2003-2004Uartscoursecatalogue.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

2003-2004Uartscoursecatalogue.Pdf College of Art and Design College of Performing Arts College of Media and Communication Undergraduate and Graduate Course Catalog 2003 • 2004 320 South Broad Street Philadelphia, PA 19102 1•800•616•ARTS www.uarts.edu The arts have the power to transform society. They play an essen- Nondiscrimination Policy tial role in ensuring and enhancing the quality of life. The University The University of the Arts is committed to maintaining an envi- of the Arts is committed to inspiring, educating and preparing inno- ronment in which students, faculty, and staff may pursue academic, vative artists and creative leaders for the visual, performing, and artistic, and professional excellence. This environment can be media arts of the 21st century. secured only through mutual respect and unconstrained academic The University of the Arts is the nation’s only university devoted and professional interchange among faculty, staff and students. exclusively to education and professional training in design, visual, Under the Civil Rights Act of 1964, Title IX of the Educational media, and performing arts. Located in the heart of Philadelphia, Amendments of 1972, other state and federal laws, and The The University of the Arts was founded in 1987 through the consoli- University of the Arts policy, the faculty, staff, and students of the dation of two century-old institutions: the Philadelphia College of University are entitled to participate in and obtain the benefits of Art and the Philadelphia College of Performing Arts. A third aca- University programs, activities, and employment without being dis- demic unit, the College of Media and Communication, was criminated against on the basis of their race, creed, color, ethnic established in 1996. Offering undergraduate and graduate degrees in background, national origin, sex, gender, age, religion, disability, or communication, crafts, dance, graphic design, industrial and sexual orientation. museum exhibition design, fine arts, illustration, media arts, multi- The University also strictly prohibits any form of retaliation or media, museum communication,, music, theater, writing, and reprisal against anyone reporting allegations of harassment or dis- museum and arts education, the University prepares its students to crimination, or cooperating in an investigation of such a report. assume over 150 careers in traditional and emerging arts and related Such retaliation shall be considered a serious violation of the fields. University’s nondiscrimination policy and shall be punishable by discipline up to and including termination, regardless of whether the The University of the Arts charge of discrimination is substantiated. However, if an employee, 320 South Broad Street student, or faculty member is found to have intentionally lied about Philadelphia, PA 19102 a claim of discrimination, or brought a claim in bad faith, knowing that the allegation of discrimination is false, then that employee, stu- 215-717-6000 dent, or faculty member may be subject to discipline or expulsion. Examples of prohibited retaliation include: threatening reprisals 1-800-616-ARTS against the person who complained or cooperated in an investiga- tion; unfairly changing a person’s evaluations, assignments, grades, http://www.uarts.edu or working conditions; or otherwise continuing any harassment or discrimination against such person. CEEB code 2664 The University of the Arts gives equal consideration to all appli- cants for admission and financial aid, and conducts all educational Title IV code 003350 programs, activities, and employment practices without regard to race, color, sex, religion, national origin, ethnic background, or dis- ability. Direct inquiries to the Office of the Dean of Students/ADA Coordinator, The University of the Arts, 320 S. Broad Street, Philadelphia, PA 19102; 215-717-6618. This catalog was updated as of July 2003. The University of the Arts reserves the right to revise any information herein at its discre- tion and without prior notice. Trademarked names appear throughout this catalog. Rather than list the names and entities that own the trademarks or insert a trade- mark symbol with each mention of the trademarked name, the publisher states that it is using the names only for editorial purposes and to the benefit of the trademark owner with no intention of infringing upon that trademark. The University of the Arts® is registered with the US Patent and Trademark Office, Reg. No. 2,341,258. UArts® is also registered with the US Patent and Trademark Office, Reg. No. 2,677,865. 