DOCSLIB.ORG

Erie Art Museum Collection 10/04/2018

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Erie Art Museum Collection 10/04/2018 Object ID 1982.260.0059a-i Date Object ID 1984.017 Date Artist Artist Title Nick fury Agent of S.H.I.E.L.D / X-Men Title Bowl Dimensions (in.) H0.000 W 0.000 D 0.000 Dimensions (in.) H3.000 W 0.000 D 0.000 Medium offset lithograph Medium porcelain and light blue glaze Credit Museum Purchase Credit Gift of Mr. Mark R. Zine Object ID 1982.260.0063a-j Date Object ID 1985.002 Date Artist Artist Title In Deep Title Weller Pitcher Dimensions (in.) H0.000 W 0.000 D 0.000 Dimensions (in.) H10.250 W 0.000 D 0.000 Medium offset lithograph Medium porcelain and glaze Credit Museum Purchase Credit Museum Purchase Object ID 1982.268 Date Object ID 1985.033.0039 Date19th century Artist Artist Title Untitled Title Outlying Picket of the Highland Brigade Dimensions (in.) H5.500 W 5.000 D 4.000 Dimensions (in.) H5.500 W 7.500 D 0.000 Medium earthenware Medium Hand-colored etching on machine made wove Credit Gift of Ed Wheeler Credit Anonymous Gift Object ID 1984.002.0006 Date Artist Object ID 1985.033.0045 Date19th century Title Hudson Bird Vase Artist Title Mode of Fighting in the Navigator's Dimensions (in.) H8.250 W 0.000 D 0.000 Islands Medium Glazed earthenware Dimensions (in.) H6.750 W 10.000 D 0.000 Credit Museum Purchase Medium Etching on wove Machinemade paper Credit Anonymous Gift Object ID 1984.011.0003 Date Artist Object ID 1985.033.0107 Datec. 1800 Title Photo reproduction Artist Title Various Methods for Executing and Dimensions (in.) H0.000 W 0.000 D 0.000 Torturing Criminals in the Island Medium Dimensions (in.) H10.500 W 5.750 D 0.000 Credit Gift of Margaret Aslanian Medium Etching on wove Credit Anonymous Gift Object ID 1984.011.0013 Date Artist Title Untitled? Dimensions (in.) H0.000 W 0.000 D 0.000 Medium Oil on panel Credit Gift of Margaret Aslanian Page 1 Object ID 1985.033.0108 Date17th century Object ID 1985.033.0120 Datelate 18th century Artist Artist Title Georgio Clerke De Wattford in Comitatu Title Carvise a Carpenters Boy, Schult a Northampton Needle, etc... Dimensions (in.) H0.000 W 0.000 D 0.000 Dimensions (in.) H0.000 W 0.000 D 0.000 Medium Etching on laid Medium Etching Credit Anonymous Gift Credit Anonymous Gift Object ID 1985.033.0112 Date19th century Object ID 1985.033.0121 Date18th century Artist Artist Title Execution of an Indian Captive Title L'inititiation des Jeunes Gens receus au rang des Hommes Dimensions (in.) H4.000 W 6.500 D 0.000 Dimensions (in.) H5.750 W 6.750 D 0.000 Medium Wood engraving, hand colored Medium Engraving Credit Anonymous Gift Credit Anonymous Gift Object ID 1985.033.0113 Date Object ID 1985.033.0125 Date19th century Artist Artist Title Igne greges Iobo natos perÿfse ruina, Title Massacre of English Officers and Their Hoftili pecudes agmine fama refert. Wives at Jhansi Dimensions (in.) H8.500 W 10.250 D 0.000 Dimensions (in.) H5.500 W 7.250 D 0.000 Medium Intaglio Medium Intaglio - etching and engraving Credit Anonymous Gift Credit Anonymous Gift Object ID 1985.033.0116 Datecirca 1600 Object ID 1985.033.0126 Date1860 Artist Artist Title Snairs Title Capture of the Bastille Dimensions (in.) H6.250 W 8.750 D 0.000 Dimensions (in.) H11.000 W 6.500 D 0.000 Medium Engraving on laid paper Medium Etching, woodcut Credit Anonymous Gift Credit Anonymous Gift Object ID 1985.033.0118 Date1807 Object ID 1985.033.0132 Datelate 19th century Artist Artist Title Nos 1.2.4. Various methods of torturing. Title Mercury No 3 see Basil p. 104. No 5 Marcus p. Dimensions (in.) H7.500 W 4.250 D 0.000 Dimensions (in.) H10.500 W 6.000 D 0.000 Medium Engraving Medium Etching Credit Anonymous Gift Credit Anonymous Gift Object ID 1985.033.0119 Date1807 Object ID 1985.033.0133 Datelate 18th century Artist Artist Title Various Punishments of the Primitive Title Crimes and Punishments? Martyrs Dimensions (in.) H7.500 W 4.250 D 0.000 Dimensions (in.) H5.000 W 5.250 D 0.000 Medium Engraving Medium pen, ink, color wash Credit Anonymous Gift Credit Anonymous Gift Page 2 Object ID 1985.033.0136 Date18th century Object ID 1987.007.0004 Date4/1905 Artist Artist Title untitled Title The House Beautiful Dimensions (in.) H4.250 W 6.000 D 0.000 Dimensions (in.) H0.000 W 0.000 D 0.000 Medium Etching on laid Medium Magazine Credit Anonymous Gift Credit Museum purchase from Gladys Alcorn Object ID 1985.033.0141 Date18th century Object ID 1987.007.0005 Date3/1911 Artist Artist Title untitled Title The House Beautiful Dimensions (in.) H4.250 W 5.750 D 0.000 Dimensions (in.) H0.000 W 0.000 D 0.000 Medium Etching Medium Magazine Credit Anonymous Gift Credit Museum purchase from Gladys Alcorn Object ID 1986.019.0058 Date Object ID 1987.007.0006 Date8/1911 Artist Artist Title Title The House Beautiful Dimensions (in.) H0.000 W 0.000 D 0.000 Dimensions (in.) H0.000 W 0.000 D 0.000 Medium Medium Magazine Credit Credit Museum purchase from Gladys Alcorn Object ID 1987.007.0001 Date1/1902 Object ID 1987.007.0007 Date12/1905 Artist Artist Title Country Life in America Title The House Beautiful Dimensions (in.) H0.000 W 0.000 D 0.000 Dimensions (in.) H0.000 W 0.000 D 0.000 Medium Magazine Medium Magazine Credit Museum purchase from Gladys Alcorn Credit Museum purchase from Gladys Alcorn Object ID 1987.007.0002 Date2/1906 Object ID 1987.007.0008 Date11/1911 Artist Artist Title The House Beautiful Title The House Beautiful Dimensions (in.) H0.000 W 0.000 D 0.000 Dimensions (in.) H0.000 W 0.000 D 0.000 Medium Magazine Medium Magazine Credit Museum purchase from Gladys Alcorn Credit Museum purchase from Gladys Alcorn Object ID 1987.007.0003 Date3/1908 Object ID 1987.007.0009 Date6/1904 Artist Artist Title The House Beautiful Title The House Beautiful Dimensions (in.) H0.000 W 0.000 D 0.000 Dimensions (in.) H0.000 W 0.000 D 0.000 Medium Magazine Medium Magazine Credit Museum purchase from Gladys Alcorn Credit Museum purchase from Gladys Alcorn Page 3 Object ID 1987.007.0010 Date10/1911 Object ID 1987.007.0016 Date Artist Artist Title The House Beautiful Title The House Beautiful Dimensions (in.) H0.000 W 0.000 D 0.000 Dimensions (in.) H0.000 W 0.000 D 0.000 Medium Magazine Medium Magazine Credit Museum purchase from Gladys Alcorn Credit Museum purchase from Gladys Alcorn Object ID 1987.007.0011 Date7/1911 Object ID 1988.028.0043 Date1900 Artist Artist Title The House Beautiful Title Birds and All Nature in Natural Colors Volumes VII-IIX Dimensions (in.) H0.000 W 0.000 D 0.000 Dimensions (in.) H0.000 W 0.000 D 0.000 Medium Magazine Medium Credit Museum purchase from Gladys Alcorn Credit Gift by Transfer from Erie Historical Museum Object ID 1987.007.0012 Date11/1904 Artist Object ID 1988.028.0044 Date1901 Title The House Beautiful Artist Title Birds and All Nature in Natural Colors Dimensions (in.) H0.000 W 0.000 D 0.000 Volumes IX-X Medium Magazine Dimensions (in.) H0.000 W 0.000 D 0.000 Credit Museum purchase from Gladys Alcorn Medium Credit Gift by Transfer from Erie Historical Object ID 1987.007.0013 Date4/1905 Museum Artist Title The House Beautiful Object ID 1988.028.0045 Date Artist Dimensions (in.) H0.000 W 0.000 D 0.000 Title Birds and All Nature in Natural Colors Volumes VIII Medium Magazine Dimensions (in.) H0.000 W 0.000 D 0.000 Credit Museum purchase from Gladys Alcorn Medium Object ID 1987.007.0014 Date3/1905 Credit Gift by Transfer from Erie Historical Artist Museum Title The House Beautiful Object ID 1988.028.0048 Date1875 Dimensions (in.) H0.000 W 0.000 D 0.000 Artist Medium Magazine Title Picturesque Europe Volume I Credit Museum purchase from Gladys Alcorn Dimensions (in.) H0.000 W 0.000 D 0.000 Object ID 1987.007.0015 Date2/1911 Medium Artist Credit Gift by Transfer from Erie Historical Title The House Beautiful Museum Dimensions (in.) H0.000 W 0.000 D 0.000 Medium Magazine Credit Museum purchase from Gladys Alcorn Page 4 Object ID 1988.028.0049 Date1879 Object ID 1988.028.0056 Date Artist Artist Title Picturesque Europe Volume 3 Title Art Treasures of the Metropolitan Dimensions (in.) H0.000 W 0.000 D 0.000 Dimensions (in.) H0.000 W 0.000 D 0.000 Medium Medium Credit Gift by Transfer from Erie Historical Credit Gift by Transfer from Erie Historical Museum Museum Object ID 1988.028.0051 Date Object ID 1988.028.0057 Date Artist Artist Title The Table Book of Art 1880 Title Modern American Paintings Dimensions (in.) H0.000 W 0.000 D 0.000 Dimensions (in.) H0.000 W 0.000 D 0.000 Medium Medium Credit Gift by Transfer from Erie Historical Credit Gift by Transfer from Erie Historical Museum Museum Object ID 1988.028.0052 Date1878 Object ID 1988.028.0058 Date Artist Artist Title The Table Book of Art: A History of Art Title Great Paintings in America Dimensions (in.) H0.000 W 0.000 D 0.000 Dimensions (in.) H0.000 W 0.000 D 0.000 Medium Medium Credit Gift by Transfer from Erie Historical Credit Gift by Transfer from Erie Historical Museum Museum Object ID 1988.028.0054 Date Object ID 1988.028.0059 Date1897 Artist Artist Title Modern Masters of Etchings Volume 13 Title Japan - Section V Dimensions (in.) H0.000 W 0.000 D 0.000 Dimensions (in.) H0.000 W 0.000 D 0.000 Medium Medium Credit Gift by Transfer from Erie Historical Credit Gift by Transfer from Erie Historical Museum Museum Object ID 1988.028.0055 Date Object ID 1988.028.0060 Date1897 Artist Artist Title Modern Masters of Etchings Volume 2 Title Japan - Section VII James McBey Dimensions (in.) H0.000 W 0.000 D 0.000 Dimensions (in.) H0.000 W 0.000 D 0.000 Medium Medium Credit Gift by Transfer from Erie Historical Credit Gift by Transfer from Erie Historical Museum Museum Page 5 Object ID 1988.028.0061 Date Object ID 1988.028.0066
Recommended publications
  • Not for Kids Only: a History of Surveillance Through Comic Book Images

