Monday, November 14, 2022

desk is killing your golf



Your desk is killing your golf game: Two exercises to reverse the effects of prolonged sitting

November 10, 2022

Prolonged sitting is not only bad for your health, it’s also bad for your golf game. Golf Digest 50 Best Fitness Instructor Jennifer Fleischer says that too much sitting weakens glute muscles and wrecks your upper back—which are crucial to a good golf swing.

While she doesn’t recommend quitting your job to improve your golf game, Fleischer says incorporating two key exercises into your daily routine can help to reduce—and even reverse— the effects prolonged sitting has on your golf game.

Get stronger to get longer

The glutes are one of the most important muscles for the golf swing, because they are responsible for generating a lot of power. When you sit, they’re switched off and Fleischer says it makes it much harder to create energy and deliver the clubface consistently without making compensations.

Fleischer’s “Double Band Monster Walks” will help you increase your glute strength and get some of your power back.

First, place a mini band above your knees and another around your ankles. Then, get into an athletic position that creates tension in the bands. Take 10 slow and controlled steps forward, then take 10 steps backward.

Be sure the bands stay taught and your toes point forward throughout the exercise. The more width you maintain between your feet and knees, the harder the exercise becomes. You can also remove the band above your kneecaps to decrease the degree of difficulty. Complete three to four sets of 10 steps forward and back.


Staring at screens all day leads to rounded shoulders and a forward head posture. Not only does this wreck your upper back, but Fleischer explains that poor posture often results in a decrease in torso rotation.

“This makes it very difficult to stay on plane in your swing,” Fleischer says.

Fleischer’s “Reverse Lunge with Band Pull Aparts” can help increase your range of rotation and strengthen key muscles in your upper back.

Hold a band in both hands, about shoulder-width apart. Extend your arms straight out, and from an athletic stance, step your right foot back into a lunge. Anchor your right hand out front and pull the band apart with your left hand, rotating toward your front leg.

Allow your gaze to follow your arm as it rotates, Fleischer says this will increase your range of motion. Return your left hand to the starting position. With your right leg still behind you, repeat the band pull apart to the opposite side, using your left hand as an anchor as you swivel over your back leg. As your upper body rotates, Fleischer says to keep your lower body as stable as possible. Complete six to eight on each side.

Do these exercises, and all that time in your chair won't be so hard on your golf game.

China art auction 21

bits and pieces...



Edie Sedgwick’s artwork



Huge arty party to celebrate first exhibit of Edie Sedgwick’s artwork

Page Six hears that a small portal to Andy Warhol’s New York will briefly open up on 23rd Street on Monday night.

We’re exclusively told that an auctioneer is mounting the first-ever exhibition of Edie Sedgwick’s art, of all places, the Chelsea Hotel.

And they’re expecting a Downtown crowd the likes of which hasn’t been seen since the Mercer Arts Center fell over.

The hotel — where Warhol and his most famous “superstar” shared a room while shooting “Chelsea Girl” — has seemed perilously close to shuttering during an apparently endless series of renovations and changes in ownership that went on for more than a decade. So it seems something of a miracle that its open to host a party for its former resident.

We’re told punk godhead Danny Fields is expected, as are Sedgwick’s widower Michael Post, her brother, John, and Johnny Ramone’s widow, Linda. Also on the list are art world bigwigs like Simon de Pury, Roselee Goldberg and the Andy Warhol Foundation’s Vincent Fremont, plus Christy Turlington, Darren Aronofsky, Theodora Richards, Kristen McMenamy and Ryan McGuiness, among others.

Enlarge ImageEdie Sedgwick
The model and actress appeared in over a dozen of Warhol’s movies.
Getty Images

Sedgwick habitually fell asleep — in spite of several warnings from Leonard Cohen, reportedly — with candles burning in her room in the Chelsea institution, and once famously set the room on fire.

There will be 15 pieces on display, mostly pencil sketches. Her subjects include nudes (including a self portrait), horses and other animals.

Enlarge ImageAndy Warhol and Edie Sedgwick sitting on stairs.
She was considered the pop artist’s muse and his top “superstar.”
Corbis via Getty Images

The pieces are being put on sale by RR Auctions, and the party is being hosted by Bobby Livingston, an SVP at the auction house. The online sale closes on November 17. Pieces are expected to go for up to $40,000.

Sedgwick, who was portrayed by Michelle Williams in the 2007 movie “Factory Girl,” appeared in more than a dozen Warhol movies in 1965 and was considered his muse while they worked together.

Enlarge ImageEdie Sedgwick and Andy Warhol
Sedgwick died at just 28 years old.
Getty Images
What do you think? Post a comment.

She died of drug-related causes in 1971.