2 The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 The University of the Arts Contents 4 Academic Calendar 2003-2004 College of Performing Arts Course Descriptions The University of the Arts 84 College of Performing Arts 132 Art Education 85 Minors 134 Art Therapy 6 Mission Statement 90 The School of Dance 134 Communication 6 History of The University of the Arts 90 Ballet 137 Crafts 6 Accreditation 90 Jazz 142 Dance 7 College of Art and Design 90 Modern 146 Electronic Media 7 College of Performing Arts 90 Dance Education 147 Fine Arts 7 College of Media and Communication 96 The School of Music 149 Foundation 7Degree Programs 97 Instrumental Performance 151 Graphic Design 8 University Libraries 97 Voice 153 Graduate Seminars 9 Academic Policies and Procedures 97 Composition 153 Liberal Arts 15 Grading Policies 97 The School of Music 166 Industrial Design Graduate Programs 169 Illustration Undergraduate Degree 97 Master of Arts in Teaching Music 171 Internships Requirements 97 Master of Music in Jazz Studies 172 Master of Fine Arts in 111 The School of Theater Arts Ceramics, Painting, or Sculpture 20 Undergraduate Degree Requirements 111 Acting 173 Multimedia 21 Division of Liberal Arts 111 Musical Theater 176 Museum Studies 111 Applied Theater Arts 179 Music 186 Media Arts College of Art and Design 186 Photography/Film/Video/Animation 28 College of Art and Design College of Media and 190 Printmaking/Book Arts 31 Undergraduate Programs Communication 193 Painting/Drawing 32 Minors 195 Sculpture 35 Foundation Program 120 College of Media and Communication 196 Theater Arts 37 Crafts 121 Minors 201 Writing for Film and Television 40 Fine Arts 126 Communication 46 Graphic Design 128 Multimedia General Information 48 Illustration 130 Writing for Film and Television 50 Industrial Design 204 Admission 52 Media Arts 210 Tuition and Expenses 58 Art Education 213 Financial Aid 60 Art Therapy 224 Student Services 62 College of Art and Design 226 General Information Graduate Programs 227 Code of Conduct 64 Post-Baccalaureate Options 229 Student Code 66 Art Education 235 University Guidelines for 69 Visual Arts Responsible Computing 71 Book Arts/Printmaking 237 Academic Computing 73 Ceramics, Painting, or Sculpture 237 Continuing Education Programs 75 Industrial Design 238 Administration 77 Museum Studies 239 Board of Trustees 78 Museum Communication 240 Faculty Index 79 Museum Education 243 Index 80 Museum Exhibition Planning 250 Campus Map and Design The University of the Arts Undergraduate and Graduate Course Catalog 2003/2004 3 Academic Calendar 2003-2004 Summer 2003 Monday, July 7 October May Summer World of Dance begins Saturday, October 4 Monday, May 5 and Tuesday, May 6 Summer Pre-College begins Saturday School begins Summer Session I & II Registration Tuesday, July 8 Friday, October 17 Monday, May 5 Summer — New Student Placement Test Last day for removal of Spring 2003 Incomplete Spring 2003 semester ends "I" grades Friday, July 11 Tuesday, May 6 thru Friday, May 9 Summer I grades due to the Registrar – 12:00 p.m. Monday, October 20 Examinations Automatic conversion from "I" to "F" grade Friday, July 18 Monday, May 12 thru Friday, May 16 2-wk Summer World of Dance program ends Friday, October 24 Studio Critiques and Juries Last day to withdraw with a "W" grade August Friday, May 16 Friday, August 1 Saturday, October 25 Grades due to Registrar – 12:00 noon 4-wk Summer World of Dance ends Admission Open House Pre-College ends Saturday, May 17 Monday, October 27 thru Friday, November 7 Student Residences close – 12:00 noon Saturday, August 2 Advising for Spring 2004 registration Residence Halls close at 5:00 p.m. Monday, May 19 November SUMMER SESSION I BEGINS Friday, August 8 Advising for Spring 2004 registration Continuing Education Summer Session I begins SUMMER SESSION II ENDS Continues thru Friday, November 7 Wednesday, May 21 Monday, August 11 Monday, November 3 Awards Ceremony Continuing Education Summer Session II ends Deadline for Readmission Application for Spring 2004 semester Thursday, May 22 Friday, August 15 Commencement CAD Summer MFA program ends Thursday, November 6 Summer Session II grades due to Registrar Joint University Advising Session Monday, May 26 Memorial Day Holiday Tuesday, August 19 Monday, November 17 Summer MFA grades due to Registrar Graduation Petitions for Dec. 2003 due to Thursday, May 29 Registrar CPA/CMAC Academic Review Saturday, August 30 Fall – New Student English Placement Test Monday, November 17 thru Friday, November Friday, May 30 Student Residences open/move-in 21 CAD Academic Review Registration for Spring 2004 Deadline — Fall 2003 Application for Readmission Saturday, August 30 thru Tuesday, September 2 New Student Orientation Thursday, November 27 June Thanksgiving Day Holiday Thursday, June 12 and Friday, June 13 September Fall 2003 Registration for Summer Foundation Monday, September 1 Thursday, November 27 thru Sunday, November 30 Summer II Registration Labor
