Descendants of Hugh Young (B
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Martha Wilson Interview Part III the Franklin Furnace Programs
Martha Wilson Interview Part III The Franklin Furnace Programs SANT: When you first organized Franklin Furnace, your main activity was collecting artist books and showing them to the public. How did you start your performance program? WILSON: Our thought was that the same artists who were publishing these books could be invited to read their published stuff, the stuff that we had in the collection. SANT: Isn’t this similar to the many public book readings that happen at many mainstream bookstores Downloaded from http://direct.mit.edu/dram/article-pdf/49/1 (185)/80/1821483/1054204053327789.pdf by guest on 26 September 2021 now? WILSON: But not at the time! No. SANT: Readings in bookstores have been around for quite sometime, haven’t they? I mean, if we go to a different place and time other than New York in the mid-s, such as San Francisco in the mid- s with the Beats, and Lawrence Ferlinghetti and the City Lights Bookstore in San Francisco, and Allen Ginsberg reading Howl ... WILSON: That’s absolutely right. OK. SANT: Were you building on anything like that? Were you aware of such things or were you reinvent- ing the wheel? WILSON: Reinventing the wheel, I would say. I was not focused on the performance program at all because my friend Jacki Apple was my coconspirator and curator. We had already collaborated on a per- formance work in . I was living in Canada at that time. SANT: What had you done together before Franklin Furnace? WILSON: We started corresponding because Lucy Lippard had come to Halifax and introduced us through the catalog to an exhibition that existed only on notecards, about ,. -
Oral History Interview with Martha Wilson, 2017 May 17-18
Oral history interview with Martha Wilson, 2017 May 17-18 Funding for this interview was provided by the Lichtenberg Family Foundation. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Martha Wilson on May 17 and 18, 2017. The interview took place at Wilson's home in Brooklyn, NY, and was conducted by Liza Zapol for the Archives of American Art, Smithsonian Institution. Martha Wilson and Liza Zapol have reviewed the transcript. Their corrections and emendations appear below in brackets with initials. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview LIZA ZAPOL: Okay, so this is Liza Zapol for the Archives of American Art, [Smithsonian Institution] oral history program. It's May 17, 2017. And if I can ask you to introduce yourself, please? MARTHA WILSON: My name is Martha Wilson, and I'm going to not hold anything back. LIZA ZAPOL: Thank you. And we're here at your home in Brooklyn. So, if I can just ask you to begin at the beginning— MARTHA WILSON: Okay. LIZA ZAPOL: —as I said. MARTHA WILSON: Okay. LIZA ZAPOL: Where and when were you born? And if you can tell me a little bit about your early memories. MARTHA WILSON: Okay. I was born in Philadelphia in Philadelphia General Hospital or something like that, and raised for the first six years of my life on a houseboat. -
|Mºººº. Nist "", "Ons 1963
PATIENTS |Mºººº. NIST "", "ONS 1963 A LISTING OF STATE AND COUNTY MENTAL HOSPITALS AND PUBLIC INSTITUTIONS FOR THE MENTALLY RETARDED U. S. DEPARTMENT OF HEALTH EDUCATION AND WELFARE Public Health Service PATIENTS IN MENTAL INSTITUTIONS 1963 A LISTING OF STATE AND COUNTY MENTAL HOSPITALS AND PUBLIC INSTITUTIONS FOR THE MENTALLY RETARDED Prepared by: The National Institute of Mental Health Biometrics Branch Hospital Studies Section Bethesda, Maryland 20014 U. S. DEPARTMENT OF HEALTH, EDUCATION AND WELFARE Public Health Service National Institutes of Health National Institute of Mental Health National Clearinghouse for Mental Health Information tº EA v** **, “,§ } rt * 7 we " Public Health Service Publication No. 1222, Listing Washington, D. C. - 1964 LISTING OF STATE AND COUNTY MENTAL HOSPITALS, AND PUBLIC INSTITUTIONS FOR THE MENTALLY RETARDED