We played 20 Questions with Kathleen Robbins to learn more about her life and work in celebration of Rebekah Jacob Gallery’s upcoming exhibit Somewhere in the South | A Celebration of Southern Photographers for Spoleto. Click here to learn more about the show and its other participants.

1. What began your passion for photography? When did you get your first camera?

The first camera I remember as my own was a Kodak disc camera. That would have been around 1985, I think. The quality was terrible, but I shot loads of images with it. I always remember being intrigued by photography in general. My father and grandfather were photography enthusiasts, so there were always cameras around, but it was my grandmother, Jessye, who steered me towards a creative life. She was a painter, and a prolific Polaroid shooter. When I was very young I spent weekends in her studio (a bathroom) on our family’s farm. She taught me to recognize the paint colors that make up the landscape of the Mississippi delta. She was also the first person to refer to me as an artist. Many years later, when her memory was lost to Alzheimer’s, I used photography as a way to continue the dialog between us. 

2. Where does your inspiration come from? How does this fit in to your artistic process?

Into the Flatland evolved after I married my husband, Ben. We bought a house in downtown Columbia, SC. Things are comfortable here, and it occurred to me that I would likely not return to the family farm or the rural area where I grew up to live. That realization was the impetus for Into the Flatland. I was sort of mourning the loss of my former home.

In his book The Most Southern Place on Earth, James C. Cobb wrote that “in Mississippi one spoke not of going to Clarksdale, Greenville, or Greenwood, but of traveling ‘into the Delta,’ the implication being that of a passage back in time, to a setting that-­‐if such a thing were possible-­‐seemed even more southern than the rest of the state.” I connected with this sentiment. I photograph during visits to the delta over summer and winter break. I am there for 2 to 3 weeks at a time, and there is a transformation that occurs when I travel into the delta with my husband and our son, Asher. There is a confluence of present and past.

I tend to work in a fairly organic manner over a long period of time. I spend a lot of time looking at images and looking at family photographs. There is research, and I scout locations. My work unfolds pretty slowly. I worked on the Flatland project for 7 years.

As for what inspires me in a more intuitive sense, sometimes it is as simple as light or color. I drive the long, flat roads of the Delta in my late grandmother’s 20-­‐year old Cadillac and my camera is in the passenger seat. If the light or the atmosphere is interesting I am easily inclined to stop the car.

Over a period of several years working on the Flatland project, I amassed a lot of film. I regularly scan the transparencies and print them at 7”x7”. I live with the proofs in various edits and sequences. I lay them out and move them around and tape them to my studio wall. Looking at those images on a regular basis informs my shooting practice on return visits. Into the Flatland is a non-­‐linear project – portraits and landscapes photographed over a long period of time are intermixed, so it’s a bit of a puzzle. The sequence is important. 

3. Where is your favorite place to experience art?

That is difficult to answer because for me it often has more to do with particular images and curation more than the place. I do prefer to experience an exhibition away from a crowd if possible-­‐ alone is ideal.

There are a few terrific contemporary art venues in Columbia: The Columbia Museum of Art and 701 CCA. The High Museum, The Light Factory, The Mint, and The Gibbes are all spaces within driving distance that I enjoy. I also love the Ogden Museum of Southern Art in New Orleans.

Not living in a major city, it is difficult to see many exhibitions. I frequently view work on the DLK blog http://dlkcollection.blogspot.com/. Reviews of photography exhibitions are posted regularly with installation shots. The Internet is by no means my favorite place to experience art, but this blog has become a convenient and comprehensive resource for viewing many exhibitions easily. 

4. Who do you count as influences in your work?

I’m interested in a number of artists and writers who deal with ideas of family and place and narrative, such as: Harry Callahan, Maude Schuyler Clay, William Eggleston, William Christenberry, Tom Rankin, Sally Mann, Susan Worsham, Raymond Meeks, Doug Dubois, Mark Steinmetz, Alessandra Sanguinetti, Mitch Epstein, Larry Sultan, August Sander, Tennessee Williams, Flannery O’Conner, Eudora Welty, Cynthia Shearer, Donna Tartt, and Lucinda Williams.

One of Kathleen's grandmother's Polaroids

5. What is the most indispensable item in your studio and on a shoot?

My grandmother’s Polaroids / My Hasselblad.

