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J Ohn S. and J Ames L. K Night F Oundation
A NNUAL REPORT 1999 T HE FIRST FIFTY YEARS J OHN S. AND JAMES L. KNIGHT FOUNDATION he John S. and James L. Kn i ght Fo u n d a ti on was estab- TA B L E O F CO N T E N T S l i s h ed in 1950 as a priva te fo u n d a ti on indepen d en t Tof the Kn i g ht bro t h ers’ n e ws p a per en terpri s e s . It is C h a i r m a n’s Letter 2 ded i c a ted to f urt h ering their ideals of s ervi ce to com mu n i ty, to the highest standards of j o u r n a l i s t ic excell en ce and to the Pr e s i d e n t ’s Message 4 defense of a free pre s s . In both their publishing and ph i l a n t h ropic undert a k i n g s , History 5 the Kn i ght bro t h ers shared a broad vi s i on and uncom m on devo ti on to the com m on wel f a re . It is those ide a l s , as well as Philanthropy Takes Root 6 t h eir ph i l a n t h ropic intere s t s , to wh i ch the Fo u n d a ti on rem a i n s The First Fifty Years 8 f a i t h f u l . -
Robert C. Maynard Institute for Journalism Education Oral History Collection
http://oac.cdlib.org/findaid/ark:/13030/c8sb4b6f Online items available Guide to the Robert C. Maynard Institute for Journalism Education Oral History Collection Sean Heyliger African American Museum & Library at Oakland 659 14th Street Oakland, California 94612 Phone: (510) 637-0198 Fax: (510) 637-0204 Email: [email protected] URL: http://www.oaklandlibrary.org/locations/african-american-museum-library-oakland © 2013 African American Museum & Library at Oakland. All rights reserved. Guide to the Robert C. Maynard MS 192 1 Institute for Journalism Education Oral History Collection Guide to the Robert C. Maynard Institute for Journalism Education Oral History Collection Collection number: MS 192 African American Museum & Library at Oakland Oakland, California Processed by: Sean Heyliger Date Completed: 11/06/2015 Encoded by: Sean Heyliger © 2013 African American Museum & Library at Oakland. All rights reserved. Descriptive Summary Title: Robert C. Maynard Institute for Journalism Education Oral History collection Dates: 2001 Collection number: MS 192 Creator: Robert C. Maynard Institute for Journalism Education Collection Size: 1.5 linear feet(2 boxes) Repository: African American Museum & Library at Oakland (Oakland, Calif.) Oakland, CA 94612 Abstract: The Robert C. Maynard Institute for Journalism Education Oral History Collection consists of 29 oral history interviews conducted in 2001 by Earl Caldwell with prominent black journalists that began their careers during the 1960s-1970s. A majority of the interviewees worked at -
Afro Modern: Journeys Through the Black Atlantic Tate Liverpool Educators’ Pack Introduction
Afro Modern: Journeys through the Black Atlantic Tate Liverpool Educators’ Pack Introduction Paul Gilroy’s The Black Atlantic: Modernity and Double Consciousness (Verso: London, 1993) identifies a hybrid culture that connects the continents of Africa, the Americas and Europe. Inspired by Gilroy’s seminal book, this major exhibition at Tate Liverpool examines the impact of Black Atlantic culture on modernism and the role of black artists and writers from the beginning of the twentieth-century to present day. Divided into seven chronological chapters, the exhibition takes as its starting point the influences of African sculpture on artists such as Picasso and Brancusi in the evolution of Cubism and Abstract art. The journey continues across the Atlantic tracking the impact of European modernism on emerging African- American Artists, such as the Harlem Renaissance group. It traces the emergence of modernism in Latin America and Africa and returns to Europe at the height of the jazz age and the craze for “Negrophilia”. It follows the transatlantic commuting of artists between continents and maps out the visual and cultural hybridity that has arisen in contemporary art made by people of African descent. The final section examines current debates around “Post-Black Art” with contemporary artists such as Chris Ofili and Kara Walker. This pack is designed to support educators in the planning, execution and following up to a visit to Tate Liverpool. It is intended as an introduction to the exhibition with a collection of ideas, workshops and points for discussion. The activities are suitable for all ages and can be adapted to your needs. -
Justice Sandra O'connor Our Eminent First Professor Dean Carl B. Spaeth
