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Statement of the Honorable J. Brett Blanton Architect of the Capitol
Statement of The Honorable J. Brett Blanton Architect of the Capitol Architect of the Capitol Fiscal Year 2021 Appropriations Statement before the Subcommittee on Legislative Branch, Committee on Appropriations, United States House of Representatives March 5, 2020 Chairman Ryan, Ranking Member Herrera Beutler, and members of the subcommittee, I appreciate the opportunity to present the Architect of the Capitol’s (AOC) Fiscal Year (FY) 2021 budget request of $798 million. Last month, I was honored to join this notable institution as the 12th Architect of the Capitol. In the first few weeks of leading this organization, I met with my executives and staff to better understand the strengths and weaknesses of the agency. I am quite impressed with those that I have met thus far. I believe the AOC has all the necessary elements to succeed in its mission of serving Congress and the Supreme Court, preserving America’s Capitol and inspiring memorable experiences. I honestly feel the best is yet to come for the Architect of the Capitol. The agency I inherited has much to be proud of. Massive, once-in-a-generation renovations of exterior facades, interior spaces and system infrastructure are occurring across campus. Industry-leading changes to energy production and efficiency are being realized through the Capitol Power Plant’s cogeneration system and several Energy Saving Performance Contracts. These transformation energy projects will maximize the use of appropriated funds and have the potential of reducing the Capitol Campus’ energy consumption by upwards of 50 percent by 2025. The Architect of the Capitol provides exceptional support VIEW OF THE WEST FRONT OF THE U.S. -
The Capitol Building
CAPITOL VISITOR CENTER TEACHERTEACHER LLESSONESSON PLANLAN The Capitol BuildiNg Introduction The Capitol is among the most architecturally impressive and symbolically important buildings in the world. The Senate and the House of Representatives have met here for more than two centuries. Begun in 1793, the Capitol has been built, burnt, rebuilt, extended, and restored; today, it stands as a monument not only to its builders but also to the American people and their government. As George Washington said, public buildings in the Capitol city “in size, form, and elegance, should look beyond the present day.”1 This activity features images of the U.S. Capitol building — architectural plans and artistic renderings from its original design and subsequent expansion. Examining these images, students engage in class discussion and individual reflection, considering how a building itself might serve as a symbol and monument. Then, they draft images that capture their own interpretation of how a Capitol building should look. While intended for 8th grade students, the lesson can be adapted for other grade levels. 1 The Writings of George Washington from the Original Manuscript Sources, 1745–1799. John C. Fitzpatrick, Editor., Philadelphia, March 8, 1792. 1 TEACHER LESSON PLAN: THE CAPITOL BUILDING CAPITOL VISITOR CENTER TEACHER LESSON PLAN Estimated Time One to two class sessions National Standards National Standards for Civics and Government Content Standards, grades 5–8 II — What are the Foundations of the American Political System (D.1) United -
Cuban Antifascism and the Spanish Civil War: Transnational Activism, Networks, and Solidarity in the 1930S
Cuban Antifascism and the Spanish Civil War: Transnational Activism, Networks, and Solidarity in the 1930s Ariel Mae Lambe Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Ariel Mae Lambe All rights reserved ABSTRACT Cuban Antifascism and the Spanish Civil War: Transnational Activism, Networks, and Solidarity in the 1930s Ariel Mae Lambe This dissertation shows that during the Spanish Civil War (1936–1939) diverse Cubans organized to support the Spanish Second Republic, overcoming differences to coalesce around a movement they defined as antifascism. Hundreds of Cuban volunteers—more than from any other Latin American country—traveled to Spain to fight