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Patricia Albers is a writer and historian of modern art. Her books include Lady Painter: A Life of Joan Mitchell, Published by Knopf; (2011) and Shadows, Fire, Snow: The Life of Tina Modotti, Published by Clarkson Potter; (1999) and University of California Press; (2002), which earned a starred review by Publishers Weekly and was selected as a Best Book of 1999 by the Library Journal. She also published Tina Modotti and the Mexican Renaissance, Published by Jean-Michel Place; (2000), the catalogue for the exhibition of the same name she co-curated for the Moderna Museet (Stockholm), Arles Photography Festival, and City Art Museum (Helsinki). Albers has also written numerous articles and catalogue essays, most recently Joan Mitchell: Painting as Cathedral for the exhibition "Synethesia: Art and the Mind." She has received a Barbara Deming Memorial Fund Grant and Ucross Foundation Writing Residency. She holds a B.A. in art from the University of Iowa, an M.A. in French from Middlebury College, and an M.A. in art history from San Francisco State University. Neoteric Art: What got you interested in writing a biography on Joan Mitchell? Patricia Albers: I got interested in writing a biography of Joan Mitchell because I’d long admired her art. The timing seemed right too since most of her friends and colleagues from the ‘40s and ‘50s were elderly when I interviewed them, and many have now passed away. I was also interested in the relationship between Mitchell’s circumstances (for example, a childhood home where people like Edna St. Vincent Millay and Carl Sandburg came to dinner, and Thornton Wilder would tell her bedtime stories), her character, her abilities, even her neurology, with her art. Without being simplistic, where did her art come from? What were her motivations? What was her achievement? Finally, so many people, including avid museum-goers and art students, still find abstract art unfathomable or semi-fraudulent, as if certain art world types were pulling a fast one on a gullible public. I wanted to write a book that showed readers the complexity and skill of Mitchell’s work but also made it more accessible and potentially meaningful to them. Buy the book here.

Neoteric Art: Give some background information on yourself. Doug McGoldrick: I grew up in the Minneapolis suburbs and was involved in art from a young age, my dad was an avid amateur photographer. My early work was all drawing and painting I actually have an MFA in painting from the University of Wisconsin Madison. After I finished school I started working as an assistant for commercial photographers and that really lead me into photography in a big way both professionally and art wise. NA: Discuss the distinction between your commercial and fine art photography work. DM: For me there is a pretty large distinction between what I do for art and what I do for my commercial clients. With commercial work, although I try to have my own style and an input on what the image ends up looking like, end the end it's a job to produce something that most likely sells something else. I have to leave space for text, it has to be shot a certain way etc... With my art work honestly the last thing I think about is what someone else thinks of the images it's really something I do for myself. It's a great sense of freedom away from the commercial work. NA: Regarding your fine art work, discuss your work/thought process when starting a new piece and/or series. DM: For me when I start a new series it seems to start from something I see from the corner of my eye, I catch a glimpse of something usually some sort of play of light on something, then I spend the next couple years trying to capture that light on paper. The danger with my process is that sometimes when I start to get it I can get repetitious so I always keep on the look out for that. I also tend to work on several series at a time so if I start to feel like something is getting boring to me I can work on a different project for a while. Although I like to think of myself as semi conceptual photographer, I do love beauty in art, it goes against the grain right now to have work that considers beauty and has a bit of a romantic spirit to it, but I'm making work for me not the gallery world so I make stuff that I like to look at. NA: Discuss in more detail your "Quiet Night" series. DM: My wife grew up in Wisconsin and we have a cabin up there, I grew up in a family that never went fishing, camping or any of that kind of thing so the area around our cabin was a new world for me to explore. All the surrounding towns are empty at night and the lighting is really beautiful, it makes them look like film sets. I've always enjoyed night photography I love how it takes something so normal as a small town and turns it into a place with some sort of dark story, there is a sense that something is just about to happen and probably not something good. While in the day time these town are very Norman Rockwell. I love the stillness and mystery of those little towns. NA: Seems like all your work is color. Do you prefer color over black and white? Elaborate. DM: It's funny I really like black and white photography and for a long time that was my thing I did black white mostly medium and large format work, I was a total darkroom nut, very classical. When I started the interiors series of images it was really the first time I played with color in my personal work, and for