Recommended publications
  • Weaverswaver00stocrich.Pdf
    University of California Berkeley Regional Oral History Office University of California The Bancroft Library Berkeley, California Fiber Arts Oral History Series Kay Sekimachi THE WEAVER'S WEAVER: EXPLORATIONS IN MULTIPLE LAYERS AND THREE-DIMENSIONAL FIBER ART With an Introduction by Signe Mayfield Interviews Conducted by Harriet Nathan in 1993 Copyright 1996 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the Nation. Oral history is a modern research technique involving an interviewee and an informed interviewer in spontaneous conversation. The taped record is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The resulting manuscript is typed in final form, indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ************************************ All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Kay Sekimachi dated April 16, 1995. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. No part of the manuscript may be quoted for publication without the written permission of the Director of The Bancroft Library of the University of California, Berkeley.
    [Show full text]
  • Oral History Interview with Ann Wilson, 2009 April 19-2010 July 12
    Oral history interview with Ann Wilson, 2009 April 19-2010 July 12 Funding for this interview was provided by the Terra Foundation for American Art. 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 recorded interview with Ann Wilson on 2009 April 19-2010 July 12. The interview took place at Wilson's home in Valatie, New York, and was conducted by Jonathan Katz for the Archives of American Art, Smithsonian Institution. 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 ANN WILSON: [In progress] "—happened as if it didn't come out of himself and his fixation but merged. It came to itself and is for this moment without him or her, not brought about by him or her but is itself and in this sudden seeing of itself, we make the final choice. What if it has come to be without external to us and what we read it to be then and heighten it toward that reading? If we were to leave it alone at this point of itself, our eyes aging would no longer be able to see it. External and forget the internal ordering that brought it about and without the final decision of what that ordering was about and our emphasis of it, other eyes would miss the chosen point and feel the lack of emphasis.
    [Show full text]
  • Workshops Open Studio Residency Summer Conference
    SUMMER 2020 HAYSTACK MOUNTAIN SCHOOL OF CRAFTS Workshops Open Studio Residency Summer Conference Schedule at a Glance 4 SUMMER 2020 Life at Haystack 6 Open Studio Residency 8 Session One 10 Welcome Session Two This year will mark the 70th anniversary of the 14 Haystack Mountain School of Crafts. The decision to start a school is a radical idea in and Session Three 18 of itself, and is also an act of profound generosity, which hinges on the belief that there exists something Session Four 22 so important it needs to be shared with others. When Haystack was founded in 1950, it was truly an experiment in education and community, with no News & Updates 26 permanent faculty or full-time students, a school that awarded no certificates or degrees. And while the school has grown in ways that could never have been Session Five 28 imagined, the core of our work and the ideas we adhere to have stayed very much the same. Session Six 32 You will notice that our long-running summer conference will take a pause this season, but please know that it will return again in 2021. In lieu of a Summer Workshop 36 public conference, this time will be used to hold Information a symposium for the Haystack board and staff, focusing on equity and racial justice. We believe this is vital Summer Workshop work for us to be involved with and hope it can help 39 make us a more inclusive organization while Application broadening access to the field. As we have looked back to the founding years of the Fellowships 41 school, together we are writing the next chapter in & Scholarships Haystack’s history.
