Tag Archives: Alice Neel

How To Paint Like a Woman…

…(or Sculpt, or Photograph, or Perform, or….)

Savasana — The Release
oil on linen, 44″ x 32″
© Amy Funderburk 2008 – 2011, All Rights Reserved
Meditation image from the series Images From the Otherworld

 

Have you seen The Object, that iconic surrealist sculpture in the collection of the Museum of Modern Art in New York? This fur-covered cup, saucer, and spoon that likely graces the pages of your art history book was created in 1936 by artist and photographer Méret Oppenheim (1913–1985). Oppenheim, though born in Germany, was a Swiss artist.

And she was female.

In honor of Women’s History Month in March, after relating my college tale of being told by a fellow student that I “paint like a man,” I challenged you to list all the famous women artists and those artists who identify as female who you can remember. So far, we have a cornucopia of 109 artists!

Despite the noteworthy nature of The Object, Oppenheim was not mentioned on anyone’s list. However, it will probably come as no surprise that the name on everyone’s list was a different female Surrealist and Modern artist – Frida Kahlo.

Kahlo (1907-1954), was a Mexican artist known for her self-portraits that reflected her physical pain and tragedy. Like several of the women most often listed, though she was married to a fellow artist, through achieving her own fame, she managed to not merely stand in her husband’s shadow.

Since a quick Internet search for Kahlo’s name will result in a vast array of merchandise available for purchase, including pencil cases, makeup bags, and paper dolls, I think the argument could be made that she ultimately eclipsed the success of her spouse, muralist Diego Rivera.

I would also venture to say that American Modernist Georgia O’Keeffe (1887-1986), included by most of the contributors, is more of a household name than her albeit famous husband, photographer and art dealer Alfred Stieglitz.

Unfortunately, none of us remembered to list Elaine de Kooning.1

Pablo Picasso fans will know the name Dora Maar (1907-1997). However, most of us do not know her for her own Surrealist photography, paintings and poetry, but for being a muse and lover to the infamous Cubist.

And for those who are well acquainted with that Artistic Wyeth Triumvirate of NC, Andrew, and Jamie, did you also know that Andrew had two sisters? Henriette (1907-1997) and Carolyn (1909-1994) were also artists.

Despite the absence of names such as Oppenheim and Maar on our collective lists, I am happy to say that the Surrealist movement was well represented beyond Kahlo. Diverse American artist Dorothea Tanning (1910-2012) – a painter, printmaker, sculptor, writer, and poet – was listed twice, and British-born Surrealist painter Leonora Carrington (1917-2011), who lived in Mexico City, was mentioned by several contributors.

In addition to O’Keeffe, others who appeared on multiple participants’ lists included Impressionists Mary Cassatt (American, lived in France; 1844-1926) and Berthe Morisot (French, 1841-1895); Abstract Expressionists Lee Krasner (1908-1984) and Helen Frankenthaler (1928-2011); American figurative and portrait painter Alice Neel (1900-1984); American Feminist and installation artist Judy Chicago (b. 1939); conceptual and performance artist Marina Abramović (Yugoslavian-born; b. 1946); British Modernist sculptor Barbara Hepworth (1903-1975); French-American sculptor and installation artist Louise Bourgeois (1911-2010); and Postmodernist, conceptual and Feminist artist Barbara Kruger (1945).

Additional artists who are among those on my own list as well as appearing on the list of one other contributor were French Realist painter Rosa Bonheur (1822-1899); French sculptor Camille Claudel (1864-1943); Italian Baroque painter Artemisia Gentileschi (1593-1653); German Expressionist Käthe Kollwitz (1867-1945); Japanese multidisciplinary, installation, performance, conceptual and Pop artist Yayoi Kusama (b. 1929); American photographers Annie Leibovitz (b. 1949), Sally Mann (b. 1951), and Cindy Sherman (b. 1954); American sculptor Louise Nevelson (Ukrainian-born; 1899-1988); and Japanese-born conceptual, multimedia, and performance artist and musician Yoko Ono (b. 1933).

Names new to me who were listed by at least two others include British artists Tracey Emin, Tanith Hicks, Paula Rego, and Jenny Saville.

