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With His Knack for Knowing What Stem Cells Want, Yoshiki Sasai Has Grown an Eye and Parts of a Brain in a Dish
THE BRAINMAKER BY DAVID CYRANOSKI With his knack for knowing what stem cells want, Yoshiki Sasai has grown an eye and parts of a brain in a dish. n December 2010, Robin Ali became suddenly coaxing neural stem cells to grow into elaborate structures. excited by the usually mundane task of reviewing As well as the optic cup1, he has cultivated the delicate tissue a scientific paper. “I was running around my room, layers of the cerebral cortex2 and a rudimentary, hormone- I waving the manuscript,” he recalls. The paper making pituitary gland3. He is now well on the way to growing described how a clump of embryonic stem cells had grown a cerebellum4 — the brain structure that coordinates move- into a rounded goblet of retinal tissue. The structure, called ment and balance. “These papers make for the most addictive an optic cup, forms the back of the eye in a growing embryo. series of stem-cell papers in recent years,” says Luc Leyns, a But this one was in a dish, and videos accompanying the paper stem-cell scientist at the Free University of Brussels. showed the structure slowly sprouting and blossoming. For Sasai’s work is more than tissue engineering: it tackles HANS SAUTTER Ali, an ophthalmologist at University College London who questions that have puzzled developmental biologists for has devoted two decades to repairing vision, the implications decades. How do the proliferating stem cells of an embryo were immediate. “It was clear to me it was a landmark paper,” organize themselves seamlessly into the complex structures he says. -
Art 109 Slide List of Images Section I for the Exam Know the ARTIST, TITLE, STYLE, Location (For Architecture) and Be Able to An
Art 109 Slide List of Images Section I For the exam know the ARTIST, TITLE, STYLE, location (for architecture) and be able to answer a question about the image for quizzes and to write essays. NEOCLASSICISM & ROMANTICISM 1. James McNeill Whistler, Nocturne in Black and Gold: The Falling Rocket, 1875, Early Modernism 2. Jacques-Louis David, The Oath of the Horatii, 1784, oil, Neoclassicism 3. William Blake, Nebuchadnezzar, 1795, Romanticism, color print finished in ink and watercolor on paper. 4. Jean-Auguste-Dominique Ingres, Grande Odalisque, 1814, Neoclassicism/Romanticism oil. 5. Francisco de Goya y Lucientes, This is War (The Disasters of War Series), 1810-11, Romanticism, etching. 6. Eugene Delacroix, The Lion Hunt, 1861, oil, Romanticism. 7. Richard Parkes Bonington, A Scene of the French Coast, 1825, French Landscape. 8. John Constable, The Hay Wain, 1819-21, Romantic Landscape Painting, oil. REALISM 9. Jean-Francois Millet, The Angelus, 1857-9, French Realism, oil on canvas. 10. Honore Daumier, Rue Transnonain, April 15, 1834 (published in L’Association Mensuelle, July 1834, French Realism, lithograph 11. Gustave Courbet, A Burial at Ornans, 1849-50, French Realism, oil on canvas 12. Rosa Bonheur, Ploughing in the Nivernais, 1849, French Realism, oil 13. William Holman Hunt, The Hireling Shepherd, 1851, Pre-Raphaelite, oil 14. Edouard Manet, Dejeuner sur l’herbe (Luncheon on the Grass), 1863, French Realism, oil 15. Winslow Homer, Prisoners from the Front, 1866, American Realism, oil on canvas 16. Thomas Eakins, The Gross Clinic, 1875, American Realism, oil 17. Henry Ossawa Tanner, The Banjo Lesson, 1893, American Realism, oil 18. -
2020 USFWS Conservation History Journal
