DOCSLIB.ORG

Architecture Was Written to a Great Degree by the Hand of the Church As Patron

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Architecture Was Written to a Great Degree by the Hand of the Church As Patron THE PATRON CHURCH Museum of Contemporary Crafts 29 West 53rd Street, New York, N. Y. October 11, 1957 through January 5, 1958 I'oreword The history of art and architecture was written to a great degree by the hand of the church as patron. That eclecticism of a later time should ultimately spend itself in mediocrity and devitalized forms was inevitable, just as it was inevitable that an increased awareness of spiritual values in our time should be accompanied by a contemporary expression in religious art and architecture. The exhibition "The Patron Church" pays tribute to the church which is again an important patron through the efforts of enlightened clergy, congregations and officials. Also, as a survey of recent work in the liturgical arts, this exhibition presents the opportunity for church officials and the public to see and appraise a movement which promises a great future. We express our sincere appreciation to the architects, artists, craftsmen, photographers, and to patrons who have lent objects to the exhibition. All have contributed immeasurably to its success. Our appreciation is also extended to Mrs. Katherine McClinton, author of THE CHANGING CHURCH,for valuable contacts and interest, and to Edward Fields, Inc., who volunteered to execute for the exhibition tapestries, designed by Hans Moller and Abraham Rattner, which will be presented to a Christian church and a synagogue. Through the close cooperation and support of Mrs. Otto Spaeth and of Mr. Harris Prior, Director of the American Federation of Arts, the architectural section will be incorporated in the Federation's forthcoming exhibition "God and Man." THOMAS S. TIBBS, Director Introduction in religious art, and many of their efforts are directed towardfilling religious commissions 'Ioday there is a wide-spread and growing or producing religious works on their own. interest in contemporary religious art in 'Ihe intensity of interest on the part of the the United States. Appropriately, the Museum churches and artists in this relatively new of Contemporary Crafts starts its second year area of creative expression has resulted in with the exhibition "'Ihe Patron Church," many works of art of high calibre. 'Ihis large which brings to the attention of the general body of notable religious art adds a new and public the great strides that have been made highly desirable dimension to the contemporary recently in the .field of religious architecture movement in art as a whole. In this connection, and arts. 'Ihe exhibition was developed to the position of the churches in the mainstream show the extent to which churches in the of art movements in the past is recalled, United States have emerged as stimulating and and a parallel with the current situation influential patrons of architects, artists is suggested. In thefinal analysis, the and craftsmen who are prominent in the .field status of the arts in the United States of contemporary design. t can only improve and wax stronger with this 'Ihe steady increase of membership in the new augmentation. churches of this country during the twelve 'Ihe importance of the selection of the years since the end of the Second World War contemporary mode of expression for church art is one clear-cut feature of a complex and cannot be over-emphasized. 'Ihe modern art otherwise confusing period in our history. movement in this country has expanded beyond It is reassuring that a serious revival of its secular confines into the new field interest in religion and concern for spiritual that touches the very core of man's existence. values competes with the materialism of these 'Ihe architectural examplesfeatured in the prosperous and expansive times. exhibition, the works in stained glass, metal 'Ihe works of art in the exhibition "'Ihe Patron and wood, the vestments and hangings, indicate Church" provide an interesting insight into that an impressive return has been made by this arresting phenomenon,for the growth of churches as patrons of art. Fine examples of the churches has been accompanied by the need contemporary religious structures, Protestant, for new and larger religious buildings Catholic and Jewish, furnished with