto Alborghetti was walking along Vico Street in Milan last spring when his eyes suddenly fell upon an image: red and black and described by him as either “hands, arms, fire tongues or hydrants,” he began to see the primal theme that this image represented.

Besides, it was a torn poster on a wall, and its urban origins were undeniable.  He looked on more closely, and as his mind wandered over several images, it landed on one that seemed to him most like what this was.  These, says Alborghetti, are: “..scenes in which the earth cries its fury to the sky, and the sky answers with its blood teardrops.”  Seeing the tragedy, he immediately made an association to one that had touched him very deeply: 9/11.  Knowing that he wanted to dedicate this one, of his poster images, to 9/11, he reproduced the image on canvas. He also approached the textiles designer Bruno Boggia who suggested that Alborghetti make a silk scarf with the image.  He did…  He plans to donate the scarf to a Fallen’s relative association.  Intrigued by this man’s penchant to represent this gruesome event as art, I probed more deeply to try to understand his psychology.  Was this just a random act on his part?  Did it actually mean anything to him?  And was there something that we in America could learn from this? “Art,” says Alborghetti, “is a reflection of reality.”  More precisely, he saw this piece of art as a scar that says that the world’s problems cannot be solved by violence and war– a memory of the horror of 9/11.  But was that thoughtful, or simply macabre?   “What was it in you that made you respond to this massive destruction with creation?” I asked, somewhat incredulously.  He answered that the poster seemed to depict both the tragedy and the possibility of a new life where earth (grey) and sky (red) meet each other to give origin to new colors, new days and new lives.   He was pointing to a certain resilience that we all have – to how in the face of massive destruction, you may break our buildings, but you cannot break our spirit.  He should know:  Alborghetti’s father was one of the few survivors of the terrible Kefalonia massacre (Greece, September 1943) where 8,000 young Italian young soldiers were killed by the Wehrmacht German army. He was injured, captured and segregated in a concentration camp. Alborghetti reflects: “An unutterable experience. And…slaughter!…I think that only his will to make peace with those awful years – talkin’ about them and… smilin’ too – has saved him, since then, from mind and body disease… “ In this time of remembering 9/11, psychological research and brain science support Alborghetti’s approach to representing tragedy in the beauty of art.  Visual beauty is registered in the brain in the medial OFC (orbitofrontal cortex) – a brain region known for its role in flexibility in thinking and reward (https://iris.ucl.ac.uk/research/browse/show-publication?pub_id=324591&source_id=2)  Beauty resides here too.  It could stimulate the necessary flexibility in our thinking by encouraging us not to lose ourselves in remembering the tragedy but also seeing the beauty in our resilience as a nation as well as the possibilities for recovery.  Studies also show that the perception of beauty activates brain regions, which move us toward the beautiful image or away from it if we think it ugly. (http://jn.physiology.org/content/91/4/1699.full.pdf)  To a certain extent, this gels well with Alborghettis’s intention in the art. Also, art and beauty offer potential forms of healing for all of us. (http://www.ncbi.nlm.nih.gov/pubmed/15152417)  Visual art not only represents the unconscious of the artist (http://www.ncbi.nlm.nih.gov/pubmed/11455363) but  also taps into our unconscious brains (http://www.ncbi.nlm.nih.gov/pubmed/19230327) leading us to parts of ourselves that are often untouched by everyday discourse.  For this reason, it does allow for a special kind of healing. I asked him: “Is your message in your art to America or the entire world?  Why?” He responded that his art was for all who would accept it – that art is a universal language – and that this memory was for all people who care to ask themselves some questions and who will allow emotions and feelings to grow in them. When we think of art representing tragedy, it raises all kinds of questions.  Can we really make art of an experience where people have lost loved ones?  Can we truly justify directing people toward beauty when there is such tragedy?  The beauty of abstract art – and of Alborghetti’s art in particular, is that it is in invitation for us to project what we will onto the piece.  We do so anyway – even when human forms, gardens and ponds protect us with their explicit forms in Impressionist and Renaissance paintings.  Art, as I substantiated above, is a form of healing whose effects we can see in the brain. From a psychological perspective, art is an amazing way to mourn.  When it is as beautiful as Alborghetti’s, it invites us to revisit the tragedy of terrorism, the horror of loss, and the beauty of our own resilience as we make our way through this mysterious life.





