Students Receive Harrassing Calls
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001 HU Quick Facts 2007 7/18/07 2:11 PM Page 1
2007 HUFBMG Cover 7/18/07 3:18 PM Page 1 2007 Hampton University Football Media Guide 2007 HUFBMG Cover 7/18/07 3:18 PM Page 2 Hampton University Football Under Joe Taylor 44 All-Americans 14 Conference Players of the Year 8 Conference Championships (5 MEAC, 3 CIAA) 7 NCAA Playoff Appearances (5 Division I FCS, 2 Division II) 4 SBN Black College National Championships 001 HU Quick Facts 2007 7/18/07 2:11 PM Page 1 It’sIt’s aa VisionVision NotNot aa DreamDream Quick Facts 2007 Schedule DATE OPPONENT Name of School Hampton University 9/8 at Howard City/Zip Hampton, Virginia 23668 Founded 1868 9/15 at North Carolina A&T Enrollment 6,156 Nickname Pirates 9/20 Morgan State School Colors Royal Blue and White 9/29 Delaware State Stadium Armstrong Stadium Capacity 17,000 10/6 at Princeton Surface Natural Grass Affiliation NCAA Division I-AA 10/13 at Norfolk State Conference Mid-Eastern Athletic Conference President Dr. William R. Harvey 10/20 South Carolina State (HC) Athletics Director Lonza Hardy, Jr. 10/27 at Winston-Salem State Athletic Phone (757) 728-6747 11/3 at Bethune-Cookman History 11/10 Florida A&M First Year of Football 1902 11/17 Southern Illinois All-time Bowl/Playoff Record 1-8 Years In Post-Season Play 8 Last Post-Season Appearance 2006 All-Time Record 507-357-34 Team Information Sports Information Directory 2006 Record: 10-2 Football SID Jamar Ross SID Office Phone (757) 727-5757 2006 Conference Record/Finish: 7-1/1st SID Home Phone (757) 871-9475 Lettermen Returning/Lost: 47/25 SID Fax (757) 727-5813 Offensive Starters Returning/Lost: 3/8 Email [email protected] Press Box Phone (757) 727-5422 Defensive Starters Returning/Lost: 6/5 Website: www.hamptonpirates.com Specialists Starters Returning/Lost: 1/1 SID Mailing Address 194 Holland Hall Basic Offense Spread Hampton, Virginia 23668 Basic Defense 3-4 Coaching Staff Head Coach Joseph Taylor Alma Mater/Year Western Illinois ’72 Record at Hampton (Years) 130-43-1 (15 years) 2006 Results Overall Record (Years) 191-71-4 (24 years) Football Office Phone (757) 727-5322 Date Opponent Res. -
The New Encyclopedia of Southern Culture Nearly Complete Final Volumes to Be Published This Spring
the the newsletter of the Center for the study of southern Culture • winter 2013 the university of mississippi The New Encyclopedia of Southern Culture Nearly Complete Final Volumes to Be Published This Spring The New Encyclopedia of Southern Culture series, a decade-long project that began in earnest in early 2003, is nearing comple- tion. The final two volumes in the 24-volume series, Folk Art and Race, are scheduled for publication by the University of North Carolina Press (UNC Press) this May. Volumes 21 and 22, Art and Architecture and Science and Medicine, are now in print. “The twenty-four volumes of The New Encyclopedia of Southern Culture stand as an extraordinary achievement and a tribute to the long and productive relationship UNC Press has enjoyed with the Center for the Study of Southern Culture,” said UNC Press editorial director Mark Simpson-Vos. “Seeing the now almost-complete set of books on my shelf is one of the daily joys of coming into my office, especially when I think of the ways readers will benefit for years to come from the hard work and thoughtful contributions of the series’ many volume editors and contributors.” The final countdown to the realization of the entire series began with volume 21, Science and Medicine. Coedited by the Center for the Study of Southern Culture associate director for publications James G. Thomas Jr. and former Center di- rector Charles Reagan Wilson, the book appeared in print this past November. Thomas and Wilson have also worked as the series’ managing editor and general editor, respectively. -
Yau. “Review of Post Black Folk Art in America 1930-1980-2016.” Panorama: Journal of the Association of Historians of American Art 3 No