the most part those images in there early phase where pretty much just blue. But that kind of set off in my head the idea of doing color work for personal shots. Also digital had a lot to do with it, color film especially large format color film is wicked expensive, when I was able to get a digital camera that gave me the quality I wanted, I was able to start experimenting with color and I really enjoyed playing with colors in photoshop. NA: Who have been some of your influences? DM: My biggest photo influences are people like Lorna Simpson, Louis Gonzales Palma, Richard Avedon, Keith Carter, Carrie Mea Weems, the Starns, and Sally Mann. Although in the general world of people who really made me want to be an artist I can still remember going to the Walker Art Center growing up and falling in love with early pop art Rauschenberg, Jaspser Johns and Jim Dine in particular. That work really formed what I wanted to do, and through high school and undergrad that's the kind of thing I experimented with, lots of chunky paint, photos torn from magazines, shoes and clothing nailed to the canvas etc.., When I was in grad school I ran across a Louis Gonzales Palma print at a museum and then shortly after that I saw my first work by the Starns brothers seeing those really showed me that photography can be more than just a single snap printed large and hung on the wall. I liked the idea that you could take a picture and mess with it kind of in that early pop art way. I was always concerned with photography in that there's this feeling of well, if I was there I could take that photo too, but seeing there work showed me that photography could be more than a photo. Funny thing is that as I've gone on my work has become more or less straight photography. NA: So what art blogs, e-zines, magazines are you keeping up with? DM: I'm kind of an information blog junky, so there are a million I could list, I actually talk about them so much in my classes at Columbia College that I have made a delicious page for my students so they can try and keep up with me, http://delicious.com/dougphoto. I also get many magazines my favorites are Blind Spot, Lens Work, PDN and victor the magazine Hasselblad puts out seemingly at random intervals. www.mcgoldrickphoto.com www.dougphoto.com

Neoteric Art: You are a self taught artist. Give us some history on yourself and also discuss when and why you decided to be an artist. Kevin Swallow: I grew up in the south suburbs of Chicago and went to Northern Illinois University, graduating with a BA in Media Communications in 1993. I created drawings regularly from an early age and have been shooting photos since my late teens. While at NIU, I designed flyers promoting the campus radio station where I worked as a DJ and station manager. My creative pursuits during that time mostly revolved around music – DJ-ing and promoting indie/punk bands. I think the DIY approach of college radio and indie/punk music influenced me later as a self-taught artist. I've been a practicing artist for 15 years. I'm self-taught in that I didn't go to art school but have taken various classes in drawing, painting and screen printing. I began pursuing photography more seriously and started painting when I was laid off from job at a magazine in 1995. I had just moved to the city (Chicago) over the weekend – took the "L" to work Monday morning and was home by noon with no job. With a lot of free time on my hands, I started to explore my new home in the city by bike, train or just walking different neighborhoods – taking photos of architecture and street scenes. I also hit the art store and picked up some acrylic paints and canvas and started painting. I read books to learn about the materials and experimented with different techniques. Once I found another 9-5 job, I created art mostly at night and on weekends. I’ve also had two other times when I’ve been laid off and have been able to dedicate a lot of time to creating art. For about 10 years, I painted out of my home studio in various Chicago apartments. Since 2006, I've worked out of the Cornelia Arts Building in Roscoe Village. I'm currently in a shared space with painters Eric Weinstein and Jeff Bryner. I liked having my studio at home and being able to work whenever I wanted, but it didn't take long for me to adjust to having the separate studio. It's great to have that dedicated creative space without other distractions. It's also been inspiring for me to be in a building with other artists. Having that community has influenced my art and helped me take things to a more professional level. I enjoy talking with the other artists, giving and getting feedback and seeing what everyone is working on. The open studio events have given me exposure to collectors that I wouldn’t normally get by just working out of my home. Being in the Cornelia Arts Building has also helped to me focus a lot more on developing my art and to be more disciplined with my studio practice. Having the 9-5 day job forces me to better manage my time and gives me a "creative routine" so that I can be productive when I'm at the studio. Since 2001, I've exhibited my work in many places in Chicago: galleries, alternative spaces, cafés, restaurants, coffee shops, apartments, art walks, offices, silent auctions, a hotel and a hospital. For a few years, I curated shows for Friends of the Arts (fota.com) at a café in Andersonville. NA: You create paintings, drawings, photographs, screen prints and digital media...that's