What’s happening at the ASU Art Museum this week: April 14 – 20, 2014

Thanks to everyone who joined us for the ASU Art Museum Brickyard Grand Opening reception last Friday! The Ceramics Research Center is thrilled to be in its new home, and we’re thankful for all of your support through this exciting and transitional time.


Wednesday, April 16, 2014:

Noon – 1 p.m. in the Kresge Gallery at the ASU Art Museum — Marilyn Zeitlin, a well-known contemporary art curator and Latin American art specialist, returns to the ASU Art Museum to give a gallery talk on Rhythm and History. For more info: https://asuevents.asu.edu/gallery-talk-stories-we-tell-ourselves-survive-marilyn-zeitlin

Friday, April 18, 2014:

Noon – 1 p.m. at the ASU Art Museum — curator Julio Cesar Morales discusses artist Eduardo Sarabia’s influences and the making of Moctezuma’s Revenge. For more info: https://asuevents.asu.edu/brown-bag-lunch-series-julio-cesar-morales-moctezumas-revenge

As always, museum admission (at any location) is always free! For questions on hours, directions or programming, call 480.965.2787 or visit asuartmuseum.asu.edu.

Image credits, clockwise from left:

Los Carpinteros, Vecinos (Neighbors), 2005. Fiberglass, polyester resin, stainless steel, silicon, PVC, water pump, water filter, lighting and water. 42 1/8 x 60 1/4 x 60 1/4 in. Gift of Diane and Bruce Halle from the Thomarie Foundation. From Rhythm and History (2014).

Eduardo Sarabia, Happy, 2011. Oil on canvas. 55.9 x 78.34 inches. Courtesy the I-20/Judelson Collection, New York. From Moctezuma’s Revenge (2014).

Image courtesy of Marilyn Zeitlin.

Sandra Ramos, from the series Migrations II [Swimming under the Stars], 1994. Oil on suitcase. Overall: 19 1/2 x 25 x 17 in. Gift of the ASU Art Museum Advisory Board 100% Cuban Campaign. From Rhythm and History (2014).

April 14, 2014 at 5:27 pm 1 comment

What’s happening at the ASU Art Museum this week: April 7 – 13, 2014

Have you seen Moctezuma’s Revenge yet? If not, hurry — this amazing solo exhibition by artist Eduardo Sarabia closes in just three weeks. See the show that the Phoenix New Times calls “a punch you don’t see coming, one that lingers for a very long time,” before it closes on April 26.


And, get your ceramics fix with two great events this week:

Tuesday, April 8, 2014:

6:30 p.m., in the Top Gallery at the ASU Art Museum — Curator of ceramics Peter Held leads a gallery tour of the wild and colorful world of MUCK. For more info: https://asuevents.asu.edu/gallery-tour-curator-peter-held-muck

Friday, April 11, 2014:

6:30 p.m. – 8:30 p.m., (members and alumni preview from 5:30 – 6:30 p.m.) at the ASU Art Museum Brickyard  — We’re celebrating the grand opening of our third location in the Phoenix –metro area, the ASU Art Museum Brickyard located at Mill Avenue and 7th Street in downtown Tempe. The Brickyard is the new home for the Ceramics Research Center, and we hope you’ll join us for this occasion! For more info: https://asuevents.asu.edu/asu-art-museum-brickyard-grand-opening

As always, museum admission (at any location) is always free! For questions on hours, directions or programming, call 480.965.2787 or visit asuartmuseum.asu.edu.

Image credits, clockwise from left: 

Muck: Accumulations, Accretions and Aggregations (2014). Image by Craig Smith.
Eduardo Sarabia. CODEX 2: Popocatepetl, 2013. Acrylic, india ink on paper, 22 in. x 30 in. Courtesy of the artist and Charpenel Collection. From Moctezuma’s Revenge (2014).
Marilyn Levine (1935-2006), Satchel, 1964. Ceramic, stained.
Rendering of potential signage at new ASU Art Museum Brickyard location on 7th Street and Mill Avenue in Tempe. Image courtesy of the ASU Art Museum.

April 7, 2014 at 5:08 pm Leave a comment

The Fearless Nature of Being: The Legacy of Don Reitz

Editor’s note: The following is a guest post by Peter Held, curator of ceramics at the Arizona State University Art Museum Ceramics Research Center. 