    [Show full text]
  • Oral History Interview with Merry Renk
    Oral history interview with Merry Renk Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. 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. Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 General............................................................................................................................. 2 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 1 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Oral history interview with Merry Renk AAA.renk01 Collection
    [Show full text]
  • Sheila Hicks CV
    SHEILA HICKS Born Hastings, Nebraska 1934 EDUCATION 1959 MFA, Yale University, New Haven, CT 1957 BFA, Yale University, New Haven, CT SELECTED SOLO EXHIBITIONS 2018 Sheila Hicks: Life Lines, Centre Pompidou, Paris, France, February 6 – April 30, 2018. Sheila Hicks: Send Dessus Dessous, Domaine de Chaumont-sur Loire Centre d’Arts et de Nature, Chaumont-sur Loire, France, March 30, 2018 – February 2, 2019. Down Side Up, Sikkema Jenkins & Co., New York, NY, May 24 – July 6, 2018. 2017 Sheila Hicks: Glossolalia, Domaine de Chaumont-sur Loire Centre d’Arts et de Nature, Chaumont-sur Loire, France, April 1 – November 5, 2017. Sheila Hicks: Hilos Libres. El Textil y Sus Raíces Preshispánicas, 1954-2017, Museo Amparo, Puebla, Mexico, November 4, 2017 – April 2, 2018. Sheila Hicks: Stones of Piece, Alison Jaques Gallery, London, England, October 4 – November 11, 2017. Sheila Hicks: Hop, Skip, Jump, and Fly: Escape from Gravity, High Line, New York, New York, June 2017 – March 2018. Sheila Hicks: Au-delà, Museé d’Arte Moderne de la Ville de Paris, Paris, France, December 1 – May 20, 2018. 2016 Si j’étais de laine, m’accepteriez-vous?, galerie frank elbaz, Paris, France, September 10 – October 15, 2016. Apprentissages, Festival d’Automne, Musée Carnavalet, Paris, France, September 13 – October 2, 2016; Nanterre-Amandiers, Paris, France, December 9 – 17, 2016. Sheila Hicks: Material Voices, Joslyn Art Museum, Omaha, Nebraska, June 5 – September 4, 2016; travels to: Textile Museum of Canada, Toronto, Canada, October 6, 2016 – February 5, 2017. Sheila Hicks: Why Not?, Textiel Museum, Tilburg, The Netherlands, March 5 – June 5, 2016.
    [Show full text]
  • Kansas City and the Great Western Migration, 1840-1865
    SEIZING THE ELEPHANT: KANSAS CITY AND THE GREAT WESTERN MIGRATION, 1840-1865 ___________________________________ A Dissertation presented to the Faculty of the Graduate School at the University of Missouri-Columbia _______________________________________________________________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy _______________________________________________________________ By DARIN TUCK John H. Wigger JULY 2018 © Copyright by Darin Tuck 2018 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled SEIZING THE ELEPHANT: KANSAS CITY AND THE GREAT WESTERN MIGRATION, 1840-1865 Presented by Darin Tuck, a candidate for the degree of doctor of philosophy, and hereby certify that, in their opinion, it is worthy of acceptance. __________________________________________________ Professor John Wigger __________________________________________________ Assoc. Professor Catherine Rymph __________________________________________________ Assoc. Professor Robert Smale __________________________________________________ Assoc. Professor Rebecca Meisenbach __________________________________________________ Assoc. Professor Carli Conklin To my mother and father, Ronald and Lynn Tuck My inspiration ACKNOWLEDGMENTS This dissertation was only possible because of the financial and scholarly support of the National Park Service’s National Trails Intermountain Region office. Frank Norris in particular served as encourager, editor, and sage throughout
