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Lady GaGa Reveals ?ARTPOP? Album Cover | Neon Limelight – Exclusive Music News, Artist Interviews, Reviews, Photos!

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The criticisms of Lynch are justified to a degree, but as with most topics on this board the opinions and suggestions are getting way out of hand and are based on minimal information. For however bad you think Lynch has performed, there are few out there who have taken a new job and hit homeruns in their first two drafts. I will try and look up some comparable examples but the expectations for this team based on where it was when Lynch and Shanahan took over have been greatly exaggerated. There really is no team I can think of who has consistently hit on the majority of their draft classes the past few years. It’s an inexact science and we saw how poorly Baalke did overall during his time here. As I said in another post, we really have no choice other than to remain patient and let things play out for another season or two because they aren’t firing these guys this quickly and there are no can’t miss draft experts available anyway.

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Gerlinde Amei Wöllmer’s abstract canvases translate the natural landscape of her environment into cheerful explorations of both texture and color. Wöllmer often combines materials such as baked dry pigment, sand, and chalk with acrylic paint that imbues her paintings with autographic tactility. Works such as Dark and Light (2012) marry contrasting earth tones with grainy surfaces that evoke the tranquility of the artist’s surroundings. Although abstract, the artist incorporates organic shapes and coarse lines within her works that recall elements of nature, such as tree branches and coastal grasslands. In works such as Hoffnung (2009), bright swaths of neon pink, violet, forest green and turquoise are indiscriminately placed against a deep charcoal background. Although Wöllmer places each color in independent regions of the canvas, each tone emanates a lyrical tension, as if the colors were engaging in a symphonic conversation. Wöllmer gleans much of her inspiration from music, as well as the process of her practice. She explains: "The process of painting empowers me, and I sense this feeling is also conveyed to viewers who seem moved by my work."

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The four compositions on Limpid as the Solitudes reveal few clues as to how they were made. There’s a sort of alchemy at work in the way the two create a pool of noise and echo in which sounds bob like buoys in a wine-dark sea. On the opener, “And the Flowers Have Time for Me,” they introduce countless little details across a nearly six-minute span, creating a fully realized world to inhabit: what might be a crowd jostling in public transit, the pulse of an EKG machine, naked flesh rubbing up against coarse fabric, doors opening and closing, water pouring from a carafe, birds chirping, storms cloud gathering on a sunny day. (Pitchfork)