Emin (b. 1963) and Saville (b. 1970) are both Young British Artists (YBA’s), a loose group of visual artists that also includes Damien Hirst. To create her autobiographical, often provocative work, Emin uses various media including needlework, traditionally considered a task for women.2 Saville is known for her large-format paintings of nudes.

Rego (Portuguese-born; b. 1935) is a painter, pastellist, and printmaker whose work is often based on folk tales, fables, and storybooks. Hicks, who creates jewelry, masks, and other items, is inspired from a similar source – European folklore, myths, and fairytales.

I was determined to reach 50 names on my own list – and I’m happy to say that I surpassed that goal! During this time period, I also ran across many other creatives who I had forgotten to mention – including another important Surrealist, the Argentinean painter, illustrator, and writer Leonor Fini (1907-1996) – as well as artists who were new to me, such as Agnes Martin (1912-2004), an American minimalist abstract painter born in Canada.

Alas, for every name, there are many others who we thus far have neglected to list, and, like all artists, they each have their own story worth telling. Eva Hesse (1936-1970) was a Postminimalist sculptor with a tragic life whose family fled Hitler’s Germany when she was only three. Rachel Ruysch (1664-1750), a Dutch floral still-life painter, enjoyed great success as court painter to the Elector Palatine in Düsseldorf, Bavaria, Germany.

Were you surprised when you read Ruysch’s dates? If you only know the names of contemporary women artists, you may assume that there were few to no female creatives in the age of the Old Masters. Such artistic forerunners laid important groundwork for those who came after, for we stand on the shoulders of giants.

Three noteworthy classical painters from the Renaissance through the 18th century who I am glad to have included are Lavinia Fontana, Artemisia Gentileschi, and Élisabeth Louise Vigée-Lebrun.

Renaissance artist Lavinia Fontana (1542-1614) became the first woman painter from Bologna to achieve fame throughout Italy. Though she had 11 children, Fontana pursued a flourishing art career while her husband tended to the household chores, in addition to painting backgrounds and frames for his wife. She was commissioned to paint religious, mythological, and nude subjects as well as portraits, thus expanding the scope of subject matter created by female painters in her day.3 According to the National Museum of Women in the Arts, “Fontana is regarded as the first woman artist, working within the same sphere as her male counterparts, outside a court or convent.”4

Successful Italian Baroque artist Artemisia Gentileschi (1593-1653) brought the dramatic, theatrical “Caravaggesque” style of painting from Rome to Florence, Genoa, and Naples. Her version of Judith Beheading Holofernes (1614-1620) features a biblical heroine who looks like she’s fully capable of getting the grisly job done! Most versions of this theme by Gentileschi’s contemporaries make Judith look as if she is barely able to lift a sword. 5

Élisabeth Louise or Marie-Louise-Elisabeth Vigée-Lebrun (1755-1842) became the court painter to the French queen, Marie Antoinette. After escaping Paris during the French Revolution, Vigée-Lebrun went on to enjoy fame across Europe as well as France, living for a time in Italy, Austria, and Russia. 6 During this period of exile, Vigée-Lebrun commanded much higher prices for her portraits than did her contemporaries. 7

Prior to the French Revolution, painter Jacques-Louis David paid Vigée-Lebrun a so-called “compliment” that may sound quite familiar if you read my initial article on this subject. After Vigée-Lebrun’s admission to the Royal Academy, during an exhibition at the Salon, David told his fellow artist that “one of her paintings was so good it looked as if it had been painted by a man.” 8

Fast forward to today, and my favorite “new to me” inspirational artist story has to be that of Phyllida Barlow. This British sculptor (b. 1944) celebrated her 73rd birthday in April. Her star began to really rise in 2010, and she was recently selected to represent the UK at the 57th Venice Biennale that opened to the public on May 13, and runs through November 26, 2017. 9

In her recent article about Barlow, Charlotte Higgins offers some insight into the artist’s recent rise to fame. While gender may have been a factor in delaying her success, Higgins also cites some good news: that “the art world has, over the past decade, been collectively in the mood to reassess the work of older women.” 10

In keeping with this trend, according to Andrew Goldstein in his recent article for Artnet, the Board of Directors of the Venice Biennale has recently been awarding the Golden Lion for Lifetime Achievement as a way “to embrace an accomplished older female artist whose contributions had gone without due recognition for too long.” This year, the honor went to Carolee Schneemann (b. 1939). Also a painter, this American artist is best known for her pioneering contributions to Feminist performance art. 11