appointments and for appointments and ceremonial objects consistent with the style of the architecture, to go with them. may now be seen throughout the country. Significantly, the best in contemporary design, It has been demonstrated that beautiful and as the exhibition reveals, is now sought successful modern churches may be built on by many churchmen, who understand the fact very limited budgets, and that fine contemporary that deep religious feeling and doctrine can be design is not a commodity that only wealth better communicated through the new and vital can obtain. art forms of today than by means of the 'Ihe religious art movement has taken firm root. worn out art styles of the past. It is bound to flourish in the next decades 'Ihe recognition of the validity of contemporary as the population of the United States grows design by the clergy, church officials, and to an extraordinary degree. Many new laity is a recent occurrence. An exhibition communities will develop with religious needs of the depth and quality of "'Ihe Patron Church" that will have to be fulfilled. Looking ahead to with its emphasis on outstanding examples of future demands, the possibility of a great contemporary design to fill the needs of churches outpouring of religious art is an exciting would not have been possible ten years ago. prospect. 'Ihere is every reason to expect At that time, examples were sparse; that the achievements already realized are now, most of the leading artists and craftsmen merely harbingers of even finer things to come. of the United States are greatly interested ROBERT A. LAURER, Assistant Director Architecture CHAPEL OF THE HOLY CROSS Sedona, Arizona Anshen and Allen, architects, 'The architectural section of the exhibition San Francisco, California highlights fourteen recent examples of Model lent by the architects religious buildings in the United States. Photographers: Some of these have already become classics Julius Shulman, Los Angeles, California Roger Sturtevant, San Francisco, California in contemporary architecture. 'These particular structures were chosen CEN T R AL L U THERAN CHURCH not only for the excellence of their designs Portland, Oregon Pietro Belluschi, architect, as a whole, but also for the reason that Cambridge, Massachusetts the decorative elements and objects of worship Photographer : harmonize with the architecture down to the K. E. Richardson, Portland, Oregon smallest detail. 'This highly desirable quality ST. GEORGE 'S EPISCOPAL CHURCH resulted from the close cooperation between Durham, New Hampshire the architect and the craftsmen who designed John A. Carter, architect, and executed the windows, altarfurnishings, Nashua, New Hampshire hangings, and other ceremonial objects Photographer: Robert Sowers, New York City and appointments. CONGR EGATION BETH EL .An examination of the photographs, models and SYNAGOGUE South Orange, New Jersey other related material on exhibition shows ( under construction) a diversity of approach to the solution of Davis, Brody and Wisniewski, architects, problems relating to site,form and materials. New York City Each solution here is highly successful, Models lent by the architects Tapestry designed by Samuel G. Wiener, Jr., and answers well the special requirements executed by Edward Fields, Inc. of the religious group for which the building Eternal light and model for the Menorah was created. by Judith Brown Model for the sculptural screen by Judith Brown and Samuel G. Wiener, Jr. Stained glass designed by Samuel G . Wiener, Jr., executed by the M. and]. McLoughlin Studios, New York City Special materials for the exhibition : Glazed brick supplied by Claycraft Co., Columbus, Ohio Grilles supplied by Borden Metal Products Co., Elizabeth, New Jersey General Contractor: Max Drill, Inc., Newark, New Jersey Photographer: Louis Checkman, New York City SAN LORENZO COMMUNITY CHURCH San Lorenzo, California (formerly the Seabee Chapel, Camp Parks, California) Bruce Goff, architect, Bartlesville, Oklahoma Crucifix by Herring Coe, lent by the U.S. Naval Construction Battalion Center Museum, Port Hueneme, California Photographer: G. E. Kidder Smith, New York City DANFORTH CHAPEL Colorado State University, Fort Collins, Colorado James M. Hunter, architect, Boulder, Colorado Cross, crucifix and candelabra by Lynn R. Wolfe, lent by Danforth Chapel Model of angel relief for the door by