Sophia Smith Collection from 1971 to 1992
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Untitled Leaves Clues About the Man Whose Portrait He Captured
October 15, 2016–February 12, 2017 Published on the occasion of the exhibition The New Westward: Trains, Planes, and Automobiles that Move the Modern West organized by the Tucson Museum of Art and Historic Block October 15, 2016–February 12, 2017 ©Tucson Museum of Art and Historic Block CURATOR AND AUTHOR: Christine C. Brindza, James and Louise Glasser Curator of Art of the American West, Tucson Museum of Art FOREWORD: Jeremy Mikolajczak, Chief Executive Officer EDITOR: Katie Perry DESIGN: Melina Lew PRINTER: Arizona Lithographers, Tucson, Arizona ISBN: 978-0-911611-21-2 LIBRARY OF CONGRESS CONTROL NUMBER: 2016947252 Tucson Museum of Art and Historic Block 140 North Main Avenue Tucson, Arizona 85701 tucsonmuseumofart.org FRONT COVER: Ray Strang (1893–1957), Train Station, c.1950, oil on paper, 14 x 20 in. Collection of the Tucson Museum of Art. Gift of Mrs. Dorothy Gibson. 1981.50.20 CONTENTS 07 Foreword Jeremy Mikolajczak, Chief Executive Officer 09 Author Acknowledgements 11 The New Westward: Trains, Planes, and Automobiles that Move the Modern West Christine C. Brindza 13 Manifest Destiny, Westward Expansion, and Prequels to Western Imagery in the Modern Era 19 Trains: A Technological Sublime 27 Airplanes: Redefining Western Expanses 33 The Automobile: The Great Innovation 39 Works Represented 118 Bibliography 120 Exhibition and Catalogue Sponsors FOREWORD The Tucson Museum of Art is proud to present The New Westward: Trains, Planes, and Automobiles that Move the Modern West, a thematic exhibition examining the role transportation technology has played in the American West in visual art. In today’s fast-moving, digitally-connected world, it is easy to overlook the formative years of travel and the massive overhauls that were achieved for railroads, highways, and aircraft to reach the far extended terrain of the West. -
Berthe Morisot
Calgary Sketch Club April and May 2021 Message from the President “It is important to express oneself ... provided the feelings are real and are taken from your own experience.” ~ Berthe Morisot And now warmer weather invites us outside, into the fields and gardens to experience nature, gain an impression, paint a record of our sensations. Welcome to a summer of painting. Whether you take your photos and paint in the studio or make the time to sit amidst the dynamic landscape, get out and experience the real colours, shapes, and shifting light. Your paintings will be the better for having authentic emotional content. This spring we were able to enjoy a club meeting dedicated to Plein Aire painting, a technical painting method that supported the development of the Impressionism move- ment. While some people may be familiar with the men who worked in impressionism, Monet, Manet, Gaugin, and so on, few dwell on the contribution of women painters to the development and furthering of painting your sensations, impressions, and expe- riences. After viewing work by Berthe Morisot, Mary Cassatt, Eva Gonzales, Marie Bracquemond and Lilly Cabot Perry, we see a sizable contribution to the oevre from the depths of meaning and exciting brushwork of these pioneering artists. The social cultural milleau of 1874 Paris, it was difficult for women to find equal footing or even acceptance as artists. And no matter that the art could stand beside that of any con- temporary man or woman, it was sometimes not enough. However, time has allowed a fuller examination of their work and its place in the impressionist canon. -
Spring 2000 Course Guide TABLE of CONTENTS