a lot! Very briefly, describe each one. KS: For me, all of these media are connected and they fuel each other. My palette — whether using paint, a camera or a computer is strongly influenced by the unlimited sights, sounds, and colors of the city. Paintings: I consider painting to be my primary media. I enjoy experimenting with my art and painting especially allows me to experiment. I paint a variety of subject matter but mostly cityscapes, people and abstracts. I work to create a harmony and balance between the shapes and colors in the composition. If I don't have those things, it doesn't feel right or done. I enjoy mixing colors and building up the layers of a painting over time. It's relaxing for me – I like to listen to music when I paint and it's easy to get lost in the creative flow. I feel "off" when I go a week or two without painting. Drawings: Drawing is the one artistic thing I've done consistently throughout my life. I don't really do elaborate drawings - I mostly use drawing to work out ideas and sketch compositions for paintings. Sometimes I'll sketch from life and from photos I've taken or images from the internet. I then transpose the smaller sketches onto canvas to use as a basis for a painting. Photographs: I love the spontaneity and freedom that photography provides – living in the city creates unlimited opportunities for shooting photos. I used to shoot with film but now mostly use digital cameras or an iPhone. I enjoy shooting a variety of subjects but usually shoot mostly cityscapes and architecture. Taking photographs energizes my creativity and provides a lot of inspiration and ideas for my art. Screen prints: I took a screen printing class at Lill Street Art Center in 2008. I wanted to learn something new but it also turned out to be something that allowed me to combine my photography and painting. I use either hand-drawn images or my photographs when creating a screen print image. I paint over old record album covers, and then print a series of images allowing some of the original album art or text to show through. I built a light box (with help of Scott Simons, another Cornelia artist) to "burn" the images to the screens before I print them. I like the multi-faceted process of screen printing and the experimental nature of the medium. I like to work quickly, and screen printing lets me create many images at once. Digital: I taught myself web design after being laid off from a dot-com in 2000. I built my first website then to showcase my art and still design and maintain my website today. Around that same time, I began creating "music snapshots" captured from the visualizations setting on a music player. I've also created abstract digital paintings in Photoshop and more recently started experimenting with the iPhone "Brushes" digital painting application. NA: Since we at Neoteric are fond of painting let's discuss that. Describe your work/thought process when starting a new painting. KS: For me, it's easy to start a painting - it's finishing with that last brushstroke that's most difficult. I used to just pick a color and start painting. Now my preliminary process is more planned when starting a new painting. I'll create some sketches and/or write out ideas for a series or individual paintings in my sketchbook. I sometimes print photos I've taken to use as reference or do some large scale drawings with charcoal to get the composition down first. I use mostly acrylic paint and typically use pre-stretched canvas or wood panels already primed with gesso. I usually start with a wash of color on the blank canvas, mixing a few colors to create a warm earth tone. I'll either build up the wash with more paint or sketch out the composition on the canvas with charcoal after the wash dries. Sometimes I just start drawing the composition or large shapes with a thinned dark paint. My paintings usually take anywhere from a week to a couple of months in total. I work on a few paintings at the same time, so there may always be one that I'm just starting. I like to use some of the same colors on multiple paintings to create a cohesiveness and to help develop a series. While building up the composition, I add layers of color and create textures with different sized palette knives, ends of broken paint brushes and random tools. I do this by scraping paint or drawing with the tools as each layer is drying. This brings some color through from earlier layers and provides texture for future layers. With my abstract aerial landscape paintings, I rotate the canvas throughout the process until I find the orientation that feels best. Other times, I just paint over areas of the composition until I get it how I want it. NA: Even within your paintings you have different genres such as landscapes, still lives, people, abstracts, mixed media, etc. Please elaborate. KS: I started out as mostly an abstract painter my first few years but then that moved to painting faces, cityscapes and mixed media. The still lifes came out of taking drawing and painting classes. I’ve always sketched faces – mostly imaginary but sometimes based on people I know. I use an illustrative sketch-like style with dark outlines and bright colors which I probably got from copying cartoons as a kid. About 8 years ago, I sketched faces everyday at lunch for an hour. Some of them I really liked and started creating paintings from them. I haven’t finished too many people paintings lately, but have several that I’ve been painting on-and-off