Lynn R. Wolfe, lent by the artist Photographer : Warren Reynolds, Minneapolis, Minnesota KNESES TIFERETH ISRAEL SYNAGOGUE Port Chester, New York Philip C. Johnson, architect, New York City Model of the wall section lent by the architect Photographer: Ezra Stoller, New York City MILTON STEINBERG HOUSE Park 'Avenue Synagogue, New York City Kelly and Gruzen, architects, New York City Trial section of stained glass window designed and executed by Adolph Gottlieb, lent by the artist Trial section of stained glass window designed by Adolph Gottlieb, executed and lent by Heinigke and Smith (Frederick L. Leuchs, Inc.) Model for Ark door by Calvin Albert, lent by Dr. and Mrs. M. Joel Freedman Photographer: Ben Schnall, New York City EMMANUEL PRESBYTERIAN CHURCH Spokane, Washington McClure and Adkinson, architects, Spokane, Washington Photographer : Dearborn-Massar, Seattle,Washington JEWISH COMMUNITY CENTER White Plains, New York Fritz Nathan, architect, New York City Model executed by Norman
Load more

Recommended publications
  • The Instrumental Cross and the Use of the Gospel Book Troyes, Bibliothèque Municipale MS 960
    The Instrumental Cross and the Use of the Gospel Book Troyes, Bibliothèque Municipale MS 960 Beatrice Kitzinger In approximately 909, a Breton named Matian together with his wife Digrenet donated a gospel manuscript to a church called Rosbeith. They intended it should remain there on pain of anathema, never to be taken from the church by force but provided with a dispensation for removal by students for the express purpose of writing or reading. With the exception of the date, which is recorded elsewhere in the manuscript, these specifications all appear in a short text written in distinctive, highlighted script at the close of Luke’s chapter list (f. 71): These little letters recount how Matian, and his wife Digrenet, gave these four books of the gospel as a gift to the church of Rosbeith for their souls. And whosoever should remove this evangelium from that church by force, may he be anathema—excepting a student [in order] to write or to read.1 The location of Rosbeith is unknown, but we may surmise that it was a church attached to a larger abbey in Brittany, according to Breton nomenclature.2 Apart from their Breton origins and evident appreciation for scholarship, the identities of Matian and Digrenet are similarly murky. The particularizing nature of the note extends only to a statement of Matian and Digrenet’s motive for the gift—“for their souls”—and a designation of the contents: “these four books of the gospel.” We know, however, that the couple was anxious Kitzinger – Instrumental Cross about the fate of their souls at judgment, and we know that they thought the gospel manuscript at hand might help.
    [Show full text]
  • Ceremony Opens Plaza Art Exhibit Committee to Pick Grad Speaker
    Volume 3, Number IS College At Lincoln Center, Fordham University, New York November 16-December 6,1983 CLC Blood Drive Nets SSA IS .«, » i irw" ^;:-:- 100 Pints By Marie Reres More than 100 pints of blood were collected in the CLC Blood Drive, held on November 7, 8 and 9 in the Pope Auditorium, according to Registered Nurse and Unit Manager of the Blood Drive, Alex- •^? : *i. *. ' • Win ander Mamon. The Blood Drive was sponsored by members of The Greater New York Blood Program. Studen! clubs Circle K and Res Ipsa Loquitur organized the event. "I was surprised to see such a good turnout, con- sidering the lack of student involvement in other events," said Bill Finneran, Vice President of Circle K. As donors came into the auditorium, they were greeted by a member of the Greater New York Blood Program who filled out an information sheet for each person. Next, a registered nurse took a Judith Brown's "Steel Images" will remain on exhibit for one year Photo Bv Doris Suen short medical history from each donor which in- cluded questions concerning hepatitis, malaria and general health. A blood sample was taken from the donor's finger to test for iron. Temperature and Ceremony Opens Plaza Art Exhibit blood pressure were taken, as well. Donors each gave one pint of blood and were then led to the can- By Doris Suen teen, where they were able to relax and have Judith Brown's metallic and menacing sculpture exhibition on the CLJC Plaza has been the talk refreshments. ' The official opening of artist Judith Brown's of the school lately.
