CA High-Speed Rail Authority Releases Final EIS for San Jose-Merced

The California High Speed Rail Authority has released the Final Environmental Impact Report/Statement (Final EIR/EIS) for the San Jose to Merced Project Section. This is a big step towards making this segment “shovel ready” for when funding is secured to begin construction.

The approximately 90-mile section will connect the Central Valley to Silicon Valley by way of Santa Clara, San Jose, Morgan Hill, Gilroy and Los Banos. When it’s finished, you will be able to take a high-speed train directly into San Francisco, due to the electrification of Caltrain that is in progress. It will also provide connectivity with commuter rail and public transit at San Jose Diridon Station and downtown Gilroy.

Another reason to celebrate this progress is that it provides answers for how one of the most challenging segments of the network will be handled, the Pacheco Pass. This is a 25 mile difficult stretch through the mountains that fills a critical gap in the system. The EIS describes the tunnels that will be used there, where trains will be able to reach up to 220mph.

Despite early setbacks and navigating a pandemic, California’s high-speed rail project has been advancing steadily lately. There are currently 35 active construction sites in the Central Valley and since the start of construction, the project has created 7,300 labor jobs. Nearly 300 miles of the 500 mile Phase 1 system from SF to LA/Anaheim have been environmentally cleared, and more sections should receive clearance this year. This puts the project in a great position to begin construction in Northern and Southern California when additional funding is made available.

Speaking of funding, California Governor Newsom included $4.2 billion in funding for high-speed rail in his budget proposal, and there is more federal funding for passenger rail available today than ever before. California needs to take advantage of this opportunity and get high-speed trains running before the end of this decade.

You can help by signing our petition in support of California’s high-speed rail project.

If you are a resident of California, please contact your legislators directly here.

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30-Piece DeWalt Tough Grip High-Speed Steel Screwdriver Bit Set

Lowe’s has 30-Piece DeWalt Tough Grip High-Speed Steel Screwdriver Bit Set (DWA30SETLW) on sale for $7.98. Select free store pickup where available, otherwise shipping is free on $45+ orders.

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【LIVE】ウクライナ侵攻 最新情報★随時更新【ロシア ウクライナへ軍事侵攻】ANN/テレ朝

ロシア軍がウクライナ侵攻。これまでに入ってきた最新情報とニュース解説を
随時更新で配信し続けます。

◆読めば流れが分かる ウクライナ危機の背景 プーチン大統領は何を恐れているのか
https://news.tv-asahi.co.jp/news_international/articles/000245598.html

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L.A.’s Underground Museum to close its doors in Arlington Heights

The Arlington Heights-based Underground Museum has announced it is closing “until further notice.”

In an emotive Instagram posting, President Karon Davis — a sculptor who co-founded the alternative art space in 2012 with her late husband, painter Noah Davis, and his brother, video artist Kahlil Joseph — announced the news “with deep sadness.” The closing of a current exhibition of Noah Davis’ work, she said, would also be the end of Meg Onli and Cristina Pacheco’s tenures as co-directors of the art space.

Noah Davis — whose work is included in the collections of the Museum of Contemporary Art, the Los Angeles County Museum of Art and the Studio Museum in Harlem — died in 2015 from a rare form of cancer. He was 32. He and Karon Davis had been married seven years at the time and they had a 5-year-old son, Moses.

Steering the family-run art space after his death has been “an incredible journey,” Davis said in the announcement, but also a painful one.

“As soon as Noah passed, each of us immediately jumped into the work of running the museum to realize his vision,” she said. “As a result, we were not able to fully grieve his loss privately or take the time needed to heal. This was made all too clear when Noah’s paintings returned to the space for the first time since his passing.”

Since Davis’ death, the world has changed, the announcement added. “COVID, the movement for Black lives, and the growth of [Noah Davis’] legacy have impacted us all individually and as a family. These issues are affecting how each of us views the museum and our roles within it.”

Closing is a way to give Davis and others involved with the museum the space and privacy to heal as well as time to chart the future of the institution. When reached by phone, Davis didn’t wish to add anything beyond what’s in the announcement.

Onli has served as co-director and curator of the Underground Museum since October 2021. She joined Pacheco, who is chief operating officer. Megan Steinman was founding director until December 2020; Deana Haggag and Pacheco served as interim directors after that, until Onli came on board and she and Pacheco took the reins.