for the Republic in both the International Brigades and the regular Republican forces, to provide medical care, and to serve in other support roles; children, women, and men back home worked together to raise substantial monetary and material aid for Spanish children during the war; and longstanding groups on the island including black associations, Freemasons, anarchists, and the Communist Party leveraged organizational and publishing resources to raise awareness, garner support, fund, and otherwise assist the cause. The dissertation studies Cuban antifascist individuals, campaigns, organizations, and networks operating transnationally to help the Spanish Republic, contextualizing these efforts in Cuba’s internal struggles of the 1930s. It argues that both transnational solidarity and domestic concerns defined Cuban antifascism. First, Cubans confronting crises of democracy at home and in Spain believed fascism threatened them directly. Citing examples in Ethiopia, China, Europe, and Latin America, Cuban antifascists—like many others—feared a worldwide menace posed by fascism’s spread. -
Robert Rauschenberg and James Rosenquist Graphics Rosenquist
RAUSCHENBERG PAST POP: ROBERT RAUSCHENBERG AND JAMES ROSENQUIST GRAPHICS ROSENQUIST KEAN UNIVERSITY !CKNOWLEDGEMENTS We would like to recognize the many individuals and institutions who generously provided assistance in this process. Bard Graduate Center: Olga Valle Tetkowski; Graebel Movers International Inc.: Jim Wilderotter; Kean University: Dr. Dawood Farahi, Holly Logue, John Maso, and Kenneth Kimble; The Montclair Art Museum: Gail Stavitsky and Erica Boyd; The Newark Museum: Amber Woods Germano, Olivia Arnone; O’Hara Gallery: Ruth O’Hara and Lauren Yen; Prudential Insurance Company of America: Carol Skuratofsky and Joseph Sabatino; the Estate of Robert Rauschenberg: Gina C. Guy and Thomas Buehler; James Rosenquist and Beverly Coe at the Rosenquist Studio; Universal Limited Art Editions: Bill Goldston and Marie Allen; The Whitney Museum of American Art: Donna DeSalvo, Barbie Spieler and Matt Heffernan; Visual Artists and Galleries Association (VAGA): Robert Panzer and Kimberly Tishler. Rich Russo for the photographs of prints in the Kean and Prudential collections. Special thanks to Barbara Burn for her remarkable editing ability and unique kindness. Without her diligence, this catalog would not have been possible. Copyright © 2009 by Kean University, Union, New Jersey Catalog essay, Past Pop: Robert Rauschenberg and James Rosenquist Graphics of the 1970s © 2009 Lewis Kachur All rights reserved. No part of this book may be reproduced in any form including electronic or mechanical means, photocopying, information storage and retrieval systems, except in the case of brief extracts for the purpose of critical articles and reviews, without permission in writing from Kean University. Art © James Rosenquist /Licensed by VAGA, New York, NY Art © Estate of Robert Rauschenberg/Licensed by VAGA, New York, NY U.L.A.E. -
Appropriations for the Fiscal Year Ending September 30, 2019, and for Other Purposes
H. J. Res. 31 One Hundred Sixteenth Congress of the United States of America AT THE FIRST SESSION Begun and held at the City of Washington on Thursday, the third day of January, two thousand and nineteen Joint Resolution Making consolidated appropriations for the fiscal year ending September 30, 2019, and for other purposes. Resolved by the Senate and House of Representatives of the United States of America in Congress assembled, SECTION 1. SHORT TITLE. This Act may be cited as the ‘‘Consolidated Appropriations Act, 2019’’. SEC. 2. TABLE OF CONTENTS. Sec. 1. Short title. Sec. 2. Table of contents. Sec. 3. References. Sec. 4. Statement of appropriations. Sec. 5. Availability of funds. Sec. 6. Adjustments to compensation. Sec. 7. Technical correction. DIVISION A—DEPARTMENT OF HOMELAND SECURITY APPROPRIATIONS ACT, 2019 Title I—Departmental Management, Operations, Intelligence, and Oversight Title II—Security, Enforcement, and Investigations Title III—Protection, Preparedness, Response, and Recovery Title IV—Research, Development, Training, and Services