DOCSLIB.ORG

Vol. 16, No. 6 June 2012 You Can’T Buy It

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Vol. 16, No. 6 June 2012 You Can’T Buy It ABSOLUTELY FREE Vol. 16, No. 6 June 2012 You Can’t Buy It Jan Kransberger, Too Many Secrets Janis Miltenberger, Fortunes Choice (kiln cast) glass image, 17.5”h x 8”w x 3.5”d 40” h x 18” w x 14” d On view through July 7, 2012 artwork is part of the On view June 7 - August 31, 2012, exhibit Parallel Play, featuring works by artwork is part of the exhibit, Jan and Jim Kransberger, at Artwork made by Tom Lockart and Mark Woodham of One Eared Cow Glass in Columbia, South Carolina Divergent Visions: Celebrating the 50th Upstairs Artspace in Tryon, North Carolina Anniversary of American Studio Glass, at The Bender Gallery in Asheville, North Carolina John Littleton and Kate Vogel, The Wish, July 2011 13 3/4” h x 10 5/8”w x 4 3/4”d On view June 11 - 29, 2012, artwork is part of the exhibit, Mark Peiser, Crane Road Spring, 1980 In Celebration of the 50th Anniversary of the Studio Glass Movement in America, Tim Tate, Dreams of Lost Love blown and torch worked glass, 11.38 x 6 x 6 inches. at Kalā - A Contemporary Craft Gallery in Morganton, North Carolina blown and cast glass, video, 14”H x 6”diameter Gift of Dr. and Mrs. George Ovanezian, Asheville Art Museum Collection. 2004 On view June 7 - July 28, 2012, artwork is part of the exhibit On view through July 8, 2012, artwork is part of the exhibit, Glass Secessionism - A Glass Invitational - Fire on the Mountain: Studio Glass in Western North Carolina, 50th Anniversay Studio Glass Movement, at the Asheville Art Museum in Asheville, North Carolina at Blue Spiral Gallery in Asheville, North Carolina TABLE OF CONTENTS Advertising Directory This index has active links, just click on the Page number and it will take you to that page. Listed in order in which they appear in the paper. Page 1 - Cover - artworks by various glass artists of shows happening around the Carolinas Page 3 - Morris & Whiteside Galleries Page 2 - Table of Contents, Advertising Directory, Contact Info, Links to blogs and Carolina Arts site Page 4 - The Sylvan Gallery and Smith Galleries Page 4 - Editorial Commentary Page 5 - Eva Carter Studio Page 5 - Articles about CFADA’s Palette & Palate Stroll, Artist on Fire, and M Gallery of Fine Art, SE Page 6 - Peter Scala, The Wells Gallery, Halsey-McCallum Studios, The Pink House Gallery, Page 6 - Article cont. about M Gallery of Fine Art, SE, and Ella Walton Richardson Fine Art The Treasure Nest Art Gallery & The Finishing Touch Page 8 - Article cont. about Ella Walton Richardson Fine Art and Charleston Artist Guild Page 7 - Rhett Thurman, Gibbes Museum of Art, Helena Fox Fine Art, The Sylvan Gallery, The Wells Page 9 - Article cont. about Charleston Artist Guild and Some Exhibits That Are Still On View Gallery, Corrigan Gallery, Saul Alexander Foundation Gallery, City Gallery at Waterfront Page 10 - Article cont. about Some Exhibits That Are Still On View Park, Smith-Killian Fine Art, The Pink House Gallery, Spencer Art Galleries, Dog & Horse Page 11 - Articles about Mint Museum Uptown, Lark & Key Gallery, and Commentary cont. Fine Art & Portrait, Cone Ten Studios & Gallery, & McCallum-Halsey Studios Page 13 - Articles about Ciel Gallery, Jerald Melberg Gallery, Bechtler Museum of Modern Art, and Page 8 - Inkpressions and Smith Killian Fine Art Harvey B. Gantt Center Page 9 - Page 14 - Article cont about Harvey B. Gantt Center, Providence Gallery, Rail Walk Studios & Gallery Karen Burnette Garner and Whimsy Joy and Cabarrus Arts Council Page 10 - The Viriginia Museum of Contemporary Art Page 16 - Articles about Columbia Museum of Art and USC’s