The purpose of this publication is to provide, by state and type of facility, a listing of state and county mental hospitals and public institutions for the mentally retarded. These facilities have been classified according to their function rather than by the authority under which they operate. This listing contains only those facilities from which the National Institute of Mental Health requested data for the fiscal year 1963. The 1963 data obtained from these facilities may be found in the following publica tions: Patients in Mental Institutions, 1963 Part I (Public Institutions for the Mentally Retarded) and Part II (State and County Mental Hospitals) U. S. Department of Health, Education, and Welfare, Public Health Service, National Institutes of Health, PHS No. 1222. In these publications, basic census data are provided on the move ment of the patient population, the numbers and characteristics of first admissions (for the public institutions for the mentally retarded) and admissions with no prior psychiatric inpatient experience (for the state and county mental hospitals); the number and characteristics of the resident patients; personnel by occupation; and maintenance expenditures. -
Schor Moma Moma
12/12/2016 M/E/A/N/I/N/G: The Final Issue on A Year of Positive Thinking3 H O M E A B O U T L I N K S Browse: Home / 2016 / December / 09 / M/E/A/N/I/N/G: The Final Issue on A Year of Positive Thinking CONNE CT 3 Mira's Facebook Page DE CE MBE R 9 , 2 0 1 6 Subscribe in a Reader Subscribe by email M/E/A/N/I/N/G: The Final Issue on A Year of Positive Thinking3 miraschor.com The first issue of M/E/A/N/I/N/G: A Journal of Contemporary Art Issues, was published in December 1986. M/E/A/N/I/N/G is a collaboration between two artists, TAGS Susan Bee and Mira Schor, both painters with expanded interests in writing and 2016 election Abstract politics, and an extended community of artists, art critics, historians, theorists, and Expressionism ACTUAW poets, whom we sought to engage in discourse and to give a voice to. Activism Ana Mendieta Andrea For our 30th anniversary and final issue, we have asked some longtime contributors Geyer Andrea Mantegna Anselm and some new friends to create images and write about where they place meaning Kiefer Barack Obama CalArts craft today. As ever, we have encouraged artists and writers to feel free to speak to the Cubism DAvid Salle documentary concerns that have the most meaning to them right now. film drawing Edwin Denby Facebook feminism Every other day from December 5 until we are done, a grouping of contributions will Feminist art appear on A Year of Positive Thinking. -
Oral History Interview with Suzanne Lacy, 1990 Mar. 16-Sept. 27
Oral history interview with Suzanne Lacy, 1990 Mar. 16-Sept. 27 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 Preface The following oral history transcript is the result of a tape-recorded interview with Suzanne Lacy on March 16, 1990. The interview took place in Berkeley, California, and was conducted by Moira Roth for the Archives of American Art, Smithsonian Institution. This interview has been extensively edited for clarification by the artist, resulting in a document that departs significantly from the tape recording, but that results in a far more usable document than the original transcript. —Ed. Interview [ Tape 1, side A (30-minute tape sides)] MOIRA ROTH: March 16, 1990, Suzanne Lacy, interviewed by Moira Roth, Berkeley, California, for the Archives of American Art. Could we begin with your birth in Fresno? SUZANNE LACY: We could, except I wasn’t born in Fresno. [laughs] I was born in Wasco, California. Wasco is a farming community near Bakersfield in the San Joaquin Valley. There were about six thousand people in town. I was born in 1945 at the close of the war. My father [Larry Lacy—SL], who was in the military, came home about nine months after I was born. My brother was born two years after, and then fifteen years later I had a sister— one of those “accidental” midlife births. -