    [Show full text]
  • The Public Are Invited
    1.4. * ,1'J-. ^.; ^'k liltl iR »>J %> ^: > ^/ V * ^ ^ -' N # I P J- -b£;3iSSi*££3&=S»=: VOL. XXXIII SUMMIT. N, J.. FRIDAY, NOVEMBER 8, I 9 I ts NO. 47 j-rivrt eded Tuesday nigh". 5 Xaniara hud paid the lawyer ijiLi, ;t!-;i PROAOHNCE' BOTE GUILTI ly the intention of thoK? expected Kerrigan and Leslie to r% - the charges to impress on fiUtd half that sum. CouneiIui;;,r the idea that Leslie was? reiownsibU Phraner tangled him some on a sta.t-- OUNCIL EXPELS TWO FIREMAN FOR for the false alarm. KemgailMold o.. nient rhat he had gone right homo a- Leslie leaving the rcoiii as,p of not ter returning from the alarm wldr1. FALSE ALARM CHARGE, returning before the aluriu sounded, failed to jibe with his story that hn and later DuUin and McNnmara with had llrst heard that it was a fills" Charlos Dukin ami Andrew McNamara considerable detail corroborated this alarm from Chief Wilson at the Hot i. story, Kerrigan's cool admission of and-Ladder building that same nigl ;. Are Given Formal Trial and it De­ perjury amaaed the council, ai. i he City Clerk Kentz before whom Ker­ was subjected to a gruelling examin­ velops Some Amazing Testimony — rigan and Leslie made their origin;; 1 ation. He at first declared that he did affidavits, testified to administonuy- One Witness Called Dy the Council not remember any oath when he made the oath, aml—iljOrbert Long told ::•!; the statement embodied in the affi­ Caimiv Repudiates on Affidavit He Kerrigan's statement to him lhat cc;- davit.
    [Show full text]
  • Annual Report OCTOBER 1, 2019—SEPTEMBER 30, 2020 Letter from the 2020 Annual Report Archives of American Art 2 Interim Director
    Annual Report OCTOBER 1, 2019—SEPTEMBER 30, 2020 Letter from the 2020 Annual Report Archives of American Art 2 Interim Director DEAR FRIENDS, In early October 1918, art critic James Britton wrote its collections and making them publicly available. in his diary, “When the health law rings the gong— To support this vision, this year, the Roy Lichtenstein even art must stand attentive to Influenza.” More Foundation made a transformational $5 million gift than a century later, the Archives of American Art to create an endowment to process and digitize stands attentive to COVID-19. On March 16, 2020, collections on art and artists from historically we moved our entire staff to telework status, closing underrepresented groups. Digitization requires time our DC and New York research centers. Now, as and meticulous attention to detail. Having recently we begin 2021, many staff are still working from completed a three-year challenge grant from home, continuously finding new ways to connect the Walton Family Foundation, we improved our our mission to collect, preserve, and share the efficiency, doubling our rate of digitization. legacy of American art with the increasingly virtual With schools across the US now turning to world. Others are in the office on a staggered distance learning, we are well positioned to schedule, preserving the collections we continue help and to scale up our efforts to promote the to acquire during the pandemic and digitizing value of teaching with primary sources. This material for curious individuals everywhere to year, continuing our partnership with the Lunder consult on our website. In the report ahead, you Institute for American Art at Colby College and will find highlights from a year like no other, the Cleveland Museum of Art, we held the second one that generated innovative projects, exciting in a series of three workshops focused on creating partnerships, and new examples of our expertise innovative, adaptable models for using archival applied amid the challenges of a global pandemic.
