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Major Museum and Solo Gallery Exhibitions of Gordon Parks on View This Spring
Major Museum and Solo Gallery Exhibitions of Gordon Parks on View This Spring The Addison Gallery of American Art, The Nelson-Atkins Museum of Art, and The Museum of Modern Art Among Institutions to Feature Gordon Parks Pleasantville, NY, February 25, 2020 – The Gordon Parks Foundation collaborates on a range of national and international exhibitions this spring. Featuring significant works by Parks and providing insight on his multifaceted practice, the Spring 2020 exhibitions range from photographs of Muhammad Ali at The Nelson-Atkins Museum of Art to a presentation highlighting new Parks acquisitions at The Museum of Modern Art (MoMA). The season also includes solo gallery exhibitions and presentations at The Gordon Parks Foundation Gallery in Pleasantville, New York, as well as group exhibitions at The Jewish Museum and Princeton University Art Museum. The Foundation’s year-round and wide-ranging programming reflects its commitment to supporting and producing artistic and educational initiatives that advance the legacy and vision of Gordon Parks, who is recognized as one of the most significant photographers of the 20th century, as well as a writer, musician, and filmmaker. “We’re delighted to follow a series of incredible museum exhibitions this past fall with an equally strong and exciting roster of exhibitions and programs in spring 2020,” said Peter W. Kunhardt, Jr., Executive Director of The Gordon Parks Foundation. “These major exhibitions, including those that highlight recent museum acquisitions of Parks’ works, advance the -
JFK Characters
Page 1 JFK Characters As you start reading about the JFK John Abt assassination, you quickly realize that there are thousands of people involved John Abt was a lawyer for the Communist party. in one way or another. Keeping track of When LHO was arrested in Dallas, he asked for Abt who’s who gets to be a challenge. to represent him. LHO wasn’t a communist or That’s why I created this list of some of marxist, but he pretended to be as part of his CIA the major (and minor) players in the undercover assignment. Asking to have Abt as his complex story. It is designed to give lawyer was intended to be a signal to his you a quick idea of the most relevant intelligence handlers that his cover was still intact facts about each of the characters and that he was still playing along. He wanted his listed, and it is intended as a quick handlers to know that they could count on his reference tool. (However, just reading silence. down the list of characters is one way to get a lot of information about the events of November 22, 1963, in Juan Adames Dallas, Texas.) Juan Adames provided information to HSCA It is by no means complete, as that is (House Select Committee on Investigations) beyond my scope. But I do plan to keep investigator Gaeton Fonzi, working in Miami. adding characters as I learn more Adames told Fonzi about Bernardo Gonzales de about the death of JFK. Torres Alvarez (de Torres), who had been working for CIA since 1962. -
American Visionary: John F. Kennedy's Life and Times
American Visionary: John F. Kennedy’s Life and Times Organized by Wiener Schiller Productions in collaboration with the John F. Kennedy Presidential Library Curated by Lawrence Schiller Project Coordinator: Susan Bloom All images are 11 x 14 inches All frames are 17 x 20 inches 1.1 The Making of JFK John “Jack” Fitzgerald Kennedy at Nantasket Beach, Massachusetts, circa 1918. Photographer unknown (Corbis/Getty Images) The still-growing Kennedy family spent summers in Hull, Massachusetts on the Boston Harbor up to the mid-1920s, before establishing the family compound in Hyannis Port. 1.2 The Making of JFK A young Jack in the ocean, his father nearby, early 1920s. Photographer Unknown (John F. Kennedy Library Foundation) Kennedy’s young life was punctuated with bouts of illness, but he was seen by his teachers as a tenacious boy who played hard. He developed a great love of reading early, with a special interest in British and European history. 1.3 The Making of JFK Joseph Kennedy with sons Jack (left) and Joseph Patrick Jr., Brookline, Massachusetts, 1919. Photographer Unknown (John F. Kennedy Library Foundation) In 1919 Joe Kennedy began his career as stockbroker, following a position as bank president which he assumed in 1913 at age twenty-five. By 1935, his wealth had grown to $180 million; the equivalent to just over $3 billion today. Page 1 Updated 3/7/17 1.4 The Making of JFK The Kennedy children, June, 1926. Photographer Unknown (John F. Kennedy Presidential Library and Museum) Left to right: Joe Jr., Jack, Rose Marie, Kathleen, and Eunice, taken the year Joe Kennedy Sr. -
Communique from an Ex-Cop