McKissick Museum Page 11 - Shain Gallery, Hodges Taylor Art Consultancy, and Providence Gallery Page 17 - Articles about Tapp’s Arts Center, Anastasia & Friends, and if ART Page 13 - Annette Ragone Hall and Stanly Arts Guild Page 19 - Articles cont. about if ART, Columbia Museum of Art - Glass, Vista Studios, & Aiken Center Page 14 - One Eared Cow Glass for the Arts Page 15 - SC State Museum Page 20 - Articles about Green Hill Center for NC Art, UNC-Greensboro’s Weaterspoon Art Museum Page 17 - SC Watermedia Society, Vista Studios and The Gallery at Nonnah’s and NC Pottery Center Page 18 - USC’s McKissick Museum Page 21 - Articles cont. about NC Pottery Center, Artworks Gallery in W-S, Picture This Gallery Page 19 - Mouse House/Susan Lenz Page 22 - Articles about Beaufort Co. Library in Bluffton, Society of Bluffton Artists & Smith Galleries Page 20 - Yadkin Arts Council and Carolina Clay Resource Directory Page 23 - Article about 50th Anniversary of American Studio Glass Movement Page 21 - Eck McCanless Pottery and Discover Seagrove Potteries Page 24 - Article cont. about 50th Anniversary of American Studio Glass Movement Page 25 - Hampton III Gallery Page 25 - Articles about Spartanburg Art Museum, Carolina Gallery, & RIVERWORKS Gallery Page 26 - Carol Beth Icard and The Artist’s Coop Page 26 - Articles cont. about RIVERWORKS Gallery and Union County Arts Council Page 27 - Spartanburg Art Museum and Artist Guild Gallery of Greenville Page 27 - Articles cont. about Union County Arts Council, Artist Guild Gallery of Greenville, and Bob Page 28 - Jones University Upstairs Artspace Page 28 - Articles about Upstairs Artspace and Hickory Museum of Art Page 29 - Art Trail Gallery Page 29 - Articles about Francis Marion University and Art Trail Gallery - Sculpture Exhibit Page 30 - Create! Conway Page 30 - Articles cont. about Art Trail Gallery - Sculptures, Art Trail Gallery - “Visualicious”, and Page 31 - Art in the Park in Myrtle Beach, SC Coastal Carolina University Page 32 - Sunset River Marketplace, and Carolina Creations Page 31 - Articles cont. about Coastal Carolina University, Art in the Park - Myrtle Beach, Burroughs- Page 33 - New Bern ArtWorks & Company Chapin Art Museum - Kimono Page 34 - Tidewater Gallery Page 32 - Articles cont. about Burroughs-Chapin Art Museum - Kimono, Burroughs-Chapin Art Page 36 - WHO KNOWS ART/Wendy Outland Museum - Photography, NC Wesleyan College, & New Bern ArtWorks & Company Page 38 - William Jameson Workshops and Joan Van Orman Photography Marketing Page 33 - Articles about Tidewater Gallery, Carolina Creations, Cameron Art Museum, and Council of Page 39 - Hillsborough Gallery of Art 1 the Arts Jacksonville/Onslow Page 40 - ENO Gallery Page 34 - Articles about Sunset River Marketplace, Avery County Arts Council & Caldwell Arts Council Page 41 - Hillsborough Gallery of Art 2 Page 35 - Articles cont. about Caldwell Arts Council, Morganton, NC Glass Exhibits, The Bascom, Lansing Rock LLC, and Black Mountain Center for the Arts Page 36 - Articles cont. about Black Mountain Center for the Arts, Asheville Art Museum, and Don’t forget about our website: www.carolinaarts.com Southern Highland Craft Guild Page 37 - Articles cont. about Southern Highland Craft Guild, Blue Spiral 1, and Black Mountain College Museum Page 38 - Articles cont. about Black Mountain College Museum, Asheville Gallery of Art, and The Bender Gallery Page 39 - Articles about Flood Gallery Fine Art Center, Woolworth Walk, and The Carrack Modern Art Page 40 - Articles cont. about The Carrack Modern Art, Saxapahaw Artists Gallery, Hillsborough Gallery of Arts, and Gallery C Page 41 - Articles about NC Museum of Natural Sciences, Artspace, The Mahler & Commentary cont. Page 42 - NC Institutional Galleries - Aberdeen - Black Mountain Page 43 - NC Institutional Galleries - Blowing Rock - Charlotte You can find past issues all the way back to August 2004! Page 44 - NC Institutional Galleries - Charlotte - Cullowhee You can find past articles all the way back to June 1999 Page 45 - NC Institutional Galleries - Cullowhee - Greenville Page 46 - NC Institutional Galleries - Greenville - Raleigh Also don’t forget about our two blogs: Page 47 - NC Institutional Galleries - Raleigh - Tryon Page 48 - NC Institutional - Tryon - Yadkinville & NC Commercial Galleries - Aberdeen - Asheboro Carolina Arts Unleashed - Carolina Arts News Page 49 - NC Commercial Galleries - Asheboro - Asheville Send us your email address to be added to our list to receive Page 50 - NC Commercial Galleries - Asheville - Brevard Page 51 - NC Commercial Galleries - Brevard - Charlotte notice of each monthly issue. [email protected] Page 52 - NC Commercial Galleries - Charlotte - Greensboro Carolina Arts, is published monthly by Shoestring Publishing Company, a subsidiary Page 53 - NC Commercial Galleries - Greensboro - Mebane of PSMG, Inc. Copyright© 2012 by PSMG Inc. It also publishes the blogs Carolina Page 54 - NC Commercial Galleries - Micaville - Raleigh Arts Unleashed and Carolina Arts News, Copyright© 2012 by PSMG, Inc. All rights reserved by PSMG, Inc. or by the authors of articles. Reproduction or use without written Page 55 - NC Commercial Galleries - Raleigh - Seagrove permission is strictly prohibited. Carolina Arts is available online at (www.CarolinaArts. Page 56 - NC Commercial Galleries - Seagrove com). Mailing address: P.O. Drawer 427, Bonneau, SC 29431. Telephone: 843/825-3408, Page 57 - NC Commercial Galleries - Seagrove - Waynesville e-mail at ([email protected]) and on the web at (www.CarolinaArts.com). Page 58 - NC Commercial Galleries - Waynesville - Winston-Salem & SC Institutional Galleries - Editor/Publisher/Calendars/Distribution Allendale - Charleston Thomas J. Starland Page 59 - SC Institutional Galleries - Charleston - Columbia Web Master/Advertising/Business Manager Linda Parks Starland Page 60 - SC Institutional Galleries - Columbia - Greenwood Blog Guru & Graphics Page 61 - SC Institutional Galleries - Greenwood - Sumter Zelda
Load more

Recommended publications
  • Oral History Interview with Edith Wyle, 1993 March 9-September 7
    Oral history interview with Edith Wyle, 1993 March 9-September 7 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Interview EW: EDITH WYLE SE: SHARON EMANUELLI SE: This is an interview for the Archives of American Art, the Smithsonian Institution. The interview is with Edith R. Wyle, on March 9th, Tuesday, 1993, at Mrs. Wyle's home in the Brentwood area of Los Angeles. The interviewer is Sharon K. Emanuelli. This is Tape 1, Side A. Okay, Edith, we're going to start talking about your early family background. EW: Okay. SE: What's your birth date and place of birth? EW: Place of birth, San Francisco. Birth date, are you ready for this? April 21st, 1918-though next to Beatrice [Wood-Ed.] that doesn't seem so old. SE: No, she's having her 100th birthday, isn't she? EW: Right. SE: Tell me about your grandparents. I guess it's your maternal grandparents that are especially interesting? EW: No, they all were. I mean, if you'd call that interesting. They were all anarchists. They came from Russia. SE: Together? All together? EW: No, but they knew each other. There was a group of Russians-Lithuanians and Russians-who were all revolutionaries that came over here from Russia, and they considered themselves intellectuals and they really were self-educated, but they were very learned.
