There was a moment of silence when my friend asked me why Egyptian art? Why a people 5,000 years ago whose language obsolete?

Nothing is more striking than looking at this picture of head of Ramsess II lying on the rubbles. It is sad, mysterious, and marvelous despite of the damage.

If we obliterate the future and the past, the present moment stands in empty space, outside life and its chronology, outside time and independent of it.

I was born at the end of the Cultural Revolution (CR) in China. Like a typical single child in my generation, my understanding of CR could only come from other's experience. The source, however, has not always been readily available for years. My parents have been silent about their roles and life in CR period. (They are more willing to tell me the suffering of starvation in the first three years of 1960's.) What's more, they have successfully shielded away from any possibility that I could have to get some stories from my relatives or their friends.

The young generation grew up in a vacuum of sterility. This official history books are shy about China's past after 1949. In particular, the political turbulence and the national fever of the CR are totally eliminated as if the history has vapored in the air.

The intellectuals and artists, who had been become more active in the 80's or 90's, are getting older and producing less. Furthermore, the outputs are not even among different genre. The non-fiction novels and report-a-larges were popular in the late 80's. In particular some biographies written by those who went to "Bei Da Huang" (i.e. Siberia-equivalent in China) amazed me in their determination, almost bordering stubbornness. But those authors were aware of the the great gap between the relative comfortable city life where they used to live and the barbarous no-where. Even though a lot of them eventually found the way out and went back to cities, their views have not always been negative: It was the period when their energy was the highest, the place where comradeship was wrought to last through hardship and where they may have their first love.

There are less movies about CR since it is a more accessible media compared to the intellectual-favored books. A lot of the movies, which could not pass the censorship, won awards abroad. But nothing is more scarce compared to the CR-related art during the post Cultural Revolution period. After all, movies and novels show a process or a period. Within it, violence and injustice can be mellowed down by romance, love or even happy endings. The paintings, which only capture a state of being or a particular moment, cannot find a middle ground to speak both the consciousness of the artist while passing the censorship of Culture Bureau.

Because of the scarce of reflective works, the current exhibition "Art and China's Revolution" in Asia Society gives an introspection by showing the artworks from that period. I have not seen such an exhibition in China, and probably it will never happen in China during my life time. It was not pleasant, in fact excruciating because the artworks are neither true nor beautiful, yet they were created by the best artists of the country. I begin to ask: are they art?

Artistically, they were technically wonderful. Some of the oil paintings show the influence of Russian school in the way of depicting light and arranging subject matters. The Father, one of the most celebrated paintings in China, reminds me of Fechin with regard to light and color palette. But Fechin's succinct brush strokes would be too avant-guade thus too Western for China.

However, what strikes me the most was most of the paintings were historical paintings and depict events and movement that led to the Cultural Revolution. In one example, a painting praised the fruit of the "Great Leap Forward" movement with Mao in the field of experimental wheat field. In another, Mao was with the coal miners including a female worker. These were painted by the same painters who, during the first three years of the 1960's, read in starvation the news of new record of unit field production from the newspaper daily, the same painters who lost their wok because all irons went to some backyard steel furnace. They became waste since regular people didn't know the metallurgy, but the waste was still counted as the national steel production in order to catch up with Britain in 15 years.

Have the artists lost their consciousness to become one of the feverish or were they doing it because that's the only way to survive? I don't know. But it is shameful to look at them as Chinese. If Germans can spent years self-criticizing their past in WW2, why can't Chinese, from the top to the individual, look straight back at that period and most importantly make sure the mistake will not happen again? Milan Kundera said: The basis of shame is not some personal mistake of ours, but the ignominy, the humiliation we feel that we must be what we are without any choice in the matter, and that this humiliation is seen by everyone.

It is true that that "Da Zi Bao" (big character posters) are more rebellious and violent. But when artworks, in the disguise of surface beauty and technical excellence, stop to speak truth from the heart: It is a revolting product: it shrills people not only because artists behind the canvas were institutionalized, but also because the arts became part of the machine.

Ironically, in those propaganda paintings, there were no individuality except Chairman Mao and other leaders. They looked perfect, happy, young and vivacious. Their hands point forward or raise up as if the underlining movement was getting higher and faster without a check.