    Not for Kids Only: a History of Surveillance Through Comic Book Images

    Not For Kids Only: A History of Surveillance Through Comic Book Images Gary T. Marx I am here to fight for truth, justice and the American way. —Superman 1978 It's too bad for us "literary" enthusiasts, but it's the truth nevertheless—pictures tell any story more effectively than words. —W. M. Moulton (creator of Wonder Woman, and pioneer polygrapher) In Guernica Picasso expresses the tragedy that is taking place without showing piles of bloody flesh. The import- tant thing in art is after all to transpose reality into an image which is sufficiently enthralling and meaningful so that the viewer gets an even better grasp of that reality. —Jacques Ellul1 Gary T. Marx received his PhD from the University of California, Berkeley. He has held positions there and at Harvard and the University of Colorado. He is Professor Emeritus MIT and the author of Protest and Prejudice (1967); Undercover: Police Surveillance in America (1988); Undercover: Police Surveillance in Comparative Perspective (with C.J. Fijnaut 1995); Windows into the Soul: Surveillance and Society in an Age of High Technology (2017) and articles in the scholarly and popular press. He is rooted in the sociology of knowledge and in the centrality of reflexivity, but with the firm conviction that there are transcendent truths to pursue and fight for. Figuring them out is what it is all about. Additional information is at www.garymarx.net . Ivan Greenberg, illustrated by Everett Patterson and Joseph Canias, forward by Ralph Nader: The Machine Never Blinks A Graphic History of Spying and Surveillance Fantagraphics, Seattle, Wa., 2020, 132 p., $22.99 I grew up with Classic Comic Books and might even have used them as a cheat sheet for books I was supposed to have read.
  • Hanszen Freshman Hospitalized in Alcohol Incident Freshman Reported Hazy Memory

    Hanszen Freshman Hospitalized in Alcohol Incident Freshman Reported Hazy Memory

    VOLUME 79, NO. 7 ERIK LEIDAL IN A BOX OCTOBER 4,1991 Events set Hanszen freshman hospitalized in alcohol incident freshman reported hazy memory. guardian's consent to treat the mi- Rice. for music by Rodney Gibbs According to roommates, the fresh- nor. The father was eventually In the past, the University has man returned to the party and con- reached and arrived at the hospital at not intervened in parties held be- A Hanszen College freshman sumed ten additional shots. the same time as Waldman. hind close doors to enforce alcohol school's was taken to Park Plaza hospital As the freshman's condition After approximately two hours in policy regulations. Whether clas- Tuesday, September 24, after worsened, the roommates unsuc- thehospital,thefreshmanwenthome sified as a public or private party, drinking sixteen shots of straight cessfully attempted to induce vomit- with the father. alcohol policy violations are evi- big debut tequila at Hanszen's traditional Te- ing. A party co-host, a trained drunk- dent quila Night' room party. The sitter, and friends subsequently came Reactions to the Party "There's little doubt this is a by Michelle Price freshman, released to family later to the freshman's room after hearing violation in [the alcohol policy]," that night, registered a blood alco- about the intoxication level After de- Waldman and the father both ex- said Stebbings. hol level of 0.25 and a blood-oxygen liberation and at the advice of the pressed disbelief at the occurrence Waldman said that Tequila Rice University President George percentage of 82% Legal intoxica- drunk sitter, the friends and room- of such an event Night' crossed the line from a pri- Rupp, Shepherd School Dean tion is 0.1 blood alcohol level and mates notified the campus police and Waldman stated, "It's pathetic that vate to apublic party at the moment Michael Hammond, and a represen- brain damage may begin at a blood- left for the emergency room.
  • John Frusciante (Red Hot Chili Peppers) Californication Tour Rig