    [Show full text]
  • Hicks, Sheila CV
    SHEILA HICKS Born Hastings, Nebraska 1934 EDUCATION 1959 MFA, Yale University, New Haven, CT 1957 BFA, Yale University, New Haven, CT SELECTED SOLO EXHIBITIONS 2021 Sheila Hicks: Off the Grid, The Hepworth Wakefield, Wakefield, United Kingdom, November 27, 2021 – May 2022 Sheila Hicks: Music to My Eyes, Alison Jacques Gallery, London, UK, June 4 – July 31, 2021 Sheila Hicks: Cosmic Vibrations, Galerie Nähst St. Stephan Rosemarie Schwarzwälder, Vienna, Austria, May 28 – August 21, 2021 Sheila Hicks: Cosmic Arrivals, Francesca Minini, Milan, Italy, May 19 - July 17, 2021 Sheila Hicks: The Questioning Column, Moody Center for the Arts at Rice University, Houston, TX, May 17 – August 28, 2021 2020 Sheila Hicks, Galerie nächst St. Stephan, Vienna, Austria, December 22, 2020 – February 6, 2021 Sheila Hicks: Thread, Trees, River, Museum of Applied Arts [MAK] Vienna, Vienna, Austria, December 10, 2020 – April 18, 2021 2019 Reencuentro, Museo Chileno de Arte Precolombino, Santiago, Chile, August 8, 2019 – January 31, 2020, curated by Carolina Arévalo Sheila Hicks: Secret Structures, Looming Presence, Dallas Museum of Art, Dallas, TX, June 30, 2019 – January 12, 2020 Sheila Hicks: Seize, Weave Space, Nasher Sculpture Center, Dallas, TX, May 11 – August 18, 2019 Sheila Hicks: Line by Line, Step by Step, Demisch Danant, New York, NY, April 29 – June 8, 2019 Sheila Hicks: Campo Abierto (Open Field), The Bass, Miami Beach, FL, April 13 – September 29, 2019 2018 MIGDALOR, Magasin III Jaffa, Tel Aviv, Israel, October 11, 2018 – February 15, 2019 Down Side Up, Sikkema Jenkins & Co., New York, NY, May 24 – July 6, 2018 Sheila Hicks: Sens Dessus Dessous, Domaine de Chaumont-sur Loire Centre d’Arts et de Nature, Chaumont-sur Loire, France, March 30, 2018 – February 2, 2019 Sheila Hicks: Life Lines, Centre Pompidou, Paris, France, February 6 – April 30, 2018, curated by Michel Gauthier 2017 Sheila Hicks: Au-delà, Museé d’Arte Moderne de la Ville de Paris, Paris, France, December 1, 2017 – May 20, 2018 Sheila Hicks: Hilos Libres.
    [Show full text]
  • Nwmal"' Tifw" '""Triwrwi Jpjapd"Lrww' I Saturday Press
    1 " , ""' " iLnwmaL"' TifW" '""triwrwi jpjapd"lrWW' I Saturday Press. i rOUTiMKIIIfiUiMBBI 34. I., HONOLULU, H. SATURDAY, APRIL 21, 1883. WHOLE NUMBER 138 final SATURDAY PR.2SS, doom j gates detonating ami shreiMng at tTuriiij. they burst from prton-hmrt- IJrofcooiomtl cOuoincflO cOuoincoo (Turbo. Ihcfr hot 1 the cpuoincoa Curb or. Snounmcc oticco. a atmosphere (General bbciitocmcuto. A Newspaper Published Wttlly. dark, turgid ami opprewhe; while cave an.I hollow, at the hot air swept alone XflLLlAM O. SMITH, 1UT S, ORINDAUM & their heatcsl wallt, threw back the unearthly Co. T H. LYNCH, QOSMOPOLITAN RESTAURANT, TRANS-ATLANTI- PIRB INSURANCE IONEER" $5.00 1 ,111, i und, In a mtriad of prolonged .1 Company of LINE uut srmirnim wive. echoes. Such rroitxKV .ir Mir, Makuk's Mlock, Qi mi Srsssr, J as Klnir street, .V. C.IM.ICIIO, I'refHtler, Hamburg, wai the scene as the fiery "p Foreign rebecnptKms cataract, leaping a 01 .UiKitsNT Sriiir, ItnNoii'U, jo rjti'oiiri:it.sAxi nnowiAr.i: Drttlrr In r.rrru of lloolt . ItACKFKLD & C., Aftnli. precipice of fifty feel, poured its flood upon the ukau, Itfrrlfllnn No. 6s llorri Street, Honolulu, II. I, SeV.cn rr lit Of r. unit .fiof. to $7 50, acctrlit to tbett destination. 1 inIf Capital and Reserve Relthsmatk from Liverpool ocean. he old line or coast, a maw of com- ,nm,oon R. CASTLE, Ladles and Gents' Fine Wear a Specialty. their Companies " iat,oso,csn pact, Indurated lava, whitened, cracked and yir S. GRINDAUM & Co. IV Jtealt at all hour; Ihe i.;.N-i- f fell.