The ASU Art Museum and Ceramics Research Center were deeply saddened to learn of the passing of our friend Don Reitz, an iconic ceramic artist and educator, on March 19.  He was 84 years old.  As a memorial tribute, the museum will unveil a selection of his work in the permanent collection at its new Brickyard facility for the location’s grand opening on April 11.

Reitz was a modern-day folk legend and larger than life.  As a master ceramicist, he produced new and exciting work with his innovative and adaptable practice, inspiring several generations of ceramic practitioners.  Despite advanced age, Reitz continued to push his artistic vision, inspiring a new generation of ceramic practitioners.

"Life is not a dress rehearsal; you only have one shot at it." — Don Reitz, August 20, 2011 Photo by Daniel Swadener.

“Life is not a dress rehearsal; you only have one shot at it.” — Don Reitz, August 20, 2011
Photo by Daniel Swadener.

Born at the beginning of the Great Depression in 1929, Reitz was affected by the harsh economic realities during his childhood.  Growing up during this difficult time in history, Reitz drew upon this wellspring of strength to make the most of any circumstance. Dyslexia and the disillusionment of academia, marital strife, and a near fatal accident made for, at times, a tumultuous life, but Reitz remained an eternal optimist, plowing through the fields of life with vim and vigor, undeterred by roadblocks.  “I’m a warrior, not a foot soldier,” he said in a recent interview.

Trained at Alfred University, the preeminent institution for advanced ceramic training, Reitz’s early work is marked by the design imperatives of the day: clean, simple pots with a solid grounding in technical knowledge and craftsmanship.  Following the lead of his teachers Robert Turner and Val Cushing, and fellow Alfred alumni Karen Karnes, Ken Ferguson and David Shaner, Reitz’s formative utilitarian pieces are marked by simplicity, symmetry and prevailing European modernist influences. While all four artists shared similar training, each found their own voices early in their distinguished careers.

Photo by Daniel Swadener.

Photo by Daniel Swadener.

At Alfred, Reitz began experimenting with salt-glaze, a technique largely neglected by the post World War II ceramic studio movement.  Readily embracing this firing technique, Reitz quickly realized that it allowed the clay to keep its natural character, and its malleability did not obscure the creator’s hand.  In a decade’s time, he was dubbed “Mr. Salt” by his peers.  Baroque pots with ornamental embellishments from this era of Reitz’s career are iconic within the field.

In Reitz’s career, he experienced his fair share of life’s unexpected twists and turns.  In 1982, he was hospitalized for several months due to multiple injuries suffered from an auto accident.  This experience was not only physically challenging, but also kept the artist from creating in his studio. Mentally and spiritually debilitated, the knowledge of his five-year-old niece Sara’s bout with cancer added to his misfortunes. Drawing as a means of rehabilitation, Sara and Reitz bolstered each other’s spirits. Inspired by the little girl’s freedom of form, line, and color, Reitz took to paint and paper in hand as a cathartic healing process, eventually returning to the studio to unleash a torrent of new work.  His “Sara Series,” is the result, a collection of covered jars and plates comprised of chalky pastels and vivid hues of red, yellow and blues, gouged with autobiographical drawings and noticeably divorced from his previous body of work.

In the mid-1980s, Reitz devoted more time to the wood firing process, due in part to his long association and friendship with Don Bendel, ceramics teacher at Northern Arizona University in Flagstaff.  Bendel invited the Japanese master kiln builder Yukio Yamamoto to build a Noborigama and Anagama kiln that continues to be part of the core program at the university. In successive years, Reitz worked through a number of visual forms through ceramics: Shields, Tea Stacks, Bag Forms, Punch-outs, Kachinas and Table Tops.

After his life-threatening heart surgery in 2007, the realities of his diminished physical stamina required new modes of working.  Reitz relied on studio assistants to make cylindrical shapes, which he then alters.  It provided a sense of freedom Reitz had never experienced until this moment in his long career. Reitz also wood fired in kilns around the country, and collaborated with a multitude of other artists.  Artist Chris Gustin writes of his friend that working together has been a gift that keeps giving: “We’ve spent countless hours at the wood kiln, firing, talking, eating, laughing and reminiscing. What drives it all is the work, the pots that we’re firing and the ones that have yet to be made. It’s a wonderful thing to be reminded of how lucky we are to work in clay.  Don’s generosity and spirit are contagious, and his energy is an incredible thing to be a part of,” he says.