6. Do you collect anything?

Asher’s collections have taken priority over mine. A while ago, I collected vintage clothes, old photographs, photography books, cameras, glass bottles, Nancy Drew books and art. Now, I collect children’s literature and toys. I can’t get enough of Oliver Jeffers’ books. 

7. Who is your favorite living artist?

I could never name just one. Susan Worsham and Bo Bartlett are a few of my favorites. 

8. Outside of photography, what do you love to do?

Down time is fairly kid-­‐driven around here. We try to keep things simple. I love being outdoors with Ben and Asher. I love spending time on my porch with our neighbors who are like family. I love my students in the photography program at USC. My creative life and my teaching life are entirely interconnected. I could never do one without the other. 

9. If you could travel anywhere in the world, where would you go and why?

I have never been to Ireland. I would like to make a pilgrimage one day to discover my paternal roots. 

10. What was the last great book you read?

I’m currently reading Cheryl Stayed’s memoir “Wild.” I didn’t expect to love it as much as I do, but it’s a terrific book-­‐ cathartic and honest. 

11. What is the last artwork you purchased?

As for the last artwork I almost purchased, I badly wanted to buy a painting yesterday at an estate sale. There was a young girl holding a dead rabbit by the ears. Someone beat me to it, and I’m heartbroken.

I think the last piece I actually bought was the illustration “Eggs Shotski” by my colleague Marius Valdes at the USC art auction: http://valdescreative.blogspot.com/2008/03/eggs-­‐ shotski-­‐is-­‐free.html. It hangs in my dining room. 

12. What was the first photograph you ever sold?

The first piece that I remember selling was as an MFA candidate at the University of New Mexico during the Graduate Art Association’s art auction-­‐ a B&W gelatin silver print of the Tallahatchie River. 

13. What do you hope we can learn from your photography? What have you learned?

At a recent opening reception a guy said to me (I’m paraphrasing): “When people ask what my childhood was like, I’m going to tell them to look at your photographs.” Occasionally, southern expatriates contact me because they connect with the ideas in the work. That’s always nice. I hope that something resonates. I hope there is room for the viewer to create their own narrative.

I’m still learning. I have learned to work at my own pace – to see a project through to fruition even when it shifts direction. It is time consuming, and it should be. The slow pace allows me freedom to reconsider aspects of a project. So, I have learned to let the work direct me somewhat, and that has been my approach. Over the course of this project there have been periods of time when life has intervened, like when my son was born in 2009, and perhaps I shot less during those periods. But those experiences also manifested in the work somehow. 

14. Where do you see the trends in photography taking us?

If I look to my students to forecast the future of the medium, I’m encouraged. They are collaborative, generous, participatory, communal, and inventive. There are more platforms for sharing work and displaying work both on a screen and on the wall. I think these are exciting prospects. 

15. You photograph the land of your birth. What are the challenges of documenting a world that is so familiar?

The Mississippi Delta was almost the land of my birth. Actually, I was born in Washington DC. My family moved back to the area where my mother grew up (my father is from Kentucky) when I was an infant. I was raised in Greenwood, MS about 30 miles from my grandparents’ farm.

I need to photograph in Mississippi. It satisfies something in me to have my camera in that particular landscape. I have a desire to make photographs in general, but I must make pictures in Mississippi and in the delta. It allows me to understand something about my past and my present. And it helps me understand a place that is not easy to understand. But I’m not trying to make definitive or declarative work. It is quite personal.

It can be a challenge to live apart from the area where I photograph. I feel somewhat pressed to make a lot of work when I’m there because I have a fixed period of time. But I also think the distance is beneficial, because I have time to consider the experience and the images before I return. Traveling back and forth to photograph supports a necessary rhythm of shooting and editing and thinking.

It can also be a challenge to photograph family. Criticism is a bit different when it’s autobiographical work, and my family is connected to that. It is a risk. People often make assumptions about my family that may or may not be accurate, because I am not primarily concerned with presenting something truthful or accurate. I aspire to have a visceral connection with the subject and with the viewer. My family is supportive, and they understand that the images are a sort of exaggeration or fiction in terms of representing a kind of feeling or experience. Their trust in me-­‐ that they put up with my camera and me year after year is laudable. 