44 FALL 1991 Justice Sandra O'Connor Our Eminent First Professor Dean Carl B. Spaeth Cover: Detail of illustration for "Copyright in the Information Age," the article beginning on page 4. Painted by Barron Storey, 1991. FALL 1991 44 (VOL. 26, NO.1) FROM THE DEAN 2 A Matter of Trust The campus speech issue has more than one side and no easy answers. By Paul Brest FEATURE ARTICLES 4 Copyright in the Information Age New technologies are expanding the nature STAFF and use of intellectual property. DEPARTMENTS Can the law keep pace? Editor: Constance Hellyer By Paul Goldstein Associate Editor: Ann Dethlefsen 24 Editorial Assistants: School News Susan Infantino (AB '91), Jill Daniels (AB '92), and 10 Ann Babb 42 Contributing Editor: Ruth Welch Our Professor, the President Class Notes Designer: Ev Shiro, Benjamin Harrison and his landmark Stanford Publication lectures on the Constitution helped put your Services 87 alma mater on the map. Production artists: In Memoriam Joanna McClean By Howard Bromberg Prisci lIa Johnson 94 ALUMNI/AE WEE KEN D Alumni/a: Gatherings STANFORD LAWYER (ISSN 0585-0576) is published semi-annually for alumni/re and friends of Stanford Law School. 16 Back Cover Correspondence and materials for pub Coming Events lication are welcome and should be sent to: Editor, Stanford Lawyt'T, Stanford Friends, Football, and Law School,Stanford, CA 94305-8610. Copyright 1991 by the Board ofTrust ees of the Leland Stanford Junior Uni a Famous First versity. Reproduction in whole or in An account of the festivities, including the part, without permission of the pub lisher, is ptohibited. -
Kubatana – When African Art Illuminates Norway
Latest: Tickle Your Taste Buds with Africa’s Culinary Wealth Africa, The home of the Black Panther The African free-trade zone comes into effect Ghana robotic team wins World Robofest Championship Kubatana – when African art illuminates Norway $ BUSINESS ∠ ECONOMY ∠ LIFESTYLE ∠ MUSIC ∠ SPORT MOVIES VIDEOS LOG IN OTHER ∠ FRANÇAIS & Culture Inspirations Kubatana – when African art illuminates Norway ! July 21, 2019 " Christelle Kamanan # African artists, Art, contemporary art, exhibition Recommend Like Share Tweet ubatana or friendliness in Shona language (Zimbabwe). This exhibition highlights the work of 33 African artists in a warm and aesthetic way. All works are visible until 21 September 2019 at the K Kunstlabotorium in Vestfossen, Norway. Yassine Balbzioui – photo C.K. Gonçalo Mabunda – photo C.K. Aboudia – photo C.K. Serge Attukwei Clottey – photo C.K. Kubatana, showcase of African contemporary art English speaking Africa African contemporary art; what does it look like? The monumental installation of the Ghanaian artist Serge Attukwei Clottey announces the color, even before entering the Kunstlaboratorium. Starting from his origins, his family history related to the sea and the migration, he made a work of several meters. Like a marine net, the installation covers a large part of the front façade of the building. All these small tiles, made from water can, are in the image of contemporary African art: colorful, flamboyant and imposing. Francophone Africa & Arabic There is also the imposing 10-meter mural by Yassine Balbzioui (Morocco). You feel very small near such an achievement; as against the immensity of the possibilities of art. Aboudia (Ivory Coast) surprises and questions with a painting of human relations in our time. -
The System of Crop Intensification: Reports from the Field on Improving
Abraham et al. Agriculture & Food Security 2014, 3:4 http://www.agricultureandfoodsecurity.com/content/3/1/4 REVIEW Open Access The system of crop intensification: reports from the field on improving agricultural production, food security, and resilience to climate change for multiple crops Binju Abraham1, Hailu Araya2, Tareke Berhe3, Sue Edwards2, Biksham Gujja4, Ram Bahadur Khadka5, Yang S Koma6, Debashish Sen7, Asif Sharif8, Erika Styger9, Norman Uphoff9* and Anil Verma10 Abstract In the past half dozen years, farmers and professionals working with them in several Asian and African countries have begun adapting and extrapolating what they have learned from and about the system of rice intensification (SRI) to a range of other crops - finger millet, wheat, sugarcane, tef, oilseeds such as mustard, legumes such as soya and kidney beans, and various vegetables - in what is being called the system of crop intensification (SCI). As with rice, the principles of early and healthy plant establishment, reducing competition between plants, increased soil organic matter, active soil aeration, and the careful application of water are proving able to raise the productivity and profitability of differently-managed crops. Recent reports from the World Bank in India and the Agricultural Transformation Agency in Ethiopia show such changes in crop management improving food security and being scaled up with hundreds of thousands of farmers. This review article reports on the productivity and other impacts being observed for many different crops in half a dozen countries for increasing food crop yields with lower cost and input requirements as well as more resilience to adverse effects of climate change. -