Photo by Peter Held.

Photo by Peter Held.

It’s hard to imagine a more noteworthy artist who has been a mainstay in ceramics for the last six decades, retaining the defining attributes of a formidable artist: exceptional talent and skill, a highly disciplined work ethic, and unbridled enthusiasm with a world composed of subtle nuances and catastrophic events.  The trajectory of Reitz’s artistic career is inexplicitly woven into his personal life’s tidal movements, both tragic and joyous.  His recent work was a testament to the fearless nature of being Don Reitz, and this through constant reinvention and originality; he extended the definition and potential of the ceramic arts.  He will be sorely missed by legions of artists from around the United States and abroad.

Reitz’s obituary appeared in the New York Times on March 29:  http://www.nytimes.com/2014/03/30/arts/design/don-reitz-who-made-dirt-and-salt-into-art-dies-at-84.html



April 4, 2014 at 5:52 pm Leave a comment

What’s happening at the ASU Art Museum this week: March 31 – April 6, 2014

This Is Not America, Part III opens Saturday, April 5, 2014 in the Americas Gallery at the ASU Art Museum. The third in a three-part series of exhibitions looking at the intersection of art and social change, this exhibition is co-curated with ASU MFA students and focuses on the central themes of dominance and illusion. For more info: https://asuevents.asu.edu/not-america-part-iii

Tuesday, April 1, 2014:

6 p.m., in the Kresge Gallery at the ASU Art Museum — Learn about issues of appropriation and fair use from Christine Steiner, an expert arts attorney from Los Angeles. For more info: https://asuevents.asu.edu/appropriate-appropriation-fair-use-visual-arts

Thursday, April 3, 2014:

7:30 p.m., at the ASU Art Museum Brickyard — Hear from internationally renowned potter Linda Sikora as she gives this year’s Jan Fisher Memorial Lecture. For more info: https://asuevents.asu.edu/linda-sikora-jan-fisher-memorial-lecture

Friday, April 4, 2014:

7 p.m. at Combine Studios Gallery in downtown Phoenix — Explore Pablo Helguera’s Librería Donceles with the curator, Julio Morales in this special First Friday event. For more info: https://asuevents.asu.edu/gallery-tour-curator-julio-cesar-morales-librer%C3%ADa-donceles

Saturday, April 5, 2014:

11 a.m. to 3 p.m., at the ASU Art Museum — It’s time for First Saturdays for Families! This month, explore Echoes of Japan, hear a special performance from ASU School of Music students and use actual printmaking techniques to create your own masterpiece. For more info: https://asuevents.asu.edu/first-saturday-families-6

As always, museum admission (at any location) is always free! For questions on hours, directions or programming, call 480.965.2787 or visit asuartmuseum.asu.edu.

Image credits, clockwise from left:

Linda Sikora in her studio. Photo courtesy of the artist.
Pablo Helguera. “Librería Donceles,” 2013. (detail) Installation with books, works on paper, sound. Image courtesy of the artist and Kent Fine Arts.
Helen Hyde (1868-1919), “Cherry Blossom,” woodblock print. From Echoes of Japan (2014).
Pablo Guardiola, “Untitled,” 2007. Digital C-print, 20 x 30 in. Image courtesy of the artist. From This Is Not America, Part III (2014).




March 31, 2014 at 5:00 pm Leave a comment

Artist Eduardo Sarabia talks treasure hunting, painting, and “Moctezuma’s Revenge”

Eduardo Sarabia is no stranger to the art world—his latest exhibition, “Moctezuma’s  Revenge,” which opened this season at the ASU Art Museum, is just one in a long list of successes for this emerging Mexican-American artist. Sarabia’s work has been shown at the Los Angeles County Museum of Art, the Santa Monica Museum of Art, Museum of Fine Arts Boston, the Whitney Museum of American Art, L.A. Louver and the New Museum of Contemporary Art, as well as at the 51st Venice Biennale, the 2nd Moscow Biennale and the Istanbul Biennial, among others.


Sarabia, who grew up in Los Angeles and presently lives and works in Guadalajara, Mexico, uses his artwork to make reference not just to a physical border, but to a dividing line in the identity of one who feels at once familiar with and distant from his or her cultural heritage.