U.S. Fish & Wildlife Service Conservation History Women in Conservation Volume IV, No. 1 (2020) The mission of the U.S. Fish and Wildlife Service is working with others to conserve, protect, and enhance fish, wildlife, plants, and their habitats for the continuing benefit of the American people. Stay connected with us: U.S. Fish and Wildlife Service History National Conservation Training Center @USFWS History CONSERVATION HISTORY 2020 Contents From the Historian Lucille Stickel: Pioneer Woman in ii Mark Madison, U.S. Fish and Wildlife Service Historian and 37 Conservation Research Founder, Conservation History Matthew C. Perry, Heritage Committee Member, Retired, U.S. Fish and Wildlife Service Whose Stories Are We Missing? iii Maria E. Parisi, Conservation History Editor, Heritage The Legacy and Lessons of Celia Hunter and Partnerships Branch, National Conservation 41 Roger Kaye, Wilderness Coordinator, Alaska Region, Training Center, U.S. Fish and Wildlife Service U.S. Fish and Wildlife Service Women’s History Is Women’s Right “Unremarkable,” Helen Fenske’s Unlikely Legacy 1 Catherine Woodward, Biologist, National Conservation 45 Marilyn Kitchell and Jonathan Rosenberg, Great Swamp Training Center, U.S. Fish and Wildlife Service National Wildlife Refuge, U.S. Fish and Wildlife Service Saving Birds over Tea, Sylvia Earle: A Hero for the Planet 5 Harriet Lawrence Hemenway and Minna B. Hall 49 Pete Leary, National Wildlife Refuge System, Paul Tritaik, Heritage Committee Member, South U.S. Fish and Wildlife Service Atlantic-Gulf and Mississippi Basin Regions, U.S. Fish and Wildlife Service Mollie Beattie: The Service’s First Female Director 53 Dan Ashe, Association of Zoos and Aquariums Through the Opera Glass, Florence Merriam Bailey 9 Paul Tritaik, Heritage Committee Member, South Our Beliefs Matter: The Mamie Parker Journey Atlantic-Gulf and Mississippi Basin Regions, 57 Mamie Parker, Former Northeast Service Regional Director U.S. -
Arctic National Wildlife Refuge: the First 50, a Historic Symposium
Edited by: Steve Chase and Mark Madison 2 Acknowledgments and Sponsors Arctic 50th Historical Special thanks to: Clayton McBride Symposium Planning Team Todd Harless Geoff Haskett, LaVerne Smith, Keith Mantheiy Jay Slack, Director, National and Todd Logan, U.S Fish and Thelma Flynn Conservation Training Center, Wildlife Service, Region 7, Mike Beth Ann Ring U.S. Fish and Wildlife Service Boylan, Richard Voss, Larry Bell Laura Creamer Becky Edgar Steve Chase, Chief, Division of Marca Piehuta Education Outreach, National Georgia Jeppesen Conservation Training Center, Sponsors Dawn Lagrotteria U.S. Fish and Wildlife Service U.S. Fish and Wildlife Service Alicha Burlett Kerrick Reisbig Dr. Mark Madison, Service Historian, National Conservation Gail Testa National Conservation Training Training Center Andrew Weinberg Center, U.S. Fish and Wildlife Service George Krull Arctic National Wildlife Refuge Ben German Jimmy Fox, Region 7, U.S. Tara Lowe Fish and Wildlife Service The Conservation Fund Cynthia Fraula-Hahn David Klinger Maureen Clark, Arctic 50th Voices of the South Shepherd University Department of Coordinator, Region 7, U.S. Contemporary Art and Theater Fish and Wildlife Service Patrick Wallace American Conservation Film Festival Sarah Gannon-Nagle, Strategic And for their efforts and support NCTC ARAMARK Staff Communications Manager, National of this symposium, thanks to: NCTC Raven Services Staff Conservation Training Center, NCTC Security Staff U.S. Fish and Wildlife Service All of our speakers Jay Slack Thelma Flynn, Event Planner, Jim Willis National Conservation Training Kelly Kennedy Center, U.S. Fish and Wildlife Service Rollie Jacobs Beth Stevens Dr. Jim Siegel, National Christine Eustis Conservation Training Center, Karin Christensen U.S. -
Akiko Kiyama Biography
Akiko Kiyama Facebook | SoundCloud info [at] akikokiyama.com Album / Deviation / Nervmusic (NERV008) Album Preview Biography (English) Japanese, Tokyo based, Akiko Kiyama holds a hefty 30 releases including 3 albums to her name on world renowned labels such as Contexterrior, MEAN, Nervmusic and op.disc amongst others. Akiko grew up in Tokyo, Japan with an education dominated by music, a classically trained pianist and guitar player by the age of twelve, she went on to explore and teach herself how to fuse her classic skills with sounds created by electronic equipment. Over the years that followed Akiko fell deeper into dance music, eager to