    John Frusciante (Red Hot Chili Peppers) Californication Tour Rig

    www.customtone.com John Frusciante (Red Hot Chili Peppers) Californication Tour Rig Original Guitar Used: Pre-CBS Fender® Strat® Variax Setting: Spank - Various Tuning: Various Brit J ®! Boss®! Electro-! MXR®! Ibanez®! Boss ® DS-2! Harmonix ! Phase 90! WH-10! CE-1 ! Marshall® model 1967! Marshall® model 2555! Big Muff®! Marshall® 412 cab! Marshall® 412 cab! This informa,on is provided for educa,onal purposes only and does not imply endorsement or approval from any person or en,ty. All product names used hereon are trademarks of their respec,ve owners, which are in no way associated or affiliated with Line 6. Fender and Strat are registered trademarks of Fender Musical Instruments Corp. Boss is a registered trademarks of Roland Corp. Electro-Harmonix and Big Muff are registered trademarks of New Sensor Corp. MXR is a registered trademark of Dunlop Manufacturing, Inc. Ibanez is a registered trademark of Hoshino Gakki Co. Ltd. Marshall is a registered trademark of Marshall Amplifica,on Plc. www.customtone.com John Frusciante (Red Hot Chili Peppers) Otherside Original Guitar: Gretsch® White Falcon Variax Setting: R-Billy 1 Tuning: Standard: E-A-D-G-B-E BASS Boss®! Fender® Showman®! DS-1! (2) Marshall® 412 Cabs! This informa,on is provided for educa,onal purposes only and does not imply endorsement or approval from any person or en,ty. All product names used hereon are trademarks of their respec,ve owners, which are in no way associated or affiliated with Line 6. Gretsch is a registered trademark of Fred W. Gretsch Enterprises, Ltd. Boss is a registered trademark of Roland Corp.
  • A Visual-Textual Analysis of Sarah Glidden's

    A Visual-Textual Analysis of Sarah Glidden's

    BLACKOUTS MADE VISIBLE: A VISUAL-TEXTUAL ANALYSIS OF SARAH GLIDDEN’S COMICS JOURNALISM _______________________________________ A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia _______________________________________________________ In Partial FulfillMent of the RequireMents for the Degree Master of Arts _____________________________________________________ by TYNAN STEWART Dr. Berkley Hudson, Thesis Supervisor DECEMBER 2019 The undersigned, appointed by the dean of the Graduate School, have exaMined the thesis entitleD BLACKOUTS MADE VISIBLE: A VISUAL-TEXTUAL ANALYSIS OF SARAH GLIDDEN’S COMICS JOURNALISM presented by Tynan Stewart, a candidate for the degree of master of arts, and hereby certify that, in their opinion, it is worthy of acceptance. —————————————————————————— Dr. Berkley Hudson —————————————————————————— Dr. Cristina Mislán —————————————————————————— Dr. Ryan Thomas —————————————————————————— Dr. Kristin Schwain DEDICATION For my parents ACKNOWLEDGEMENTS My naMe is at the top of this thesis, but only because of the goodwill and generosity of many, many others. Some of those naMed here never saw a word of my research but were still vital to My broader journalistic education. My first thank you goes to my chair, Berkley Hudson, for his exceptional patience and gracious wisdom over the past year. Next, I extend an enormous thanks to my comMittee meMbers, Cristina Mislán, Kristin Schwain, and Ryan Thomas, for their insights and their tiMe. This thesis would be so much less without My comMittee’s efforts on my behalf. TiM Vos also deserves recognition here for helping Me narrow my initial aMbitions and set the direction this study would eventually take. The Missourian newsroom has been an all-consuming presence in my life for the past two and a half years.
  • The Practical Use of Comics by TESOL Professionals By

    The Practical Use of Comics by TESOL Professionals By

    Comics Aren’t Just For Fun Anymore: The Practical Use of Comics by TESOL Professionals by David Recine A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in TESOL _________________________________________ Adviser Date _________________________________________ Graduate Committee Member Date _________________________________________ Graduate Committee Member Date University of Wisconsin-River Falls 2013 Comics, in the form of comic strips, comic books, and single panel cartoons are ubiquitous in classroom materials for teaching English to speakers of other languages (TESOL). While comics material is widely accepted as a teaching aid in TESOL, there is relatively little research into why comics are popular as a teaching instrument and how the effectiveness of comics can be maximized in TESOL. This thesis is designed to bridge the gap between conventional wisdom on the use of comics in ESL/EFL instruction and research related to visual aids in learning and language acquisition. The hidden science behind comics use in TESOL is examined to reveal the nature of comics, the psychological impact of the medium on learners, the qualities that make some comics more educational than others, and the most empirically sound ways to use comics in education. The definition of the comics medium itself is explored; characterizations of comics created by TESOL professionals, comic scholars, and psychologists are indexed and analyzed. This definition is followed by a look at the current role of comics in society at large, the teaching community in general, and TESOL specifically. From there, this paper explores the psycholinguistic concepts of construction of meaning and the language faculty.
  • Nashville Daily Union, April-July 1862 Vicki Betts University of Texas at Tyler, Vbetts@Uttyler.Edu