Roberto Alborghetti “LaceR/Actions” is a multidisciplinary project about torn and decomposed publicity posters. Realistic images captured on the streets around the world are transferred on canvases, lithographs, textiles, glass, videoclips…


By Michelle LaBrosse, PMP®, Chief Cheetah and Founder of Cheetah Learning, and Kristen LaBrosse, CAPM®, Co-Author

Roberto ALBORGHETTI – “No Clouds”, Canvas/Mixed Media, 70×47 – Lacer/actions Project/Images of Torn and Decomposed Publicity Posters

Passionate Pauline is driving down the boulevard in the early morning, whistling to the tune “Oh Happy Day” with a big smile on her face, ready to take on the day with a vengeance and excited to tackle any challenges that may come her way. In the next lane over, Sullen Sue is sulking, and somehow stuck in the slow lane … again! Things don’t typically go her way, she dislikes her job, and she’s dreading the mounting paperwork that is piling up on her desk.

Which driver’s seat would you rather be in every workday morning, 52 weeks a year, for the odd 40 working years of your life? Your career is an endeavor that requires a great deal of your time, energy, and focus. If you’re sitting in Sullen Sue’s driver’s seat, only you can change directions to find a career that ignites the passion in you and makes you find the fun in your field.

Don’t let society define your role.  Why did you choose the career you are currently in? Did it seem like the “thing to do” after you graduated college? Or did you have some time to introspectively analyze your innate strengths and interests, and decide on a career path based on that?

As a single mom, I have heard all types of stories of how hard my life must be. This role as a struggling victim didn’t quite suit me, however, and instead of focusing on what others expected of me in my “role,” I focused on how I could best create a life for my children and myself in the best way I knew how. We are all unique individuals with strengths and assets that direct us to a special purpose in life.  Fuel your career growth by doing your thing, regardless of what society says you can or can’t do.

Change Your Job Description. Who knows you better – the HR director who hired you while they were interviewing 40 other candidates, or YOU? We all have parts of our job that we love, and other parts that we hate. Chances are, the person sitting in the next office space is in the same boat. What you see as boring and tedious, another might regard as satisfying and even fun. In order to create a job description that fits like a glove, make sure to keep an open and honest dialogue with your peers, subordinates, and mangers about what work keeps you energized vs. which work sucks your life force.

Be Proactive.  The happiest workers are those who have a strong sense of control over what they’re doing and why their efforts are important to a company’s mission. If you don’t like the projects you’ve been assigned, be more proactive in seeking your roles in projects – it never hurts to ask.

If there is a certain process that you find to be cumbersome, tedious, and (in your opinion) useless, take the initiative to change it to improve it. Your work is your world, and the more waves you make that are of your own initiative, the more fun you will have. So don’t sit idly by hoping things will get better – jump to it!

Smell the Roses. At the end of the day, we all want to feel that we’ve accomplished something of importance – that we’ve been an asset to our employers, made the world a better place, come a step closer to solving poverty, and all that before lunch if we can. But the truth is we are all human, and sometimes our best intentions can lead to us neglecting what keeps us going.

Every day, make sure to take some time for just yourself to re-energize and refocus so that you can go back to work ready to take on the world’s problems. Try taking a quick walk at lunch and smell the roses. On the busier days simply allow yourself to get up from you computer, and take five minutes to focus on your breathing and to stretch. You owe it to yourself, not to mention your organization, to be at your best. So put it in your Google calendar if you have to, and take your breaks!

We all have the decision every day – which driver’s seat do we want to be in – Sullen Sue’s or Passionate Pauline’s? Whatever your decision, make sure you are making it consciously and with intention. And remember, the Passionate Paulines have more fun!

About the Author:

Michelle LaBrosse, PMP, is an entrepreneurial powerhouse with a penchant for making success easy, fun, and fast. She is the founder of Cheetah Learning, the author of the Cheetah Success Series, and a prolific blogger whose mission is to bring Project Management to the masses.

Cheetah Learning is a virtual company with 100 employees, contractors, and licensees worldwide. To date, more than 30,000 people have become “Cheetahs” using Cheetah Learning’s innovative Project Management and accelerated learning techniques.  

Recently honored by the Project Management Institute (PMI®), Cheetah Learning was named Professional Development Provider of the Year at the 2008 PMI® Global Congress. A dynamic keynote speaker and industry thought leader, Michelle was previously recognized by PMI as one of the 25 Most Influential Women in Project Management in the world.

Michelle’s articles have appeared in more than 100 publications and websites around the world. Her monthly column, the Know How Network, is carried by over 400 publications, and her monthly newsletter goes out to more than 50,000 people. 