evolve and create electronically manipulated sounds and atmospheres, she began producing in 2002. Akiko’s first works were released in 2004; her debut EP “Dimension” on London’s Sud Electronic received outstanding support from the industry and names such as Richie Hawtin, Sven Vaeth and Ricardo Villalobos. Inspired by such an overwhelming debut Akiko went straight back into the studio, the result of which was her “Like Ancient” track being licensed by M-nus Records and going on to appear on Richie Hawtin’s DE9 Transitions Compilation. Akiko’s sound is a complex pattern of sounds. Raw and industrial, dark and moody, her signature sits firmly within the minimal style, but with harmonic narratives giving shape and structure. It’s rare that a sound so minimal results in something so engrossing, something that sucks you in and keeps you listening intently on what’s going to happen next. Akiko’s tracks feel like stories, captivatingly told through her experimentation with sound. -
Valeska Soares B
National Museum of Women in the Arts Selections from the Collection Large-Print Object Labels As of 8/11/2020 1 Table of Contents Instructions…………………………………………………..3 Rotunda……………………………………………………….4 Long Gallery………………………………………………….5 Great Hall………………….……………………………..….18 Mezzanine and Kasser Board Room…………………...21 Third Floor…………………………………………………..38 2 National Museum of Women in the Arts Selections from the Collection Large-Print Object Labels The large-print guide is ordered presuming you enter the third floor from the passenger elevators and move clockwise around each gallery, unless otherwise noted. 3 Rotunda Loryn Brazier b. 1941 Portrait of Wilhelmina Cole Holladay, 2006 Oil on canvas Gift of the artist 4 Long Gallery Return to Nature Judith Vejvoda b. 1952, Boston; d. 2015, Dixon, New Mexico Garnish Island, Ireland, 2000 Toned silver print National Museum of Women in the Arts, Gift of Susan Fisher Sterling Top: Ruth Bernhard b. 1905, Berlin; d. 2006, San Francisco Apple Tree, 1973 Gelatin silver print National Museum of Women in the Arts, Gift from the Trustees of the Corcoran Gallery of Art (Gift of Sharon Keim) 5 Bottom: Ruth Orkin b. 1921, Boston; d. 1985, New York City Untitled, ca. 1950 Gelatin silver print National Museum of Women in the Arts, Gift of Joel Meyerowitz Mwangi Hutter Ingrid Mwangi, b. 1975, Nairobi; Robert Hutter, b. 1964, Ludwigshafen am Rhein, Germany For the Last Tree, 2012 Chromogenic print National Museum of Women in the Arts, Gift of Tony Podesta Collection Ecological concerns are a frequent theme in the work of artist duo Mwangi Hutter. Having merged names to identify as a single artist, the duo often explores unification 6 of contrasts in their work. -
Double Vision: Woman As Image and Imagemaker
double vision WOMAN AS IMAGE AND IMAGEMAKER Everywhere in the modern world there is neglect, the need to be recognized, which is not satisfied. Art is a way of recognizing oneself, which is why it will always be modern. -------------- Louise Bourgeois HOBART AND WILLIAM SMITH COLLEGES The Davis Gallery at Houghton House Sarai Sherman (American, 1922-) Pas de Deux Electrique, 1950-55 Oil on canvas Double Vision: Women’s Studies directly through the classes of its Woman as Image and Imagemaker art history faculty members. In honor of the fortieth anniversary of Women’s The Collection of Hobart and William Smith Colleges Studies at Hobart and William Smith Colleges, contains many works by women artists, only a few this exhibition shows a selection of artworks by of which are included in this exhibition. The earliest women depicting women from The Collections of the work in our collection by a woman is an 1896 Colleges. The selection of works played off the title etching, You Bleed from Many Wounds, O People, Double Vision: the vision of the women artists and the by Käthe Kollwitz (a gift of Elena Ciletti, Professor of vision of the women they depicted. This conjunction Art History). The latest work in the collection as of this of women artists and