16. How do you connect with a subject for portraiture and what are the challenges you face in attempting to do so?

It depends on the relationship. I’m familiar with most of my subjects. With portraits of 
my family members on the farm, I usually find the space first-­‐ I drive the landscape and find a backdrop for a portrait, or sometimes they will take me to a location, as with the portrait of my nephew Charlie in the Mill Pond. My brother, Steele, has an all-­‐terrain vehicle that is able to traverse into areas that are remote and overgrown. He drove me through a thicket of ivy and kudzu and woods that looked inaccessible into an opening that was just breathtaking. Charlie is a sweet and sensitive kid and he was such a natural part of that delicate landscape. Photographing kids in some ways is easier for me-­‐ they tend to improvise more and become part of the space without prompting or direction. Adults tend to be more self-­‐ conscious. 

17. You have true talent for capturing the unique personalities of the people you photograph. What was the most satisfying aspect of meeting these people?

I find it difficult to have the courage to photograph strangers. It requires a great deal of trust, really. Most of the subjects in “into the Flatland” are members of my family. “In Cotton” involves a few portraits of strangers. Because this is the area where I grew up and where members of my family still live, that is usually where I begin the conversation if I’m meeting someone for the first time. We share a familiarity with the place and often we have friends or family in common. I show examples of my work. This all helps to break the ice. It is awkward to make a portrait of someone unfamiliar, but I also enjoy the feeling of uncertainty when photographing someone for the first time. It can be exciting. 

18. Your limited edition book of Into the Flatland printed by photoNOLA has been a great success. What do you think is the role of the book in the art world?

I am sequencing images for a larger book of Into the Flatland (forthcoming fall 2014, USC Press), so I have been thinking quite a lot about photobooks.I think about a project both in terms of an exhibition and a book as it is unfolding-­‐ not that there is any guarantee of either of those things, but that is the aspiration. Of course, the book is very different from the exhibition. The sequence and pacing work differently. Honestly, I have more of a romantic connection to the photobook than the exhibition due to the tactile and singular experience one can have with a book. The book is more lasting.

There is an opportunity to share more images and content. The object in its entirety is important. It is an opportunity to collaborate with designers and writers. Tom Rankin and Cynthia Shearer are contributing writing to the USC Press book, which is exciting.

I also love the small artist books produced by photographers like Raymond Meeks, Frank Hamrick, and Bill Schwab. There is something really beautiful and simple about these books. These are the books that I return to on my bookshelf. 

19. Do you have any future projects planned or any goals long-­‐term?

At the moment, working on a new book of Into the Flatland with USC Press is pretty exciting. Into the Flatland is traveling to a number of venues over the course of the next few years, so I’ll be busy with several upcoming shows. I’m photographing for the new project In Cotton for at least another year, and I hope that will be published eventually. 

20. How would you describe your work in 3 words?

Stark. Muddy. Familial. 

View Kathleen’s work on her website http://kathleen-robbins.com/. 

INTERNSHIP: 

We are interviewing for 2 unpaid summer interns. University credit alignment preferred, but not required. “A” students preferred. Our goal is to teach you in exchange for work.  And connect you to artists, dealers and curators in the Art World. Previous gallery work is preferred but not necessary.

The gallery’s works are high value. Their clients are astute and elegant. Candidates must be as sharp as a tack and art world fluent. Only the most polished candidates with a passion for the art gallery profession need apply.

The ability to remain calm and not become “star struck” in the presence of well known guests is an imperative. Understanding each item for sale requires acute memory skills. A series of three interviews (via phone, skype or in person) will determine the two 2013 Summer candidates.

Duties include light customer service, relaying VIP messages, gallery management and appearance, offsite appointments and errands, and some evening event tasks (wine + cheese socials, etc.). Marketing, social media content and other PR tasks will be shared, pending experience.  Inventory management and database updates are a key part of the interns’ daily tasks.

HOURS / SCHEDULE: 

Gallery hours are 10 AM to 7 PM, six and sometimes seven days a week (prime holidays). However, internship hours may be different than gallery hours, pending tasks and events designed per diem. Ideal that intern could spend 15-20 hours in the gallery per week. Start date is May 21, 2013.

Considerable perks. Amazing location. Exceptional learning experience.  Optional end-of-summer bonus (based on can-do attitude and overall performance). There is no housing or relocation assistance.  No designated parking.