    [Show full text]
  • New Talent Exhibition on View at Museum
    THE MUSEUM OF MODERN ART 11 WEST 53 STREET, NEW YORK 19, N. Y. TELEPHONE: CIRCLE 5-8900 No. **8 FOR RELEASE: Monday, May 1, 1956 AVAILABLE FOR PRESS: Beginning May 1, 1956 9th NEW TALENT EXHIBITION ON VIEW AT MUSEUM Work by two young painters and a sculptor will be on view to the public at the Museum of Modem Art, 11 West 53 Street, from May 7 through June 10 in the ninth of the New Talent series of exhibitions of works by artists who have not had major one- man shows in New York. Paintings by Pierre Clerk and Robert Kabak and bronze sculp­ ture by Dimitri Hadzi are being shown in the exhibition under the direction of Andrei Carnduff Ritchie, All the works are for sale to Museum members, and while the show is on view, the Members' Penthouse, where the exhibition is installed, will be open to the public on Mondays, Tuesdays and Wednesdays from 3 p.m. to 6 p.m. Six paintings by Pierre Clerk, 28-year old artist who has had several exhibi­ tions in Europe, are included, Mr. Clerk was born of Canadian parents in Georgia anc educated at McGill University and at the School of Art and Design in Montreal* He has lived in Europe since 1952, His bold abstractions are untitled, simply numbered and dated. Dimitri Hadzi, who was born of Greek parents in New York in 1921, studied in Brooklyn and Cooper Union. In 1950 he won a Fulbright Scholarship for study of sou? ture in Greece, and in 1955 he received a Tiffany Sculpture Award.
    [Show full text]
  • Procession Guide
    Central Lutheran Church Winona, Minnesota Acolytes are ministers in worship. Acolytes help set the mood for worship by lighting of candles, leading processions, and gathering offerings. Other ministers and the entire congregation rely on Acolytes to carry out their ministry with confidence. Typical Duties: LIGHT & EXTINGUISH CANDLES LEAD THE PROCESSIONS HOLD THE PRESIDER BOOK COLLECT OFFERINGS AS THEY ARE PRESENTED ASSIST WITH COMMUNION CLC Acolyte Guide p. 1 3 The Church: One Body, Many Parts 4 Be Reverent 5 Be Responsible 7 Acolyte Words A-Z 11 Order of Worship 12 The Church Year 13 Other Random Stuff to Know 15 Pledge: I Will Serve God With Gladness CLC Acolyte Guide p. 2 The apostle Paul said that the church is like our own bodies. Our bodies each have many parts. We have eyes to see and ears to hear. We have mouths to speak and noses to smell. We have legs to walk, knees to bend, arms to reach, hands to hold. We have brains to think and hearts to love. The church is Christ’s body, made up of many parts. Christ is the head and we are the members. Worship is something that the whole body of Christ does— head and members together. We do some things all together: like sitting, standing, bowing, singing, walking in procession. And different parts of the body do different things so that the whole body can celebrate. One person reads while all listen. Some people play musical instruments while all sing. All of these things are done so that the whole body of Christ can give God thanks and praise.
    [Show full text]
  • Symbols of the Bishop
    SYMBOLS OF THE BISHOP THE BISHOP'S CHAIR The cathedral houses the bishop's throne, or cathedra, (which is the Latin word for "seat" or "chair"). In the ancient world, the chair was not only the symbol of a teacher but also of a magistrate. Thus, the cathedra symbolizes the bishop’s role as teacher and as the governing authority of the diocese. CROSIER The crosier is a pastoral staff that is conferred on bishops (and abbots). The top of the staff is curved to remind the bishop of the shepherd’s crook and of his pastoral care of the people entrusted to him. It symbolizes the bishop’s duty to keep watch over his whole flock, sustaining the weak and wavering, solidifying the faith, and leading those gone astray back into the true fold. ZUCCHETTO The zucchetto is a skullcap worn as part of the liturgical and choir dress of the pope, cardinals, bishops, abbots and priests. During the 13th century, it was developed to cover the tonsure (portion of hair that is shaved when a man entered into the clerical state.) The pope wears a white zucchetto; cardinals, a red zucchetto; and bishops, a purple zucchetto. Black is reserved for all others. PECTORAL CROSS The pectoral cross is worn by the pope, cardinals, bishops and abbots. Tradition holds that reliquaries of the True Cross were worn over the heart; hence, the modern day custom of it being worn over the breast (pectus). The pectoral cross reflects the dignity of the office of bishop or abbot. The cross is either worn suspended from a ceremonial cord at liturgical services or on a chain with his clerical suit.