    Nashville Daily Union, April-July 1862 Vicki Betts University of Texas at Tyler, [email protected]

    University of Texas at Tyler Scholar Works at UT Tyler By Title Civil War Newspapers 2016 Nashville Daily Union, April-July 1862 Vicki Betts University of Texas at Tyler, [email protected] Follow this and additional works at: https://scholarworks.uttyler.edu/cw_newstitles Recommended Citation Betts, ickV i, "Nashville Daily Union, April-July 1862" (2016). By Title. Paper 101. http://hdl.handle.net/10950/738 This Article is brought to you for free and open access by the Civil War Newspapers at Scholar Works at UT Tyler. It has been accepted for inclusion in By Title by an authorized administrator of Scholar Works at UT Tyler. For more information, please contact [email protected]. NASHVILLE DAILY UNION April 13, 1862-July 31, 1862 NASHVILLE DAILY UNION, April 13, 1862, p. 3, c. 2 Remember—that at the Capitol Bakery, Restaurant and Family Grocery, 18 Cedar Street, Tennessee money is taken at par for Bread, family groceries of all descriptions, the best in the world. Everything in the eating line got up in the best style by one of the best cooks in the world. Ice Cream—that is, the ne plus ultra of this delightful luxury—fresh trout, choice Butter, superfine flour, at prices as low down as if you paid Gold. April 8—1w. NASHVILLE DAILY UNION, April 13, 1862, p. 3, c. 6 Union Feeling in Tennessee.—An officer of Col. Pope's Fifteenth Kentucky Regiment, writing to his brother in this city and describing its entrance into the town of Shelbyville, Bedford county, Tenn., gives the following glowing and cheering account of the loyalty of the inhabitants.—Louisville Journal.
  • The Dialogue of Craft and Architecture

    The Dialogue of Craft and Architecture

    University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses Dissertations and Theses July 2015 The Dialogue of Craft and Architecture Thomas J. Forker University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/masters_theses_2 Part of the Architectural Technology Commons, and the Cultural Resource Management and Policy Analysis Commons Recommended Citation Forker, Thomas J., "The Dialogue of Craft and Architecture" (2015). Masters Theses. 197. https://doi.org/10.7275/7044176 https://scholarworks.umass.edu/masters_theses_2/197 This Open Access Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. THE DIALOGUE OF CRAFT AND ARCHITECTURE A Thesis Presented by THOMAS J. FORKER Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF ARCHITECTURE MAY 2015 DEPARTMENT OF ARCHITECTURE THE DIALOGUE OF CRAFT AND ARCHITECTURE A Thesis Presented by THOMAS J. FORKER Approved as to style and content by: ___________________________ Kathleen Lugosch, Chair ___________________________ Ray Mann, Associate Professor ____________________ Professor Kathleen Lugosch Graduate Program Director Department of Architecture ____________________ Professor Stephen Schreiber Chair Department of Architecture DEDICATION This thesis is dedicated to my parents, for their love and support. ACKNOWLEDGMENTS I would like to thank my professors Kathleen Lugosch and Ray Mann. They have been forthright with their knowledge, understanding, and dedicated in their endeavor to work with the students in the department and in the pursuit of a masters of architecture degree with spirit and meaning.
  • Sunshine Superman (C7)(PDF)

    Sunshine Superman (C7)(PDF)