Title V—General Provisions DIVISION B—AGRICULTURE, RURAL DEVELOPMENT, FOOD AND DRUG ADMINISTRATION, AND RELATED AGENCIES APPROPRIATIONS ACT, 2019 Title I—Agricultural Programs Title II—Farm Production and Conservation Programs Title III—Rural Development Programs Title IV—Domestic Food Programs Title V—Foreign Assistance and Related Programs Title VI—Related Agency and Food and Drug Administration Title VII—General Provisions DIVISION C—COMMERCE, JUSTICE, SCIENCE, AND RELATED AGENCIES APPROPRIATIONS ACT, 2019 Title I—Department of Commerce Title II—Department of Justice Title III—Science Title IV—Related Agencies Title V—General Provisions DIVISION D—FINANCIAL SERVICES AND GENERAL GOVERNMENT APPROPRIATIONS ACT, 2019 Title I—Department of the Treasury Title II—Executive Office of the President and Funds Appropriated to the President Title III—The Judiciary Title IV—District of Columbia H. -
Architect of the Capitol: Evolution and Implementation of the Appointment Procedure
Architect of the Capitol: Evolution and Implementation of the Appointment Procedure Updated September 1, 2021 Congressional Research Service https://crsreports.congress.gov R41074 SUMMARY R41074 Architect of the Capitol: Evolution and September 1, 2021 Implementation of the Appointment Ida A. Brudnick Specialist on the Congress Procedure According to its website, the Architect of the Capitol (AOC) is responsible “for the operations and care of more than 18.4 million square feet of facilities, 570 acres of grounds and thousands of works of art.” Pursuant to the Legislative Branch Appropriations Act, 1990, the Architect is appointed by the President with the advice and consent of the Senate. Prior to the enactment of this law, the President appointed the Architect for an unlimited term with no formal role for Congress. The act also established a 10-year term for the Architect as well as a bicameral, bipartisan congressional commission to recommend candidates to the President. As subsequently amended in 1995, this law provides for a commission consisting of 14 Members of Congress, including the Speaker of the House, the President pro tempore of the Senate, the House and Senate majority and minority leaders, and the chair and ranking minority members of the Committee on House Administration, the Senate Committee on Rules and Administration, and the House and Senate Committees on Appropriations. An Architect may be reappointed. Alan M. Hantman was the first Architect appointed under the revised appointment procedure. He declined to seek reappointment and served from January 30, 1997, to February 4, 2007. Stephen T. Ayers, who served as Acting Architect of the Capitol following Mr. -
Tributaries 2013
1 2 TRIBUTARIES Tributaries 2012-2013 Staff Editors-in-Chief: Ian Holt and Deidra Purvis Fiction Editor: Chase Eversole Nonfiction Editor: Emily O’Brien Poetry Editor: Andrew Davis Art & Design Editor: Kaylyn Flora Copy Editor: Chase Eversole Faculty Advisors: Beth Slattery and Tanya Perkins 3 Our Mission Ridicule is the tribute paid to the genius by the mediocrities. ––Oscar Wilde Tributaries is a student-produced literary and arts journal published at Indiana University East that seeks to publish invigorating and multifaceted fiction, nonfiction, poetry, essays, and art. Our modus operandi is to do two things: Showcase the talents of writers and artists whose work feeds into a universal body of creative genius while also paying tribute to the greats who have inspired us. We accept submissions on a rolling basis and publish on an annual schedule. Each edition is edited during the fall and winter months, which culminates with an awards ceremony and release party in the spring. Awards are given to the best pieces submitted in all categories. Tributaries is edited by undergraduate students at Indiana University East. 4 TRIBUTARIES Table of Contents Art “Arty art” Danielle Standley Covers “See The Love Pt. 1” Jami Dingess 7 “Never Knew Love ‘Til Now” Jami Dingess 49 “See The Love Pt. 2” Jami Dingess 75 “Monsters in Paradise” Jami Dingess 100 Fiction “The Right Hand Pocket” Ryland McIntyre 9 “Book ‘Em” Krisann Johnson 12 “Nude” Brittany Hudson 14 “The Enemy Within” Lynn Loring 19 “Vance Grafton” Heather Barnes 20 “Part One: The Sock Bandits” -