Now as China gets stronger and bigger, there is another wave of extreme patriotism national wide. They broke in and vandalized French-owned chain stores because the Olympic torch relay was disturbed (by Chinese dissidents) in France. There is a growing anomosity toward the western and several books are published with simily titles like "China can say NO", "China has to say NO" etc. The government silently approves and assist the trend because Chinese are too easy to confuse the love of motherland with the love of government. And again the youth is at the front of the new trend. They have marched in the official sponsored demonstration, arms high and spirit higher.

This reminds me again Milan Kundera in the book "Unbearable Lightless of the Being": Behind Communism, Fascism, behind all occupations and invasions lurks a more basic, pervasive evil and that the image of that evil was a parade of people marching by with raised fists and shouting identical syllables in unison.

History should not be repeated, it must not be. And Chinese, especially the young generation should ruminate the past, even if it is revolting.

Perhaps it was too ambitious at the beginning, a design in the second half of Gilded Age when everything should be grand and opulent.

The original design of the Brooklyn Museum by McKim, Mead and White would outshine Louvre and Met in its scale, but once the city of Brooklyn merged with Manhattan, the other side of the East River would lose its competitiveness and the final result is partially sweet for its grand facade, but partially sad because it is in my opinion a forever symbol of an unfulfilled dream.

The new entrance, sleek, modern and inviting in its own way, does not add too much exhibition space. I always hope that at least the west side of the building can be built to match the single finger-shape of the building on the east side, thus the museum can have two Beaux-Art courts.

In the era of shining clad, my wish may be too absurd to the public taste. (The only recently built public building with classical design that I have seen is the symphony hall in Nashville, TN. ) For me, it is not about the Roman classics or nobility, it is the historical integrity, a chance to make the dream true.

The Brooklyn Bridge was an engineering marvel that changed New York. On completion in 1883, it was the largest suspension bridge in the world, the first steel-wire suspension bridge, and the first bridge to connect to Long Island. The bridge was lucky enough to be built when stereoview cards were popular, and so today is a frequently appearing image on these cards.

Stereoview cards contain a set of photographs taken by a camera with two lenses. The images are about 2.5 " apart, which is approximately the distance between our eyes. When viewed in the prismatic lens of a stereoviewer, the brain perceives them as a single image in 3-D.

Stereoview cards are quite collectible today. They are relatively easy to find if you know where to look and show landmarks, genre scenes and important events. While not many of us alive today can remember when stereoviews were popular, many of us can remember the ViewMaster, which works on the same principle. (a nice bakelite viewmaster is a great thing to have too!)

Three images of the Brooklyn Bridge include one by the Keystone View Company from Meadville, Pa; one from William H. Rau in Philadelphia and one from Underwood & Underwood from New York. In 1920, the company sold most of its catalog of views to the Keystone View Company.

While for the most part stereoviews are associated with the Victorian-era, the Keystone View Company and a subsequent company manufactured the cards into the 1970s. If you search for the cards on ebay, you may find some pornographic images which found their way onto the cards in the 1950s.

It's difficult to determine the actual photographer of many of the images. Of particular interest is the work of William H. Rau, a noted landscape photographer who was at one point on assignment for the Pennsylvania Railroad. His work is in the collections of several American Museums including the Los Angeles County Museum of Art. Rau also photographed the 1904 Louisiana Purchase Exposition in Saint Louis, and the 1905 Lewis and Clark Exposition in Portland, Oregon. I am not sure how many of the images on cards with a Rau label were actually taken by him.

Those of you who have used ebay Live often will notice that all listed upcoming auctions are before Jan 1, 2009. Don't be fooled. This is not because the auction houses have slowed down due to holidays, but eBay has officially ended its eBay live auction services and will focus on their traditional auction business in future.

For me, the nice thing about eBay live is not about being able to bid online (certainly you can, but sometimes with some annoying delay which costs you winning plus some auctions charges higher buyer premium for online bidders). But eBay listed all upcoming auctions together so that you can use traditional search engine to search items among all auctions. I have found this is quite powerful. (There is some similar service which charges monthly fees!)

http://www.liveauctioneers.com/ will hosts the online auction service for traditional auction houses. I tend to think their user interface is not well done, but at least you can still browse through catalog without going through each auction house's own website!

Among all the paintings representing American Barbizon and Tonalism paintings in the ongoing "Path to Impressionism" exhibition at Newark Art Museum, Bruce Crane's "A November Scene" is the one which speaks to me the most.