The Underground Museum has been a vital community space for artists, filmmakers, writers, musicians, activists and other creatives since it opened.

Key shows have included 2016’s “Non-fiction,” a group exhibition and MOCA collaboration exploring violence against Black people in the U.S. that Times art critic Christopher Knight called “an elegiac tone poem, spoken in visual shades of black;” 2018’s “Deana Lawson: Planes,” a solo show of the artist’s portraits of Black domestic life; and the 2017 group exhibition “Artists of Color,” posthumously curated by Noah Davis, who wrote out notes on organizing it before he died.

The recent solo show of Noah Davis’ work was organized by former MOCA chief curator Helen Molesworth and artist Justen Leroy, who works under the name SON. The primarily figurative work, which had shown at the David Zwirner gallery in both New York and London, is “a crucial part of the story of the rise of figurative and representational painting in the first two decades of the 21st century,” as the Underground Museum describes it.

“Ultimately, I want to change the way people view art, the way people buy art, the way they make art,” Noah Davis had said in a statement on the museum’s website. “I’ve always tried to balance the tight rope of making my art accessible to those who are aware of the craft, and those who aren’t convinced of art or more specifically my artistic objective. I believe that concealing too much in theory is problematic and that art can function in every day life. I strive for an artistic legacy that not only transcends blackness but confluences and impacts all cultures.”

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Directors of L.A.’s Underground Museum Depart as Noah Davis Show Shutters Early

The Underground Museum, a nonprofit gallery and cultural center in Los Angeles, said on Tuesday that it would close its current exhibition of museum cofounder Noah Davis’s paintings early. Also in that announcement was news that the museum’s co-directors, Meg Onli and Cristina Pacheco, would be stepping down from their roles. Onli had just started working there full-time in December after having started out at the museum part-time in September.

“For now, we ask that everyone give us the space and privacy needed to understand the future of the museum and to heal individually and collectively,” Karon Davis, a cofounder of the museum, wrote in a statement posted to Instagram. “We simply do not have any answers right now. So, we will also be closing the museum until further notice. During this period, we encourage you to engage with the incredible art spaces all over our beloved Los Angeles.”

The circumstances of Onli and Pacheco’s departures were not clear. Davis seemed to hint at strained relations between her family and the directors, saying, “It was also evident in how hard it has been for our family to let go enough to allow Meg and Cristina to do their jobs.” Neither Onli nor Pacheco responded to requests for comment.

The artist couple Noah and Karon Davis founded the Underground Museum in 2012 with the goal of bringing “experiences traditionally reserved for major institutions to diverse audiences for free,” according to a description on the museum’s site. Over the past decade, the institution, located in the primarily Black and Latino Arlington Heights neighborhood in Los Angeles, has developed into a popular cultural space and community center, with a verdant, inviting garden behind its storefront exhibition space.

Onli joined the Underground Museum in December as director and curator, coming from the Institute of Contemporary Art in Philadelphia, where she was a curator. As director, Onli co-led the Underground Museum alongside Pacheco, who had been co-interim director and chief operations officer since 2020 and a member of the board since 2015.

Noah Davis, who died at age 32 in 2015 after battling a rare form of cancer, organized a variety of shows for the institution, some of which were mounted posthumously. Among them were “Artists of Color” (2017), which looked at political and social content within seemingly formal abstract works, and “Non-fiction” (2016), which focused on the violence that people of color confront. He also formed a partnership with L.A.’s Museum of Contemporary Art through former MOCA chief curator Helen Molesworth. Doing so allowed the Underground Museum to borrow iconic artworks from MOCA’s collection for its own presentations.

After Noah’s death, his brother, artist and filmmaker Kahlil Joseph, joined Karon in running the museum. Joseph’s “conceptual journalism” project BLKNWS was included in 2019 Venice Biennale as well as the Hammer Museum’s 2020 Made in LA biennial. He has also directed videos for Kendrick Lamar and Beyoncé. Joseph and his wife, the film producer Onye Anyanwu, are both on the board of the Underground Museum.

Over the past couple years, the Underground Museum has expanded its programming, launching initiatives such as the $25,000 Noah Davis Prize for curators, which is supported by the Chanel Culture Fund. The inaugural recipients, announced in September, shortly before Onli’s hire, were Candice Hopkins, Jamillah James, and Thomas Jean Lax.