Some Lawmakers Regard OOC Inspections As Intrusive
18 POLITICO TUESDAY, JULY 13, 2010 Rating the Risk Most Frequent Hazards 1,742 Hazard Severity Codes The OOC projects that thousands of hazards exist Probability I II III IV in the 111th Congress, some that could result in 1,058 Categories serious injury or even death. The graphic shows the Likely to occur RAC RAC RAC RAC most frequently discovered hazards. immediately 1 1 2 3 61 23 70 102 Probably will RAC RAC RAC RAC occur in time 1 2 3 4 Electrical Fire Safety First Aid HAZCOM Machine Storage Emergency Guarding Shelving Possible to RAC RAC RAC occur in time 2 3 4 Unlikely to RAC RAC occur 3 4 Some Lawmakers Regard OOC Inspections as Intrusive Severity Category I: Death or perma- nent total disability Severity Category II: Permanent From SAFETY on Page 1 but those reports typically languish in obscurity. access to information required to understand the partial or temporary total disability; off This year, the compliance office is also releasing nature and extent of the hazard. Consequently, work for more than 3 months morning, does not detail the costs of repairing the information more broadly, in an effort to draw employees and visitors may have been unneces- Severity Category III: Lost workday or all the violations it discovered. But other reports the congressional community’s attention. sarily exposed to dangerous hazards, with po- compensable injury and congressional testimony make clear the cost In the background are lingering questions tential for serious injury or worse.” Severity Category IV: First aid or minor supportive medical treatment is steep — one reason some longstanding haz- about how serious lawmakers are about pro- Backers of the compliance office’s efforts, in- ards have lingered. -
IV. Fabric Summary 282 Copyrighted Material
Eastern State Penitentiary HSR: IV. Fabric Summary 282 IV. FABRIC SUMMARY: CONSTRUCTION, ALTERATIONS, AND USES OF SPACE (for documentation, see Appendices A and B, by date, and C, by location) Jeffrey A. Cohen § A. Front Building (figs. C3.1 - C3.19) Work began in the 1823 building season, following the commencement of the perimeter walls and preceding that of the cellblocks. In August 1824 all the active stonecutters were employed cutting stones for the front building, though others were idled by a shortage of stone. Twenty-foot walls to the north were added in the 1826 season bounding the warden's yard and the keepers' yard. Construction of the center, the first three wings, the front building and the perimeter walls were largely complete when the building commissioners turned the building over to the Board of Inspectors in July 1829. The half of the building east of the gateway held the residential apartments of the warden. The west side initially had the kitchen, bakery, and other service functions in the basement, apartments for the keepers and a corner meeting room for the inspectors on the main floor, and infirmary rooms on the upper story. The latter were used at first, but in September 1831 the physician criticized their distant location and lack of effective separation, preferring that certain cells in each block be set aside for the sick. By the time Demetz and Blouet visited, about 1836, ill prisoners were separated rather than being placed in a common infirmary, and plans were afoot for a group of cells for the sick, with doors left ajar like others. -
Outdoor Environments Benches, Bike Racks, Litter & Recycling, Lighting, Café and Railings