WOMEN, GENDER, SEXUALITY STUDIES PROGRAM UNIVERSITY OF MASSACHUSETTS AMHERST Spring 2000 Course Guide TABLE OF CONTENTS This catalog contains descriptions of all Women’s Studies courses for which information was available in our office by the publication deadline for pre-registration. Please note that some changes may have been made in time, and/or syllabus since our print deadline. Exact information on all courses may be obtained by calling the appropriate department or college. Please contact the Five-College Exchange Office (545-5352) for registration for the other schools listed. Listings are arranged in the following order: Women, Gender, Sexuality Studies Core Courses Courses offered through the Women, Gender, Sexuality Studies program Women of Color Courses Courses that count towards the Woman of Color requirement for UMass Amherst Women, Gender, Sexuality Studies undergraduate majors and minors. Departmental Courses Courses offered in other UMass departments and programs. All courses listed except 100-level automatically count towards the the major. Component Courses Courses offered in other University Departments and Programs. In order to have these courses count towards the major or minor students must focus their paper(s) or project(s) on gender. Continuing Education Courses at UMass Graduate Level Five-College Options: Amherst College Hampshire College Mount Holyoke College Smith College Please note that updates to this guide are available on the website. www.umass.edu/wost/courseinfo.htm WOMEN’S STUDIES Course Description Guide Addenda Spring 2000 As of 2/24/00 DELETIONS EDUC 680 – Multicultural Adult Development ADDITIONS EDUC 881 Comparative Education Sangeeta Kamat Tuesday 7:00-9:30 p.m. -
Institutional Self-Study September 2009
Institutional Self-Study September 2009 Submitted to the New England Association of Schools and Colleges Commission on Institutions of Higher Education Institutional Self-Study September 2009 Submitted to the New England Association of Schools and Colleges Commission on Institutions of Higher Education This publication in electronic format, with embedded online references, may be found at www.umass.edu/neasc by clicking “Self-Study.” A complete listing of URLs for those references, listed by Standard in order of appearance, may be found in the appendices to this report under “Document Library.” Questions or requests for additional information may be directed to the Self-Study chair: Bryan C. Harvey Associate Provost for Planning and Assessment University of Massachusetts 359 Whitmore Administration Building Amherst, MA 01003 [email protected] 413/545-2554 (Office) 413-559-8237 (Cell) TABLE OF CONTENTS INTRODUCTORY MATERIALS Institutional Characteristics i Introduction and Overview ix NARRATIVE Standard One: Mission and Purposes 1 Standard Two: Planning and Evaluation 4 Standard Three: Organization and Governance 16 Standard Four: The Academic Program 25 Standard Five: Faculty 52 Standard Six: Students 76 Standard Seven: Library and Other Information Resources 95 Standard Eight: Physical Resources 108 Standard Nine: Financial Resources 119 Standard Ten: Public Disclosure 129 Standard Eleven: Integrity 134 APPENDIX The Framework for Excellence Organizational Chart and UMass at a Glance 2008 Financial Report CIHE Data Forms Student Achievement and Success Forms Public Disclosure Form Document Library Institutional Characteristics This form is to be completed and placed at the beginning of the self-study report: Date: July 1, 2009 1. Corporate name of institution: University of Massachusetts Amherst 2. -
Cecilia Beaux: Philadelphia Artist
Cecilia Beaux: PhiladelphiaArtist PUBLISHED SINCE 1877 BY THE HISTORICAL SOCIETY OF PENNSYLVANIA - - 2 b ?n1nq CXXIV a 3 Book Reviews OGDEN, Legacy- A Biography ofMoses and Walter Annenberg, by Nelson D. Lankford 419 HEMPHIL, Bowing to Necessity: A History ofManners in America, 1620-1860, by Franklin T. Lambert 421 ST. GEORGE, Conversing by Signs: Poetics of Implication in ColonialNew England Culture, by Margaretta M. Lovell 422 DALZELL and DALZELL, George Washington'sMount Vernon: At Home in Revolutionary America, and GARRETr, ed., LAuTMAN, photog., George Washington'sMount Vernon, and GREENBERG, BucHMAN, photog., George Washington:Architect, by James D. Kornwolf 425 WARREN, ed., The Papersof George Washington.Presidential Series, Vol. 7. December 1790-March 1791, by Patrick J. Furlong 431 MASTROMARNO, WARREN, eds., The Papers of George Washington. PresidentialSeries. Vol. 8: March-September 1791, by Ralph Ketcham 432 ABBOT and LENGEL, eds., The Papersof George Washington. Retirement Series. Vol. 3: September 1798-April 1799. Vol. 4: April-December 1799, by John Ferling 435 LARSON, Daughters ofLight: Quaker