RESUME:

Your resume should include all academic and work experience relative to the arts, gallery management, photography, or painting.

Send your resume and cover letter to info@rebekahjacobgallery.com.  Include 3 references.  No phone calls or walk-ins! 

           – Rebekah Jacob, Controversy and Hope: The Civil Rights Photographs of James Karales (2013)

The extensively curated book, Controversey and Hope:  The Civil Rights Photographs of James Karales is finally on Rebekah Jacob’s desk, the art dealer’s first published work. A handsome publication by the University of South Carolina Press, a total of 94 plates of rare Karales’ images are laid out exquisitely. The book includes an excellent foreword by civil rights activist Andrew Young and extensive essay by key curator Julian Cox.

After a successful exhibition in 2009 entitled Controversy and Hope: Iconic Images by James Karales at Rebekah Jacob Gallery here in Charleston, South Carolina, the gallerist was compelled to share Karales’ eye and voice with a larger American audience, by focusing on the civil rights period from 1960-1965. (View more of Karales’ images via Garden and Gun Magazine…) 

Along with Julian Cox and the Estate of James Karales, Rebekah Jacob invested two highly collaborative years editing and sequencing over 2000 images, in order to arrive at the final selection of 94 plates for publishing. Some images included in the final book book were published in LOOK contemporary with the negative and since have widely circulated in print; others have never been on public view.

Rebekah Jacob Gallery had scheduled a large exhibition of James Karales rare vintage Civil Rights photos spring of 2013, congruent with the book’s release. Thankfully, the Gibbes Museum (Charleston, SC) mounted a successful exhibition curated by Sarah Arnold entitled Witness to History:  Civil Rights Era Photographs by James Karales.

“There is no doubt the Karales book project made me a more well-rounded businesswoman. As a gallery owner, I must delicately balance creativity, capitalism, and journalism in order to sustain my fine art brand and credibility,” Jacob admits. “The James Karales project has been a key case study in my career in three ways:

Creatively, through formal education, apprenticeships with top dealers, and global travel to curate inventory, I have mastered my eye and advanced my level of connoisseurship for top-quality, rare artwork.

1. How would you describe your work in three words? Of the world.

2. What is your biggest inspiration? Literature.

3. How does this fit in to your artistic process? I remember scenarios and subjects that I explore.  I like history and especially information on Native cultures. 

4. Who do you count as the biggest influences in your work? Matisse, Rauschenberg. Robert Frank. Steinbeck. Bob Dylan. J Koudelka.  Toni Morrison. Nature. Goya.  Ginsberg. The Bible. D’ Angelo. Roger Ballen. F Fellini. Prince. Walker Evans. Flannery O’Connor. George Clinton.  De Kooning. Kate Bush.  Garcia-Marquez, Native Cultures. Gil Scott Heron. Fashion Magazines. Golden Books. Biographies. Cartier-Bresson. Natural History museums. David Bowie.  Oh, I could go on and on. I love it all. 

5.What is the most indispensable item in your studio? My record player.

Marcus and his father

6.Do you collect anything? I collect art, photography, cook books, photo books, vinyl records, coins older than me, and hats. 

7.Who is your favorite living artist? Robert Frank.

8.If you could travel anywhere in the world, where would you go and why?  India. I love their visual vocabulary and how it finds itself in all aspects of their daily life.

9. Are there any international art destinations you would like to visit that you haven’t already?  China.  

10.What was the first artwork you ever sold?  A large 4 x 7 foot monstrosity full of wires and nets and nails. I made $125.00 and boy was I glad to see it go. It must have weighed a ton. I hung everything I could find on it.  That was 1996.  The patron still has it hanging in her house.

The artist's grandmother

11. What is the last artwork you purchased? A small portrait of a lady by SCAD student Mujia Xiao. It is lovely.12.What was the last great book you read / film you watched? Currently I am reading “Dine” which is the history of the Navajo Nation.  I may be doing a project with the Nation next year.  I just recently reread “Confederacy of Dunces” as an adult. What a great book!  “The Life Aquatic” was brilliant  and my boys love it also.

13.What role do found objects play in some of your work? A very large one, although I think “found” is the wrong word to use.  I prefer “acquired” because 99% percent of the items  that find their way into my work were purchased for a specific use. “Found” conjures up the image that it was sleeping in the woods and I tripped over it and thought “Now this would be great in a work of art!” That does happen, but rarely.

