Pablo Picasso
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
Paclitaxel-Loaded Glycyrrhizic Acid Micelles
Molecules 2015, 20, 4337-4356; doi:10.3390/molecules20034337 OPEN ACCESS molecules ISSN 1420-3049 www.mdpi.com/journal/molecules Article Bioavailability Enhancement of Paclitaxel via a Novel Oral Drug Delivery System: Paclitaxel-Loaded Glycyrrhizic Acid Micelles Fu-Heng Yang †, Qing Zhang †, Qian-Ying Liang, Sheng-Qi Wang, Bo-Xin Zhao, Ya-Tian Wang, Yun Cai and Guo-Feng Li * Department of Pharmacy, Nanfang Hospital, Southern Medical University, Guangzhou 510515, China; E-Mails: [email protected] (F.-H.Y.); [email protected] (Q.Z.); [email protected] (Q.-Y.L.); [email protected] (S.-Q.W.); [email protected] (B.-X.Z.); [email protected] (Y.-T.W.); [email protected] (Y.C.) † These authors contributed equally to this work. * Author to whom correspondence should be addressed; E-Mail: [email protected]; Tel.: +86-20-6278-7236; Fax: +86-20-6278-7724. Academic Editor: Derek J. McPhee Received: 7 November 2014 / Accepted: 25 February 2015 / Published: 6 March 2015 Abstract: Paclitaxel (PTX, taxol), a classical antitumor drug against a wide range of tumors, shows poor oral bioavailability. In order to improve the oral bioavailability of PTX, glycyrrhizic acid (GA) was used as the carrier in this study. This was the first report on the preparation, characterization and the pharmacokinetic study in rats of PTX-loaded GA micelles The PTX-loaded micelles, prepared with ultrasonic dispersion method, displayed small particle sizes and spherical shapes. Differential scanning calorimeter (DSC) thermograms indicated that PTX was entrapped in the GA micelles and existed as an amorphous state. The encapsulation efficiency was about 90%, and the drug loading rate could reach up to 7.90%. -
Michelle Lynn Brown 44 Maryland Ave, Saranac Lake, NY 12983 (518) 524-0468 [email protected]
Michelle Lynn Brown 44 Maryland Ave, Saranac Lake, NY 12983 (518) 524-0468 [email protected] EDUCATION University of Vermont, Vermont Cooperative Fish and Wildlife Research Unit Ongoing PhD, Natural Resources Dissertation: “Effects of Forest Biomass Energy Production on Northern Forest Sustainability and Biodiversity” University of Vermont, Vermont Cooperative Fish and Wildlife Research Unit 2012 MS, Natural Resources Thesis: “Predicting Impacts of Future Human Population Growth and Development on Occupancy Rates and Landscape Carrying Capacity of Forest-Dependent Birds” Penn State University, Graduate GIS Certificate 2005 Binghamton University, State University of New York 2001 BS, Environmental Studies Concentration in Ecosystems, Magna Cum Laude TEACHING EXPERIENCE Instructor, Population Dynamics and Modeling, University of Vermont 2014 • Co-taught 30 graduate students and federal employees using a live online format Graduate Teaching Program Ongoing • Completed more than 50 hours of mentored teaching, observations, and workshops PROFESSIONAL EXPERIENCE Conservation Scientist The Nature Conservancy, Adirondack Chapter 2007- Keene Valley, NY • Led regional team to integrate climate resilience into transportation infrastructure design (five states and three provinces) • Secured more than $1,200,000 to incorporate conservation objectives into New York State transportation planning and implementation; managed projects • Led ecological assessment and science strategy for 161,000-acre land protection project Conservation Planner The -
PAINTINGS CONSERVATOR Collections and Information Access Center
Job CIA.4.14 PAINTINGS CONSERVATOR Collections and Information Access Center REPORTS TO: Senior Conservator SUPERVISES: None The Oakland Museum of California values are fundamental to our institutional culture and guide our work together. Excellence: We are committed to excellence and working at the highest standards of integrity and professionalism. Community: We believe everyone should feel welcome and part of our community, both within the Museum and with our visitors and neighbors. Innovation: We embrace innovation and calculated risk-taking to achieve our mission. Commitment: Our work at the Museum demonstrates a sense of purpose and a shared accountability for the institution’s success. POSITION SUMMARY The Paintings Conservator is responsible for the welfare of the paintings within the collection by monitoring the environment, pest activity, and advocating for proper handling, packing, shipping, storage, and exhibit. Incumbent performs skilled conservation work on collections within their specialization including research, examination, documentation, treatment, and preventative maintenance. ESSENTIAL DUTIES AND RESPONSIBILITIES The following reflects OMCA’s definition of essential functions for this position, but does not restrict the tasks that may be assigned. OMCA may assign or reassign duties and responsibilities to this position at any time due to reasonable accommodation or other reasons. INSTITUTIONAL RESPONSIBILITIES • Support the Museum’s mission, values, vision, and core commitment to the visitor experience, community -