Race—America's Rawest Nerve
SUMMER 1994 MEDIA STUDIES Journ~~ RACE- AMERICA'S RAWEST NERVE The Freedom Forum Media Studies Center At Columbia University in the City of New York $8 Race America's Rawest Nerve The Freedom Forum Media Studies Center At Columbia University in the City of New York Media Studies Journal Volume 8, Number 3, Summer 1994 The Media Studies Journal is a quarterly forum for scholars, practitioners and informed commentators to discuss topical themes of enduring importance to the mass media and the public. Editor-in-chief Everette E. Dennis Editor Edward C. Pease Copy Editor Lisa DeLisle Senior Editorial Assistant Barry Langford Editorial Assistants Sabi Muteshi Michael Gwertzman Copyright © 1994 by The Freedom Forum Media Studies Center and The Freedom Forum. Editorial Offices: Media Studies Journal, Columbia University, 2950 Broadway, New York, N.Y. 10027 The Media Studies Journal (ISSN 1057-7416), formerly the Gannett Center Journal (ISSN 0893-8342), is published quarterly. Annual subscriptions: Individual $32 (U.S.), $40 (foreign). Single copies $8 (U.S.), $10 (foreign). Includes shipping and handling. All orders and change of address information should be sent in writing to The Freedom Forum Media Studies Center, Columbia University, Financial Department, 2950 Broadway, New York, N.Y. 10027. This publication is indexed by Public Affairs Information Services (PAIS). Original cover and tide page illustration, "Trashing Stereotypes," by Ronald Searle, commissioned for the Media Studies Journal. 11 The Freedom Forum Media Studies Center, an operating program of The Freedom Forum, is an institute for the advanced study of mass communication and techno logical change. Through a variety of programs, it seeks to enhance media profes sionalism, foster greater public understanding of how the media work, strengthen journalism education and examine the effects on society of mass communication and communications technology. -
Contemporary Africa Arts
CONTEMPORARY AFRICAN ARTS MAPPING PERCEPTIONS, INSIGHTS AND UK-AFRICA COLLABORATIONS 2 CONTENTS 1. Key Findings 4 2. Foreword 6 3. Introduction 8 4. Acknowledgements 11 5. Methodology 12 6. What is contemporary African arts and culture? 14 7. How do UK audiences engage? 16 8. Essay: Old Routes, New Pathways 22 9. Case Studies: Africa Writes & Film Africa 25 10. Mapping Festivals - Africa 28 11. Mapping Festivals - UK 30 12. Essay: Contemporary Festivals in Senegal 32 13. What makes a successful collaboration? 38 14. Programming Best Practice 40 15. Essay: How to Water a Concrete Rose 42 16. Interviews 48 17. Resources 99 Cover: Africa Nouveau - Nairobi, Kenya. Credit: Wanjira Gateri. This page: Nyege Nyege Festival - Jinja, Uganda. Credit: Papashotit, commissioned by East Africa Arts. 3 1/ KEY FINDINGS We conducted surveys to find out about people’s perceptions and knowledge of contemporary African arts and culture, how they currently engage and what prevents them from engaging. The first poll was conducted by YouGov through their daily online Omnibus survey of a nationally representative sample of 2,000 adults. The second (referred to as Audience Poll) was conducted by us through an online campaign and included 308 adults, mostly London-based and from the African diaspora. The general British public has limited knowledge and awareness of contemporary African arts and culture. Evidence from YouGov & Audience Polls Conclusions Only 13% of YouGov respondents and 60% of There is a huge opportunity to programme a much Audience respondents could name a specific wider range of contemporary African arts and example of contemporary African arts and culture, culture in the UK, deepening the British public’s which aligned with the stated definition. -
Book Reviews
Book Reviews A Noble Fight: African American Freemasonry and the Struggle for Democracy in America. By Corey D. B. Walker. Reviewed by Jacob Dorman. 83 Dorothy West’s Paradise: A Biography of Class and Color. By Cherene M. Sherrard-Johnson. Reviewed by Zakiya R. Adair. 86 Inventing the Egghead: The Battle over Brainpower in American Culture. By Aaron Lecklider. Reviewed by Lynne Adrian. 87 Flyover Lives: A Memoir. By Diane Johnson. Reviewed by Ferdâ Asya. 88 The Children’s Table: Childhood Studies and the Humanities. Edited by Anna Mae Duane. Reviewed by Meredith A. Bak. 90 It’s All a Kind of Magic: The Young Ken Kesey. By Rick Dodgson. Reviewed by Dawson Barrett. 91 Living Faith: Everyday Religion and Mothers in Poverty. By Susan Crawford Sullivan. Reviewed by Rebecca Barrett-Fox. 92 Comic Book Crime: Truth, Justice, and the American Way. By Nickie D. Phillips and Staci Strobl. Reviewed by Sarah Boslaugh. 93 Why We Left: Untold Stories and Songs of America’s First Immigrants. By Joanna Brooks. Reviewed by James I. Deutsch. 94 Red Apple: Communism and McCarthyism in Cold War New York. By Phillip Deery. Reviewed by Bernard F. Dick. 95 Our Aesthetic Categories: Zany, Cute, Interesting. By Sianne Ngai. Reviewed by Douglas Dowland. 96 America’s First Adventure in China: Trade, Treaties, Opium, and Salvation. By John R. Haddad. Reviewed by Joe Eaton. 97 Men’s College Athletics and the Politics of Racial Equality: Five Pioneer Stories of Black Manliness, White Citizenship, and American Democracy. By Gregory J. Kaliss. Reviewed by Anthony O. Edmonds. 98 Katherine and R. -