FILED UNDER         11/13/22

Roe Ethridge’s


Photo Booth

Roe Ethridge’s Slippery Art and Commerce

In a new career survey, “American Polychronic,” two sides of the photographer’s career inform, spark, and subvert each other.
A double exposed image of a person in a yellow bathing suit running.
“Double Jess Gold,” 2015.Photographs by Roe Ethridge / Courtesy MACK

The first picture in Roe Ethridge’s “American Polychronic,” his hefty new slab of a career survey from mack, is of a butter-yellow, two-door refrigerator covered with papers and snapshots, in his parents’ suburban Atlanta home. As an introductory image, it’s at once spectacularly insignificant and, in the style of William Eggleston, casually iconic, even a little marvellous. It’s a style that, since the turn of the new millennium, Ethridge has redefined on his own terms, and with remarkable success in both art and commerce. Like so many contemporary photographers (Wolfgang Tillmans, Collier Schorr, Juergen Teller, Cindy Sherman), he doesn’t isolate his editorial from his gallery work, and in “American Polychronic” they are thoroughly shuffled together. Trying to distinguish one from the other is both futile and pointless. As two aspects of one career, they inform, spark, and subvert each other—which brings us back to that refrigerator. Ethridge shot it as part of an assignment for the New York Times Magazine that was never published, but he liked it too much to let it die. He included it in a show at Gavin Brown’s Enterprise, in the summer of 1999, where it was seen as a signature image. A year or two later, it appeared in a print ad for a kitchen-related product that never took off. Now, Ethridge says, he sees it as “a bit of a key to everything.”

A refrigerator.
“Refrigerator,” 1999.
Actors from the show Gossip Girl.
“Gossip Girls for Dazed,” 2021.

“American Polychronic” is full of photographs that slip among definitions and functions, refusing to be pinned down. If Ethridge wasn’t so good at this, he could be dismissed as a joker, a provocateur. He already flirts with the role. The second picture in his book is a self-portrait, in which he looks handsome, scruffy, and vaguely preppy, but with a gorgeous black eye. As a portrait of the artist as a young punk it’s hard to beat, except that Ethridge topped it with a shocking head shot of the performance artist and rocker Andrew W. K. with blood streaming from a busted nose. It’s an exaggeration to say that those two portraits made Ethridge’s career, but they immediately made him someone to watch.

Roe Ethridge
“Self-Portrait,” 1999.
A man with a bloodied face.
“Andrew W.K.,” 1999.

He was also someone difficult to keep up with. “American Polychronic” features more than four hundred and fifty pages of pictures made between 1999 and 2022, including many that audiences haven’t seen before, either on a gallery wall or an editorial page. Aside from a slew of magazine covers (ViceSelf ServiceTexte zur KunstAperture), much of the work appears deliberately context-free. The result is an overload of images, both indigestible and irresistible. A note at the end of the book explains the sequencing, which is chronological but with a twist—the art-exhibition work is ordered oldest to newest, the commercial work newest to oldest, and there are “too many exceptions to this rule to mention.” To make things even more disorienting, the only captions are included on a few scattered pages as screenshots of text files, which, the photographer points out, are “images,” too.

A multihighway overpass.
“Spaghetti Junction, Atlanta, Georgia,” 2003.
A mall sign.
“Great Neck Mall Sign,” 2006.
A moldy peach.
“Moldy Peach,” 2020.

Ethridge has always played fast and loose with the idea of the picture as document. Some of his best photographs record just what the camera sees: a bowl of moldy fruit, an overflowing ashtray, strip-mall signage, a black-gloved hand holding a ripe red apple. Many more of them are manipulated, both obviously and subtly, with results that range from arresting to cheesy. Ethridge’s fashion work tends to be faux generic: spoofs of catalogue shoots, they are amusing one by one but grating en masse. But more often than not Ethridge knows how to make the balance between attraction and repulsion tip in his favor.

A person eating Cup of Soup.
“Louise Parker for Luncheon,” 2016.
“Lightning,” 2003.
A still life photo of a fish in a decanter against a checkered background.
“Decanter with Fish for Tiffany,” 2017.

In a conversation with the critic and curator Antwaun Sargent at the end of the book, Ethridge explains that in high school he was excited by the work of Warhol, Lee Friedlander, and Irving Penn. But he says that stock photography “felt like the script I was supposed to pick up,” adding, “This sort of generic, Methodist, Southern, middle-class world was mine.” After graduating from the Atlanta College of Art, he assisted catalogue photographers and began to think, What if I worked as a commercial photographer and made the images that Richard Prince is appropriating? As an ambition, that was at once modest and perfectly pitched. His discovery of the great oddball Paul Outerbridge, who made disconcertingly conventional commercial work alongside fetishized nudes and high-modernist still-lifes, was encouraging. Ethridge sums him up simply: “He was an American who wanted to be an artist but needed to make some money.” With Prince and Outerbridge as guideposts, he charted his own eccentric route between the gallery and the marketplace. Ethridge may not end up in the comfort zone, but he has plenty of room to play.

Lakeith Stanfield
“Lakeith Stanfield for CR Men’s Book,” 2018.