Wheeler River Project Provincial Technical Proposal and Federal Project Description
Wheeler River Project Provincial Technical Proposal and Federal Project Description Denison Mines Corp. May 2019 WHEELER RIVER PROJECT TECHNICAL PROPOSAL & PROJECT DESCRIPTION Wheeler River Project Provincial Technical Proposal and Federal Project Description Project Summary English – Page ii French – Page x Dene – Page xx Cree – Page xxviii PAGE i WHEELER RIVER PROJECT TECHNICAL PROPOSAL & PROJECT DESCRIPTION Summary Wheeler River Project The Wheeler River Project (Wheeler or the Project) is a proposed uranium mine and processing plant in northern Saskatchewan, Canada. It is located in a relatively undisturbed area of the boreal forest about 4 km off of Highway 914 and approximately 35 km north-northeast of the Key Lake uranium operation. Wheeler is a joint venture project owned by Denison Mines Corp. (Denison) and JCU (Canada) Exploration Company Ltd. (JCU). Denison owns 90% of Wheeler and is the operator, while JCU owns 10%. Denison is a uranium exploration and development company with interests focused in the Athabasca Basin region of northern Saskatchewan, Canada with a head office in Toronto, Ontario and technical office in Saskatoon, Saskatchewan. Historically Denison has had over 50 years of uranium mining experience in Saskatchewan, Elliot Lake, Ontario, and in the United States. Today, the company is part owner (22.5%) of the McClean Lake Joint Venture which includes the operating McClean Lake uranium mill in northern Saskatchewan. To advance the Project, Denison is applying an innovative approach to uranium mining in Canada called in situ recovery (ISR). The use of ISR mining at Wheeler means that there will be no need for a large open pit mining operation or multiple shafts to access underground mine workings; no workers will be underground as the ISR process is conducted from surface facilities. -
Core Conservation Courses (Finh-Ga.2101-2109)
Conservation Course Descriptions—Full List Conservation Center, Institute of Fine Arts Page 1 of 38, 2/05/2020 CORE CONSERVATION COURSES (FINH-GA.2101-2109) MATERIAL SCIENCE OF ART & ARCHAEOLOGY I FINH-GA.2101.001 [#reg. code] (Lecture, 3 points) Instructor Hours to be arranged Location TBD The course extends over two terms and is related to Technology and Structure of Works of Art I and II. Emphasis during this term is on problems related to the study and conservation of organic materials found in art and archaeology from ancient to contemporary periods. The preparation, manufacture, and identification of the materials used in the construction and conservation of works of art are studied, as are mechanisms of degradation and the physicochemical aspects of conservation treatments. Enrollment is limited to conservation students and other qualified students with the permission of the faculty of the Conservation Center. This course is required for first-year conservation students. MATERIAL SCIENCE OF ART & ARCHAEOLOGY II FINH-GA.2102.001 [#reg. code] (Lecture, 3 points) Instructor Hours to be arranged Location TBD The course extends over two terms and is related to Technology and Structure of Works of Art I and II. Emphasis during this term is on the chemistry and physics of inorganic materials found in art and archaeological objects from ancient to contemporary periods. The preparation, manufacture, and identification of the materials used in the construction and conservation of works of art are studied, as are mechanisms of degradation and the physicochemical aspects of conservation treatments. Each student is required to complete a laboratory assignment with a related report and an oral presentation. -
Types of Solutions
Chemistry 51 Chapter 8 TYPES OF SOLUTIONS A solution is a homogeneous mixture of two substances: a solute and a solvent. Solute: substance being dissolved; present in lesser amount. Solvent: substance doing the dissolving; present in larger amount. Solutes and solvents may be of any form of matter: solid, liquid or gas. Some Examples of Solutions Type Example Solute Solvent Gas in gas Air Oxygen (gas) Nitrogen (gas) Gas in liquid Soda water CO2 (gas) Water (liquid) Liquid in liquid Vinegar Acetic acid (liquid) Water (liquid) Solid in liquid Seawater Salt (solid) Water (liquid) Liquid in solid Dental amalgam Mercury (liquid) Silver (solid) Solid in solid Brass Zinc (solid) Copper (solid) Solutions form between solute and solvent molecules because of similarities between them. (Like dissolves Like) Ionic solids dissolve in water because the charged ions (polar) are attracted to the polar water molecules. Non-polar molecules such as oil and grease dissolve in non-polar solvents such as kerosene. 1 Chemistry 51 Chapter 8 ELECTROLYTES & NON-ELECTROLYTES Solutions can be characterized by their ability to conduct an electric current. Solutions containing ions are conductors of electricity and those that contain molecules are non- conductors. Substances that dissolve in water to form ions are called electrolytes. The ions formed from these substances conduct electric current in solution, and can be tested using a conductivity apparatus (diagram below). Electrolytes are further classified as strong electrolytes and weak electrolytes. In water, a strong electrolyte exists only as ions. Strong electrolytes make the light bulb on the conductivity apparatus glow brightly. Ionic substances such as NaCl are strong electrolytes. -
