The Art Assassin 2

a nonfiction novel by Albert Wang, or a portrait of the artist as a young failure…

EXCLUSIVE ASSASSINATION: Leah Stuhltrager, Director of Dam, Stuhltrager Gallery and Artist

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Photograph of Leah Stuhltrager and someone else. Courtesy of Leah Stuhltrager.
Leah Stuhltrager: Human Nature, 2003, hand-made book, 8.75 by 10 inches. Courtesy of Fuse Works Multiples & Editions.

Leah Stuhltrager, who has been acclaimed as one of the top gallerists in the Williamsburg area, has presented some of the most challenging and bravest exhibitions that cater to no one else’s tastes except that of her artists. Her visual eye has discovered and helped out the wonderful talents of Loren Munk, William Powhida, Mark Esper, and Carol Salmanson. Whether presenting various media ranging from steel and LED installations to a large-scale painting that explore the history of art on East 10th Street, the gallery is willing to explore the limits of uncompromised vision without a hint of commercialism like raw cuisine that makes the palette think rather than consume quickly these visual morsels.

Also Stuhltrager is quite a remarkable artist whose sensitive draftsmanship has highlighted her ability to combine form and color in a harmonious manner. Her intelligent probing into the underlying composition combined with tough love curation have helped to make Dam, Stuhltrager Gallery one of the prime locations for art fanatics to congregate at during the battle royale of openings. And Dam, Stuhltrager Gallery has proven its consistent support to uncovering fabulous artists who have opened up new postmodern venues and subjects, particularly art about the art world, for the New York art scene. Straight up talkin’.

If you have any questions about Dam, Stuhltrager Gallery or Stuhltrager’s artwork, feel free to contact her gallery Dam, Stuhltrager Gallery at (646) 671-3775 or at

Then on to the show and here are THE ART ASSASSIN’s latest details of this “assassination”:

qi peng: How are you doing?

Leah Stuhltrager: Fine!

qi peng: Here are the interview questions I had promised (some of which may be the same as questions I sent to Jerry already)… Enjoy answering them and I will post them with the article along with a sample piece of your art and your picture profile (which you can email or I can take from Facebook).

Leah Stuhltrager: I will send pics in another email. No facebook pics please…

qi peng: The interview will be featured in my column in the as well as on the wordpress blog version too.

Leah Stuhltrager: Excellent!!

qi peng: To start off on a lighter note, what are some of your favorite artists, books, television shows, sports, art magazines, toys, movies, and other cultural artifacts that you wish to share with your fans of your gallery here?

Leah Stuhltrager: This summer, Leandro Erlich and Guillermo del Toro made my heart skip a beat or two or three. Reading about Julie Taymor and Alan Cumming‘s upcoming “Spiderman” on Broadway made me itch.

qi peng: Do you have any other recent galleries apart from Dam, Stuhltrager Gallery or exhibitions that you have seen and would to recommend to us?

Leah Stuhltrager: Ken Butler at Hogar Collection was one of the best performances I’ve ever seen. His energy, innovation, and joy in creating is infectious. It is not often that I see an artist so successful at being sincere.

Rupert Ravens Contemporary (RRC) consistently has memorable shows. Traveling to Newark, I remind myself a half hour on one train is no further a commute than a half hour on another train. Bottom line, I’ve found RRC often delivers highlights while mucking all over NYC often does not.

qi peng: What things in those shows inspired your artistic eye and tastes?

Leah Stuhltrager: I am attracted to artworks that pack more than a knock knock joke’s punchline.

I’m interested in learning more about what a piece is conveying when it exudes independence in thought and voice. I respect artwork that speaks eloquently for itself and isn’t reliant on a trend or accompanying catalog. Generally, I am drawn to artists who redefine the medium they work with so that the medium may work specifically with them.

qi peng: Are there any restaurants or hangouts such as bookstores around New York, particularly Williamsburg, where you are based out of or anywhere else that you wish to recommend us?

Leah Stuhltrager: Eating in Williamsburg is a gluttonous delight. The food is earnest and cooked with heart in restaurants that are thankful to have your business. The restaurants are very akin to the neighboring galleries that way.

I’d recommend anyone eating to also grab a treat for their ears. Williamsburg music / bands are hard to miss. If somehow you escape them, that would be a pity for you.