“Moctezuma’s Revenge,” the first comprehensive solo exhibition of works by Sarabia, features more than 40 works of art from both previous and new bodies of his work in a variety of media, including sculpture, painting, video, fiber and works on paper. It is on view at the ASU Art Museum’s 10th Street and Mill Avenue location on ASU’s Tempe campus through April 26, 2014.

Before the exhibition opened, Sarabia sat down with the curator of the exhibition, Julio César Morales, and Brittany Corrales, Windgate curatorial intern and master’s candidate in art history, to talk about his influences, dreams and new work.

JCM: One of your earliest works dealt with the investigation of your grandfather’s treasure map of the mythical hidden treasure of Mexican revolutionary Pancho Villa. Can you talk about the research and events that led to your search for the hidden treasure?

ES: I started researching companies and people who do treasure hunts. There are a lot in the United States, and I was interested in having this set up as a business. I talked to a lawyer friend of mine, who helped me write up a joint-venture agreement for potential investors. I met with them and talked about the project, the evidence and everything that my grandfather left me. They bought shares in my company, which was called Pacific Discovery Group of the Americas. I made stock certificate venture drawings that they purchased. It was an edition of 10 — I figured it was a rough number of what I needed to start the search. I did a round of fund-raising and bought some equipment and just went down to Mexico and started. I was a little bit naïve about going down there and what I was going to find. I met up with a friend of my grandfather who had gone with him on one of his searches, so he pointed me to where we thought the treasure would be, and that’s where we started looking.

BC: You often infuse elements of humor into your work to deal with darker issues. The exhibition title, Moctezuma’s Revenge, is a phrase often used to describe a traveler’s digestive complications upon entering a new country, thought to be a lingering curse from the conquered ruler of the Aztec empire.  What were your reasons for choosing this title?

ES: I think it is a funny phrase, but it is a very strong phrase. For the exhibition, I wanted to make a connection between what has been happening in Mexico in the present, to what happened in the past, using these traditional languages to bring meaning to contemporary culture. I use an anthropological approach to the work that gives it a connection with Moctezuma and the Aztecs — what we know about them and how we are living now. There are beautiful parts of the culture and violent aspects to the culture, as well. So, at one point the title just made sense to me. It was something that I had thought about years ago and was waiting for the right moment to use, and it made sense to do it at an exhibition in Arizona. There is so much friction with the politics with Mexico here in this state. The title will hopefully trigger some kind of emotion. Once you come see the exhibition, you will notice that it has nothing to do with what you thought it would be about.

JCM: In the last year, you have been in residence at the ASU Art Museum’s artist residency program and have traveled several times to Phoenix, developing a new body of work that is influenced by Arizona. Can you describe your findings and how you worked these experiences into your new body of work and artist practice?

ES: One of the first trips I took was during the Turn off the Sun (2013) exhibition [at the ASU Art Museum]. Our friend took us to a ceremonial Yaqui dance in Guadalupe nearby, and it was amazing. It seemed like a mix of various cultures put into these elaborate ceremonies. It gave me a starting point for me to investigate. It had a lot to do with subcultures — the Catholic Church, Yaqui indigenous beliefs, border culture, American popular culture and a mix of things that blew me away. I convinced our friend to do a scouting trip to come back and visit sacred spaces here in Arizona, to look at cave drawings and to explore a little bit within the reservations. We visited a place called Painted Rock. This all inspired my ideas for this show, mixing and matching these traditions with pop and contemporary beliefs that maybe date back a long time ago, maybe not. I was also impressed with the Arizona landscape and its colors. It was a good starting point for some of the drawings in the exhibition.


JCM: In 2007 you participated in the now-seminal exhibition Phantom Sightings: Art After the Chicano Movement at LACMA, the first post-Chicano contemporary group show that defined the production of Mexican-American art in the United States. Do you feel the exhibition’s impact changed the perception of your work and if so, how?

ES: I liked the exhibition because I got to meet other artists working in different mediums that I am somehow connected to. Although they are not all defined by their identities, they were doing interesting work that I could relate to, by having a connection within our backgrounds. That was important for me to see — how other artists were dealing with their identities and identity issues.