Everything in the picture is subdued: color, form and subject. The scene is not beautiful itself, but evocative, with a smell of decaying leaves over the chilled water. It is a scene of the last days of New England autumn, which although I have never experienced, I feel associated with the spare air in the Western Pennsylvania where I had been living for the past 6 years.

It was not barbaric as some depicted by Enneking, since there are human traces such as wood piles, deserted and almost ineligible, in the middle ground or a stone wall, which visually and possibly physically blend into the brownish yellowish surrounding. Nature, once gain, took over where once habituated by early New England settlers.

The hushed scenery is less idyllic than what it looks like on the surface. The painting was painted in 1895, at the height of the Gilded Age. Between 1865 to 1905, while the population in rural area increased little, the population in metro areas increased 20 times. In particular, New England was proved to be too rugged to be farmed and thus became uninhabited in its rural area. In fact, New England, for a while, became the factory for clothing and shoes manufacturing. Gone with the rural habitation was the simple and self-reliant Protestant life style and moral virtues.

Ironically, if Bruce Crane intended to use the solitude of the nature itself to prove it was the industrialization that deprived human to get embraced by the natural beauty, the robber Barons, who praised and advocated his works, didn't think so. Among them, George Hearn made a fortune from dry good retails. William Evans was the president for the Mills & Gibb firm. while Henry Chapman was the prominent banker and stockbroker from Brooklyn. For them, the economic brushwork by Crane recalls repose and tranquility that they would associated before industrialization. The suggestive mood and ethereal atmosphere were perfect for recollection and recount of the past.

A close examination shows that Crane used impasto and glazing to great extent. Crane first placed a thin layer of paint for the background (the remote trees are almost formless). Then he built up the painting by brushed or dotted thick layers of paints within limited range and hues. The surface of the canvas at the foreground is as rugged as the landscape itself. The brown glazing, seemingly randomly disposed, gives a harmonious yet subtle veil to the scenery. It is true that not painting from the plein-air but from the memory gave Crane freedom to manipulate the painting based on his will, but it is his determination and imaginative power that gave a could-be-depressive scene romantic and poetic rendering.

I stood there long and felt I was dissolved in the field. The soil is infertile, the field rocky, the weather freezing. Yet the sentimental pastoral beauty arouse strong heartbeats for those who had lived it and lost it. Almost, I think, everyone has it in his heart: somber yet bitter-sweet, a spiritual New England forgone.

While browsing the website of Hudson River Museum, Eric and I found an attached house museum, "Glenview" which is regarded as one of the finest examples of Aesthetic Movement interior decoration from the last quarter of the 19th century. Last Saturday a train of MTA Metro North took us to Yonkers and once again we were rewarded with a splendid river view along the railroad for a pleasant day trip.

Eric and I were greeted by a museum staff who told us there is no admission fee between Thanksgiving to New Years. We headed directly toward the Glenview house.

Built in 1877 for John Bond Trevor family, the house is a fine example of high Victorian style with 26 rooms. As a visitor who took 30 minute train ride from Grand Central, what interested me most at the beginning was not the scale or the style, but the suburban sensibilities associated with the house. Situated on a bluff overseeing the river, Glenview is at the suburb of a suburb. The rapid development of railroads after 1860's made it possible that wealthy families could buy a dream home of pastoral treats with easy commute to the city. In 1881, downtown Yonkers station had 6 morning trains between 7 and 9 AM, John Trever, who spent three quarters of the year (except winter) at Glenview and had an office at 40 Wall St. must be a regular commuter.

Architect Charles Clinton's design utilized what nature offers to the house. The piazza, which once extended to the entire west facade, linked the house to the river. The house, unlike the city block which is usually 25 by 100, is so wide and spacious that the kitchen is on the first floor.

Entering the hall decorated with encaustic tile floor, the arrangement of the rooms is similar to that of Ballatine house in Newark Art Museum: On the left is the library and right is the parlor. The library is decorated with ebony furniture. Oriental motifs mingle with Italian-style tile inset. The notion of affluence and social statues in Victorian period, is not only apparent in the quality, but also by the quantity and its cosmopolitan assembly of everything that was popular. But other rooms, probably redecorated by the museum, show a more consistent decorative style which began to appear in mid 1880's. I was fascinated by the parlor room which was unified by the color and patterns used in wall paper, ceiling stencils and fabrics. It is reported that Trevor brought Leissner and Louis to complete the ornate ceiling stencils and Daniel Pabst to create the mantels and a dining room sideboard. All were photographed by the brother of Albert Bierstadt,Edward Bierstadt in the book "Homes on the Hudson" published in 1885.