Though only around one third of this year’s Venice Biennale artists are female, Liliana Porter (Argentinean-born; b. 1941), who lives and works in New York, is participating with a sculptural installation in the Pavilion of Time and Infinity.12 In contrast, the curators of the 2017 Whitney Biennial in New York have selected a much better balance of both women and minority artists. Most of the oil and acrylic painters included this year are women, including 87 year old former Minimalist Jo Baer (b. 1929).13  14

I wholeheartedly agree with environmental artist Jeanne-Claude (1935-2009), another woman from my list, when she said that artists do not retire. Just ask 88 year old Japanese multidisciplinary artist Yayoi Kusama (b.1929), whose retrospective exhibition, Infinity Mirrors, just closed at the Hirshhorn Museum in Washington, DC, featuring works from her 65 year career as well as recent paintings. 15

And of course, well-known American folk artist Grandma Moses (1860-1961) didn’t even begin painting until she was 78. But best of all is Aboriginal artist Loongkoonan (b. c.1910). This Nyikina elder from Western Australia began painting around age 95, and, now around 107, is still exhibiting her work.

And you thought yoga, meditation, and a vegetarian diet were going to be my secrets for longevity.

Sometimes, good things take time to come to fruition. Just this March, the Musée Camille Claudel opened in Claudel’s former family home in Nogent-sur-Seine, France. Claudel was a student, studio assistant, artistic collaborator, and lover of sculptor Auguste Rodin, who cast a very large and dark shadow. After her breakup with Rodin, she destroyed much of her own work before entering an asylum, but the museum was able to acquire 43 surviving drawings, casts, and sculptures.16

Claudel does appear on our list below, along with 108 other creatives. Many you may already know, but for any names new to you, I hope you’ll take time to explore the bodies of work of these varied artists who work along the full spectrum of styles and media, including painting, photography, printmaking, performance art, installation, illustration, choreography, and activism.

While some participants chose to list their well-deserving colleagues as well as those women already in the Art History books, I had already chosen not to do so, with a couple of noteworthy exceptions, lest the list get too unwieldy. I have marked my contributions with asterisks. While I hope you will take the time to research the works of many of these women, I call your attention to a few particular favorites:

Diana Al-Hadid (Syrian-born; b. 1981): her striking, elegant mixed-media sculptures, installations, and drawings often contain figural elements. Al-Hadid now lives in Brooklyn, New York.

Meinrad Craighead (b. 1936): this American visionary artist, a former Catholic nun, explores the theme of the Divine Feminine in her artwork, often including mythological elements and animals.

Evelyn DeMorgan (1855-1919): an English painter influenced by the Pre-Raphaelite Brotherhood, particularly Edward Burne-Jones. Spiritualism was a recurring inspiration for the artist.

Julie Heffernan (b. 1956): an American painter known for her symbolic self-portraits and lush fantasy landscapes. Her most recent works have an environmental message.

Michele Oka Doner (b. 1945): an American sculptor who merges natural forms with figural elements in her most recent pieces. The wide scope of her work also includes public art.

Sylvia Wishart (1936-2008): a Scottish landscape artist from Orkney. She created layers of interest in her works by frequently depicting reflections and using texture.

My deep appreciation to all those who participated – thank you for remembering artists both known and unknown to me, and for remembering some of those who I had neglected to list.

While this was more of an exercise rather than an exhaustive overview, there are so many more names in my Women Artists book that I roll my eyes in frustration that I didn’t list them all. If you don’t see your favorites here, please add the names in the Comments section of my blog post and let’s keep the list growing!

I think I’ll add Suzanne Valadon right now and make it 110….

All the best, and Namaste,

Amy

(Please note: I am humbled and honored that some of you chose to include me on your lists! I’ll do my very best to try to be remotely worthy of inclusion in such esteemed company.)