    [Show full text]
  • Practicing Love of God in Medieval Jerusalem, Gaul and Saxony
    he collection of essays presented in “Devotional Cross-Roads: Practicing Love of God in Medieval Gaul, Jerusalem, and Saxony” investigates test case witnesses of TChristian devotion and patronage from Late Antiquity to the Late Middle Ages, set in and between the Eastern and Western Mediterranean, as well as Gaul and the regions north of the Alps. Devotional practice and love of God refer to people – mostly from the lay and religious elite –, ideas, copies of texts, images, and material objects, such as relics and reliquaries. The wide geographic borders and time span are used here to illustrate a broad picture composed around questions of worship, identity, reli- gious affiliation and gender. Among the diversity of cases, the studies presented in this volume exemplify recurring themes, which occupied the Christian believer, such as the veneration of the Cross, translation of architecture, pilgrimage and patronage, emergence of iconography and devotional patterns. These essays are representing the research results of the project “Practicing Love of God: Comparing Women’s and Men’s Practice in Medieval Saxony” guided by the art historian Galit Noga-Banai, The Hebrew University of Jerusalem, and the histori- an Hedwig Röckelein, Georg-August-University Göttingen. This project was running from 2013 to 2018 within the Niedersachsen-Israeli Program and financed by the State of Lower Saxony. Devotional Cross-Roads Practicing Love of God in Medieval Jerusalem, Gaul and Saxony Edited by Hedwig Röckelein, Galit Noga-Banai, and Lotem Pinchover Röckelein/Noga-Banai/Pinchover Devotional Cross-Roads ISBN 978-3-86395-372-0 Universitätsverlag Göttingen Universitätsverlag Göttingen Hedwig Röckelein, Galit Noga-Banai, and Lotem Pinchover (Eds.) Devotional Cross-Roads This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
    [Show full text]
  • On Painting Bishop Geoffrey Rowell
    FOLKESTONE Kent , St Peter on the East Cliff A Forward in Faith Parish under the episcopal care of the Bishop of Richbor - ough . Sunday: 8am Low Mass, 10.30am Solemn Mass. Evensong 6pm. Weekdays - Low Mass: Tues 7pm, Thur 12 noon. Contact Fa - parish directory ther David Adlington or Father David Goodburn SSC - tel: 01303 254472 http://stpetersfolk.church BATH Bathwick Parishes , St.Mary’s (bottom of Bathwick Hill), BURGH-LE-MARSH Ss Peter & Paul , (near Skegness) PE24 e-mail: [email protected] St.John's (opposite the fire station) Sunday - 9.00am Sung Mass at 5DY A resolution parish in the care of the Bishop of Richborough . GRIMSBY St Augustine , Legsby Avenue Lovely Grade II St.John's, 10.30am at St.Mary's 6.00pm Evening Service - 1st, Sunday Services: 9.30am Sung Mass (& Junior Church in term Church by Sir Charles Nicholson. A Forward in Faith Parish under 3rd &5th Sunday at St.Mary's and 2nd & 4th at St.John's. Con - time) 6.00pm Sung Evensong (BCP) Weekday Mass Thursdays Bishop of Richborough . Sunday: Parish Mass 9.30am, Solemn tact Fr.Peter Edwards 01225 460052 or www.bathwick - 9am. Other services as announced. All visitors very welcome. Evensong and Benediction 6pm (First Sunday). Weekday Mass: parishes.org.uk Rector: Canon Terry Steele, The Rectory, Glebe Rise, Burgh-le- Mon 7.00pm, Wed 9.30am, Sat 9.30am. Parish Priest: Fr.Martin Marsh. PE245BL. Tel 01754810216 or 07981878648 email: 07736 711360 BEXHILL on SEA St Augustine’s , Cooden Drive, TN39 3AZ [email protected] Sunday: Mass at 8am, Parish Mass with Junior Church at1 0am.