Protecting Cultural Heritage
Protecting Cultural Heritage Reflections on the Position of conservation science. Important players in this field, Science in Multidisciplinary which readily address interactivity and networking, are the recently started Episcon project in the European Approaches Community’s Marie Curie program3 and the five- 4 by Jan Wouters year-old EU-Artech project. The goal of Episcon is to develop the first generation of actively formed ver the past 40 years, scientific research activ- conservation scientists at the Ph.D.-level in Europe. ities in support of the conservation and resto- EU-Artech provides access, research, and technology Oration of objects and monuments belonging for the conservation of European cultural heritage, to the world’s cultural heritage, have grown in number including networking among 13 European infrastruc- and quality. Many institutes specifically dedicated to tures operating in the field of artwork conservation. the study and conservation of cultural heritage have The present absence of a recognized, knowledge- emerged. Small dedicated laboratories have been based identity for conservation science or conserva- installed in museums, libraries, and archives, and, tion scientists may lead to philosophical and even more recently, university laboratories are showing linguistic misunderstandings within multidisciplinary increased interest in this field. consortiums created to execute conservation projects. This paper discusses sources of misunderstandings, However, no definition has been formulated to iden- a suggestion for more transparent language when tify the specific tasks, responsibilities, and skills of a dealing with the scientific term analysis, elements to conservation scientist or of conservation science. This help define conservation science, and the benefits is contradictory to the availability of a clear Definition for conservation scientists of becoming connected to of the Profession of a Conservator-Restorer, published worldwide professional networks. -
January 28, 2021 Introductions Faculty
Art Conservation Open House January 28, 2021 Introductions Faculty Debra Hess Norris Dr. Jocelyn Alcántara-García Brian Baade Maddie Hagerman Dr. Joyce Hill Stoner Nina Owczarek Photograph Conservator Conservation Scientist Paintings Conservator Objects Conservator Paintings Conservator Objects Conservator Chair and Professor of Photograph Associate Professor Assistant Professor Instructor Edward F. and Elizabeth Goodman Rosenberg Assistant Professor Conservation Professor of Material Culture Unidel Henry Francis du Pont Chair Students Director, Preservation Studies Doctoral Program Annabelle Camp Kelsey Marino Katie Rovito Miriam-Helene Rudd Art conservation major, Class of 2019 Art conservation major, Class of 2020 WUDPAC Class of 2022 Senior art conservation major, WUDPAC Class of 2022 Preprogram conservator Paintings major Class of 2021 Textile major, organic objects minor President of the Art Conservation Club What is art conservation? • Art conservation is the field dedicated to preserving cultural property • Preventive and interventive • Conservation is an interdisciplinary field that relies heavily on chemistry, art history, history, anthropology, ethics, and art Laura Sankary cleans a porcelain plate during an internship at UD Art Conservation at the University of Delaware • Three programs • Undergraduate degree (BA or BS) • Winterthur/University of Delaware Program in Art Conservation or WUDPAC (MS) at Winterthur Museum, Garden & Library near Wilmington, DE • Doctorate in Preservation Studies (PhD) Miriam-Helene Rudd cleans a -
CONSERVATORS/RESTORERS Updated: 8/2015
CONSERVATORS/RESTORERS Updated: 8/2015 **THE HOOD MUSEUM OF ART DOES NOT RECOMMEND SPECIFIC CONSERVATORS. THIS LISTING IS MADE FOR PURPOSES OF INFORMATION ONLY.** Online directory of members of AIC (American Institute for Conservation of Historic and Artistic works): www.conservation-us.org/membership/find-a-conservator GENERAL – Also see individual media below Straus Center for conservation and Technical Studies Harvard University Art Museums 32 Quincy Street Cambridge, MA 02138 Paper, Objects, Textiles P: 617/495.2392 F: 617/495.0322 Website: www.harvardartmuseums.org Isabella Stewart Gardner Museum 25 Evans Way Boston, MA 02115 P: 617/566.1401 Paper, Objects, Textiles F: 617/278.5167 Email: [email protected] Website: www.gardnermuseum.org Vermont Museum and Gallery Alliance C/O Fairbanks Museum Referrals. Good source for general 1302 Main Street information on storage, packing, and St. Johnsbury, VT 05819 care of artwork. P: 802/751.8381 Williamstown Art Conservation Center, Inc. 227 South Street Williamstown, MA 02167 Paintings, paper, objects, furniture, P: 413/458.5741 sculpture, frames, analytical F: 413/458.2314 Email: [email protected] Website: www.williamstownart.org Worcester Art Museum 55 Salisbury Street Worcester, MA 01609 Paper, Paintings P: 508/799.4406 Email: [email protected] Website: www.worcesterart.org CONSERVATORS/RESTORERS Updated: 8/2015 General Continued Art Conservation Resource Center 262 Beacon Street, #4 Paintings, paper, photographs, textiles, Boston, MA 02116 objects and sculpture P: -