An honest guide to local cuisine is Yelp. For comprehensive art listings and map there’s only one I’d ever recommend – Wagmag. For music listings, The Deli is very good. All of these resources are online.

qi peng: What are the qualities that you enjoy best about the places that you have chosen?

Leah Stuhltrager: From eating at Taco Chulo, Chimu, Siam Orchard or Fette Sau to hearing music at Pete’s Candy Store, Glasslands or Bembe to seeing art at Momenta, Parkers Box, Front Room or Pierogi – Williamsburg is at its core a neighborhood built on creative energy. Stay clear of pricey venues blaring Cat Power or Hot Chip and you’ll likely steer clear of the hipster traps and be in good hands.

qi peng: How do you feel that the current economic recession impacted the contemporary art market and way that it functions in the larger national economy?

Leah Stuhltrager: Since January 2009, four new galleries have moved to the corner of Marcy & Hope where Dam, Stuhltrager is located. (CCCP, Epoh Owl, Charlie Horse and a signless new space as of last weekend.) What gives Williamsburg identity as a Petri dish of emerging art is the wildly diverse philosophies governing its galleries. Perhaps the only thing most proprietors would agree on is that Williamsburg galleries exist because of valuing a love art above personal finances.

Williamsburg is not feeling the devastating extent of the market’s wrath many other neighborhoods are because the financial reality was never that skewed here. Williamsburg galleries do wonders with earnest intentions and modest means. The market adjustment is overall less abrupt and manageable.

I recognize that the art world as a whole has downsized to be much smaller in just the past few months. I do not see adjusting an inflated market as new phenomenon or implosive.

qi peng: Do you feel that artists will be pursuing more personal and intimate projects than the overly commercial work, typically geared for the art fairs, during the upcoming years?

Leah Stuhltrager: Wouldn’t that be nice?

qi peng: How do you think that galleries and non-profits such as the Williamsburg Gallery Association (WGA) or the New Art Dealers Alliance (NADA) will be coping with the dramatic shifts within the political and corporate culture, particularly in America?

Leah Stuhltrager: In response to the current economic crisis, I foresee more incentives for attending an event, keeping fair booth costs financially feasible and inventive marketing.

qi peng: Do you have any favorite hobbies which you enjoy in your spare time?

Leah Stuhltrager: You mean non-art related? My hobby is finding ways to work when I’m suppose to be doing anything but working.

qi peng: How do these activities inform the work and curating at your gallery that you pursue?

Leah Stuhltrager: I have opportunity to travel a lot with the gallery for museum exhibits and hi-profile public projects. Stepping out of your own front yard is important to any career but learning from the experiences/people met along the way is more important. It is the knowledge gained that informs the art/curation, not the notches in the resume.

qi peng: With your personal interests, are your own tastes in painting, works on paper, and installations within Dam, Stuhltrager Gallery reflective of those hobbies you engage in? How does your space reflect your overall philosophy about art and its creation?

Leah Stuhltrager: I grew up poor. I left home very young punk (13ish) and acclimated into a mature world quickly by learning how to fight rather than conform. More than anything else, I accredit my childhood for where my devotion falls today. I support causes and artists I feel contribute meaningful discourse to the advancement of art. There already are too many who celebrate standing still next to pretty pictures in their living rooms. I want to be on the pioneering front where I am needed and the future is made.

My attention is dedicated to those who are saying things no one else has completely said, who’s places in art history are not accessory, who have a contribution that is only theirs to offer. Reflexively, I have the support of nine artists that have something special to give. When I go out into the world to fight for opportunities, my artists make it impossible to forget the cause or its importance. I know who I am as a person, where I came from and what I want. I consider myself lucky not to loose sight of myself, even while serving as a gallerist.

qi peng: What is a typical day at your gallery like? What responsibilities do you have as the director and curator of the gallery?

Leah Stuhltrager: I am the gallery from sun up to sun down and the time in-between. For the most part, everything to get done, I get done. My day is the gallery’s day. Sometimes it is overwhelming to think about everything I want to do… Like now. However, if my days were not overwhelming good days, I’d not want to be the gallery every waking moment.

qi peng: Considering that your space is located in the Williamsburg area, how has your curating style and expectations matched up with the environment and the audiences within that location? How does the artistic environment in the Brooklyn area differ than that of Miami, where the art fairs happen, and the Lower East Side or Chelsea which are two other contemporary art centers location in the area?