Women Preachingand Prophesyingin the Colonies andAbroad, 1700-1775, by Jean R. Soderlund 437 LAMBERT, Inventing the "GreatAwakening," by Timothy D. Hall 439 FORTUNE, Franklinand His Friends:Portraying the Man of Science in Eighteenth-CenturyAmerica, by Brian J. Sullivan 441 NUxOLL and GALLAGHER, The Papers ofRobert Morris, 1781-1784. VoL 9: January 1-October30,1784, by Todd Estes 443 RIGAL, The American Manufactory: Art, Labor, and the World of Things in the Early Republic, by Colleen Terrell 445 SKEEN, Citizen Soldiers in the War of 1812, by Samuel Watson 446 WEEKLEY, The Kingdoms ofEdward Hicks, and FORD, EdwardHicks: Painterof the PeaceableKingdom, by Carol Eaton Sokis 448 GRIFFIN, ed., Beloved Sisters and Loving Friends:Letters from Rebecca Primus ofRoyal Oak, Maryland, andAddie Brown of HartfordConnecticut,1854-1868 by Frances Smith Foster 452 DYER, Secret Yankees: The Union Circle in ConfederateAtlanta, by Jonathan M. -
Emmet, Lydia Field American, 1866 - 1952
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 Emmet, Lydia Field American, 1866 - 1952 William Merritt Chase, Lydia Field Emmet, 1892, oil on canvas, Brooklyn Museum, Gift of the Artist, 15.316 BIOGRAPHY Lydia Field Emmet led a remarkably successful artistic career spanning more than 50 years. She is best known as a painter of portraits, particularly of children. Emmet was born in New Rochelle, New York, into a family of female artists. Her mother, Julia Colt Pierson Emmet, her sisters Rosina Emmet Sherwood and Jane Emmet de Glehn, and her cousin Ellen Emmet Rand were all painters. Lydia Emmet’s talent (and enterprise) was apparent early, as she began selling illustrations at the age of 14. In 1884 she accompanied Rosina to Europe, and they studied at the Académie Julian in Paris for six months. During the late 1880s Emmet sold wallpaper designs, made illustrations for Harper’s Weekly, and created stained glass designs for Tiffany Glass Company. From 1889 to 1895 Emmet studied at the Art Students League, where her instructors included William Merritt Chase (American, 1849 - 1916) and Kenyon Cox (American, 1856 - 1919). Chase appointed her an instructor at his Shinnecock Summer School of Art on Long Island, where she taught preparatory classes for several terms. Emmet also posed for one of his most elegant portraits, now in the collection of the Brooklyn Museum. Emmet, Lydia Field 1 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 In 1893 both Emmet and her sister Rosina painted murals for the Women’s Building at the World’s Fair in Chicago. -
Mary Daly 1928-2010
Volume 21 Number 1 2010 www.hers.com/water Memories of Mary Daly from the WATER Alliance Mary Daly How saddened I am, a 72-year-old 19282010 Canadian Catholic feminist who was liberated to think new thoughts by the A Biographical Sketch exhilarating ideas offered by Mary Daly in her 1973 Beyond God the Father and her subsequent work for academic freedom at Boston College. We live in her wake, and in By Mary E. Hunt her debt. Rosemary Ganley, Ontario, Canada ____ For the Mary Daly Memorial Gathering How we were all electrified by her tremendous courage, her vivid mind and pen, her incisive May 1, 2010, at Episcopal Divinity School challenges to us, and to the world. In gratitude, in Cambridge, MA Sheila Dierks, Boulder, CO ____ Mary Daly, in her own words, threw Photo Credit: www.isaegil.net/bbs/data/column/IS2_daly I think Mary Daly leaves a great legacy and I try to live it in my little way as best I can. her life as far as it would go. On Archaic Afterwords. Her case against Beyond God the Father changed my religious November 1, 2002, with Mary Daly at the institutional Catholic Church, which she thinking forever. I loved all her books and saw my side in Cambridge, I gave an called the inevitable enemy of human her last in Boston at an SBL meeting. Renate introduction to her life at a conference progress (CSS, p. 219), remains as rele- Rose, Cambridge, MA on the history of women and American vant today as it was forty years ago. -
Relational Aesthetics: Creativity in the Inter-Human Sphere