She is a graduate of the Harvard Business School’s Owner President Manager’s (OPM) program and also holds engineering degrees from Syracuse University and the University of Dayton. 



A Las Vegas art collector and owner of the original, one-of-a-kind color separations used to produce the iconic “Golden Dreams” calendars from the famous 1949 Marilyn Monroe “Red Velvet” photo shoot, is offering them for sale. These color separations were originally created and owned by the John Baumgarth Company and were discovered as part of a corporate art collection in 2010. The collection is in pristine condition and archivally preserved and presented. It’s a great opportunity for art collectors.

The most glamorous icon of the 20th Century was captured for all time in a moment of youthful, exuberant sensuality – an unforgettable image that, more than 60 years later, communicates freshness. To reproduce the refined features, supple texture and luxurious tones that were so totally Marilyn, print artisans painstakingly created and corrected the many layers of film needed for the full color printing process to make the original Chromalin color proof – a masterpiece of printer’s art.

The Kodachrome photograph and twenty-one large format color separations (16” x 33”) offered for sale were used by Baumgarth to create the iconic image of Marilyn Monroe – she passed away 50 years ago, August 5, 1962 – featured in the first “Golden Dreams” calendar produced in 1951, before the identity of the blonde bombshell posing for the photos was known (the model wasn’t identified as Marilyn until 1952), and which went on to sell over eight million copies worldwide, making Marilyn the best-selling calendar girl of all time.


The collection also includes the “Lure of Lace” and “Entrancing” images that featured Marilyn wearing negligees in order to comply with U.S. postal regulations banning the transport of nude images.

The Kodachrome photograph is framed and the color separations are mounted and protected in OP3 museum-quality acrylic frames so that they may be appreciated, when artfully suspended, from both sides. These are the original separations used to produce the large format calendars and the only known surviving examples, which are documented to have changed hands through a series of corporate acquisitions spanning several decades.

When Marilyn showed up to do the calendar shoot at Tom Kelley‘s studio on Friday, May 27, 1949, her need was dire and immediate; her contracts with 20th Century Fox and Columbia had not been renewed and she was out of work.  The photo shoot was commissioned by Baumgarth, who paid Kelley $500 for the publication rights. It has been reported that Marilyn received $50, which was exactly what she needed to get back her car that had been impounded. Marilyn only agreed to do the shoot if Kelley’s wife Natalie was present.


Only two of the 24 images taken during the shoot, entitled by Baumgarth “A New Wrinkle” and “Golden Dreams,” survived and made it to print, with the others mysteriously stolen from Kelley’s studio. “A New Wrinkle” graced one Baumgarth calendar, but the picture that captured a nation’s imagination was “Golden Dreams.”

Neither the photographer nor the 22-year-old blonde actress and model could have realized what an historic moment they were creating. In her contract with Kelley, the starlet signed under the pseudonym Mona Monroe (right). When her movie studio, 20th Century-Fox, first learned that the nude pinup hanging in gas stations from coast to coast was none other than its rising star, it was something of a scandal. The press assailed her with questions. Was it true she had posed with “nothing on”?

The studio’s initial reaction was to deny everything.  Studios such as 20th Century-Fox had stringent moral clauses in their contracts that were designed to intimidate actors and actresses. No celebrity had ever posed nude and then had the pictures distributed to a startled nation. Biographers agree that Marilyn was instrumental in persuading the studio that their natural inclination to deny the whole thing was the wrong way to go. Instead, Marilyn used an upcoming interview with Aline Mosby, a reporter with United Press International, to break the story on March 13, 1952:


“A photograph of a beautiful nude blonde on a 1952 calendar is hanging in garages and barbershops all over the nation today.  Marilyn Monroe admitted today that the beauty is she. She posed, stretched out on rumpled red velvet for the artistic photo 3 years ago because “I was broke and needed the money. Oh, the calendar’s hanging in garages all over town,” said Marilyn.  “Why deny it? You can get one any place.  Besides, I’m not ashamed of it.  I’ve done nothing wrong.”

The story ended up being picked up by every wire service and circulated around the world. The reaction was swift and immediate national forgiveness. Not only that, but the sensation of the pictures, her interview and all of the related controversy made Marilyn an even bigger star.

In December 1953, an astute young publisher named Hugh Hefner bought the rights from Baumgarth to reproduce the “Golden Dreams” image as the first “Sweetheart of the Month,” in the now historic inaugural issue of Playboy magazine. The success of that first issue enabled Hefner to continue producing the magazine and ultimately build his Playboy Empire.