    [Show full text]
  • Annual Report 2018–2019 Artmuseum.Princeton.Edu
    Image Credits Kristina Giasi 3, 13–15, 20, 23–26, 28, 31–38, 40, 45, 48–50, 77–81, 83–86, 88, 90–95, 97, 99 Emile Askey Cover, 1, 2, 5–8, 39, 41, 42, 44, 60, 62, 63, 65–67, 72 Lauren Larsen 11, 16, 22 Alan Huo 17 Ans Narwaz 18, 19, 89 Intersection 21 Greg Heins 29 Jeffrey Evans4, 10, 43, 47, 51 (detail), 53–57, 59, 61, 69, 73, 75 Ralph Koch 52 Christopher Gardner 58 James Prinz Photography 76 Cara Bramson 82, 87 Laura Pedrick 96, 98 Bruce M. White 74 Martin Senn 71 2 Keith Haring, American, 1958–1990. Dog, 1983. Enamel paint on incised wood. The Schorr Family Collection / © The Keith Haring Foundation 4 Frank Stella, American, born 1936. Had Gadya: Front Cover, 1984. Hand-coloring and hand-cut collage with lithograph, linocut, and screenprint. Collection of Preston H. Haskell, Class of 1960 / © 2017 Frank Stella / Artists Rights Society (ARS), New York 12 Paul Wyse, Canadian, born United States, born 1970, after a photograph by Timothy Greenfield-Sanders, American, born 1952. Toni Morrison (aka Chloe Anthony Wofford), 2017. Oil on canvas. Princeton University / © Paul Wyse 43 Sally Mann, American, born 1951. Under Blueberry Hill, 1991. Gelatin silver print. Museum purchase, Philip F. Maritz, Class of 1983, Photography Acquisitions Fund 2016-46 / © Sally Mann, Courtesy of Gagosian Gallery © Helen Frankenthaler Foundation 9, 46, 68, 70 © Taiye Idahor 47 © Titus Kaphar 58 © The Estate of Diane Arbus LLC 59 © Jeff Whetstone 61 © Vesna Pavlovic´ 62 © David Hockney 64 © The Henry Moore Foundation / Artists Rights Society (ARS), New York 65 © Mary Lee Bendolph / Artist Rights Society (ARS), New York 67 © Susan Point 69 © 1973 Charles White Archive 71 © Zilia Sánchez 73 The paper is Opus 100 lb.
    [Show full text]
  • 1Cljqpgni 843713.Pdf
    © 2013 University of Oklahoma School of Art All rights reserved. Published 2013. First Edition. Published in America on acid free paper. University of Oklahoma School of Art Fred Jones Center 540 Parrington Oval, Suite 122 Norman, OK 73019-3021 http://www.ou.edu/finearts/art_arthistory.html Cover: Ganiyegi Equoni-Ehi (Danger in the River), America Meredith. Pages iv-v: Silent Screaming, Roy Boney, Jr. Page vi: Top to bottom, Whirlwind; Claflin Sun-Circle; Thunder,America Meredith. Page viii: Ayvdaqualosgv Adasegogisdi (Thunder’s Victory),America Meredith. Traditional Themes in Contemporary Cherokee Art Traditional Themes in Contemporary Cherokee Art xi Foreword MARY JO WATSON xiii Introduction HEATHER AHTONE 1 Chapter 1 CHEROKEE COSMOLOGY, HISTORY, AND CULTURE 11 Chapter 2 TRANSFORMATION OF TRADITIONAL CRAFTS AND UTILITARIAN ITEMS INTO ART 19 Chapter 3 CONTEMPORARY CHEROKEE ART THEMES, METHODS, AND ARTISTS 21 Catalogue of the Exhibition 39 Notes 42 Acknowledgements and Contributors 43 Bibliography Foreword "What About Indian Art?" An Interview with Dr. Mary Jo Watson Director, School of Art and Art History / Regents Professor of Art History KGOU Radio Interview by Brant Morrell • April 17, 2013 Twenty years ago, a degree in Native American Art and Art History was non-existent. Even today, only a few universities offer Native Art programs, but at the University of Oklahoma Mary Jo Watson is responsible for launching a groundbreaking art program with an emphasis on the indigenous perspective. You expect a director of an art program at a major university to have pieces in their office, but entering Watson’s workspace feels like stepping into a Native art museum.