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2019 RELATIONAL AESTHETICS: CREATIVITY IN THE INTER-HUMAN SPHERE Carl Patow VCU Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Interactive Arts Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/5756 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. Carl A. Patow 2019 All Rights Reserved Relational Aesthetics: Creativity in the Inter-Human Sphere A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Art at Virginia Commonwealth University. By Carl Patow BA Duke University, Durham, NC 1975 MD University of Rochester, Rochester, NY 1979 MPH Johns Hopkins University, Baltimore, MD 1996 MBA University of St. Thomas, Minneapolis, MN 2007 Committee: Pamela Taylor Turner Associate Professor Kinetic Imaging, VCU Arts Stephanie Thulin Assistant Chair and Associate Professor Kinetic Imaging, VCU Arts John Freyer Assistant Professor of Cross Disciplinary Media Photography and Film, VCU Arts Virginia Commonwealth University Richmond, Virginia May 2, 2019 2 Acknowledgement The author wishes to thank my wife, Sue, for her love, encouragement and patience as I fulfilled this life-long dream of a master’s in fine arts degree. I would also like to thank the faculty members of the Department of Kinetic Imaging at VCU for their guidance and inspiration. Pam Turner, Stephanie Thulin and John Freyer, my committee members, were especially helpful in shaping my thesis and artwork. -
1976-1977 Officefice of Institutional Researesearch .~ University of Massachusetts at Amherst
Factbook University of Massachusetts Amherst 1976-1977 Officefice of Institutional ResearchResea www.umass.edu/oirw.umass.edu .~ University of Massachusetts at Amherst 1 1------------------ I I PREFACE This book of factual information has been compiled I in order to meet the many needs for a compendium of statis ti cal information about the campus. This publ i cation consolidates information about the University of Massachusetts at Amherst since its inception in 1863 I through the 1976-1977 academic year. The present edition is more condensed than past editions of Factbooks and thus should facilitate yearly updating and publication. I The Factbook has been a large undertaking prohibiting yearly publ ication. The Factbook will allow its readers to have at hand in one volume the most current data I: available on most aspects of campus operations. This collection of data, used in conjunction with University catalogues, The Graduate School Factbook and the Univ ers itts Fi nanci al Report, wi 11 answer most ques tions I' regarding the past and present status of the University of Massachusetts at Amherst. I I would like to take this opportunity to acknowledge the assistance and patience of the clerical and profes sional staff of the Office of Budgeting and Institutional I Studies. Special thanks are due to Ms. Regina Harnois, Ms. Darlene Freedman and Ms. Elaine Jayne who typed the I many revisions of this report. I I' Alison A. Cox Office of Budgeting and Institutional Studies I March 30, 1977 I I I I I OFFICE OF BUDGETING AND INSTITUTIONAL STUDIES. WHITMOREADMINISTRATIONBUILDING, AMHERST, MASSACHUSeITS01002 (413) 545-2141 I I UNIVERSITY OF MASSACHUSETTS/AMHERST 1976-1977 FACTBOOK I TABLE OF CONTENTS I I. -
Introduction
Notes Introduction 1 “Beyond Anxiety,” editorial, New York Times, June 13, 1982, E22. 2 For the purposes of simplicity, this book refers to the assemblage of actors engaged in various types of activism against nuclear power, nuclear weapons, and other related threats as the “anti-nuclear movement.” Although I detail individual movements within the larger whole, the existence of substantial cross-pollination among movement organizations and coalitions indicates that a more appropriate term is the singular. On the idea of a “movement of movements,” see Van Gosse, “A Movement of Movements: The Definition and Periodization of the New Left,” in A Companion to Post-1945 America, ed. Jean-Christophe Agnew and Roy Rosenzweig (Malden, MA: Blackwell, 2002), 277–302. 3 On this diversity, see Jo Freeman and Victoria Johnson, eds, Waves of Protest: Social Movements Since the Sixties (Lanham, MD: Rowman & Littlefield, 1999). See also Simon Hall, American Patriotism, American Protest: Social Movements Since the Sixties (Philadelphia: University of Pennsylvania Press, 2011). 