Leah Stuhltrager: I relish Williamsburg’s propelling atmosphere of support, experimentation and humility. Williamsburg is a place to be a part of what is presented as “Contemporary” worldwide. I prefer to be in an engaged position over a presenting position.

At the gallery, curation take chances aimed at allowing the energy of the art, artist, community, time and place to live grander and longer than any “theme”. No matter how much the neighborhood has visibly changed over the years, its energy has always comes from within.

The differences among the gallery neighborhoods in New York City only insures that – as a home for Art – this place is bigger than any of its one locations can claim for themselves.

qi peng: Does the flavor of art vary much between that of New York City and other art centers such as Miami or Los Angeles?

Leah Stuhltrager: ABSOLUTELY. Let us be extremely thankful for that.

qi peng: How would you describe your curating style and underlying philosophy in terms of how your audience and collectors approach the artwork that you present at Dam, Stuhltrager Gallery? Do you believe that art must serve as a counterpoint to the stereotypes and hackneyed ideas that the everyday media presents? What is the most controversial or provocative exhibition that you have presented and how did the audience respond to the show?

Leah Stuhltrager: <I just chuckled.>

I can only reply with what my work/exhibits say for me…

From our very beginning defining ourselves as a gallery, here are some specific answers to the question:

2004: “Little Women“, curated by James Kalm


2005: “Hudson Industries“, artwork by Frederick Carpenter


2004: “Persona“, artwork by William Powhida


2003: “The Offal Project“, artwork by Breuk Iversen


2002: “Barcodes For Jesus“, artwork by Scott Blake


qi peng: What sort of music do you enjoy playing during gallery hours and artists’ opening receptions?

Leah Stuhltrager: In my opinion, Williamsburg has a music scene that is unable to be separated from the art scene. We are the only gallery in Williamsburg to have a curated music series. Our annual Summer Music Series has become a very important part of our gallery. Spider, Miguel Mendez, Paul Duncan, Company & Lights, Mixel Pixel, Phonograph, Marcellus Hall, Geology, Elizabeth Harper, Sam Jayne, Tigers & Monkeys, She Keeps Bees, TK Webb & Friends, Hymns, This Frontier Needs Heroes, Lewis & Clarke & La Strada are some of those who have played.

We have the curated music series but do not play music during the opening receptions. I see the musicians as artists who deserve the same spotlight, attention and respect in my gallery as the visual artists.

qi peng: How does it create a mood for visitors and collectors to enjoy the work on the walls?

Leah Stuhltrager: Our music events draw crowds of 200 – 500 people each night. Musicians and artists have gone on to work together on projects. The music events are covered extremely well in the press, attracting very positive public attention. Three pieces were sold to people who came to see music in July who would not have otherwise visited the gallery. Music is an Art and its appreciation no different than other Art.

qi peng: How do the festive parties for each new show help to elicit the proper mood for people wanting to view and purchase artwork?

Leah Stuhltrager: However festive, I plan openings to center on the art/artist. I try to avoid (at all costs) the “Scene” becoming more about itself than the “Art”.

qi peng: How would you describe your management and business style in working with artists, other gallery owners, and assistants and/or business/community partners?

Leah Stuhltrager: A partnership.

qi peng: What is your favorite online resources, blog, and art magazines or journals for checking out the latest art news scoop and inside information?

Leah Stuhltrager: Artcat, James Kalm, Wagmag… I’ll devour design and architecture magazines over most art rags. Contemporary Magazine is a standout for art. The Brooklyn Rail is a staple.

Its hard to stay on top of what is going on at my desk, let alone what’s happening outside. Luckily, networking sites have stepped up to help me vicariously see. I’ve been using Facebook and Twitter more and more, viewing bits and pieces pointed out through links posted by Jerry Saltz, Joy Garnett, Ed Winkleman and Paddy Johnson– to name a few.

qi peng: Do you have any favorite or humorous stories from your gallery you wish to share with your fans and column readers here?

Leah Stuhltrager: We are saving those stories for our “Coffee Table Book“.

qi peng: Do you feel that selling artwork will be more aligned with Internet-based sales or the white-box gallery physical setting during the future?