  1. *Marina Abramović
  2. *Diana Al-Hadid
  3. Jackie Anderson
  4. *Laurie Anderson
  5. *Phyllia Barlow
  6. *Jennifer Bartlett
  7. *Jackie Battenfield
  8. Vanessa Beescroft
  9. Gretchen Bennett
  10. *Rosa Bonheur
  11. Lee Bontecou
  12. *Louise Bourgeois
  13. *Romaine Brooks
  14. Laurel Burch
  15. Dora Carrington
  16. *Leonora Carrington
  17. Lorena Carrington
  18. *Mary Cassatt
  19. Karen Cater
  20. *Judy Chicago
  21. *Camille Claudel
  22. *Meinrad Craighead
  23. *Imogen Cunningham
  24. E.V. Day
  25. Jay Defeo
  26. *Evelyn DeMorgan
  27. *Elsie Dinsmore Popkin
  28. *Lois Dodd
  29. Marlene Dumas
  30. Tracey Emin
  31. Karen Finley
  32. Beth Fischer
  33. *Janet Fish
  34. *Audrey Flack
  35. *Lavinia Fontana
  36. *Helen Frankenthaler
  37. Amy Funderburk
  38. Coco Fusco
  39. Penelope Gavin
  40. *Artemisia Gentileschi
  41. *The Guerilla Girls
  42. Joyce Gunn Cairns
  43. *Grace Hartigan
  44. *Barbara Hepworth
  45. Tanith Hicks
  46. *Jeanne-Claude
  47. *Julie Heffernan
  48. Jenny Holzer
  49. *Anna Hyatt Huntington
  50. Jayne Johnson
  51. *Frida Kahlo
  52. Margaret Keane
  53. Karen Kilimnik
  54. *Käthe Kollwitz
  55. *Lee Krasner
  56. Barbara Kruger
  57. *Yayoi Kusama
  58. *Dorothea Lange
  59. *Annie Leibovitz
  60. Vivian Maier
  61. *Sally Mann
  62. Linda McCartney
  63. Paola McClure
  64. *Beverly McIver
  65. Julie Mehretu
  66. Joan Mitchell
  67.  *Merry Moor Winnett
  68. Polly Morgan
  69. *Berthe Morisot
  70. *Grandma Moses
  71. *P. Buckley Moss
  72. *Alice Neel
  73. Deirdre Nelson
  74. *Louise Nevelson
  75. *Michelle Oka Doner
  76. *Georgia O’Keeffe
  77. *Yoko Ono
  78. Catherine Opie
  79. Ru Paul
  80. Elizabeth Peyton
  81. Jody Pinto
  82. *Beatrix Potter
  83. Paula Rego
  84. Charlotte “Lotte” Reiniger
  85. PJ Richards
  86. Bridget Riley
  87. Faith Ringgold
  88. Beth Robertson Fiddes
  89. Lorraine Robson
  90. Jennifer Robson
  91. Jenny Saville
  92. *Susan Seddon Boulet
  93. *Cindy Sherman
  94. Jill Skulina
  95. Elizabeth Siddal
  96. Kiki Smith
  97. Nancy Spero
  98. Aileen Stackhouse
  99. Rima Staines
  100. Dorothea Tanning
  101. Jocelyn Taylor
  102. Maggie Taylor
  103. Jaune Quick-to-See-Smith
  104. *Suzanne Valadon
  105. *Élisabeth Louise Vigée LeBrun
  106. Kara Walker
  107. Alison Watt
  108. *Carrie Mae Weems
  109. Rachel Whiteread
  110. *Sylvia Wishart

1 Elaine de Kooning (1918-1989), an Abstract Expressionist and Figurative Expressionist, was married to artist Willem de Kooning.

2 Tracey Emin Studio. “Biography,” accessed May 24, 2017 http://www.traceyeminstudio.com/biography/

 3 Nancy G. Heller, Women Artists – an Illustrated History (New York: Abbeville Press, 1987) 19-20

4 National Museum of Women in the Arts. “Artist Profile: Lavinia Fontana,” accessed May 22, 2017, https://nmwa.org/explore/artist-profiles/lavinia-fontana

5 Heller, Women Artists – an Illustrated History, 29-32.

6 Heller, Women Artists – an Illustrated History, 58-60.

7 Lara Marlowe, “The French Feminist Painter Who Flattered Marie Antoinette,” The Irish Times, November 19, 2015, http://www.irishtimes.com/culture/art-and-design/the-french-feminist-painter-who-flattered-marie-antoinette-1.2435146