    [Show full text]
  • Valeska Soares B
    National Museum of Women in the Arts Selections from the Collection Large-Print Object Labels As of 8/11/2020 1 Table of Contents Instructions…………………………………………………..3 Rotunda……………………………………………………….4 Long Gallery………………………………………………….5 Great Hall………………….……………………………..….18 Mezzanine and Kasser Board Room…………………...21 Third Floor…………………………………………………..38 2 National Museum of Women in the Arts Selections from the Collection Large-Print Object Labels The large-print guide is ordered presuming you enter the third floor from the passenger elevators and move clockwise around each gallery, unless otherwise noted. 3 Rotunda Loryn Brazier b. 1941 Portrait of Wilhelmina Cole Holladay, 2006 Oil on canvas Gift of the artist 4 Long Gallery Return to Nature Judith Vejvoda b. 1952, Boston; d. 2015, Dixon, New Mexico Garnish Island, Ireland, 2000 Toned silver print National Museum of Women in the Arts, Gift of Susan Fisher Sterling Top: Ruth Bernhard b. 1905, Berlin; d. 2006, San Francisco Apple Tree, 1973 Gelatin silver print National Museum of Women in the Arts, Gift from the Trustees of the Corcoran Gallery of Art (Gift of Sharon Keim) 5 Bottom: Ruth Orkin b. 1921, Boston; d. 1985, New York City Untitled, ca. 1950 Gelatin silver print National Museum of Women in the Arts, Gift of Joel Meyerowitz Mwangi Hutter Ingrid Mwangi, b. 1975, Nairobi; Robert Hutter, b. 1964, Ludwigshafen am Rhein, Germany For the Last Tree, 2012 Chromogenic print National Museum of Women in the Arts, Gift of Tony Podesta Collection Ecological concerns are a frequent theme in the work of artist duo Mwangi Hutter. Having merged names to identify as a single artist, the duo often explores unification 6 of contrasts in their work.
    [Show full text]
  • The Materiality of Text and Body in Painting and Darkroom Processes: an Investigation Through Practice
    University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2003 The Materiality of Text and Body in Painting and Darkroom Processes: An Investigation through Practice Robinson, Deborah http://hdl.handle.net/10026.1/1738 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. The Materiality of Text and Body in Painting and Darkroom Processes: An Investigation through Practice by Deborah Robinson A thesis submitted to the University of Plymouth in partial fulfilment for the degree of Doctor of Philosophy School of Art and Design Faculty of Arts and Education June 2003 The Materiality of Text and Body in Painting and Darkroom Processes: An Investigation through Practice Deborah Claire Robinson This research study ennploys practice-based strategies through which material processes might be opened to new meaning in relation to the feminine. The purpose of the written research component is to track the material processes constituting a significant part of the research findings. Beginning with historical research into artistic and critical responses to Helen Frankenthaler's painting, Mountains and Sea, I argue that unacknowledged male desire distorted and consequently marginalised reception of her work. I then work with the painting processes innovated by Frankenthaler and relate these to a range of feminist ideas relating to the corporeal, especially those with origins in Irigaray's writings of the 1980s.