depicted women continues date is a 2012 woodcut, Glacial Moment, by Karen through the subtitle: woman as image (woman Kunc (a presentation of the Rochester Print Club). depicted as subject) and woman as imagemaker And we must also remember that often “anonymous (woman as artist). Ranging from a work by Mary was a woman.” Cassatt from the early twentieth century to one by Kara Walker from the early twenty-first century, we I want to take this opportunity to dedicate this see depictions of mothers and children, mythological exhibition and its catalog to the many women and figures, political criticism, abstract figures, and men who have fostered art and feminism for over portraits, ranging in styles from Impressionism to forty years at Hobart and William Smith Colleges New Realism and beyond. -
An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru
Flute Repertoire from Japan: An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru Hayashi, and Akira Tamba D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Daniel Ryan Gallagher, M.M. Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee: Professor Katherine Borst Jones, Advisor Dr. Arved Ashby Dr. Caroline Hartig Professor Karen Pierson 1 Copyrighted by Daniel Ryan Gallagher 2019 2 Abstract Despite the significant number of compositions by influential Japanese composers, Japanese flute repertoire remains largely unknown outside of Japan. Apart from standard unaccompanied works by Tōru Takemitsu and Kazuo Fukushima, other Japanese flute compositions have yet to establish a permanent place in the standard flute repertoire. The purpose of this document is to broaden awareness of Japanese flute compositions through the discussion, analysis, and evaluation of substantial flute sonatas by three important Japanese composers: Ikuma Dan (1924-2001), Hikaru Hayashi (1931- 2012), and Akira Tamba (b. 1932). A brief history of traditional Japanese flute music, a summary of Western influences in Japan’s musical development, and an overview of major Japanese flute compositions are included to provide historical and musical context for the composers and works in this document. Discussions on each composer’s background, flute works, and compositional style inform the following flute sonata analyses, which reveal the unique musical language and characteristics that qualify each work for inclusion in the standard flute repertoire. These analyses intend to increase awareness and performance of other Japanese flute compositions specifically and lesser- known repertoire generally. -
Friday, July 30, 2010 9:57:00 AM Update
July 30 - August 1, 2010 Baltimore Convention Center Baltimore, Maryland, USA Close This Window Back to main site SHOW ALL DAYS Friday, July 30, 2010 Saturday, July 31, 2010 Sunday, August 1, 2010 Filter by Track/Location: Show ALL Tracks/Locations | Clear All Filters Friday, July 30, 2010 9:57:00 AM 8:00 AM 9:00 AM 10:00 AM 11:00 AM 12:00 PM 1:00 PM 2:00 PM 3:00 PM 4:00 PM 5:00 PM 6:00 PM 7:00 PM 8:00 PM 9:00 PM 10:00 PM 11:00 PM 12:00 AM 1:00 AM 2:00 AM Main Events Concert - Yoshid... Arena Masquerade Registration Video 1 Ah My Buddha La Corda D'Oro P... AMV Overflow Eureka 7: Good Night, Sleep Tigh... AMV Contest Skullman 1-6 Vampire Girl vs. Frankenstein Gi... Urotsukidoji: Legend of the Over... Video 2 Sands of Destruction Gakuen Alice Ikkitousen: Dragon Destiny 1-2 Bamboo Blade 1-4 [S] Utawarerumono 1-... Murder Princess 1-6 [S] Master of Martial Hearts 1-5 [18+] Junjo Romantica Season 1 DVD Col... Cleavage [18+] Video 3 Otaku no Video [S] Yawara! 15-21 [S] Galaxy Express 999 TV 5-8 Masked Rider: The First [S] Dairugger XV 1-6 [S] Cyborg 009: Monster Wars Dragon Ball 53-58 [S] Video 4 Afghan Star [L] Taxi Hunter [L] V3 Samseng Jalanan [L] Paku Kuntilanak... The Kid With the Golden... Power Kids [L] Seven Days [L] Hard Revenge Milly: Bloody Battle Ac... Art of the Devil 3 [L][1.. -
Raeburn : English School