8 Marlowe, “The French Feminist Painter Who Flattered Marie Antoinette.”

9 Mark Brown, “Phyllida Barlow: an Artistic Outsider Who Has Finally Come Inside,” The Guardian, April 28, 2016, https://www.theguardian.com/artanddesign/2016/apr/28/phyllida-barlow-artist-success-2017-venice-biennale

10 Charlotte Higgins, “Bish-bash-bosh: How Phyllida Barlow Conquered the Art World at 73,” The Guardian, May 9, 2017, https://www.theguardian.com/artanddesign/2017/may/09/bish-bash-bosh-how-phyllida-barlow-conquered-the-art-world-at-73

11 Andrew Goldstein, “Anne Imhof’s Brooding Goth Performance Wins the 2017 Venice Biennale’s Golden Lion,” Artnet News, May 13, 2017, https://news.artnet.com/art-world/venice-biennale-golden-lion-959171

12 Kevin McGarry, “57th Venice Biennale ‘Viva Arte Viva’,” Art Agenda, May 17, 2017, http://www.art-agenda.com/reviews/57th-venice-biennale/

13 Jason Farago, “A User’s Guide to the Whitney Biennial,” The New York Times, March 8, 2017, https://www.nytimes.com/2017/03/08/arts/design/a-users-guide-to-the-whitney-biennial.html?_r=0

14 The 78th Whitney Biennial, not without its own heated controversy outside the scope of this article, opened March 17, and runs though June 11, 2017.

15 Hirshhorn. “About the Exhibition,” accessed May 24, 2017, https://hirshhorn.si.edu/kusama/the-exhibition/

16 Brigit Katz, “Museum Devoted to Camille Claudel, Long Overshadowed by Rodin, Opens in France,” Smithsonian.com, March 30, 2017, http://www.smithsonianmag.com/smart-news/museum-devoted-camille-claudel-overshadowed-rodin-opens-france-180962718/

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Say, One Out of Two Ain’t Bad! Tales from my recent art workshops…

Originally published in my December 2015 issue of Off the Easel

Workshop painting ©2015 Amy Funderburk

Workshop painting ©2015 Amy Funderburk

…or the story of how one painting was indeed ugly, but one I rather liked. The biggest benefits of taking those weekend workshops last month were less tangible, however.

If you read my post last month, It’s OK to Make Some Ugly Paintings: the Importance of Artistic Exploration, I was prepared to make some not-quite masterpieces, but to learn from playing.

As I am referencing the adjective, to describe art as “ugly” is in the critical eye of the artist as creator, rather than the opinion of another viewer. If the artist fell short of his or her intentions, that artist might call their attempt ugly.

Art is, if nothing else, subjective.

My article sparked wonderful comments from some of my Twitter followers. My favorite came from fellow artist Karin Feickert, who wrote: “I love ugly or non-standard beauty.” As artist Alice Neel said:

“Nobody knows what makes good art. As an artist, when it happens, you’re grateful, and then you get on with it.”

Open to new creative experiences and prepared for ugly, I took two workshops that weekend. Making my choices carefully, I had selected topics that I thought would inform future paintings. I came to each class prepared with reference photographs, and can safely say that at least the end result pictured above turned out to be a proper study for the ultimate piece. But that wasn’t the true benefit of the weekend.

The first workshop was a full seven hour day on Water: Reflections and Translucence with David Dunlop. His impressive knowledge base in both art history and the Old Masters’ methods, as well as the science of seeing and perception, really gave my experience depth.

I found what David shared to both echo and augment my personal exploration of Old Masters’ techniques and my theories on how to paint faster, but still have a believable or “realistic” looking end result. One such Old Master technique is to use transparent colors within your dark values so as to give them depth, and save your opaque pigments later for the light.

David stressed “following the paint” rather than the reference photograph, and utilizing a “process of reduction and simplification” so as to exploit the brain’s physiological tendency to make sense out of what he called the “tableaux of confusion”. In other words, just as my brain easily sees animals in cloud formations, the brain has a tendency to make sense out of textured chaos. Such visual cacophony as you would find in grass or, say, the weathered texture of two life-sized standing stones awaiting completion in my studio, ahem, your mind wants to make sense from that visual information. In this way, the viewer’s brain does part of my job for me.

This was great news. Perhaps Edgar Degas was alluding to this phenomenon when he said:

“Art is not what you see, but what you make others see.”