Leah Stuhltrager: I do not think that the physical gallery will ever be fully replaced. It will (and should) change with the times.

I see the world on the edge of a renaissance in how we talk about art, not how we sell art.

Print publishing’s potential audience is not as wide as the community online. Nor does a printed piece have perpetual accessibility comparable a published piece online. There’s longevity in content online. Most importantly, the critic’s voices emerging and gaining momentum online are not writing words purchased with advertising or favors. The freedom those writing on art online communicate is a liberty that will never be able to be withheld by publishers so tightly again. Thank you, internet.

The internet has also opened a level of international dialogue and exchange that is sure to influence how art is made. I’m specifically interested – and my gallery is focused on – in technology as a universal medium that is just beginning to be explored.

qi peng: Do you have any advice for up and coming BFA and MFA graduates who are graduating from art school and are starting to hunt for galleries to show their artwork?

Leah Stuhltrager: Know your work and where it belongs. Do your research and spend your time, money and energy efficiently. Set target goals and achieve them. If your goals aren’t achieved, face the reasons why.

It is a special honor to have an artist’s passionate heart and livid dreams. Its a mistake to expect the world to live your fantasy with you. As an artist, you have to bring your world to the rest of us. An artist must see the separation between the world they create and the real world to live in both.

qi peng: Do you think that there are too many talented artists within the system than what the top galleries especially in Williamsburg can handle?

Leah Stuhltrager: It is extremely difficult to find art that makes me want to devote myself fully to it. After showing art for over a decade, I represent under a dozen artists- the majority of whom are the reasons I began the gallery.

My artists and I are in a committed relationship. However, there’s all kinds of relationships. I’m just smitten with one definition over the others.

In any case, I can only assume all gallerists would say there is not an overabundance of exceptional artists. If there was, none would be exceptional at all.

qi peng: With the recent closures of so many galleries within the New York art world such as Rivington Arms and Bellwether Gallery (a former Brooklyn gallery that relocated to Chelsea), what trends are you seeing within the galleries and how they are presenting their work to the public?

Leah Stuhltrager: The humans behind the personas inflated to appease the hype and hallows of the art world are starting to reappear.

qi peng: Do you see any trends within the established museums such as MoMA and Whitney in how they are dealing with the recession?

Leah Stuhltrager: I’ll leave the unbiased art critique to the historians. I’m jaded by my taste and lead by my desires. I could tell you what I’d like to see at museums like MOMA & Whitney…

qi peng: What is your opinion about online curated galleries such as Collegeartonline (CAO) or Ugallery? In what ways is their exhibition style different than that of your gallery’s program?

Leah Stuhltrager: CAO and Ugallery exemplify another definition of the “gallery-artist” relationship. In every identifying way, my gallery’s program supports artists in an entirely different function than a registry.

qi peng: Any opinion on online artists registries, which feature so many artists there, such as White Columns or the Drawing Center?

Leah Stuhltrager: I recommend both these registries as resources to artists. NURTUREart is another worthy artist registry.

qi peng: Any opinion on juried competitions such as New American Paintings or the Chelsea competition hosted by Agora Gallery?

Leah Stuhltrager: Do not enter open ended Call for Entries. Only submit to a prospectus if it has details that specifically speak to your work.

Do not enter Call For Entries from galleries or venues that do not have a history of success from past submission based exhibits.

A good rule of thumb is to look at how often the gallery/ venue puts out a Call For Entries and if they pulled through for their past selected artist/s. A quick google search is very telling. Too many of the Call For Entries I see are from galleries/venues who look at submission fees as a means of subsidizing their overhead.

There are great Call For Entries from galleries/venues such as Rhizome, Artists Space and Sculpture Center.

qi peng: Which method(s) are most important for a starting artist to get validation for the work that they execute and the connections with essential art professionals?

Leah Stuhltrager: Respect goes both ways. I’ve run my gallery and my artists careers on the principal that every person you meet in the art world deserves the respect you wish in return.

qi peng: How did the “Summer Session 101” juried competition differ from other juried art competitions in terms of curating and determining who the final artists were? What criteria did you use for choosing Jerry Blackman as the invited artist for the summer exhibition?