Outdoor Environments Benches, Bike racks, Litter & recycLing, Lighting, café and raiLings shaping life in public spaces outdoor environments Forms+Surfaces products bring inspiration to public spaces of all kinds and are designed to meet the needs of outdoor environments worldwide. By putting people at the center of our vision, and thoughtfully considering our designs and materials against the challenges they’re intended to address, we’ve built an integrated product line shaped by sophisticated designs, green materials and finishes, superior construction, and competitive pricing. You’ll find our products around the world in airports, train stations, city centers, parks, waterfronts, corporate campuses, hotels, healthcare facilities, shopping malls, stadiums, universities, restaurants and more. Select site furnishings are available for Forms+Surfaces is an FSC® Certified Supplier shipment within 7 days through our QuickShip (FSC C004453). All of our wood slat benches are made program – just look for the QuickShip logo. with FSC Pure wood. 1 | FORMS+SURFACES FORMS+SURFACES | 2 benches Forms+Surfaces benches are recognized worldwide for their distinctive designs and high-performance green materials and finishes. Rugged enough to face the challenges of real-world use, our benches are ideal for a wide variety of indoor and outdoor public spaces. 3 | FORMS+SURFACES FORMS+SURFACES | 4 Trio Bench Hudson Bench Camber Bench + Backed and backless benches in nominal 6 foot seat lengths + Backless benches standard in 6 foot and 8 foot lengths + Backed -
Clear Black Smoke Mohammed Qasim Ashfaq
CLEAR 1 BLACK 1 2 2 3 SMOKE 3 4 4 5 MOHAMMED 5 6 QASIM 6 7 7 8 ASHFAQ 8 9 9 10 10 11 11 12 12 13 13 14 14 15 15 16 16 17 17 18 18 19 19 20 20 21 21 22 22 23 23 24 24 25 25 26 26 27 27 28 28 CLEAR 1 BLACK 1 2 2 3 SMOKE 3 4 4 5 MOHAMMED 5 6 QASIM 6 7 7 8 ASHFAQ 8 9 9 10 10 11 11 12 12 13 13 14 14 15 15 16 16 17 First Edition 2017 17 18 18 19 Editor Shanay Jhaveri 19 20 Concept Shanay Jhaveri and Hannah Barry 20 21 Coordination Diana Córdoba Barrios 21 22 Photography Damian Griffiths 22 23 Studio photos Mohammed Qasim Ashfaq 23 24 ©The Isamu Noguchi Foundation and Garden Museum 24 25 / ARS, New York + DACS, London 25 26 Design Victoria Bridal 26 27 Typefaces Circular and Palatino Edited by 27 28 Printed by Ex Why Zed, Cambridge, United Kingdom Shanay Jhaveri 28 1 1 2 2 3 3 4 4 5 SCALING UP, TO SHIFT 5 5 6 Shanay Jhaveri 6 7 7 8 BLACK 9 8 9 Alexis Lowry 9 10 10 11 THINKING THROUGH PERFECT 13 11 12 WITH DONATIEN GRAU 12 13 13 14 MULTIPLE PERSPECTIVES: 33 14 15 ISAMU NOGUCHI AND THE JANTAR MANTAR 15 16 Devika Singh 16 17 17 18 POTENTIAL ART 39 18 19 Ben Eastham 19 20 20 21 PERFECTION 45 21 22 Charlie Clarke 22 23 23 24 SHIFT 51 24 25 Paul Hobson 25 26 26 27 27 28 28 SCALING UP, 1 TO SHIFT 2 3 4 SHANAY JHAVERI 5 6 7 8 9 Mohammed Qasim Ashfaq’s is a nascent practice, one that 10 is still revealing itself. -
The Mississippi Museum of Art and Tougaloo College Art and Civil Rights Initiative | 2017–2020
The Mississippi Museum of Art and Tougaloo College Art and Civil Rights Initiative | 2017–2020 The Mississippi Museum of Art and Tougaloo College Art and Civil Rights Initiative | 2017–2020 edited by Dr. Redell Hearn Mississippi Museum of Art Jackson in partnership with Tougaloo College Art Collections Turry M. Flucker, Director Tougaloo made possible by the Henry Luce Foundation The Art and Civil Rights Initiative is a partnership between the Mississippi Museum of Art and Tougaloo College, supported by the Henry Luce Foundation. The Mississippi Museum of Art and its programs are sponsored in part by the city of Jackson and Visit Jackson. Support is also provided in part by funding from the Mississippi Arts Commission, a state agency, and by the National Endowment for the Arts, a federal agency. Tougaloo College is a private, coeducational, historically black four-year liberal arts, church related, but not church-controlled institution. Copyright © 2020 Mississippi Museum of Art 380 South Lamar Street, Jackson, MS 39201 / www.msmuseumart.org and Tougaloo College 500 County Line Rd, Tougaloo, MS 39174 / https://www.tougaloo.edu/ All rights reserved. No part of this publication may be reproduced or transmitted in any form without written permission from the publisher. Artwork dimensions are given in inches; height precedes width precedes depth. MMA collection numbers 1966.001, 1966.018, 1972.006, and 2005.029 photographed by Gil Ford Photography; 2005.029 photographed by Roland L. Freeman. All other photography of artwork from MMA and Tougaloo collections is by Mark Geil. Creative director for the exhibitions A Tale of Two Collections and The Prize is Latrice Lawson.