    [Show full text]
  • Annual Report 2005
    NATIONAL GALLERY BOARD OF TRUSTEES (as of 30 September 2005) Victoria P. Sant John C. Fontaine Chairman Chair Earl A. Powell III Frederick W. Beinecke Robert F. Erburu Heidi L. Berry John C. Fontaine W. Russell G. Byers, Jr. Sharon P. Rockefeller Melvin S. Cohen John Wilmerding Edwin L. Cox Robert W. Duemling James T. Dyke Victoria P. Sant Barney A. Ebsworth Chairman Mark D. Ein John W. Snow Gregory W. Fazakerley Secretary of the Treasury Doris Fisher Robert F. Erburu Victoria P. Sant Robert F. Erburu Aaron I. Fleischman Chairman President John C. Fontaine Juliet C. Folger Sharon P. Rockefeller John Freidenrich John Wilmerding Marina K. French Morton Funger Lenore Greenberg Robert F. Erburu Rose Ellen Meyerhoff Greene Chairman Richard C. Hedreen John W. Snow Eric H. Holder, Jr. Secretary of the Treasury Victoria P. Sant Robert J. Hurst Alberto Ibarguen John C. Fontaine Betsy K. Karel Sharon P. Rockefeller Linda H. Kaufman John Wilmerding James V. Kimsey Mark J. Kington Robert L. Kirk Ruth Carter Stevenson Leonard A. Lauder Alexander M. Laughlin Alexander M. Laughlin Robert H. Smith LaSalle D. Leffall Julian Ganz, Jr. Joyce Menschel David O. Maxwell Harvey S. Shipley Miller Diane A. Nixon John Wilmerding John G. Roberts, Jr. John G. Pappajohn Chief Justice of the Victoria P. Sant United States President Sally Engelhard Pingree Earl A. Powell III Diana Prince Director Mitchell P. Rales Alan Shestack Catherine B. Reynolds Deputy Director David M. Rubenstein Elizabeth Cropper RogerW. Sant Dean, Center for Advanced Study in the Visual Arts B. Francis Saul II Darrell R. Willson Thomas A.
    [Show full text]
  • The 2005 Coastal Cutthroat Trout Symposium
    THE 2005 COASTAL CUTTHROAT TROUT SYMPOSIUM Status, Management, Biology, and Conservation Major support for the 2005 Coastal Cutthroat Trout Symposium was provided by Oregon Chapter of the Pacific States Marine U.S. Fish and Wildlife American Fisheries Society Fisheries Commission Service Additional support for the symposium and for publication of these proceedings was provided by North Pacific International Chapter AFS Humboldt Chapter AFS Alaska Chapter AFS American Fisheries Society South Sound Flyfishers Clark-Skamania Flyfishers Lower Columbia Flyfishers Washington Fly Fishing Club Port Townsend Chapter of Trout Unlimited Fine Art and Books for Raffle and Auction provided by Washington Trout G. Loomis Bruce Ferguson Les Johnson THE 2005 COASTAL CUTTHROAT TROUT SYMPOSIUM Status, Management, Biology, and Conservation Proceedings of a Workshop Fort Worden State Park Port Townsend, Washington September 29-October 1, 2005 Edited by Patrick J. Connolly, Thomas H. Williams, and Robert E. Gresswell Published by Oregon Chapter of the American Fisheries Society Portland, Oregon 2008 Suggested citation formats: Entire book Connolly, P. J., T. H. Williams, and R. E. Gresswell, editors. 2008. The 2005 coastal cutthroat trout symposium: status, management, biology, and conservation. Oregon Chapter, American Fisheries Society, Portland. Article within book Anderson, J. D. 2008. Coastal cutthroat trout in Washington state: status and management. Pages 11-23 in P. J. Connolly, T. H. Williams, and R. E. Gresswell, editors. The 2005 coastal cutthroat
    [Show full text]