ISSN: 2471-6839 Post Black Folk Art in America 1930–1980–2016 Curated by: Faheem Majeed Exhibition schedule: Intuit: The Center for Intuitive and Outsider Art, Chicago, July 15, 2016–January 8, 2017 Exhibition catalogue: Faheem Majeed, Post Black Folk Art in America 1930–1980–2016, exh. cat. Chicago: Intuit: The Center for Intuitive and Outsider Art, 2017. 36 pp.; 25 color illus. $10.00 Reviewed by: Elaine Y. Yau, Adjunct Professor, Department of Art and Design, Azusa Pacific University, [email protected] Artist Faheem Majeed curated the exhibition Post Black Folk Art in America 1930–1980–2016 for Intuit: The Center for Intuitive and Outsider Art in Chicago, which consists of 110 objects by modern and contemporary African American artists who have had no academic training. Categories such as “folk,” “intuitive,” and “outsider” art have historically filled the lack at the heart of this qualification, yet they have done little to illuminate the worlds of meaning that have informed such heterogeneous styles and formal inventiveness exemplified by the drawings, paintings, sculpture, assemblage, wood carvings, and decidedly handmade objects that have come to define the field. Majeed, whose own studio practice extends into cultural activism and art administration, inquires after the relevance of these terms by looking back at their sources. What social and cultural positions do these terms presume? How do they exclude? To what boundaries does the term “outsider” refer? Exploring these questions is the hefty task of this compact show Majeed has organized. Elaine Y. Yau. “Review of Post Black Folk Art in America 1930-1980-2016.” Panorama: Journal of the Association of Historians of American Art 3 no. -
Oral History Interview with Chuck and Jan Rosenak, 1998 December 10
Oral history interview with Chuck and Jan Rosenak, 1998 December 10 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface Note: This interview was conducted in preparation for the exhibition In Sight: Portraits of Folk Artists by Chuck Rosenak at the Archives of American Art, 1285 Avenue of the Americas, New York City, January 22, 1999 - April 30, 1999. Interview LK: Liza Kirwin CR: Chuck Rosenak JR: Jan Rosenak LK: This is Liza Kirwin for the Archives of American Art interviewing Chuck and Jan Rosenak in Tesuque, New Mexico. It's December 10, 1998 and I wanted to just begin with a couple of broad questions about how you became involved in the folk art world to begin with. CR: Alright. When we became involved in the folk art world there was no such thing. The only people who seemed interested in it were Bob Bishop, Bert Hemphill before us and a few others. We collected what we considered twentieth-century American art, artists of our generation. In the 60s, the price of that material rose at an enormous rate and by 1970 was beyond our means. In 1973, I believe, there was a small exhibition in New York City at a cooperative gallery which included the work of Mike Carpenter and George López and other luminaries. Prior to that we'd seen a case at the Smithsonian National Museum. -
332-4736 Juan Logan Education MFA Maryland
177 NW 23rd Street, Miami, Florida 33127 (786) 332-4736 Juan Logan Education M.F.A. Maryland Institute College of Art, Baltimore, Maryland, 1998 Painting/Mixed-Media Sculpture Selected Solo Exhibitions 2012 Juan Logan: Without Stopping, paintings, brochure Weatherspoon Museum of Art, Greensboro, North Carolina Juan Logan: Pleasure & Power, paintings, catalogue Barton Art Galleries, Barton College, Wilson, North Carolina 2009 Juan Logan: Leisure Space, mixed media, catalogue Gantt Center for African American Arts and Culture, Charlotte, North Carolina Prop Master: An Installation by Juan Logan with Susan Harbage Page Gibbes Museum of Art, Charleston, South Carolina 2007 Juan Logan: Notes and Observations, paintings, catalogue Rocky Mount Arts Center at the Imperial Centre, North Carolina 2006 Juan Logan: The Third Place, Paintings, Drawings and Sculptures 1996 – 2006, catalogue Tweed Museum of Art, Duluth, Minnesota Juan Logan: Caught Off Guard, Selected Works from 1965-2005 paintings and works on paper,catalogue Sturgis Gallery of Art, Kennesaw State University, Georgia 2005 Juan Logan: Close Inspection, installations, catalogue Sumter Gallery of Art, Sumter, South Carolina Juan Logan: Full Disclosure, paintings, sculpture, installations, catalogue Greenville County Museum of Art, South Carolina 2003 Juan Logan: Whose Song Shall I Sing?, paintings and sculpture, catalogue City Gallery at Waterfront Park, Charleston, South Carolina 2002 Juan Logan: Whose Song Shall I Sing?, painting s and sculpture, catalogue Boulder Museum of Contemporary -
Abstracts from the Annual Meeting in Durham, North Carolina