At the time of his death, Noah Davis was reported to have left behind some 400 paintings, collages, and sculptures. His estate is now represented by David Zwirner gallery, which reportedly sold a $1.4 million painting by the artist at its Art Basel Miami booth in 2021. In April, Davis’s work will be included in the main exhibition of the Venice Biennale.

The exhibition of around 20 lush, figurative paintings by Davis that is about to close came to the Underground Museum after appearing at David Zwirner’s New York and London locations. The show was curated by Helen Molesworth, who sits on the museum’s board, and Justen Leroy, an artist and former employee of the institution, and it marked the reopening of the Underground Museum in February after almost two years of pandemic closure. Initially slated to run through September 30, the show was Davis’s first solo survey at the museum.

Correction, 3/15/22, 5:10 p.m.: A previous version of this article misstated Onli’s start date at the Underground Museum. She started working there full-time in December, not January.

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PHIL DEMMEL Says He Will Miss Some VIO-LENCE Shows Due To Other Touring Commitments: ‘I Need To Be A Little Selfish’

During an appearance on “Talking Bollocks”, the monthly metal podcast hosted by ACID REIGN frontman-turned-stand-up-comedian Howard H. Smith, VIO-LENCE/ex-MACHINE HEAD guitarist Phil Demmel, who is currently touring the U.S. with OVERKILL as the temporary replacement for Dave Linsk, confirmed that he will be forced to miss some of VIO-LENCE‘s upcoming gigs due to his touring commitments with other projects. “There’s some VIO-LENCE stuff coming up that I’m not gonna be able to be a part of because of choices that I’m making in my own career,” he explained (as transcribed by BLABBERMOUTH.NET).

VIO-LENCE was a side thing that we were doing. It was understood that I’m doing other stuff and that this would happen,” he continued. “They weren’t looking at doing full-blown tours, so trying to schedule stuff, it gets difficult. So there will be things that I won’t be doing with VIO-LENCE, which is a little heartbreaking in the sense that… I’m the only member of VIO-LENCE that hasn’t missed a show. So, yeah, there’s a VIO-LENCE club and there’s been a lot of former members. But I never quit the band. I carried that torch the whole time and hadn’t missed a show.”

Demmel went on to say that “it’s a selfish move” on his part “to do these other things, but at 55 years old, I need to not regret passing up something to do another thing that may or may not… It’s hard to explain. So I’m apologizing in advance for, if there will be a [VIO-LENCE] show that I’m not gonna be at,” he said. “But I am 55. I’m in the twilight — maybe in the twilight of my musical career. You never know when it can all… A lot of peers that are… Plenty are dying, dude; they’re just gone. And at this point in my career, I need to be a little selfish. And it might be hard to fathom from other people about doing things that aren’t part of what VIO-LENCE is… It’s emotional and it sucks, but it is what it is. It’s not like I’m missing the whole year or anything, but there will be instances when I’m not on stage with those guys, and it’s gonna be weird. It is what it is.”

Demmel recently filled in for LAMB OF GOD guitarist Willie Adler during the band’s January appearance on the ShipRocked cruise.

VIO-LENCE has just released a new EP, “Let The World Burn”, via Metal Blade Records. The five-song collection, VIO-LENCE‘s first original release since 1993’s “Nothing To Gain”, was tracked at Trident Studios in Pacheco, California by Juan Urteaga (MACHINE HEAD, EXODUS), mixed by Tue Madsen (DARK TRANQUILLITY, HEAVEN SHALL BURN) and mastered by Ted Jensen (ALICE IN CHAINS, DEATH ANGEL).

Formed in 1985, VIO-LENCE helped define and refine what came to be known as the Bay Area sound, dropping three seminal albums before splitting in 1993. Leaving behind a heady legacy, they reformed briefly a couple of times in the intervening years before becoming a full-time going concern once more in 2019. After playing a string of successful shows, the quintet started to think about new music and will deliver “Let The World Burn”, showcasing their first new material in 29 years.

Filling out the band’s ranks on “Let The World Burn” alongside Demmel, vocalist Sean Killian and original drummer Perry Strickland are former OVERKILL guitarist Bobby Gustafson and former FEAR FACTORY bassist Christian Olde Wolbers.

VIO-LENCE reunited soon after Demmel left MACHINE HEAD in late 2018.

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