The shimmering yet restrained wallpaper can also be found in the sitting room next to the library in the form of sun flowers. The stenciled leaves, flowers and branches on the ceiling become an abstraction of the nature, echoing the spring scene through the bay window.

Paintings by the contemporary artists such as Cropsey, Hart or Robert Swain Gifford do not take the spotlight. They are hung as they would be in a real family home, an integral part of the house decoration and a notion of owner's tastes.

Up the stairway which is on the right behind the billiard room, I saw the beautiful laylight which was restored by the museum with artificial light. The stain glass panel recalls the beautiful tile floor in the hall way.

The second floor is reconstructed like a traditional exhibition place. I didn't find the paintings by George Inness or John Francis Murphy as seen in their website, but there are paintings by best landscape artists such as Ashe Durand, William Hart and Théodore Rousseau.

This is the first house I have experienced faithfully decorated in Eastlake style. The visit aroused in me curiosity about the Aesthetic Movement. It may seem old-fashioned and overly decorative, yet in a grand house that speaks out affluence and tastes, the opulence looks cultivated and restrained under the iridescent wallpaper.

You can also visit Hudson River Museum website.

The regular admission fee is $5 for adult.
Metro North Hudson Line with local stops to Glenview.

The past weekend, Freeman's auctioneered around 170 paintings in its Fine American and European Paintings auction. The number of unsold items is close to 70, which exceeds one third of the total lots. Even worse, quite a few sold items were below the low estimates.

European portraiture didn't sell or didn't sell that much, neither French Barbizon paintings. Adolphe Monticelli's "Figures in an interior" was my favorite. Montecelli is painters' painter. I didn't get to know him until recently when I did some research on the Barbizon school. His paintings may lack the first-sight charm, but his genius is shone through his highly individual artistic style: His brilliant dashed brush strokes have dazzling effects that can only be rivaled by some post-impressionism works. Yet his colors are of the same vein of French Barbizon paintings like Diaz or Rousseau: rich, warm and highly glazed. The subject of the painting offered by Freeman's featured a group of figures dressed elegantly in the rural settings, a reminiscent of Antoine Watteau.

A few American paintings went high. The portrait of Milton by Eastman Johnson, although small and more toward sketchy side based on Eastman John's style, will be included in the forthcoming raisonne, went higher than expected. I just visited Morgan Library last Friday and visited their current exhibition "John Milton’s Paradise Lost". With his head leaning backward against red wall and half buried in darkness, the 17th century poet had a Victorian romantic appeal. The high price for the painting by John La Farge contrasted sharply with a deer study by Bierstadt which didn't reach the reserved price. This seem to confirm what I perceive of the current art and antiques market: buyers are more focused and only the best represented works can sell well.

It didn't surprise to see another pine trees in sunset painting by Charles Warren Eaton went high in the auction. Among all American tonalism painters, Eaton's market demand has increased so dramatically that the price has doubled or tripled during the past few years. I remember the first time I saw his painting was in Akron Art Museum, which has a great collection of American tonalism and Impressionism paintings. The pine trees, standing together against the darkening sky, thin-trunked yet thick capped, for the first time brought up the spiritual side of the nature into my mind.

Unlike other tonalism painters such as John Francis Murphy or Dwight Tryon (whose works can also be found in Akron Museum), Eaton was not totally obsessed with the decaying and deserted New England farms. Even in his sunset paintings, the pine trees, with their elongated upward gesture, are morally uplifting. Thus his paintings are more likely to fit in modern trendy setting.

Museums are always collecting. I have found a tea pot in the Brooklyn Museum which was produced in the 1990’s for Target stores. Based on my observation, today major traditional American institutions mostly concentrate the contemporary arts. Such practice is NOT because they have changed their directions; on the contrary it is the direction that they have always been following: collecting contemporary art. By committing collecting arts through the times, they’ve shaped the aesthetic tastes of the public and quietly assembled works when they were still affordable.