    Sunshine Superman Donovan 1966 or best or INTRO: / 1 2 3 4 / [C7] / [C7] / [C7] / [C7] / [C7] Sunshine came softly a-through my, a-window today [C7] Could've tripped out easy a-but I've, I’ve changed my ways [F] It'll take time I know it, but in a while [C7] You're gonna be mine and I know it, we'll do it in style [G7] ‘Cause I made my mind up you're [F] going to be mine I'll tell you right [C7] now, any trick in the book a-now baby [C7] All that I can find [C7] Everybody's hustlin' just to, have a little scene [C7] When I say we'll be cool I think that, you know what I mean [F] We stood on a beach at sunset, do you remember when? [C7] I know a beach where baby, a-it never ends [G7] When you've made your mind up, for-[F]ever to be mine Mmm-mmm-mmm-[C7] mmm, I'll pick up your hand and slowly [C7] Blow your little mind [G7] ‘Cause I made my mind up you're [F] going to be mine I'll tell you right [C7] now, any trick in the book a-now baby [C7] All that I can find [C7] Superman or Green Lantern ain't got, a-nothin' on me [C7] I can make like a turtle and dive for, your pearls in the sea, yup! [F] I'll give you, you can just sit there a-thinkin', on your velvet throne [C7] About all the rainbows a-you can, a-have for your own [G7] When you've made your mind up, for-[F]ever to be mine Mmm-mmm-mmm-[C7] mmm, I'll pick up your hand and slowly [C7] Blow your little mind [G7] When you've made your mind up, for-[F]ever to be mine I'll pick up your [C7] hand, I'll pick up your hand and slowly [C7] Blow your little mind [G7] When you've made your mind up, for-[F]ever to be mine [C7] www.bytownukulele.ca .
  • 30Th ANNIVERSARY 30Th ANNIVERSARY

    30Th ANNIVERSARY 30Th ANNIVERSARY

    July 2019 No.113 COMICS’ BRONZE AGE AND BEYOND! $8.95 ™ Movie 30th ANNIVERSARY ISSUE 7 with special guests MICHAEL USLAN • 7 7 3 SAM HAMM • BILLY DEE WILLIAMS 0 0 8 5 6 1989: DC Comics’ Year of the Bat • DENNY O’NEIL & JERRY ORDWAY’s Batman Adaptation • 2 8 MINDY NEWELL’s Catwoman • GRANT MORRISON & DAVE McKEAN’s Arkham Asylum • 1 Batman TM & © DC Comics. All Rights Reserved. JOEY CAVALIERI & JOE STATON’S Huntress • MAX ALLAN COLLINS’ Batman Newspaper Strip Volume 1, Number 113 July 2019 EDITOR-IN-CHIEF Comics’ Bronze Age and Beyond! Michael Eury TM PUBLISHER John Morrow DESIGNER Rich Fowlks COVER ARTIST José Luis García-López COVER COLORIST Glenn Whitmore COVER DESIGNER Michael Kronenberg PROOFREADER Rob Smentek IN MEMORIAM: Norm Breyfogle . 2 SPECIAL THANKS BACK SEAT DRIVER: Editorial by Michael Eury . 3 Karen Berger Arthur Nowrot Keith Birdsong Dennis O’Neil OFF MY CHEST: Guest column by Michael Uslan . 4 Brian Bolland Jerry Ordway It’s the 40th anniversary of the Batman movie that’s turning 30?? Dr. Uslan explains Marc Buxton Jon Pinto Greg Carpenter Janina Scarlet INTERVIEW: Michael Uslan, The Boy Who Loved Batman . 6 Dewey Cassell Jim Starlin A look back at Batman’s path to a multiplex near you Michał Chudolinski Joe Staton Max Allan Collins Joe Stuber INTERVIEW: Sam Hamm, The Man Who Made Bruce Wayne Sane . 11 DC Comics John Trumbull A candid conversation with the Batman screenwriter-turned-comic scribe Kevin Dooley Michael Uslan Mike Gold Warner Bros. INTERVIEW: Billy Dee Williams, The Man Who Would be Two-Face .
  • Mellow Yellow [Verse 1] I'm Just Mad About Saffron