over the last year. Since 2005, I've been developing my “City by the Lake” series which is inspired by two great things about Chicago – the architecture and the lakefront. This is an ongoing series of work where I paint using sketches and photographs I’ve taken as reference, but also add in different elements from my imagination. I try to give the cityscapes, the buildings, water tanks, and lakefront scenes a more abstract quality and use different color palates than you’d see in real life. Most recently, I’ve been working on a series of abstract aerial landscapes inspired by travel, maps and the natural landscape. The Chicago and New York series is based on Google maps and the Michigan series is based on photos I took from an airplane. My latest set of aerial landscape paintings is loosely based on maps and sketching shapes of different cities where I’ve traveled. I like painting abstractly because it helps me loosen up my brushwork and expand my color palate. I’ve also used abstracts as a way to experiment and move toward something new. NA: Your water tank paintings are very interesting. Please elaborate. KS: Rooftop water tanks are a unique architectural feature in cities - especially Chicago and New York. Due to difficulties maintaining and being removed during condo conversions of industrial buildings, they are now a disappearing element of the cityscape. Chicago used to have over 1,200 water tanks but now has less than 200. They became prominent after the Chicago Fire in 1871 and are a link to our industrial past. The water tanks have figured prominently in my both my photographs and paintings for a while now. Due to the decline of these structures, I've been making it a point to photograph them when I see them before they become another cell phone tower. Some of these photos are then used for reference in my cityscape paintings or as the main focal point. Rooftop water tanks have a great graphical element to them which makes them fun – but challenging – to paint. They are usually a dull gray/brown since many are made of wood and weathered over time, so I change up the colors in my paintings. I like painting the variety and different types of water tanks from different angles and perspectives. I paint directly using reference photos or I create a composition sketch first, then transpose that to the canvas. Out my studio window, I can see the water tank on top of the old pencil factory loft building which is on the next block. This view has definitely inspired me – I've painted a lot more water tanks since moving into my studio, including one based on the pencil factory water tank. I continue to paint water tanks and photograph them. I've also used images of them in my screen prints and iPhone digital paintings. NA: Who have been some of your artistic influences? KS: My two all-time favorite artists are Picasso and van Gogh. I learned a lot by studying their work at the Art Institute when I first started painting and from reading books about their painting styles and artistic process. They were very prolific too which has influenced the way I like to work. In the last several years, I've been inspired by David Hockney, Philip Guston and Richard Diebenkorn as well as contemporary painters Amy Sillman and Dana Schutz. I love street photography, so Henri Cartier-Bresson, Harry Callahan and Richard Nickel always top the list of my favorite photographers. The newly discovered photos by Vivian Maier that have surfaced recently are also very compelling. All of these photographers have an experimental nature to their work which pulls me in. When it comes to screen printing, artists like Jay Ryan (who’s also a painter) give me inspiration.? I’m also influenced by ideas I get from reading books, listening to music, street art I see when traveling, observing people and surfing internet art websites. NA: Pertaining to your art career where would you like to see yourself 5 years from now? KS: Five years from now I hope to still have a studio space and to be painting a lot. I’ve shown my work in galleries before – but I’ve never had gallery representation. So, I’d like to be represented by one or more galleries and to develop a larger collector base. Ideally, one of those galleries would be in my hometown of Chicago. A few years ago, I licensed one of my colored cityscape photos for a hotel redesign project. I worked with an art consultant from Atlanta which was a good experience for me. If I can, I'd like to explore the area of art licensing with some more of my photographs. The internet has leveled the playing field for artists and there’s a lot of opportunities for artists to get exposure for their work. The internet has definitely helped me. Ultimately though, I enjoy creating art for myself – I feel that I need to. But, finding more and different ways to have others enjoy it too is also one of my goals. It's always gratifying when someone I don't know wants to buy an artwork of mine and live with it in their home or office. If these things work out, I'd eventually like to turn my art making into my main job and then have something else part-time to supplement the income. If not, that's fine too – I consider myself lucky to be able to create art. www.swallowstudios.com