14. Do you have any long-term goals?  Get out alive.

Marcus' father with an alligator

15.What advice do you have for aspiring artists? Be naïve and believe.

16. You move between mediums quite a bit. What inspires this? The fear of being labeled as a collagist or photographer or sculptor. I am none of those.  

17.What began your passion for painting? I was born with it. I drew obsessively as a child and even sold  my drawings to class mates for 25 cents. It was never in question.

18.What is your opinion on the contemporary art market? Roller coaster ride.

19.What draws you to the pattern, texture and color that is so identifiable in your work? I think it is the use of the materials. Vintage papers and objects have a certain patina and I am drawn to that. For some reason if it is old I trust it.

20. What does the South mean to you?Home.

Marcus Kenney will be exhibiting his work in Southern Progressive: Painting, Works on Paper & Sculpture from Contemporary Southern Artists. Click here for more information about this show and other upcoming exhibits at Rebekah Jacob Gallery. 

Read more about the exhibition Somewhere in the South…. 

SUBMISSION GUIDELINES AND INFORMATION: 

-Submission dates:  February 15-June 1 (midnight), 2013

-Submission fees: $35 USD via credit card (excluding amex) or check.

-Submit material via cd rom; if material is to be returned, provide return shipping labels and postage. NO DROP INS!  

-Submit 10-20 images in jpeg format (only) approximately 72 dpi and 600 pixels wide.

-Each image should be labeled with your last number then numbered.  For example:  Jane Smith01.jpeg, JaneSmith02.jpeg, etc.

-Include a document (word or pdf) with an artist statement, bio, website link (if applicable) and your address (only Southern states accepted)

-Send all material to Rebekah Jacob Gallery, 502 King Street, Charleston, SC  29403/ Submissions.

-Selected winners will be asked to provide 2 printed AND framed (gallery specifications: white frames and white mats) for the exhibition.

-Selected photographs cannot be printed larger than approximately 16 x 20 inches

-Selected photographs will be priced based on a mutual consent of artist and gallery

-Selected winners cover shipping to the gallery; the gallery covers shipping to return to the artist

-Subject of the photographs is at the discretion of the artists within the realm and subject matter of “Southern.”

-Exhibited winners are not guaranteed to full-representation by Rebekah Jacob Gallery

-By submitting art work for exhibition, the artist is permitting RJG to display images on our website and social media pages, as well as in printed promotional material.

Bottom line:  Southern photography is HOT!  Look south of the Mason Dixon and east of the Mississippi to find the photographers celebrated in Rebekah Jacob’s spring show, “Somewhere in the South,” opening in May 2013.  From tintypes to digital, from suburbia to music halls, these diverse works celebrate the glorious range offered by photographers of the American south–just in time for Spoleto.These photographers deal with the human condition specifically as experienced in the southern region of the country, mining the beauty and tragedy evident in the vivid intersections of past and present, where hardscrabble rural throwbacks are mere hours from glittering urban transformations.

“Photography is a particular favorite of mine because it combines key elements—a timely moment, technical skills, the right light—to create an image that is immediate in its impact,” says Rebekah Jacob.  “I also like to keep an eye out for fresh new perspectives and continue to explore the cutting-edge and collectible medium of photography and video art.”

1. What project are you currently working on?

My primary focus is on paintings inspired by the landscape for my up-coming exhibit at the Rebekah Jacob Gallery. This series has broken away from rendering a specific site and affords me the freedom to explore an invented landscape.

2. What was the impetus to create landscapes?

Working from nature was advice given to 19^th century artists, and it was also de rigueur at the Pennsylvania Academy of Fine Art where I had a classical course of study. The landscape is a starting point from which I can create new compositions.

3.Where is your favorite place to see art?

It is difficult to choose one place. It’s wonderful to see artwork in all stages of progress at artist- friends’ studios here in Charleston.  And when I can travel, I like to go to The Metropolitan Museum of Art in NY, The National Gallery in DC, or the Museo Morandi in Bologna, Italy.

4. What is the most indispensable item in your studio?

My art book collection, I look at these books everyday before I begin to paint.

5. What is your biggest inspiration and how does this fit into your artistic process?

Inspiration comes from looking and seeing something most people do not see. Seeing beauty in the mundane and finding a way to make it of interest to others.