Salah M. Hassan African Modernism
Salah M. Hassan African Modernism: Beyond Alternative Modernities Discourse African Modernism and Art History’s Exclusionary Narrative On October 25, 2002, South African artist Ernest Mancoba, a pillar of modern African art, passed away in a hospital in Clamart, a suburb of Paris. He was ninety- eight. With a life that spanned most of the twentieth century, Mancoba had lived through the high periods of modern- ism and postmodernism. A few months before Mancoba’s passing, I was extremely fortunate to have received an extended interview by Hans Ulrich Obrist, submitted for publication to Nka: Journal of Contemporary African Art, which I edit. The interview was eventually published in 2003 and was indeed one of the most inspiring texts that I have read in years.1 However, why should Mancoba’s life and his artistic accomplishments be instructive in exploring African modernity and modernism? To be sure, it is not the mere coincidence of his thinking about European modernism or the sig- nificance of Europe, where Mancoba lived and worked for more than fifty years. Mancoba is memorable for his remarkable life of creativity, for his intellectual vigor, for his unique and pro- South Atlantic Quarterly 109:3, Summer 2010 DOI 10.1215/00382876- 2010- 001 © 2010 Duke University Press Downloaded from http://read.dukeupress.edu/south-atlantic-quarterly/article-pdf/109/3/451/470354/SAQ109-03-01HassanFpp.pdf by guest on 01 October 2021 452 Salah M. Hassan found body of work, and for his innovative visual vocabulary and style that have come to shape an important part of our understanding of African modernism in the visual arts. -
N'vest-Ing in the People: the Art of Jae Jarrell
Jae Jarrell N’Vest-ing in the People: The Art of Jae Jarrell by D. Denenge Duyst-Akpem 1977 dawned on a Nigeria brimming with AFRICOBRA (African Commune of promise, full with the spoils of Niger Bad Relevant Artists)—the Delta oil and national pride 17 years legendary collective established in post-independence. It was a time of 1968 on Chicago’s south side with afrobeat musical innovation, of the goal to uplift and celebrate cross-continental exchange, of Black community, culture, and vibrancy and possibility. A contin- self-determination.1 Jae describes gent of 250 artists and cultural the journey as a “traveling party,” a producers selected by artist Jeff veritable who’s who of famous Donaldson and the U.S. organizing Black artists, and recalls thinking, committee, traveled from New York “If the afterlife is like this, then to Lagos, Nigeria, on two planes that’ll be alright!” 2 chartered by the U.S. Department of Foreign Affairs, to participate in Imagine the moment. The outline of FESTAC ’77, the Second World West Africa appears on the distant Black and African Festival of Arts horizon. Excitement mounts as the and Culture. Among them were Jae densely inhabited shorelines and and Wadsworth Jarrell, two of sprawling metropolis of Lagos Donaldson’s fellow co-founders of (pronounced “ley” “goss”) come into view, and even in the air condi- co-founder and curator Gerald Arts6 held in Dakar, Senegal in singer and civil rights activist tioned plane, you can feel the trop- Williams reflected on the cultural 1966 hosted by visionary President Miriam Makeba lovingly known as ical rays as the plane inches closer and creative impact of partici- Léopold Sédar Senghor, FESTAC “Mama Africa,” the awe-inspiring to landing. -
Ascendingranks00vohsrich.Pdf
University of California Berkeley Regional Oral History Office University of California The Bancroft Library Berkeley, California Kaiser Permanente Medical Care Oral History Project James A. Vohs ASCENDING THE RANKS OF MANAGEMENT, KAISER PERMANENTE MEDICAL CARE PROGRAM, 1957-1992 An Interview Conducted by Malca Chall in 1996 and 1997 Copyright C 1999 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 method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well- informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and in 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 James A. Vohs dated October 15, 1997. 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.