    [Show full text]
  • Double Vision: Woman As Image and Imagemaker
    double vision WOMAN AS IMAGE AND IMAGEMAKER Everywhere in the modern world there is neglect, the need to be recognized, which is not satisfied. Art is a way of recognizing oneself, which is why it will always be modern. -------------- Louise Bourgeois HOBART AND WILLIAM SMITH COLLEGES The Davis Gallery at Houghton House Sarai Sherman (American, 1922-) Pas de Deux Electrique, 1950-55 Oil on canvas Double Vision: Women’s Studies directly through the classes of its Woman as Image and Imagemaker art history faculty members. In honor of the fortieth anniversary of Women’s The Collection of Hobart and William Smith Colleges Studies at Hobart and William Smith Colleges, contains many works by women artists, only a few this exhibition shows a selection of artworks by of which are included in this exhibition. The earliest women depicting women from The Collections of the work in our collection by a woman is an 1896 Colleges. The selection of works played off the title etching, You Bleed from Many Wounds, O People, Double Vision: the vision of the women artists and the by Käthe Kollwitz (a gift of Elena Ciletti, Professor of vision of the women they depicted. This conjunction Art History). The latest work in the collection as of this of women artists and depicted women continues date is a 2012 woodcut, Glacial Moment, by Karen through the subtitle: woman as image (woman Kunc (a presentation of the Rochester Print Club). depicted as subject) and woman as imagemaker And we must also remember that often “anonymous (woman as artist). Ranging from a work by Mary was a woman.” Cassatt from the early twentieth century to one by Kara Walker from the early twenty-first century, we I want to take this opportunity to dedicate this see depictions of mothers and children, mythological exhibition and its catalog to the many women and figures, political criticism, abstract figures, and men who have fostered art and feminism for over portraits, ranging in styles from Impressionism to forty years at Hobart and William Smith Colleges New Realism and beyond.
    [Show full text]
  • NEA-Annual-Report-1992.Pdf
    N A N A L E ENT S NATIONAL ENDOWMENT FOR~THE ARTS 1992, ANNUAL REPORT NATIONAL ENDOWMENT FOR!y’THE ARTS The Federal agency that supports the Dear Mr. President: visual, literary and pe~orming arts to I have the honor to submit to you the Annual Report benefit all A mericans of the National Endowment for the Arts for the fiscal year ended September 30, 1992. Respectfully, Arts in Education Challenge &Advancement Dance Aria M. Steele Design Arts Acting Senior Deputy Chairman Expansion Arts Folk Arts International Literature The President Local Arts Agencies The White House Media Arts Washington, D.C. Museum Music April 1993 Opera-Musical Theater Presenting & Commissioning State & Regional Theater Visual Arts The Nancy Hanks Center 1100 Pennsylvania Ave. NW Washington. DC 20506 202/682-5400 6 The Arts Endowment in Brief The National Council on the Arts PROGRAMS 14 Dance 32 Design Arts 44 Expansion Arts 68 Folk Arts 82 Literature 96 Media Arts II2. Museum I46 Music I94 Opera-Musical Theater ZlO Presenting & Commissioning Theater zSZ Visual Arts ~en~ PUBLIC PARTNERSHIP z96 Arts in Education 308 Local Arts Agencies State & Regional 3z4 Underserved Communities Set-Aside POLICY, PLANNING, RESEARCH & BUDGET 338 International 346 Arts Administration Fallows 348 Research 35o Special Constituencies OVERVIEW PANELS AND FINANCIAL SUMMARIES 354 1992 Overview Panels 360 Financial Summary 36I Histos~f Authorizations and 366~redi~ At the "Parabolic Bench" outside a South Bronx school, a child discovers aspects of sound -- for instance, that it can be stopped with the wave of a hand. Sonic architects Bill & Mary Buchen designed this "Sound Playground" with help from the Design Arts Program in the form of one of the 4,141 grants that the Arts Endowment awarded in FY 1992.