4 See Fred Halliday, The Making of the Second Cold War (London: Verso, 1983). 5 On beginnings, see Lawrence S. Wittner, Toward Nuclear Abolition: A His- tory of the World Nuclear Disarmament Movement, 1971 to the Present (Stan- ford: Stanford University Press, 2003), Chapter 1. On the dwindling of the movement, see “Movement Gap,” editorial, Nation, 4 November 1991, 539–40. 6 The phrase “the challenge of peace” recalls the controversial pastoral letter issued in 1983 by the US National Conference of Catholic Bishops’ Ad Hoc Committee on War and Peace. Entitled “The Challenge of Peace: God’s Prom- ise and Our Response,” the letter attempted to define the Catholic Church’s opposition to the nuclear arms race. -
Anarchist Pedagogies: Collective Actions, Theories, and Critical Reflections on Education Edited by Robert H
Anarchist Pedagogies: Collective Actions, Theories, and Critical Reflections on Education Edited by Robert H. Haworth Anarchist Pedagogies: Collective Actions, Theories, and Critical Reflections on Education Edited by Robert H. Haworth © 2012 PM Press All rights reserved. ISBN: 978–1–60486–484–7 Library of Congress Control Number: 2011927981 Cover: John Yates / www.stealworks.com Interior design by briandesign 10 9 8 7 6 5 4 3 2 1 PM Press PO Box 23912 Oakland, CA 94623 www.pmpress.org Printed in the USA on recycled paper, by the Employee Owners of Thomson-Shore in Dexter, Michigan. www.thomsonshore.com contents Introduction 1 Robert H. Haworth Section I Anarchism & Education: Learning from Historical Experimentations Dialogue 1 (On a desert island, between friends) 12 Alejandro de Acosta cHAPteR 1 Anarchism, the State, and the Role of Education 14 Justin Mueller chapteR 2 Updating the Anarchist Forecast for Social Justice in Our Compulsory Schools 32 David Gabbard ChapteR 3 Educate, Organize, Emancipate: The Work People’s College and The Industrial Workers of the World 47 Saku Pinta cHAPteR 4 From Deschooling to Unschooling: Rethinking Anarchopedagogy after Ivan Illich 69 Joseph Todd Section II Anarchist Pedagogies in the “Here and Now” Dialogue 2 (In a crowded place, between strangers) 88 Alejandro de Acosta cHAPteR 5 Street Medicine, Anarchism, and Ciencia Popular 90 Matthew Weinstein cHAPteR 6 Anarchist Pedagogy in Action: Paideia, Escuela Libre 107 Isabelle Fremeaux and John Jordan cHAPteR 7 Spaces of Learning: The Anarchist Free Skool 124 Jeffery Shantz cHAPteR 8 The Nottingham Free School: Notes Toward a Systemization of Praxis 145 Sara C. -
Seventy-Five Years of International Women's Collecting: Legacies
S E ss ION 5 0 6 Seventy-Five Years of International Women’s Collecting: Legacies, Successes, Obstacles, and New Directions Rachel Miller, Danelle Moon, and Anke Voss Abstract These three papers investigate the establishment and trajectories of three institutions devoted to the documentation of women’s history: the World Center for Women’s Archives in New York, the International Archives of the Women’s Movement (now known as the Aletta Institute for Women’s History) in Amsterdam, and the International Museum of Women in San Francisco. The panelists detail the challenges faced by each institution and discuss the key founding personalities. Introduction Danelle Moon his retrospective analysis of two women’s archives and one women’s museum Tilluminates the projects’ attendant successes and obstacles, which speak to the historical, national, professional, and interpersonal contexts in which they were each founded. The authors also chart out the projects’ legacies and their transmutations into the digital realm. We will evaluate the impact that the Session 506 at the 75th Annual Meeting of the Society of American Archivists, Chicago, Illinois, Saturday, 27 August 2011. Danelle Moon chaired this session and speakers were Rachel Miller, Anke Voss, and Danelle Moon. The American Archivist, Vol. 74 ( 2011/ Supplement) : 506:1–20 506:1 T HE A MERIC A N A RCHIVIS T O NLINE S UPPLEMEN T individual founders, largely comprised in 1935 and 1936 of suffragists and historians, of the New York–based World Center for Women’s Archives and the Amsterdam-based Aletta Institute for Women’s History, had on the early development of women’s collections.