I was recently asked how my work relates in a Mexican contemporary landscape. I feel that I have a unique point of view because I am very close to both cultures, having grown up in Los Angeles and moved to Mexico. In the United States, I am constantly defending the things happening in Mexico and vice versa. I have to be honest with myself and what is happening. It’s a very particular situation, to be able to defend both sides.

BC: The basis of the paintings in this exhibition are painstakingly detailed photorealist images, which you then drown with daubs of paint, in what some might perceive as a violent defacing of the original images. Can you talk about what inspired this technique? 

ES: My projects are really elaborate. They usually start with a small, simple idea that leads to a trip or adventure — trying to find a treasure, or a feather or a shaman. I document these trips for personal reasons, to remember, and I take a lot of photographs. I have so many photographs in my studio — some are bad photographs that I can’t use for anything else. I started using them as palettes, accumulating these painted images in my studio.

For the Phantom Sightings show, I wanted to create a secret tomb in the museum space. I wanted typical oil paintings hung outside. Oil paintings made sense, because it is what people think of as low art and high art. A giant photorealist painting made sense as a prop, and to have the door to this tomb hiding behind one. I was trying to get the museum to hang a Picasso or something, but they wouldn’t let me, so I made my own paintings. They took on a life of their own. They are completely personal: a representation of my trips, people I met and talked to. They speak to the themes of illusion and reality that I play with in my work. It made perfect sense to make them part of a larger body of work.

BC: Your work often comments on the romanticizing of drug culture to young people. Growing up in LA, did you ever feel a desire to belong to this culture yourself? 

ES: I grew up in Boyle Heights in the projects, so being part of a gang — a romanticized street family — was a big part of growing up. It starts with the simple idea of your friends being protective of their neighborhood. This escalates until you get to larger things. I understand this idea. Growing up in the late 80s and early 90s, rap music was a big part of our lives. Surviving, making money [and] having nice things was what all our friends wanted in this neighborhood. It made sense to me.

When I was young, I was a bit of a nerd. I was always the first one to finish my work in class. My teachers gave me a pen and pencil to distract me and they realized I had some kind of drawing gift. They convinced my parents to take me to an arts conservatory on Saturdays. I didn’t have time to hang out with my friends on the street. I was either going to art classes or playing on the chess team. Some of our close friends growing up have passed away from being in gangs and getting into the drug culture. When both of your parents are working and you grow up in a bad neighborhood, it is easy to get caught up in these things. Art saves lives.

What was surprising when I went to Mexico was that in the narco culture, it wasn’t just little kids growing up listening to the music. When I was growing up, my parents didn’t listen to rap music or grunge. But in Mexico, everyone, young and old, listens to the folk songs. It’s a big part of the broader culture. I’ve never tried to glorify it, but it was a part of a very specific time when I grew up.


BC: If you were not working professionally as an artist, what would your career be?

ES: With my personality, I am very open to doing and trying new things, and having fun doing it. When I first graduated from school, I was producing a TV show. I directed a few commercials. But I always went back to working on my personal work. There is a lot that I like to produce and share. I opened a restaurant in Guadalajara and a restaurant in Berlin. I have a tequila company, and I am a partner in a Mexican craft beer company. I like to play with a lot of things — it keeps me busy. I have an entrepreneurial sensibility that translates to my work. When I started looking for treasure, it was important that it be a business, a joint venture. The tequila bar in Berlin was modeled after a business. That’s the way I work — my interests move me forward.

All images courtesy of the artist.

February 19, 2014 at 7:02 pm Leave a comment

‘MUCK’ showcases new trends in ceramic art, opens Feb. 15 at the ASU Art Museum

MUCK: Accumulations, Accretions and Aggregations,” featuring the art of seven contemporary ceramic sculpture artists, opens at the ASU Art Museum Feb. 15, 2014. The exhibition, curated by Peter Held, will feature more than 20 works of art from both previous and new bodies of work by Susan Beiner, Nathan Craven, Michael Fujita, David Hicks, Annabeth Rosen, Meghan Smythe and Matt Wedel.

On view in the Top Gallery at the ASU Art Museum’s 10th Street and Mill Avenue location through May 31, 2014, “MUCK” will showcase sculpture that pushes the boundaries of both technical virtuosity and arresting visual sculpture.