In addition to the Red Velvet Collection, many of the original paintings in the Messenger Art Collection are being offered for sale.

Visit the website www.messengerartcollection.com and click on Masterpieces for Sale.

For contacts: ro.alb@alice.it



Fuerteventura is one of the islands wich make the Canary archipelago, a set of islands whose climate, geological, marine and botanical peculiarities have set apart as an area of exceptional natural interest. In order to protect it, a law has been passed, the Law of  Natural Areas in the Canaries, limiting human activity in certain zones. These zones are divided into Nature and Rural Parks, Nature Reserves, Nature Monuments, Protected Landscapes, and Areas of Scientific Interest. In Fuerteventura these areas are the Corralejo, Lobos and Jandia Nature Parks, che Betancuria Rural Park, the Malpais de is Arena, Montaña de Tindaya, Caldera de Gairía, Cuchillos de Vigán, Montaña  Cardón and Ajuy Nature Monuments; the Maipais Grande and Valebrón Protected Landscapes, and the Playa del Matorral which is an Ares of Scientific Interest.

Fuerteventura is now facing central government’s decision (Spain) to allow oil exploration in the Canary Islands. The debate is open. And local people and associations are raising protests.

Natalia Evora, Environment and Trasports Councillor in Fuerteventura, said to “Fuerteventura Magazine Hoy” : “First of all we must remember that in 21st Century we must speak of energies that do not pollute and we therefore think oil has become an obsolete industry… We must take into account the great damage and risks that this would create in our marine element, for biodiversity and for tourism…The Islands that are Biosphere Reserves, such as Fuerteventura, are creating another energy model and not one that is already being eliminated in many countries because of the problems it has created… An oil spill would immediately close the desalination plants that provide the water we consume”.

Greenpeace told that the planned oil spill – located in deep waters, at 3000 meters – would required 500 boats to act immediately in order to contain it. Fuerteventura doesn’t have the structure to be able to defend itself immediately against such a disaster…   



On the wake of the success of national writing techniques and short film festivals for the Schools “Unknown Pens & Videos” and of the experience of the competition “A tree for the grandchildren – Grandparents Day the OSA onlus Association, Abbadia San Salvatore (Siena,Italy) presents the first edition of the international short film festival NONNIcorti , an open competition for all Italian and European film makers on the theme of “Grandparents & Grandchildren”, promoted by the Association OSA-ONLUS in collaboration with Plant Publicity Holland and Colonnetti Foundation (Turin), Municipality of Abbadia San Salvatore, the Province of Siena Administration and OKAY! magazine.

The theme is in fact the sole condition for participation: it is a show of short films on the figure of the “grandparents”:

  • the relationship between generations,

  • the cultural and social change between generations,

  • the “life pills” to teach and to hand down to “grandchildren”,

  • the figure of the aged people in the family and in the community,

  • to redeem the value of Grandparents, to spread social and cultural messages, natural holders, to share their experiences, keeping them as a treasure and transferring them to new generations.

The short film was chosen (maximum length 15 minutes) as a form of expression to continue the link with the cultural experiences previously promoted by OSA Association, which were award-winning, both for the interest shown by the public and for the number of competitors on the whole national territory.

The short film is thus the “fil rouge” connecting the existing cultural initiatives with the new born NONNIcorti. The form of the short film was chosen for its nature of “immediate message”, for its short language, for its synthetic features, for its relatively easy production, without excessive use of money and resources, for its shortness, which makes it very usable by everybody.

The competition will take place from 15 to 20 (day of prize-giving) October 2012 in Abbadia San Salvatore (Siena, Italy).

There will be: COMMISSION award selected by local and national experts and professionals; GRANDPARENTS award selected by some grandfathers, also elderly members of the Centre “L’Incontro” in Abbadia S. S.; GRANDCHILDREN award selected by the students of the Secondary School of Abbadia S.S. ; ORIGINAL SOUNDTRACK award selected by international experts and professionals

The artworks must be submitted by 30th June 2012 to OSA ONLUS Casella Postale 35 – Abbadia San Salvatore (Siena). They will be archived at the Municipal VideoCentre of Abbadia San Salvatore, in the VIDEO-MEMORY Section. The competition announcement can be found in the website www.pennesconosciute.it

For further information you can contact Plant Publicity Holland (Italian office), Charles Lansdorp tel. 0039-348-4415927, contact@colour-your-life.it or Nicola Cirocco – tel.0039- 328 4740282 – cironic@alice.it