    [Show full text]
  • Coverfeature
    COVER FEATURE 38 PROVINCETOWN ARTS 2018 Helen Frankenthaler In the pantheon of revered artists that constitutes the essential canon of Provincetown’s unique contribution to art history in America, the name Helen Frank enthaler (1928–2011) feels more distant, locally, than it deserves to be. Our focus on Frankenthaler in this issue explores the artist’s continuing inspiration for contemporary artists: Angela Dufresne’s passionate examination-by-alert-eye of Frankenthaler’s painting Holocaust, about which she spoke spontaneously into Jennifer Liese’s tape recorder while facing the work in situ at the Art Museum of the Rhode Island School of Design; Bonnie Clearwater’s account of her experience working with Frankenthaler to select a survey exhibition of works on paper for the Museum of Contemporary Art, North Miami, Florida; and Mira Schor’s interpre- tation of the political, sexual, and competitive issues that Frankenthaler faced as a woman navigating the male-dominated world of the Abstract Expressionists. Finally, we show the ongoing influence of the artist’s work in a profile on Jeannie Motherwell, Frankenthaler’s stepdaughter and Robert Motherwell’s daughter, in whose work the family and artistic legacy continues. Abstract Climates: Helen Frankenthaler in Provincetown, the exhibition on view at the Provincetown Art Asso- ciation and Museum from July 6 through September 2, is devoted to works done by Frankenthaler during more than a decade of summers she spent living and working in Provincetown after her marriage to Robert Motherwell in 1958. Lise Motherwell, a stepdaughter of the artist and President of PAAM, curated the show with Elizabeth Smith, Executive Director of the Helen Frankenthaler Foundation in New York.
    [Show full text]
  • Mountain Monsters Season 6 Episode 1 Free Download Mountain Monsters Season 6 Episode 1 Free Download
    mountain monsters season 6 episode 1 free download Mountain monsters season 6 episode 1 free download. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 67d97e1039bac41f • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Are We Ever Going To See a Mountain Monsters Season 6? Mountain Monsters is a show that has aired for five seasons on Destination America, one of the channels that’s frequently featured on premium packages for satellite and cable television. Typically, the network deals with things that are paranormal and in some cases, they venture into the world of cryptozoology. Mountain Monsters is a show that kind of combines both of these things into a single series, and people that have seen it either love it or hate it. It really is no middle ground with this show, to say the least. The show features the AIMS team and typically, you see them going out into the backwoods of the Appalachian Mountains looking for bigfoot or other storied cryptids that people have reported seeing.
    [Show full text]
  • 2Q17 Columbia Retail Market Report
    2Q17: Columbia Retail Market Report Grocers In, Big Box Retailers Out VACANCY The Columbia retail market stayed steady between the close of 2016 and the close of the second quarter, with vacancy 5.3% creeping from 5.1% to 5.3%. Net absorption this quarter Rates crept upwards from 5.1% in 4Q16 was negative 18,174 square feet (SF), compared to a positive 306,581 SF at the close of the fourth quarter 2016. NAI Avant Director of Retail Services Patrick Palmer, CCIM attributes the negative net absorption to big box retailers NET ABSORPTION closing their doors, making more vacant space available in the market. For example, this quarter, HH Gregg closed its doors -18,174 SF and moved out of ±30,396 SF at Village at Sandhill Forum 306,581 SF in 4Q16 Center, in addition to vacating the chain’s ±69,023 SF location on Bower Parkway. But the Columbia retail market remains steady and strong. Average rental rates rose from $11.06 SF at the close of 2016, AVERAGE RENTAL RATE to $11.42 SF at the close of the second quarter 2017. The Central Business District continues to own the highest rental $11.42 rate at $19.38 SF. Up from $11.06 in 4Q16 The highlights for the Columbia retail market in the second quarter of 2017 center around major grocery store openings and announcements. VACANCY: MALLS Impact of E-Commerce: Columbia is no exception to the nationwide 13.6% reality of big box retailers closing their doors. The only building type that saw Nearly every major department store, including decreased vacancy in 2Q17 Macy’s, Kohl’s, Walmart, and Sears, have closed hundreds of stores due to the rise of e-commerce.