Abstracts from the Annual Meeting in Durham, North Carolina October 17-20, 2012 Conference Chair: Beth Mulvaney, Meredith College Abel, Troy. Virginia Tech. Design Education: Incorporating the Scientific Method and Eye Tracking Data into Design Studio Critiques. Design education, by broad definition, is the instruction of theory and application in the creation of products, services, and communication. Integral to design education is the process of studio critiques that incorporate educator comments and reactions to student work, in an attempt to educate them on better design decisions. Critiques date back to the master/apprentice model and remain remnants of the Bauhaus style in current design studio education. While valuable, critiques often lack tangible substance that students can capture, process, and apply to future design problems. The critique methodology discussed in this presentation moves students out of the studio and into a research lab to assist in validating design decisions, therefore augmenting the traditional critique model of evaluation. Once students complete the initial iteration of a project, they use the scientific method of exploration in an attempt to validate their design decisions, while also incorporating a series of methodologies that test the validity and integrity of their designs using eye-tracking equipment. The results of these tests are then used during critiques to inform future design decisions and possible directions for future iteration. Students begin to see the connection between design, research, and execution. Alexander, James. University of Alabama at Birmingham. The Art of Assessment: The Art Studio Critique. Central to studio art education is the critique. At its best the critical review of a student’s work can be informative, even enlightening and beneficial. -
A Decade in Defense of Human Rights 1968-1978 the National Conference Of
A DECADE IN DEFENSE OF HUMAN RIGHTS 1968-1978 THE NATIONAL CONFERENCE OF BLACK LAWYERS CONFERENCE A DECADE IN STRUGGLE 1968-1978 REPORT Prepared by Lennox S. Hinds National Director National Conference of Black Lawyers 126 W. 119th St. New York, N.Y. 10026 212-866-3501 NATIONAL CONFERENCE OF BLACK LAWYERS Declaration of Concern and Commitment Today as virtually never before in our society's substitute for true equality. And finally, if the Black revolution re- history, Black communities across the The Black revolution sparked by the quires that we provide a unified Black nation face a crisis of racism which growing realization that White America voice of resistance designed to unmask the threatens not merely our constitutional does not intend to deal with Black people silent but no less criminal conduct of rights but our homes, our safety, and our in accordance with Constitutional stan- American institutions which condones the survival. dards presents the concerned Black lawyer suppression of Black manhood, the lyn- Political offices at the highest level are with questions of the most serious nature, ching of Black leaders, and the frustration won by those most committed to the the answer to which necessitates a re- of Black efforts to save Black people, we cynical campaign cry of law and order evaluation of his role and his relationship must join it. which in fact, mandates calm in the ghet- to the Black community. There is no existing institution of the to through a mobilization of laws and at To the extent that the Black revolution legal profession as presently constituted the sacrifice of justice. -
Illustrated Checklist (Unless Otherwise Noted, All Works Are on View in 50 for 50 and Photos Are © Museum Associates/ LACMA.)
Illustrated Checklist (Unless otherwise noted, all works are on view in 50 for 50 and photos are © Museum Associates/ LACMA.) Ethiopian Crosses Ethiopia, Cross, Zagwe dynasty, 13th–14th century, bronze, 10 × 5 1/8 × 1 in. (25.4 × 13.02 × 2.54 cm) Ethiopia, Cross, 13th–14th century, iron, 16 × 3 1/8 in. (40.64 × 7.94 cm) Ethiopia, Cross, 13th–14th century, iron, 17 × 4 1/4 in. (43.18 × 10.8 cm) Ethiopia, Cross, late Zagwe dynasty, 14th–15th century, bronze, 9 5/8 × 7 1/4 × 3/4 in. (24.45 × 18.42 × 1.91 cm) Ethiopia, Cross, 15th–16th century, iron, 11 3/4 × 5 1/2 × 3/4 in. (29.85 × 13.97 × 1.91 cm) Purchased with funds provided by the Ancient Art Deaccession Fund and the Decorative Arts and Design Deaccession Fund in honor of the museum’s 50th anniversary A stunning group of five rare Ethiopian crosses in bronze, iron, and silver dates from 12th–16th centuries AD and possibly earlier. The works include both handheld and processional crosses, the latter of which were carried by priests during liturgical ceremonies. Crosses such as these were and still are said to have healing powers among the blessings they convey. The crosses make a dramatic and important addition to LACMA’s collection for their aesthetic virtuosity, their origin from an area of northeastern Africa that is seldom represented in US museum collections, and their extraordinary linkages to Byzantium and early Christian communities of the Mediterranean. Taddeo Gaddi, Crucifixion with the Madonna and Saint John the Evangelist, c. -
PA UCP Directory with SBE Info Only 09-05-17.Xlsx
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