Megan Euker: Reenactments Linda Warren Gallery Chicago April 15 – May 14, 2011 www.lindawarrengallery.com The Linda Warren gallery is never stingy with its exhibitions and their heady pleasures. They often appear on the verge of being interrupted by applause. The current show, Megan Euker’s, "Reenactments" holds a familiar fit and pours richly into that trend. Anyone can buy a ticket to ride, but the destination should tug early on. These works do so. This is the artist’s first solo exhibition at the gallery, and it features new works and large sculptures, displaying her critical focus on gesture, body language and the figure. “Sociology, psychology, acute observation of behavior, deep interest in human interaction and cultural rituals are all things that have impacted my work,” shares Euker. “I have also traveled to Italy many times, which has had a huge impact on my work. I depict a lot of stories from Italy in my paintings and sculptures and almost all of the bathing paintings are from natural thermal baths in various parts of Italy.” She continues, “I think when I get away from my normal routines and habits, I become more acutely aware of my surroundings…how people interact, etc.” She invites us to think about that through these pieces. Ms. Euker’s periods of living in Italy, on a Fulbright, and her time in Brazil are dramatically captured in this show, from her, "La Mola", oil on linen with its seductive use of color to her sculpture including, "Chamada", chicken wire armature with plaster gauze, latex paint, and wood base of two figures engaged in capoeira. The artist trained in capoeira, a martial art developed by African slaves brought to Brazil, heavy with spirituality and physicality. “Athletics are a big impact on my work,” Euker says. “I paint and sculpt in a very physical manner, and I think my history doing many athletics informs how I approach art. I think I have an athlete’s mentality to making work in regards to pushing myself.” The artist brings a determination, an almost obsession to her work in seeking ways to, “document the moment,” and therefore “make a painting, drawing or sculpture based on the situation.” “I am incredibly interested in how humans interact, touch, don’t touch. So I am attracted to images that are sometimes romantic, sometimes ritualistic or revealing of human nature, she says.” Euker tells the story of her sculpture, “The Calling”, chicken wire armature with plaster gauze, latex paint, and wood chair, part of her “Good Intentions” series. “When I was living in Italy during 2008-9, I visited a church in Naples where I saw a priest answer a cell phone call while a woman was giving confession”, she recounts. “There were about 30 confession booths up and down the aisles in this particular church, and the booths were all open. You could see the priest’s face and torso,” she continues. “It was such an ironic, slightly comical, strange thing to see, and I kept imagining scenarios to explain why the priest would casually answer the phone. In any case, I didn’t make the sculpture until two years later, but I kept thinking about the image and the story in that time…the paintings were becoming too much of an illustration. I started imagining them as sculptures, and I think they really work as such. I related the story to my parents, who dressed in costume and reenacted the story I told them. I filmed the reenactment, took stills, and loosely based the sculpture on these images.” Euker aims straight to her own version of the sublime. “The Good Intentions series represents one of the more idiosyncratic aspects to Euker’s practice”, write the exhibitions curators. Megan Euker’s work develops into an intimate rapport. Nothing lurking in the shadows of surrealism…nothing hiding…nothing seething with irony. The artist received her BFA from The School of the Art Institute of Chicago in 2005 and her MFA from the School of the Art Institute of Chicago in 2007. She lends elegance ot her work with color. Most is done in the service of “realism”. She has been the recipient of numerous grants and awards, including the Artists’ Fellowship, Inc. (New York) and Change, Inc. (est. by Robert Rauschenberg). She is an Adjunct Professor of Painting and Drawing at the College of DuPage. “I studied a lot with Dan Gustin during undergraduate and grad school, and he has impacted me a lot as an artist. Geoff Barnes was my first painting teacher, and helped in forming the way I paint and teach.” Euker also had studio visits with Jerry Saltz who helped her uncover the essence of what she felt she needed to explore as subject matter. “A lot of artists have stories about being deeply moved by the work of another artist, and Lucien Freud is the artist that brought tears to my eyes”, holds Euker. “I went to L.A. in, I believe, 2002 to see a retrospective of his work, and that exhibition took my breath away.” Eric Fischl has also impacted her work. “I like the way he talks about painting and the evolution of ideas in painting, the strange narratives in his images and the speed at which he paints. I think his images are intriguing, both formally and on a narrative level, and I am interested in the dynamics of relationships that he creates between the figures in his paintings.” She gains power with her dramatic sculpture, and undertakes a transformative process. “When I’m making sculptures, I think of George Segal’s work a lot, because of the everyday-ness of the situations that he portrayed”, Euker says. “I am drawn to the relation of his process to abstract expressionism, the fleeting moments he depicts, and the whiteness of the plaster and its timelessness. It will be intriguing to watch this young artist/academic’s development, and we eagerly await it.