The other grand pearl of wisdom that David rolled out that I immediately put in my basket was to remove stress for maximum creativity. Apparently, he explained, we have better access to subliminal memory when we are relaxed.

When David mentioned this, I immediately thought of one of my favorite Yogi brand tea tag quotes that inspired my blog post, A Relaxed Mind is a Creative Mind. If we learned nothing else in the workshop, David said, he wanted us to remember to take a deep breath before beginning a painting session.

Whereas David’s workshop was perhaps more cerebral, Linda Kemp’s three hour acrylic workshop on The Painted Nest was unapologetically my playtime.

In the workshop description, Linda’s techniques of concentrating on the negative spaces — she referred to them as “captured negatives” — seemed to be in tandem with my own way of thinking while I paint. She also uses glazes masterfully to push areas back in order to bring other shapes forward.

However, trying to replicate her fabulous splishy-splash method of creating an underpainting structure that she had demonstrated step-by-step with both ease and bravado had me feeling quite like Jackson Pollock — and having a great deal of fun in the process.

There was a bit of a “re-learning curve” for me, as I had not used acrylics at any great length since my college days when I switched to oil. Somewhere between a desire to improve my unfinished, ugly duckling end result from this workshop, and thinking that the faster drying time of acrylics would make them an ideal medium for future studies, I left the trade show with a sack of tubes under my arm.

I confess, I feel the pull to improve on the ugly painting, but upon examination, I find that this drive isn’t just habitual. I don’t feel the urge to make a would-be masterpiece out of it, but rather, I feel I have more to learn from the process.

Coming Full Circle. Writing a blog is not unlike journaling. Just as it is helpful to read back over old personal journal entries to discover connections — what Oprah Winfrey memorably calls the “ah ha moments” — apparently, it’s not a bad idea to review your other writings periodically.

As I recently uploaded my previous blog posts to their new home on my website, I found it extraordinary how entries tied into my article from last month about artistic experimentation, and the very concepts David Dunlop was touting in his reflections workshop.

If you will forgive me for quoting myself, in my post Seeking “whelment,” I share:

“Forgetting that it is about painting ‘the masses, the whole’ as one of the Old Masters said is admittedly one of my heavy things to put down. Why not let the viewer’s brain and eye fill in some of the blanks? There is no need to paint every blade of grass when the viewer could perceive the holistic massed texture of the grass instead….

“Johannes Vermeer painted in this manner — his clean style is what I love about his paintings. Everything you need is there; the extraneous is omitted. He may have only completed 35 attributed paintings in his short 43 years, but visually, Vermeer had no weights around his ankles.”

And from my post, Taming the Inner Critic:

“My studio neighbor recently attended a week-long art workshop. Last night he showed me the results — he’d gotten four new pieces done, and was now applying the concepts in the studio to another new piece. Taking this time away from the large painting he’d been working on for awhile helped him to open a new creative door, as he put it. In his new pieces, I saw an awakening of some dynamic visual breakthroughs. My friend’s inspiration, kindled from working quickly and with freedom during this workshop, was infectious.

“So instead of worrying about what we have to DO, why not just BE, and have fun with it? Let’s all create something experimental, unexpected, and freeing, and in releasing our Inner Critic’s expectation that everything has to be a just-so Masterpiece, who knows? You just might create one.”

David was fearless as he demonstrated his techniques in a variety of painting media. As he said in the workshop, “Embrace the accident — there are no wrong notes. It’s what you do next.”

I am eager to see what comes next.

All the best, and Namaste,

Amy


David Dunlop is the host of a national Emmy Award-winning series on PBS, writes an art blog, and offers an instructional DVD series. For more about David, visit: http://daviddunlop.com/ and also look for his presentations on You Tube.

Linda Kemp has published several titles for North Light books, and has been featured in various arts publications. Look for Linda on You Tube, and visit her website: http://www.lindakemp.com/


Above: Workshop painting:
Experimental Study for Reflection
November 13, 2015
oil on gessobord coated with polymer gloss varnish
©2015 Amy Funderburk
All Rights Reserved
Madron Holy Well, Madron, West Penwith, Cornwall, England

Posted in Creativity, Drawing and drawing techniques, General art discussion and philosophy, Inspirational Quotes, Other artists, Painting and painting techniques, Works in progress Also tagged , , , |