Leah Stuhltrager: “SUMMER SESSION” was the gallery’s fourth open call in over a decade. It followed the success of “Gritty” (an exhibit of raw works that lead to the creation of significant finished pieces), “SHOOT” (an exhibit of short films) and “Au Courant” (an exhibit of artists exploring mediums). The entire exhibition of “Shoot” wound up traveling to Circulo Del Arte in Madrid to represent American Film in an international survey. Beyond “Au Courant’s” raves in the press, I picked up artist Jonathan Brilliant for a solo show out of the submissions. Jonathan has a second exhibit with us coming up. For SUMMER SESSION, the curatorial theme was to promote creating something substantial and endearing beyond presentation. It was not about having the exhibit travel through our gallery and thus give the artists exposure. It was about giving an artist/s a jumpstart professionally that they could run with on their own.

In each of the four Call For Entry exhibits at Dam, Stuhltrager, my co-curators made the selections. For SUMMER SESSION, Rebecca A. Layton‘s and Paige King‘s choices led us to Jerry Blackman. As curators, they looked for a submission where the artist, artwork and portfolio showed promise to be developed. The images submitted were 90% of what comprised their decisions. The other 10% came from asking, “What is feasible to accomplish in SUMMER SESSION’s two month timeframe?” The curators were impressed with the youthfulness and inquisitive nature in Jerry Blackman’s art. A second artist they chose, Ira Eduardovna had scheduling conflicts.

qi peng: What are the joys and challenging aspects of dealing with an emerging artist with deep talent?

Leah Stuhltrager: The admin team and artists at Dam, Stuhltrager are a family. We are in it together, for the long haul. They say “You have only your family.” I have two families – by blood and by art – who have after a decade, merged into one.

qi peng: What is your opinion on art fairs and its seemingly more commercial and less conceptual presentation of artwork as compared to that of more traditional exhibitions, especially during the past ten years?

Leah Stuhltrager: Fairs give the smallest localized galleries an even platform to exhibit next to the largest international galleries. I would not have had the access to the opportunities we have seized if it was not for fairs leveling the playing field.

I take technology based installations to fairs but do not consider them exhibits. A fair booth is a gallery’s 30 second pitch for a blockbuster.

qi peng: Is it possible to present artwork now in a challenging manner within the Miami warehouse spaces and question the status quo? What elements of the curator’s playfulness can enter into the domain of the Miami or New York art fairs? Do you think that the style and presentation of artwork of art fairs will Examiner Publishing Toolchange as the recession is underway? Or will they continue to act as a venue for “art merchandising?”

Leah Stuhltrager: You are asking the wrong person. Dam, Stuhltrager did 150ft robotic waves by Brose Partington in Lincoln Center Plaza during Armory week, which then went on to Basel. Dam, Stuhltrager did 60ft of robotic grass in Contemporary Istanbul‘s entrance. Dam, Stuhltrager did mechanical butterfly installation for ScopeNY‘s VIP entrance. We are headed to Shanghai to complete a 150ft technology based installation for the entrance of eARTS at the Oriental Pearl Tower… Just to name a few… My gallery has built a reputation because of the recognizably different art we bring to fairs.

I guess when I think about this question, maybe you are asking the right person. Perhaps it is just that many others who may answer it would be the wrong people to ask.

qi peng: Earlier this year, Dam, Stuhltrager Gallery joined forces with artist Anna Frants to form Dam, Stuhltrager & Frants Gallery for the 2009 SCOPE New York art fair. What was the story behind that particular collaboration and what were the results? How did the art fairs do this year during the ongoing economic recession? Any predictions for Miami this winter?

Leah Stuhltrager: In November of 2008, Dam, Stuhltrager was asked to be the first contemporary American new media gallery to exhibit at The Hermitage Museum in St. Petersburg, Russia. Ryan Wolfe and Brose Partington exhibited. Anna Frants, the curator on the Hermitage exhibit and I grew to admire each other’s work. She runs a non-profit residency program in St. Petersburg and has an exhibition space in Soho. She is dedicated to supporting cyberarts. I opening a non-profit residency (our first location is to open Sept 15 in Berlin) and have an exhibition space in Brooklyn. I’m dedicated to artists who experiment in mediums, mostly technology. I call Anna Frants my sister gallery. (I also have a brother gallery in Basel, MARCdePUECHREDON, who has also been my collaborator several times. We will be working with him again soon to show his artist Raphael Shirley, a great new media artist.)