Once again the Merchandise Mart became Artropolis for the last weekend in April — the collection of Chicago's annual major art fairs. Although smaller than previous years, they were well-attended and the energy level was high. Unless you were looking for a lot of blue chip work, there was something for almost everyone. In addition to art, there were panel discussions, other programs, New Insights (up-and-coming MFA grads) and more, making the fair a trade show of sorts, an area where the Mart excels. For the first time, NEXT shared the floor with ArtChicago. It also seemed to be a little more tame. There were no antique Firebirds crashing into each other, heavily armed ice cream trucks or Jello wrestling. It did have thumping music and free-flowing Grolsch during the opening party, though. Throughout its histories, the Chicago fairs have ebbed and flowed. I hope they get back to full strength in the future, helping Chicago retain its status as a player in the art world. [caption id="attachment_1437" align="alignnone" width="432" caption="Linda Warren | Chicago"][/caption] [caption id="attachment_1439" align="alignnone" width="432" caption="Boma Modern | Santa Fe"][/caption] [caption id="attachment_1443" align="alignnone" width="432" caption="Martin du Louvre | Paris"][/caption] [caption id="attachment_1444" align="alignnone" width="432" caption="Forum Gallery | New York"][/caption] [caption id="attachment_1445" align="alignnone" width="432" caption="Carl Hammer | Chicago"][/caption] [caption id="attachment_1446" align="alignnone" width="432" caption="Catto Gallery | London"][/caption] [caption id="attachment_1447" align="alignnone" width="432" caption="Woolff Gallery | London"][/caption] [caption id="attachment_1448" align="alignnone" width="432" caption="Tony Folliard Gallery | Milwaukee"][/caption] [caption id="attachment_1450" align="alignnone" width="432" caption="Thomas Masters | Chicago"][/caption] [caption id="attachment_1451" align="alignnone" width="432" caption="Walter Wickisier Gallery | New York"][/caption] [caption id="attachment_1453" align="alignnone" width="432" caption="Diana Lowenstein Fine Art | Miami"][/caption] [caption id="attachment_1454" align="alignnone" width="432" caption="Villa del Arte Galleries | Barcelona"][/caption] [caption id="attachment_1455" align="alignnone" width="432" caption="101 Exhibit | Miami"][/caption] [caption id="attachment_1456" align="alignnone" width="432" caption="Jerald Melberg Gallery | Charlette"][/caption] [caption id="attachment_1458" align="alignnone" width="432" caption="Verve Gallery | Fort Lauderdale"][/caption] [caption id="attachment_1461" align="alignnone" width="432" caption="Russell Bowman Art Advisory | Chicago"][/caption] [caption id="attachment_1462" align="alignnone" width="432" caption="Contessa Gallery | Cleveland"][/caption] [caption id="attachment_1463" align="alignnone" width="432" caption="Eight Modern | Santa Fe"][/caption] [caption id="attachment_1464" align="alignnone" width="432" caption="Jill George Gallery | London"][/caption] [caption id="attachment_1465" align="alignnone" width="432" caption="Alpha Gallery | Boston"][/caption] [caption id="attachment_1466" align="alignnone" width="432" caption="Rize Art Gallery | Amsterdam, Naarden"][/caption] [caption id="attachment_1467" align="alignnone" width="432" caption="George Billis | New York, Los Angeles"][/caption] [caption id="attachment_1468" align="alignnone" width="432" caption="Western Exhibitions | Chicago"][/caption] [caption id="attachment_1469" align="alignnone" width="432" caption="Balloon | Chicago"][/caption] [caption id="attachment_1471" align="alignnone" width="432" caption="Molesworth Gallery | Dublin"][/caption] [caption id="attachment_1472" align="alignnone" width="432" caption="Mixed Greens | New York"][/caption] [caption id="attachment_1473" align="alignnone" width="432" caption="New Insight"][/caption] [caption id="attachment_1474" align="alignnone" width="432" caption="New Insight"][/caption] [caption id="attachment_1475" align="alignnone" width="432" caption="Christina Ray | New York"][/caption] [caption id="attachment_1476" align="alignnone" width="432" caption="NEXT Projects"][/caption] [caption id="attachment_1477" align="alignnone" width="432" caption="NEXT Projects"][/caption]