History of the Church of Jesus Christ of Latter-Day Saints in Ireland Since 1840
Brigham Young University BYU ScholarsArchive Theses and Dissertations 1968 History of The Church of Jesus Christ of Latter-Day Saints in Ireland Since 1840 Brent A. Barlow Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the European History Commons, History of Christianity Commons, and the Mormon Studies Commons BYU ScholarsArchive Citation Barlow, Brent A., "History of The Church of Jesus Christ of Latter-Day Saints in Ireland Since 1840" (1968). Theses and Dissertations. 4503. https://scholarsarchive.byu.edu/etd/4503 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. 4119 HISTORY OF THE CHURCH OF JESUS CHRIST OF UTTERUTTERDAYLATTERDAYLATTER DAY SAINTS IN IRELANDD SINCE 18101840 A thesis presented to the department of graduate studies in religious instruction brigham young university provo utah in partial fulfillment of the requirements for the degree master of arts by brent aaAa& barlow may 1968 acknowledgments I1 would like to express ravmyraysincere appreciation to the following people for thetheirir valuable assistance and help dr richard 0 cofanocowanocowan chairman of the advisory colitcomitcommitteetee fforroror his many timely suggestions and genuine interest in this research pro- ject dr rodney turner member of the advisory committee -
Martha Wilson I Have Become My Own Worst Fear
535 W. 22nd Street, 3rd Floor, New York, NY 10011 Tel: 212-647-1044 [email protected] www.ppowgallery.com Martha Wilson I have become my own worst fear September 9 – October 8, 2011 Opening Reception: Friday, September 9, 6-8pm is proud to present new work by Martha Wilson in her first solo exhibition since joining the gallery in May, 2011. The works in the exhibition are embedded in the ideas which have concerned the artist for four decades. A new work, I have become my own worst fear, consists of a photo/text image, to be shown with a videotape made by the artist in 1974. Works on view will consist of nine new photo/text works created since 2008, and two early photo/text works, Alchemy, from 1973 and My Authentic Self from 1974. New York Times critic Holland Cotter, in reviewing a 2008 exhibition of Martha Wilson’s early work, described her as one of “the half-dozen most important people for art in downtown Manhattan in the 1970s.” In Moira Roth’s introduction to the Martha Wilson Sourcebook: 40 Years of Reconsidering Performance, Feminism, Alternative Spaces, being published this fall by Independent Curators International, he adds: “Wilson is a wonderful artist, whose smart and witty 1970s photographic self-portraits in various ‘feminine’ guises— passive beauty, punk upstart—helped very early on (way before Cindy Sherman) to demonstrate that the gendered roles we play are largely invented for us. It's the artist's job to take charge of that invention so that we see it in action, which Wilson did in those amazing and still-under known pictures.” Martha Wilson is Founding Director of Franklin Furnace Archive, Inc., an alternative space she established in her TriBeCa storefront loft in lower Manhattan which, since its inception in 1976, has presented and preserved temporal art: artists’ books and other multiples produced internationally after 1960; temporary installations; and performance art. -
SESSION of 1964. Act Nos. 4-5 77 Ma~'Convert Any Such Hospital Or