That is not the case for Crystal Bridges Museum of American Art, founded by Alice Walton. No major American art museums will feel its 19th century collection complete without paintings by Hudson River school artits, early portrait painters like Copley, Stuart or Peale. The same can be said for works by Andy Warhol or Edward Hopper to lead the 20th century collection. But without years of primary collecting, Crystal Bridges has to start from scratch for everything.

Last Friday’s press release showed that Francis Guy’s “A Winter Scene in Brooklyn” was the museum’s latest acquisition. The painting was exhibited in the Brooklyn Museum in 2006 along with their own version. Possibly painted by Francis Guy’s last year, the two were almost identical except the one in Brooklyn Museum lost about 2 feet on the left side due to a fire. It was said that the one bought by Alice Walton once had a painted balustrade along its lower edge but was trimmed for unknown reasons. If so, the feature that evoked the artist’s window ledge would surprise all those 20th century artists who claimed inventing more naturalistic or accidental cropping compositions. At a time when there is no nationally recognized style or high demand for landscape paintings, Guy, trained as a tailor and silk dyer, painted his window scenes no less than five times.

I am personally not a fan of Francis Guy. His paintings have tremendous historical value for sure. “Tontine Coffee House” in New York Historical Society, painted in 1797 tells a vivid story how Wall Street came into being. The village scenery of Front Street and Fulton Street, long disappeared after the completion of the Brooklyn Bridge, provided scholars of the architectural, economic, social and ethnic views of Brooklyn in 1820. Guy, like other early landscape painters, has a peculiar detail-oriented tendency. The dramas, anecdotes, and humors were found here and there in carefully arranged objects and humans to provide a narrative sub context. If Hudson River School is going to be blamed for their tedious copy of nature, Guy, their predecessor, showed an amateurish understanding of naturalism by giving everything sharp edges.

But the painting does have its charm. Instead of looking from the far back to grasp the magic light in Durand’s landscape, one is enticed to get as close as possible to examine the daily life of the people in Guy’s “A Winter Scene in Brooklyn”. (About 40 names of the houses, stores, shops or people are identified in Guy’s painting! Don’t forget to look at the person on the chimney!)

But I would doubt such findings as the black person’s name is Samuel Foster would have the same "wow" effect in Bentonville, AR. A Winter Scene in Brooklyn is essentially Brooklynite. For those people who jog on the promenade and wonder why there are so many Asian wedding photo sessions under the Brooklyn Bridge, the painting reminds them of Brooklyn, although it has become much bigger and more diverse, it still holds a home feeling. The visitors to Crystal Bridges may successfully identify the painting as a primitive landscape, yet they would not have the chance to hop on the subway from the museum and get off at Clark Street and overcome all the obstacles now blocking the ferry to see what it's like now and thus deeply appreciate the genius of Francis Guy.

The deaccession at the National Academy (NA)seems to be related to Crystal Bridges too. News broke out that Nation Academy sold two important paintings (one by Church, one by Gifford) from their permanent collection to pay their bills. Where the two paintings went has yet to be revealed, but the disclosure of selling works reminds New Yorkers of the outcry of the public when New York Public Library sold Kindred Spirits by Durand to Crystal Bridges Museum.

I have been to National Academy for both visiting exhibition and doing research. They do have an extensive permanent collection since every new academician is supposed to submit a diploma painting. But they don’t have a permanent place to exhibit them. Their permanent collection thus is most likely to be in the storage. This coming February, NA will have an exhibition to highlight some of their permanent collection. I agree with Eric that it is better to show artworks in public regardless of the location than store them in the dark room.

National Academy also mentioned that these two paintings were not diploma works but were donated by another member. This statement, in my mind, neither legitimizes nor invalidates their deaccession activity. Just because it is donated does not make a painting less important or less valuable. Ethnically, selling donated objects (more common in Natural History Museums nowadays because some donors insisted to donate their whole collection in the past) is in general against the donor’s intention. The donor of the two paintings must have regarded NA the most proper organization to place the asset. On the other hand, legally it is up to the museum who determines how to dispose the artworks when they do not want to show them permanently. I hope that the original donor would be happy to know that sometime soon the two paintings would be hung publicly.

My two cents: Don’t blanketly donate artwork to museums, at least not in unrestricted terms. They have thousands of objects collecting dust in the darkness for years. Why bother another one?