NOVEMBER, 1905 RAEBURN PRICE, 15 CENTS anxa 84-B 5530 Jjpueiniipntljlu. RAEBURN J3atK^anO*<iuU&C[ompany, Xtybligfjerg 42<H)auncji^treEt MASTERS IN ART A SERIES OF ILLUSTRATED MONOGRAPHS: ISSUED MONTHLY PART 71 NOVEMBER, 1905 VOLUME 6 a 1 1 u t* 1X CONTENTS Plate I. Portrait of Mrs. Strachan Worcester Art Museum, Worcester, Mass. Plate II. Portrait of Lord Newton National Gallery of Scotland, Edinburgh Plate III. Mrs. Ferguson and Children Owned by R. C. Munroe-Ferguson, Esq. Plate IV. Portrait of Sir Walter Scott Collection of the Earl of Home Plate V. Portrait of Sir John Sinclair Owned by Sir Tollemache Sinclair Plate VI. Portrait of Mrs. Campbell of Balliemore National Gallery of Scotland, Edinburgh Plate VII. Portrait of John Wauchope National Gallery of Scotland, Edinburgh Plate VIII. Portrait of Mrs. Scott-Moncrieff National Gallery of Scotland, Edinburgh Plate IX. Portrait of James Wardrop of Torbanehill Owned by Mrs. Shirley Plate X. The Macnab Owned by Hon. Mrs. Baillie Hamilton Portrait of Raeburn by Himself : Owned by Lord Tweedmouth Page 22 The Life of Raeburn Page 23 ’ Abridged from Edward Pinnington's ‘ Sir Henry Raeburn The Art of Raeburn Page 30 Criticisms by Armstrong, Pinnington, Brown, Van Dyke, Cole, Muther, Stevenson The Works of Raeburn : Descriptions of the Plates and a List of Paintings Page 36 Raeburn Bibliography Page 42 Photo-angravings by C. J. Ptttrs Son: Boston. Prass-work by tht Evantt Prass : Boston complata pravious ba ba consultad library A indax for numbars will found in tba Rtadar's Guida to Pariodical Litaratura , which may in any PUBLISHERS’ ANNOUNCEMENTS SUBSCRIPTIONS: Yearly subscription, commencing with any number of the 1905 volume, $1.50, payable in advance, postpaid to any address in the United States or Canada. -
The Domestication of History in American Art: 1848-1876
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1998 The domestication of history in American art: 1848-1876 Jochen Wierich College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons, History of Art, Architecture, and Archaeology Commons, and the United States History Commons Recommended Citation Wierich, Jochen, "The domestication of history in American art: 1848-1876" (1998). Dissertations, Theses, and Masters Projects. Paper 1539623945. https://dx.doi.org/doi:10.21220/s2-qc92-2y94 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm 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 the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
The Art of the Metropolitan Museum of New York
tCbe Hrt of tbe flftetiopoUtan fIDuseum 3Bg tbe Same Butbor 2L XTbe art of tbe IRetberlanb (Balleriea Being a History of the Dutch School of Painting Illuminated and Demonstrated by Critical Descriptions of the Great Paintings in the many Galleries With 48 Illustrations. Price, $2.00 net £ L. C. PAGE & COMPANY New England Building, Boston, Mass. GIBBS - C HANNING PORTRAIT OF GEORGE WASHINGTON. By Gilbert Stuart. (See page 287) fje gtrt of iWetcopolitany 3*1 it scnut of 3Ul” Motfe & Giving a descriptive and critical account of its treasures, which represent the arts and crafts from remote antiquity to the present time. ^ By David C. Preyer, M. A. Author of “ The Art of the Netherland Galleries,” etc. Illustrated Boston L. C. Page & Company MDCCCC1 X Copyright, 1909 By L. C. Page & Company (incorporated) All rights reservea First Impression, November, 1909 Electrotyped and Printed at THE COLONIAL PRESS C.H . Simonas Sr Co., Boston U.S.A. , preface A visit to a museum with a guide book is not inspiring. Works of art when viewed should con- vey their own message, and leave their own im- pression. And yet, the deeper this impression, the more inspiring this message, the more anxious we will be for some further information than that conveyed by the attached tablet, or the catalogue reference. The aim of this book is to gratify this desire, to enable us to have a better understanding of the works of art exhibited in the Metropolitan Museum, to point out their corelation, and thus increase our appreciation of the treasures we have seen and admired.