SESSION OF 1964. Act Nos. 4-5 77 ma~’convert any such hospital or distinct part of such hospital to a geriatric center as provided in “The Ad- ministrative Code of 1929.” When only a part of a hos- pital is used as a geriatric center, the responsibilities of the board of trustees of such hospital shall continue to extend to the entire institution: Ashland State General Hospital, Ashland, Pennsyl- vania; Blossburg State General Hospital, Blossburg, Pennsyl- vania; Coaldale State General Hospital, Coaldale, Pennsyl- vania; Connellsville State General Hospital, Connellsville, Pennsylvania; Hazieton State General Hospital, Hazleton, Pennsyl- vania; Locust Mountain State General Hospital, Shenandoah, Pennsylvania; Nanticoke State General Hospital, Nanticoke, Pennsyl- vania; Philipsburg State General Hospital, Philipsburg, Pennsylvania; Scranton State General Hospital, Scranton, Pennsyl- vanla; Shamokin State General Hospital, Shamokin, Penn- sylvania. Section 2. This act shall take effect immediately. APPROVED—The 19th day of June, A. D. 1964. WILLIAM W. SCRANTON No.5 AN ACT Amending the act of April 9, 1929 (P. L. 177), entitled “An act providing for and reorganizing the conduct of the executive and administrative work of the Commonwealth by the Executive Department thereof and the administrative departments, boards, commissions and officers thereof, including the boards of trustees of State Normal Schools, or Teachers Colleges; abolishing, cre- ating, reorganizing or authorizing the reorganization of certain administrative departments, boards and commissions;• defining the powers and duties of the Governor and other executive and administrative officers, and of the several administrative de- partments, boards, commissions and officers; fixing the salaries of the Governor, Lieutenant Governor and certain other execu- tive and administrative officers; providing for the appointment 78 Act No. -
SESSION of 1970. Act No. 256 773
SESSION OF 1970. Act No. 256 773 No. 256 A SUPPLEMENT SB 1304 To the act of November 25, 1969 (P.L.310), entitled ‘An act providing for the capital budget for the fiscal year 1969-1970,” itemizing public improvement projects to be acquired or constructed by the General State Authority, together with their estimated financial costs. The General Assembly of the Commonwealth of Pennsylvania hereby enacts as follows: Section 1. Short Title—This act shall be known and may be cited as the “Capital Budget Act for Fiscal Year 1969-1970, Public Improvement Project Itemization Supplement—General State Authority.” Section 2. Itemization and Authorization of Projects—Additional capital projects in the category of public improvement projects to be acquired or constructed by the General State Authority, its successors or assigns, and to be financed by the incurring of debt, are hereby itemized, together with their respective estimated financial costs and the total additional amount authorized for public improvement projects, as follows: A. Total Project Authorization $442,047,860 I. Department of Agriculture 883,000 (1) Regional Office: District No. 6 401,000 (Base Construction Cost $321,000) (2) Regional Office: District No. 3 482,000 (Land Acquisition $450,000) II. Department of Commerce 17,661,573 (1) Cover for Delaware Avenue: Penn’s Landing, Philadel- phia 4,036,573 (Base Construction Cost $3,000,000) (2) Additional Funds for GSA 650-1, Philadelphia Civic Center 1,875,000 (Base Construction Cost $1,500,000) (3) Additional Funds for GSA 1201-1, Convention-Exposi- tion Center, City of Pittsburgh 11,750,000 (Base Construction Cost $9,378,000) III. -
Pittsburgh, Pa), Photographs, 1892- 1981 (Bulk 1946-1965)
Allegheny Conference On Community Development Page 1 Allegheny Conference On Community Development (Pittsburgh, Pa), Photographs, 1892- 1981 (bulk 1946-1965) Historical Society of Western Pennsylvania Archives MSP# 285 30 boxes (Boxes 1-22 Prints, Boxes 23-28 Negatives, Box 28 Transparencies, Boxes 29-30 Oversized Prints) Table of Content: Historical Note page 1 Scope and Content Note page 2 Series I: Prints page 2 Sub-series: Aviation page 3 Sub-series: Buildings page 3 Sub-series: Culture page 3 Sub-series: Education page 3 Sub-series: Golden Triangle page 4 Sub-series: Health & Welfare page 4 Sub-series: Highways page 4 Sub-series: Historical page 4 Sub-series: Housing page 4 Sub-series: Miscellaneous page 5 Sub-series: PA Pitt Partner’s Program page 5 Sub-series: Personnel page 5 Sub-series: Publications page 5 Sub-series: Recreation page 6 Sub-series: Research page 6 Sub-series: Smoke Control page 6 