Working with Anna Frants at ScopeNY was great. we both bring different things to the table and are united in the big picture of how we view the fairs. We are signed on to work together again at Scope Miami this December. I wouldn’t be doing the fair if my forecast for Miami was rainy.

Beyond collaborating at fairs, Anna Frants and I will again be exhibiting in St. Petersburg this year.

qi peng: How do you think that the new media, ranging from video art to Internet-based projects, will impact people’s appreciation of painting and photography and sculpture, more traditional and established media, which are interacting with each other in terms of visual motifs and archetypes?

Leah Stuhltrager: New media widens the audience and possibilities available to artists. Opening up dialogue among a larger public can only bring more voices to the discussion and a better understanding for all listening.

qi peng: Do you feel that as people interact with new media, they will be able to critique the cliches of mainstream media and have a profound understanding of what humanity is and will become?

Leah Stuhltrager: I await the day conventional media outlets (tv, radio, movies, newspapers, etc.) are forced to reflect a society of thinkers. However, I am not counting the days. Humanity has been known to thinkers – yet elusive to society – for much longer than I’ve got patience for.

qi peng: What do you think are the dominant issues and subjects within contemporary art at the moment? How do these subjects and themes differ from the focus of artists ten years ago? Do you envision any new subjects that may pop up within the next ten years? If so, what would those be?

Leah Stuhltrager: Legacy is the common theme throughout all of art history by all participants.

qi peng: What are going to be some of the most important trends amongst collectors during the next few years? What is your assessment of the growing art market in non-American and non-European markets such as China, Russia, and even India where contemporary art is becoming a larger part of their culture?

Leah Stuhltrager: The more society supports its culture, the better. Does America really support the Arts?

I hope those who value Arts (and Cultural Heritage) set a precedent. I’d be very proud if American schools emphasized the Arts, our government supported artists as other governments do, or if even the general public could point out a Marcel Duchamp work in a lineup.

qi peng: Has globalization have a positive influence on the dialogue and vocabulary of the contemporary art world?

Leah Stuhltrager: Unparalleled.

qi peng: What are some of the greatest challenges that a typical or atypical gallerist faces within the Williamsburg area?

Leah Stuhltrager: Black lungs… But that can’t be blamed on art, the market or luck, now can it?

qi peng: With the expansion of the Williamsburg Gallery Association into Greenpoint and eventually Bushwick, how do collectives of galleries help to bolster the community? How does the art community deal with the growing gentrification of the Brooklyn area and potential usurpation of its local culture?

Leah Stuhltrager: Where the artists go to escape soaring rents, gentrification will find them. Williamsburg is no different in development cycles than other New York neighborhoods. Its preposterous to think artist organizations can stop time at their will, although many will proclaim to loudly and puff up feathers impressively. Williamsburg’s art community is equally split. Half knows this is a special moment to be here and is willing to give it all they got it while it lasts. The other half has been here for a while and is surprised any of it has lasted this long.

qi peng: What are some future plans for the Dam, Stuhltrager Gallery?

Leah Stuhltrager: This Fall beyond Brooklyn…

Sept – Oct 15, 2009:

SHANGHAI: Ryan Wolfe & Brose Partington exhibit at The Oriental Pearl Tower

BERLIN: Dam, Stuhltrager opens their first Intl residency programs in Mitte on Sept. 15

ARCTIC CIRCLE: Mark Andreas goes on an expedition to The Arctic Circle with The Farm Foundation

USA: Ruth Marshall exhibits at The Hunterdon Museum

USA: Cris Dam exhibits at Norwalk College

qi peng: Before we embark on the last question, thanks very much for your time. Is there anything else that you wish to share with readers, fans, and patrons of Dam, Stuhltrager Gallery?

Leah Stuhltrager: Stuhltrager means “chair carrier”. It is pronounced stool – tra – ger. Sometimes, when I am tired, I don’t even get it right.

For more gossip or dishing me the art scoop: E-mail me at

Written by qi peng

July 10, 2009 at 4:10 am

Posted in Uncategorized

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