    [Show full text]
  • 3-Step Plan Article #7 the Full Plan
    !1 of !71 File Name: "3-Step Plan Article #7 The Full 3-Step Plan"' PART ONE, 22 pages. PART TWO, 49 pages. AN ANCIENT TRIED AND TESTED THREE-STEP PLAN FOR INCREASING THE SPIRITUAL (INWARD) AND NUMERICAL (OUTWARD) GROWTH OF LUTHERAN CONGREGATIONS BY PROCLAIMING THE GOSPEL VERBALLY AND NONVERBALLY 24 HOURS A DAY Most evangelism programs do not work, and as a result many Christians feel guilty for not having personally witnessed to more people. This plan is an ancient plan because it was used by Israel of old and by the Christian Church from the day of its inception, and works because it communicates Law and Gospel nonverbally as well as verbally, and does it 24 hours a day year around. Face to face witness is not required, but the Plan enables even small children to do it easily and naturally. There are two parts to the Plan PART ONE is a description of the Three-Steps of the Plan, written by Philip James Secker. 22 pages. PART TWO is a monograph written by Arthur Carl Piepkorn about the architectural requirements of Lutheran worship, and edited by Philip James Secker. 49 pages. The page and footnote numbers run consecutively through both of Parts without starting over so the user can computer search the entire document and easily move from PART ONE to PART TWO and back. Copyright © 2019 by Philip James Secker, but may be reproduced as long as it is reproduced in its entirety except for the quiz and its answers. TO GOD ALONE BE THE GLORY !2 of !71 PART ONE An Ancient Tried and Tested Three-Step Plan for Increasing the Spiritual (Inward) and Numerical (Outward) Growth of Lutheran Congregations by Proclaiming the Gospel Verbally and Nonverbally 24 Hours a Day Year Around By Philip James Secker, ThD (1937–) PART TWO The Architectural Requirements Of the Lutheran Cultus1 For architects and their staffs, parish building programs, vestries, altar guilds, musicians, elders, and pastors.
    [Show full text]
  • Fixing the Agenda, the Struggle for Women's Equality, Holistic Politics
    INFORMATION TO USERS This manuscript has been reproduced from the microfiim master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e-g., maps, drawings, charts) are reproduced by sectioning the original, beginning at he upper left-hand wmer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, MI 48106-1 346 USA 800-521-0600 FIXING TWE AGENDA: THE STRUGGLE FOR WOMEN'S EQUALITY, HOLISTIC POLITICS AND TRANSFORMATIVE PRACTICE IN TORONTO'S URBAN RENEWAL MOVEMENT Lisa M. Caton A thesis submitted in conformity with the requirements for the degree of Master of Arts Department of Adult Education, Community Development and Counselling Psychology Ontario Institute for Studies in Education of the University of Toronto O Copyright by Lisa M.
    [Show full text]
  • F * the MUSEUM of MODERN ART II WEST 53 STREET, NEW YORK 19, N
    '.f * THE MUSEUM OF MODERN ART II WEST 53 STREET, NEW YORK 19, N. Y. FOR RELEASE: TUESDAY, TELEPHONE: CIRCLE 5-8900 April 19, 1952 Press Opening: Tuesday, NO. 29 April 19, 2 - 5 p.m. NEW TALENT SERIES OP EXHIBITIONS RESUMES AT MUSEUM -ainter from New Mexico, a sculptor from Milwaukee, and a printmaker from Chicago have teen selected for the seventh New Talent exhibition presented in the Penthouse 0f the Museum of Modern Art, 11 West 53 Street. The exhibition, totaling 18 works includes six paintings by Tom Benrimo, six groups of woodcuts by Richard 0. Tyler, and six wood sculptures by Hugh R. Townley. It will be on view from April 19 through May 22. Beginning April 25 special arrangements have been made to open the Penthouse, usually reserved for Museum members, to the public on Mondays, Tues­ days and Wednesdays from 3 to 7 p.m. until the close of the show. A special feature of this series, planned to show little-known work, is that most of the works of art are for sale and are reserved for Museum members. In the brochure accompanying the exhibition, Andrew Camduff Ritchie, Director of the Department of Painting and Sculpture, and who makes the selection for the series, points out that by "new" the Museum means artists who have not received a major one-man showing in New York City and that this does not exclude artists whose work is known in other parts of the country or who are of any particular age. The series was inaugurated five years ago and each usually includes work by three artists.