Regional Oral History Off Ice University of California the Bancroft Library Berkeley, California
Regional Oral History Off ice University of California The Bancroft Library Berkeley, California Richard B. Gump COMPOSER, ARTIST, AND PRESIDENT OF GUMP'S, SAN FRANCISCO An Interview Conducted by Suzanne B. Riess in 1987 Copyright @ 1989 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 modern research technique involving an interviewee and an informed interviewer in spontaneous conversation. The taped record is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The resulting manuscript is typed in final form, indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and 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 University of California and Richard B. Gump dated 7 March 1988. 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. No part of the manuscript may be quoted for publication without the written permission of the Director of The Bancroft Library of the University of California, Berkeley. -
Conservation of Cultural and Scientific Objects
CHAPTER NINE 335 CONSERVATION OF CULTURAL AND SCIENTIFIC OBJECTS In creating the National Park Service in 1916, Congress directed it "to conserve the scenery and the natural and historic objects and the wild life" in the parks.1 The Service therefore had to address immediately the preservation of objects placed under its care. This chapter traces how it responded to this charge during its first 66 years. Those years encompassed two developmental phases of conservation practice, one largely empirical and the other increasingly scientific. Because these tended to parallel in constraints and opportunities what other agencies found possible in object preservation, a preliminary review of the conservation field may clarify Service accomplishments. Material objects have inescapably finite existence. All of them deteriorate by the action of pervasive external and internal agents of destruction. Those we wish to keep intact for future generations therefore require special care. They must receive timely and. proper protective, preventive, and often restorative attention. Such chosen objects tend to become museum specimens to ensure them enhanced protection. Curators, who have traditionally studied and cared for museum collections, have provided the front line for their defense. In 1916 they had three principal sources of information and assistance on ways to preserve objects. From observation, instruction manuals, and formularies, they could borrow the practices that artists and craftsmen had developed through generations of trial and error. They might adopt industrial solutions, which often rested on applied research that sought only a reasonable durability. And they could turn to private restorers who specialized in remedying common ills of damaged antiques or works of art. -
The Destruction of Art
1 The destruction of art Solvent form examines art and destruction—through objects that have been destroyed (lost in fires, floods, vandalism, or, similarly, those that actively court or represent this destruction, such as Christian Marclay’s Guitar Drag or Chris Burden’s Samson), but also as an undoing process within art that the object challenges through form itself. In this manner, events such as the Momart warehouse fire in 2004 (in which large hold- ings of Young British Artists (YBA) and significant collections of art were destroyed en masse through arson), as well as the events surrounding art thief Stéphane Breitwieser (whose mother destroyed the art he had stolen upon his arrest—putting it down a garbage disposal or dumping it in a nearby canal) are critical events in this book, as they reveal something about art itself. Likewise, it is through these moments of destruction that we might distinguish a solvency within art and discover an operation in which something is made visible at a time when art’s metaphorical undo- ing emerges as oddly literal. Against this overlay, a tendency is mapped whereby individuals attempt to conceptually gather these destroyed or lost objects, to somehow recoup them in their absence. This might be observed through recent projects, such as Jonathan Jones’s Museum of Lost Art, the Tate Modern’s Gallery of Lost Art, or Henri Lefebvre’s text The Missing Pieces; along with exhibitions that position art as destruction, such as Damage Control at the Hirschhorn Museum or Under Destruction by the Swiss Institute in New York.