    Mellow Yellow [Verse 1] I'm Just Mad About Saffron

    Mellow Yellow (Donovan) [Verse 1] If you want your cup our fill I'm just mad about Saffron Saffron's mad about me [Hook] I'm just mad about Saffron She's just mad about me (So mellow, he's so yellow) [Hook] [Verse 4] They call me mellow yellow Electrical banana (Quite rightly) Is gonna be a sudden craze They call me mellow yellow Electrical banana (Quite rightly) Is bound to be the very next They call me mellow yellow phase [Verse 2] [Hook] I'm just mad about Fourteen Fourteen's mad about me [Verse 5] I'm just mad about Fourteen Saffron -- yeah She's just mad about me I'm just mad about her I'm just mad about Saffron [Hook] She's just mad about me [Verse 3] [Hook] Born high forever to fly Wind velocity nil (Oh so yellow, oh so mellow) Wanna high forever to fly 145 "Mellow Yellow" is a song written and recorded by Scottish singer-songwriter Donovan. It reached No. 2 on the US Billboard Hot 100 in 1966 and No. 8 in the UK in early 1967. The song was rumored to be about smoking dried banana skins, which was believed to be a hallucinogenic drug in the 1960s, though this aspect of bananas has since been debunked. According to Donovan's notes, accompanying the album Donovan's Greatest Hits, the rumor that one could get high from smoking dried banana skins was started by Country Joe McDonald in 1966, and Donovan heard the rumor three weeks before "Mellow Yellow" was released as a single.
  • Annual Report 2016

    Annual Report 2016

    Collecting Exhibiting Learning Connecting Building Supporting Volunteering & Publishing & Interpreting & Collaborating & Conserving & Staffing 2016 Annual Report 4 21 10 2 Message from the Chair 3 Message from the Director and the President 4 Collecting 10 Exhibiting & Publishing 14 Learning & Interpreting 18 Connecting & Collaborating 22 Building & Conserving 26 Supporting 30 Volunteering & Staffing 34 Financial Statements 18 22 36 The Year in Numbers Cover: Kettle (detail), 1978, by Philip Guston (Bequest of Daniel W. Dietrich II, 2016-3-17) © The Estate of Philip Guston, courtesy McKee Gallery, New York; this spread, clockwise from top left: Untitled, c. 1957, by Norman Lewis (Purchased with funds contributed by the Committee for Prints, Drawings, and Photographs, 2016-36-1); Keith and Kathy Sachs, 1988–91, by Howard Hodgkin (Promised gift of Keith L. and Katherine Sachs) © Howard Hodgkin; Colorscape (detail), 2016, designed by Kéré Architecture (Commissioned by the Philadelphia Museum of Art for The Architecture of Francis Kéré: Building for Community); rendering © Gehry Partners, LLP; Inside Out Photography by the Philadelphia Museum of Art Photography Studio A Message A Message from the from the Chair Director and the President The past year represented the continuing strength of the Museum’s leadership, The work that we undertook during the past year is unfolding with dramatic results. trustees, staff, volunteers, city officials, and our many valued partners. Together, we Tremendous energy has gone into preparations for the next phase of our facilities have worked towards the realization of our long-term vision for this institution and a master plan to renew, improve, and expand our main building, and we continue reimagining of what it can be for tomorrow’s visitors.
  • EDISON's Warriors

    EDISON's Warriors

    EDISON’S WaRRIORS Christoph Cox Real security can only be attained in the long run through confusion. — Hilton Howell Railey, commander of the Army Experimental Station1 Simulantur quae non sunt. Quae sunt vero dissimulantur. — Motto of the 23rd Special Troops2 In “The Invisible Generation,” an experimental text from 1962, William S. Burroughs unveiled a proposal to unleash urban mayhem via the use of portable tape recorders. “Now consider the harm that can be done and has been done when recording and playback is expertly carried out in such a way that the people affected do not know what is happening,” he wrote. “Bands of irresponsible youths with tape recorders playing back traffic sounds that confuse motorists,” Burroughs gleefully imagined, could incite “riots and demonstrations to order.”3 Championing the productive (and destructive) powers of portable audio, “The Invisible Generation” is an emblematic text in the history of sound art and DJ culture. Yet, nearly 20 years earlier, Burroughs’s vision had already been conceived and deployed by none other than the United States Army, whose “ghost army,” the 23rd Special Troops, included several units dedicated to “sonic deception” and its results: enemy confusion and carnage.4 The first division in American Armed Forces history assigned exclusively to camouflage and deception, the 23rd was a military oddity. Despite the centrality of deception in the history of warfare from the Trojan Horse on, soldiers drilled in the West Point code of duty, honor, trust, and integrity were ill-suited to a life of simulation and dissimulation; and American officers tended to dismiss deceptive tactics as underhanded, a sign of weakness in every sense.5 It’s not surprising, then, that the 23rd consisted primarily of a population with an occupational predisposition to deception, invention, and fabrication: artists.