    [Show full text]
  • Year-End Retail Market
    COLLIERS KEENAN I COLUMBIA, SOUTH CAROLINA Year-End Retail Market 77 Q 4 I 2 0 0 7 26 NORTHEAST The Columbia, South Carolina, retail market experienced robust growth during 2007, with the ST ANDREWS NORTH market expanding by 723,615 square feet. The majority of growth occurred in the Northeast and COLUMBIAFOREST Lexington markets, as the Wal-Mart in Redbank came online and the Village at Sandhill on Clemson LEXINGTON AcRES Road continued its expansion. This growth can largely be attributed to the health and vibrancy of CBD 20 the Columbia market. Employment growth in the region increased by 5,700 jobs over the course of SOUTHEAST CAYCE/ COLUMBIA 2007, with 2,300 of those jobs being within the retail sector. WEST COLUMBIA Even with the significant amount of new 14,000,000 93.00% space developed in 2007, market occupan- 92.00% cy remained almost unchanged, increas- 12,000,000 ing slightly from 90.66% at year-end 2006 MARKET INDICATORS 91.00% to 90.78% at year-end 2007. Historically 10,000,000 90.00% speaking, the market occupancy for the Q3 Q4 Columbia retail market has hovered in the 8,000,000 89.00% range of 10% to 12%. This demonstrates 88.00% OCCUPANCY 6,000,000 both the stability of the market and the fact 87.00% that the majority of new space developed is 4,000,000 either pre-leased or build-to-suit, rather than 86.00% ABSORPTION speculatively developed space. 2,000,000 85.00% Suburban Markets RENTAL RATE 0 84.00% E Y E Y E Y E Y E E E Y M Y M Y M Y M Y Y Y 1 2 3 4 5 6 7 0 02 0 03 0 04 0 05 0 0 0 The Lexington market experienced the most 20 0 20 0 20 0 20 0 20 20 20 CONSTRUCTION 2 2 2 2 retail growth with over 473,000 square feet Inventory Occupancy of new retail space added to the market dur- ing 2007.
    [Show full text]
  • Cherokee-English Machine Translation for Endangered Language Revitalization
    ChrEn: Cherokee-English Machine Translation for Endangered Language Revitalization Shiyue Zhang Benjamin Frey Mohit Bansal UNC Chapel Hill {shiyue, mbansal}@cs.unc.edu; [email protected] Abstract Src. ᎥᏝ ᎡᎶᎯ ᎠᏁᎯ ᏱᎩ, ᎾᏍᎩᏯ ᎠᏴ ᎡᎶᎯ ᎨᎢ ᏂᎨᏒᎾ ᏥᎩ. Ref. They are not of the world, even as I am not of the Cherokee is a highly endangered Native Amer- world. ican language spoken by the Cherokee peo- SMT It was not the things upon the earth, even as I am ple. The Cherokee culture is deeply embed- not of the world. ded in its language. However, there are ap- NMT I am not the world, even as I am not of the world. proximately only 2,000 fluent first language Table 1: An example from the development set of Cherokee speakers remaining in the world, and ChrEn. NMT denotes our RNN-NMT model. the number is declining every year. To help save this endangered language, we introduce people: the Eastern Band of Cherokee Indians ChrEn, a Cherokee-English parallel dataset, to (EBCI), the United Keetoowah Band of Cherokee facilitate machine translation research between Indians (UKB), and the Cherokee Nation (CN). Cherokee and English. Compared to some pop- ular machine translation language pairs, ChrEn The Cherokee language, the language spoken by is extremely low-resource, only containing 14k the Cherokee people, contributed to the survival sentence pairs in total. We split our paral- of the Cherokee people and was historically the ba- lel data in ways that facilitate both in-domain sic medium of transmission of arts, literature, tradi- and out-of-domain evaluation.
    [Show full text]