6. What began your passion for painting?

From the time I drew chalk marks on the sidewalk for hopscotch as a little girl, mark making fascinated me. I am a very visual person; so much so that early on it began to interrupt something I should be listening to, like a conversation. I began to think about how I could transcribe what I was seeing (like the person speaking) into two dimensions. I started to draw and paint and never stopped.

7. Who do you count as influences in your work?

I was fortunate to have had two mentors. Bruce Samuelson was my first; he still teaches and paints in Philadelphia. Manning Williams, who recently passed away, was my second; he was my friend and mentor for over 40 years. His work is extraordinary, his knowledge of art was vast, he led by example and he generously shared all that he knew.

8. In your biography you state that you worked non-objectively for quite a while before moving on to more consistently working with landscape, interiors, structures and still life. What brought upon this change?

I had been painting non-objectively since my 3^rd year at the Academy. The paintings incorporated aluminum radiator paint and eventually the color of silver dominated the image. I then began using aluminum flashing as a support and the work became 3 dimensional with little paint. My studio on Hutson Street was filled with 3 dimensional pieces for a solo show when a fire burned it to the ground. I relocated, created new works and a year later a storm tore the roof off this 3^rd floor studio, destroying most of my work and tools. I was devastated – I quit everything. Characteristically, Manning stepped in and said, “Let’s just paint the landscape”. I fell in love again with the immediacy of paint and the challenge of painting from life.

9. Do you collect anything?

I don’t think of it as collecting, but “found objects”, the ones that have the wear and tear of their existence will catch my eye and I will take them to the studio where they eventually become part of a still life to be painted.

10. What is the last artwork you purchased?  

Last year I purchased “Shark Chase 2”, a wonderful sculpture by Aggie Zed from Nina Liu’s gallery in Charleston.

11. What was the first artwork you ever sold?

When I was in high school one of my paintings sold to a student in my class. Remarkably, I was recently told that his father had wanted to buy it from him for more money than he had paid, and yet, he refused to sell it, he still likes it.

12. What do you like to read?

I like fiction as well as nonfiction, often artists’ biographies. Presently, I’m reading Tomato Red by Daniel Woodrell, Istanbul: Memories and the City by Orhan Pamuk, and de Kooning: An American Master by Mark Stevens and Annalyn Swan.

13. What international art destination do you most want to visit?

I have read that Berlin has a vibrant art scene. Many artists are migrating there from around the world in order to find studio space and to exhibit their art. It sounds appealing.

14. What under-appreciated artist, gallery, or work do you think people should know about?

Edwin Dickinson  – He’s had major retrospectives in the last few years, but I think he still hasn’t received the recognition he deserves. He is one of my heroes. His large studio paintings are profound complicated works I admire, but I also I love the immediacy of his landscape paintings that were made in a single session.

15. Who is your favorite living artist? 

I can’t choose one. There are dozens of artists whose work I admire for various reasons, but I will name a few, Howard Hodgkin, Jenny Saville, Marlene Dumas and Antonio Lopez Garcia.

16. What is your proudest achievement thus far in your career? 

I never expected to sell my work to the degree that it would support me. Painting was something I just needed to do. I have been fortunate to have individuals who like my work and who choose to have it their home. I consider this an unexpected achievement.  I am also pleased to have had several museum exhibitions.

17. What advice do you have for aspiring painters?

Paint and draw as much as you can. Just do it.

18. Are all of your landscapes painted en plein air? It is clear that light plays a major role in your work, but can you describe your fondness for this technique?

My early landscapes were small paintings made in the field and the large versions were done in the studio from the small works. After years of painting en plein air I can now invent a landscape and have taken the work to a different state. For me the quality of light is important to all image making, even the non-objective.

19. Along with the importance that quality of light holds in your landscapes, much can also be said for atmosphere and use of brilliant colors. What fuels this energy?

Authors defining the light, moisture and sultry atmosphere of the South have exquisitely described how tangible it can be. I hope some of my landscapes reveal this quality. I also try to imbue my still life paintings with atmospheric conditions. The still life painter Walter Murch mastered this quality, you feel as if you can put your hand through the air in his paintings.

20. Where is your favorite spot in Charleston?

My favorite spot is where the light falls upon a view in such a hypnotic way that I can’t tear my eyes away from it.

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