Sub-series: Stadiums page 6 Sub-series: Transportation page 6 Sub-series: Urban Redevelopment page 7 Series II: Negatives page 7 Sub-Series: Glass Plate Negatives page 7 Series III: Transparencies page 7 Series IV: Oversized Prints & Negatives page 7 Provenance page 8 Restrictions and Separations page 8 Catalog Entries page 8 Container List page 10 Series I: Prints page 10 Sub-series: Aviation page 10 Sub-series: Buildings page 10 Sub-series: Culture page 14 Allegheny Conference On Community Development Page 2 Sub-series: Education page 16 Sub-series: Golden Triangle page 20 Sub-series: Health & Welfare page 22 Sub-series: Highways page -
Descendants of William Woodburn (B
Descendants of William Woodburn (b. 1730, Ballintemple, parish of Errigal, Co. Londonderry, N. Ireland) In this record, persons are numbered consecutively. If they married and are known to have children, there is a plus sign (+) in front of their name, which indicates that additional information about them can be found in the next generation. I am solely responsible for all errors in this record. Corrections and additions are appreciated. Stephen W. Johnson 222 Parkman Ave. Pittsburgh, Pennsylvania 15213 [email protected] September 12, 2013 Descendants of William WOODBURN 12 September 2013 First Generation 1. WOODBURN was born (date unknown). The name Woodburn is apparently of Scottish origin. It may come from the Scottish term for a small stream--"burn"; hence, wooded burn or tree-lined stream. Woodburn, then, would have been the name given to people living in such an area. The main connection appears to be with the Ayrshire and Dumfries areas of Scotland. There, a George Woodburn was shot for being a Covenanter (Scottish Presbyterians in the 17th cen. who subscribed to various conservative covenants) in 1685. It was not unusual, however, for people from Scotland, in times of religious persecution, to flee to Ireland and England. Thus, for example, there are a number of Woodburns in Pennington Hall, Ulverston, Cumbria Co., England. There, a Robert Woodburne, in 1654, served as the attorney for George Fox, founder of ther Quakers, in acquiring land for the first Quaker cemetery. In Ireland, Carrickfergus Co. in Northern Ireland has an area and a police station bearing the Woodburn name. Despite these connections to England and Ireland, the original Scottish connection seems indisputable. -
Martha Wilson Martha Wilson : Staging the Journals
DOSSIER DE PRESSE mfc-michèle didier Martha Wilson Martha Wilson : Staging the Journals Vernissage en présence de l'artiste le 6 septembre 2018 Exposition du 7 septembre au 9 novembre 2018 Présentation / performance de l'artiste, Martha Wilson par Martha Wilson, suivie d'une discussion avec Geneviève Fraisse, philosophe, CNRS, le 8 septembre 2018 de 17h à 19h Artiste féministe performeuse américaine, Martha Wilson est avant tout connue pour son rôle de fondatrice et directrice de la fondation Franklin Furnace Archives, créée à New York en 1976. Les archives de la fondation sont aujourd'hui considérées parmi les plus importantes pour l'histoire de la performance et des livres d'artistes, et ont fait en 2016 l'objet d'une exposition majeure au MoMA de New York, à l'occasion du 40ème anniversaire de la fondation (Back in Time with Time-Based Works: Artists’ Books at Franklin Furnace, 1976–1980). Dans la lignée de l'exposition qui s'est récemment tenue au Kunstraum de Vienne (The Two Halves of Martha Wilson's Brain), et pour la première fois en France, l'exposition Martha Wilson : Staging the Journals est axée sur le rôle de Martha Wilson en tant qu'artiste, permettant ainsi de (re)découvrir l'importance de son oeuvre dans le paysage artistique des années 70. L'exposition est également l'occasion pour mfc-michèle didier d'annoncer la publication à une date ultérieure des journaux artistiques et intimes tenus par l'artiste de 1965 à 1981. mfc-michèle didier 66 rue Notre-Dame de Nazareth, 75003 Paris, France T + 33 (0)1 71 27 34 41 - P + 33