It's not a secret among antique dealers that folks in the American South have a better appreciation for American Decorative Arts. I suppose to some extent this may extend to American paintings. I haven't noticed a tour of American Art before 1880 being offered at the nearby Brooklyn Museum. Although there have been tours of the Dutch houses in the museum, I haven't noticed a tour being offered of the 19th Century Period Rooms.

Now there's some speculation that Alice Walton, already the possessor of Durand's Kindred Spirits, has bought two paintings from the collection of the National Academy. On an emotional level, it's sad to see them leave New York. From a practical point of view, I'd say a painting on display in Arkansas is better than one stored in New York.

I hope that a new administration will help bring some renewed pride in America and interest in objects and paintings from the first century of our existence. We need the likes of Alice Walton, like Ford, Rockefeller, Hogg and DuPont before her, to breath new life and interest to American Art and Decorative Arts. I hate seeing our great collections of American Art overlooked. Nature hates a vacuum and the vacuum that New York creates, Arkansas fills.

On Dec 4, the highlight of Cristie's Important American Paintings, Drawings and Sculpture was supposed to be the 10 deaccessioned paintings from the famous museum: Corcoran Museum of Art in DC, including big names such as George Inness and Thomas Cole.

The decision was made much earlier when the market melt down was not significant. And the reasons for selling are various. But from the yesterday's result, the paintings by Inness, Cole, Harnett, and Homer were NOT listed. Were they withdrawn or sold privately? Most of the paintings were sold without a surprise and a few (including one by Stuart also from Corcoran Gallery) were sold well under low estimation.

Those which were listed in the catalog but are missed in the result list have highest estimated prices in the whole auction.

The exhibitor list in this prestigious show contains a lot high-end dealers such as Whitley Collection who specializes Royal Doulton will be there. Tomorrow there will be a panel discussion about Designing with Antiques in the Modern World.

AVENUE-Wendy Antiques & Art at The Armory
Thursday, December 4th and run until Sunday, December 7th, 2008.

The Park Avenue Armory
643 Park Avenue
New York, NY 10021
Admission: $20

If you are familiar with the sitcom Seinfeld (and I wonder who isn't), you might have heard about the coffee table book about coffee tables. Taking a twist on that, I'd like to mention my small, but none-the-less significant collection of books on collecting.

Like many things collected, they go through a series of stages, among them the initial notice, admiration, purchase, sometimes research (although this can come before purchase) and placement, before a thing is forgotten, or at least no longer immediately in sight of our minds-eye. This works fine for some objects, say a decanter, but not for books. A book may look nice, but can't be seen or known completely, until it is read.

This morning I picked up one of those books I have collected, but didn't yet know intimately. Purchased a year or more ago, it was about time we became more acquainted. I didn't quite know what else could be said on the subject, but the engaging pages showed me the subject is deeper, and the topic wider than I had realized. Beware ye who may find collecting tenuous.

"Your true collector does not appologize for his hobbies; he exalts their virtues," the book begins, "Necessity may occasionally compel him to resort to the camouflage of mid-interest, as when his family is not in sympathy with his pursuits; or, again, when fate has placed him in arid communion with unsympathetic associates, individuals whose personalities have developed independently of their souls, leaving them pronounced in the directions they invariably select; directions, in consequence, invariably divergent from those paths which the true collector loves to tread."

Take that! And dare you spend these moments pondering why collecting is tenuous, stop and take note of the quote from Anatole France...

People laugh at collectors, who perhaps do lay themselves open to raillery, but that is also the case with all of us when we fall in love with anything at all. We ought to envy collectors, for they brighten their days with a long and peaceable joy. perhaps what they do a little resembles the task of the children who spade up heaps of sand at the edge of the sea, laboring in vain, for all they have built will soon be overthrown, and that, no doubt, is true of collections of books and pictures also. But we need not blame the collectors for it; the fault lies in the vicissitudes of existence and brevities of life. The sea carries off the heaps of sand and the auctioneers disperse the collections; and yet there are no better pleasures than the building of heaps of sand at ten years old, of collections at sixty.

Should you want to read more or just have one lying around, it appears there are several collectible copies on Alibris.

For details of the event which including panel discussion, artists talk and hot dancing party on Beaux-Arts Court, visit Target First Saturdays page.