    [Show full text]
  • Curriculum Vitae
    JUDITH DIANE BROWN 46 Burke Rd, Vernon CT 06066 (860) 933-2084 [email protected] EDUCATION University of Connecticut, Storrs, CT 06269 Doctor of Philosophy Genetics Thesis: Evaluation of genetic instability in eutherian hybrids Principal Investigator: Rachel J. O’Neill, Molecular and Cell Biology University of Connecticut, Storrs, CT 06269 Master of Science Allied Health Thesis: Spatial ability as a predictor of karyotyping ability in undergraduate students State University of New York, College at Oswego, Oswego, NY 13126 Bachelor of Science Biology EMPLOYMENT HISTORY State University of New York Health Science Center, Cytogenetics, Syracuse, NY 13210 Cytogenetics Technologist Queen Elizabeth Hospital, Genetics, Woodville South, South Australia, Australia 5011 Technical Officer, cytogenetics and molecular diagnostics work exchange University of Connecticut, Allied Health Sciences Department, Storrs, CT 06269 Associate Professor in Residence, Diagnostic Genetic Sciences current Lecturer I | Lecturer II | Assistant Professor in Residence TEACHING (bold: regularly scheduled/courses offered every year) 1. DGS 3223: Laboratory in Cytogenetics (3 cr) 1996- 2011 2. DGS 4235: Molecular Diagnostics Laboratory (2 cr) 1998 3. DGS 3225: Chromosome Imaging (1 cr) F 1998 – 2012, 2014 -2018 4. DGS 3226: Genetics Journal Club (3 cr), developed 2001, (01,02,04,05,07,11,12) 5. MLS 201: Basic Laboratory Techniques, team-taught (98-2005, 2007) 6. INTD 1820: The Genetic Link, developed S 2000 (2000-2006, 2010) 7. INTD 1820: Chromosomes and Human Disease developed Sum 2009 (2009) 8. INTD 296W: Senior Thesis, 2005 9. AH 3099, DGS 3999 and GPAH 5099: Independent Studies every semester (variable credits) 10. MCB 5427(2): Cytogenetics and FISH (1 cr), developed 2002 (2002, 03, 05, 06, 09, 11) 11.
    [Show full text]
  • Judith C. Brown
    JUDITH C. BROWN CONTACT: email [email protected] PERSONAL DATA: Born in Buenos Aires, Argentina EDUCATION: Ph.D. The Johns Hopkins University (History) M.A. University of California, Berkeley (History) B.A. University of California, Berkeley (History) ACADEMIC POSITIONS: 2011- Professor of History emerita, Wesleyan University 2006-2011 Professor of History, Wesleyan University 2000-2006 Vice President for Academic Affairs and Provost – Wesleyan University and Professor of History 1995-2000 Dean of the School of Humanities and Allyn and Gladys Cline Professor of History - Rice University 1991-1995 Professor, History Department, Stanford University 1985-1991 Associate Professor, History Department, Stanford University 1985-1986 Acting Director, Center for Research on Women, Stanford University 1982-1985 Assistant Professor, History, Stanford University 1978-1982 Assistant Professor, History, University of Maryland Baltimore County 1976-1977 Instructor, History, University of Maryland Baltimore County 1975-1976 Assistant Editor, The Journal of Economic History HONORS and AWARDS RECEIVED: 2005-07 President, Society for Italian Historical Studies 1991-92 Fellow, Center for Advanced Study in the Behavioral Sciences 1986-87 Guggenheim Fellowship 1986-87 Stanford Humanities Center Fellowship 1983-84 Pew Foundation Grant 1982 American Council of Learned Societies Travel Grant 1981 NEH Summer Seminar for College Teachers 1981 American Philosophical Society Award 1979-82 Appointed Doctor of the University, The Johns Hopkins University 1979 UMBC Summer Fellowship 1977-78 I Tatti Fellowship (The Harvard University Center for Renaissance Studies) 1977-78 Schepp Foundation Fellowship 1974-75 Abell Fellowship, The Johns Hopkins University 1973-74 Fulbright Fellowship for study in Italy 1973 Butler Prize in History, The Johns Hopkins University 1969-71 Ford Foundation Career Fellowship, University of California, Berkeley 1968 Honorary Woodrow Wilson Fellowship 2 Judith C.
    [Show full text]