Each artist in the exhibition creates work that deals with incorporating a diversity of objects to create a cohesive whole, says Held. The artists in “MUCK” combine potent elements of labor, scale, material and the innate sensuality of clay and glaze to address concerns of environmental peril and searching for a humanistic balance in a seemingly all-consuming technological culture.

Matt Wedel, “Flower Tree,” 2013. Glazed ceramic, 17 x 17 x 16 in.  Image courtesy of the artist and L.A. Louver, Venice, Calif.

Matt Wedel, “Flower Tree,” 2013. Glazed ceramic, 17 x 17 x 16 in.
Image courtesy of the artist and L.A. Louver, Venice, Calif.

“United by their visually stunning work, the artists presented in ‘MUCK’ invoke pure joy in the medium, creating order from chaos while confronting issues of personal growth and transformation,” Held explains. “Whether using repetitive shapes to create patterns or assembling a multiplicity of objects metaphorically, their work reflects upon the natural world and human condition and our place within it.”


An opening reception for the exhibition will be held Feb. 14, 2014, from 6:30–8:30 p.m. (with a members, alumni and press preview from 5:30–6:30 p.m.).  In addition, curator Peter Held will give a gallery tour of the exhibition and lecture on April 8, 2014 at 6:30 p.m. Both events are free and open to the public.


“MUCK: Accumulations, Accretions and Aggregations” is curated by Peter Held, generously supported by the Helme Prinzen Endowment, Joan and David Lincoln and members of Ceramic Leaders at ASU, and organized by the ASU Art Museum, part of the Herberger Institute for Design and the Arts at Arizona State University.

February 13, 2014 at 4:36 pm Leave a comment

ASU Art Museum Ceramics Research Center relocating

In preparation for its upcoming relocation, the ASU Art Museum Ceramics Research Center’s current location – on the northwest corner of 10th Street and Mill Avenue in Tempe – will permanently close to the public on Feb. 3.

The relocation, expected to be completed by mid-March, will move the center’s existing collection, storage, library and gallery space into a newly remodeled space on the ground floor of the Brickyard at Mill, located at 7th Street and Mill Avenue in Tempe, where it will reopen as the ASU Art Museum Ceramics Center & Brickyard Gallery.

“The museum is excited to now also be amidst the movement and energy of the Mill Avenue district, and we are planning on a presence that will build on and be enhanced by the already vibrant downtown Tempe scene,” said Gordon Knox, ASU Art Museum director.

Rendering of potential signage at new ASU Art Museum Brickyard location on 7th Street and Mill Avenue in Tempe.  Image courtesy of the ASU Art Museum.

Rendering of potential signage at new ASU Art Museum Brickyard location on 7th Street and Mill Avenue in Tempe.
Image courtesy of the ASU Art Museum.

The new location, three blocks north of the existing Ceramics Research Center, will provide the museum with additional space, a more flexible floor plan and an opportunity to capture an expanded audience within the heavily trafficked Mill Avenue retail district.

“Given the necessity of relocating the Ceramics Research Center due to the planned development in Tempe Center, I’m extremely pleased that ASU found us such a great location in the heart of downtown Tempe,” said Peter Held, ASU Art Museum curator of ceramics. “The new space allows us to expand our capabilities to serve students and the public, and to grow our audience base. This move will act as a catalyst to propel the center’s programming into the future.”

The Ceramics Research Center has been a national and international destination point for the hands-on study and enjoyment of ceramics since its opening in March 2002. The center, which houses and displays the ASU Art Museum’s extensive ceramic collection of close to 4,000 pieces, serves as a key educational component of the Herberger Institute for Design and the Arts through its teaching and research facilities.

The ASU Art Museum Brickyard will be the museum’s third presence in the Phoenix-metro area, alongside the existing ASU Art Museum at 10th Street and Mill Avenue, on ASU’s Tempe Campus, and the ASU Art Museum International Artist Residency Program, located in downtown Phoenix at Combine Studios.

Construction is currently underway at the new ASU Art Museum Ceramics Center & Brickyard Gallery, which will open its inaugural exhibition on March 21, with “Librería Donceles,” an installation by artist Pablo Helguera. Grand opening and programming details will be made available by early March.

Juno Schaser, juno.schaser@asu.edu
Public Relations | ASU Art Museum

February 3, 2014 at 7:02 pm Leave a comment

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