communiqué from an ex-cop by christopher jordan dorner annotated by research and destroy new york city new york / los angeles 2013 From: Christopher Jordan Dorner /76486 To: America Subj: Last resort7 Regarding CF# 07-0042818 I know most of you who personally know me are in disbelief to hear from media reports that I am suspected of committing such horrendous murders and have taken drastic and shocking actions in the last couple of ________ 1 Posted on Facebook on February 4th, 2013 at 1:48 AM, according to a February 6th search warrant (see Appendix A; Search Warrant. Superior Court of California, County of Orange. 6 Feb. 2013. 17). 2 From the beginning, all news outlets have referred to Dorner’s text as a “manifesto,” often preceded by the word “rambling,” (a Google News phrase search for “rambling manifesto” yielded 1,860 articles at the height of the manhunt) though more often “angry” (3,930 articles). Labeling a document a “manifesto” is one way the media marks its author as mentally unstable, or, even worse, a lone voice yelling into the wilderness. Revelations of isolated lives spent in cabins, whether in the remote Mon- tana wilderness or the snow-capped mountains of Big Bear, CA, paint an image of an unhinged, anti-social individual wholly out of touch with reality, if not totally against it (the climactic self-inflicted gunshot wound provides ultimate confirmation of this). The Riverside Chief of Police articulated early on the portrait of a suspect both soli- tary and certifiable: “My opinion of the suspect is unprintable. -
Tennessee Blue Book 1995-1996 Bicentennial Edition (1796-1996)
State of Tennessee Department of State Tennessee State Library and Archives 403 Seventh Avenue North Nashville, Tennessee 37243-0312 TENNESSEE BLUE BOOK 1995-1996 BICENTENNIAL EDITION (1796-1996) SLIDES USED IN THE PRODUCTION OF THE HISTORY OF TENNESSEE SECTION (PP. 322-420) RECORD GROUP 238 Processed by: David R. Sowell Archival Technical Services TENNESSEE STATE LIBRARY AND ARCHIVES Date completed: 4/22/1997 INTRODUCTION This collection consists of photograph slides, some of which were used as illustrations in the publication of the History of Tennessee section of the Bicentennial Edition of the Tennessee Blue Book. Most of the images in these slides were from the collections of the Tennessee State Library and Archives, but other institutions furnished materials for this undertaking. These were: Tennessee Photographic Services; the Tennessean and Nashville Banner newspapers; the Vanderbilt University Jean and Alexander Heard Library Special Collections and University Archives; the University of Tennessee- Knoxville, Hoskins Library, Special Collections; the Tennessee State Museum; Fisk University; the Kansas State Historical Society. These slides will be available for reference purposes. Patrons should consult an archivist and the photographer of the Tennessee State Library and Archives on producing copies of any images in this collection. The following container list will serve as a guide to the subject content of this slide collection. Patrons using these photograph slides in published works should procure permission and proper attribution phrasing from the repositories holding these images. CONTAINER LIST SLIDE NUMBER (ORIGINAL) SUBJECT NUMBER (NEW) 1-25 Iron Works at Chattanooga (engraving). (Harper’s New Monthly Magazine, No. XCIX, Aug. 1858, Vol. -
Presented to the Graduate Council of the North Texas State University In
371 /V8 A/O 'oo THE "VIVA KENNEDY" CLUBS IN SOUTH TEXAS THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Joan Traffas, B.A. Denton, Texas December, 1972 Traffas, Joan, The "Viva Kennedy" Clubs in South Texas. Master of Arts (History), December, 1972, 132 pp., 2 tables, bibliography, 115 titles. This thesis analyzes the impact of the Mexican-American voters in south Texas on the 1960 presidential election. During that election year, this ethnic minority was strong enough to merit direct appeals from the Democratic presiden- tial candidate, and subsequently, allowed to conduct a unique campaign divorced from the direct control of the conservative state Democratic machinery. Formerly, the Democratic politicos in south Texas manipulated the Mexican-American vote. In 1960, however, the Chicanos voted for a man with whom they could empathize, rather than for a party label. This strong identification with the Democratic candidate was rooted in psychological rather than ideological, social rather than political, factors. John F. Kennedy seemed to personify machismo and simpatla. Perhaps even more impres- sive than the enthusiasm, the Kennedy candidacy generated among the Mexican-Americans was the ability of the Texas Democratic regulars to prevent a liberal-conservative rup- ture within the state party. This was accomplished by per- mitting the Mexican-American "Viva Kennedy" clubs quasi- independence. Because of these two conditions, the Mexican- American ethnic minority became politically salient in the 1960 campaign. 1 2 The study of the Mexican-American political behavior in 1960 proceeds in three stages. -
Weiss Berlin
weiss berlin Edwards, Jeff. “The Long Sweep. A Conversation with Ed Clark about His 60-Plus Years in the Art World,” http://artpulsemagazine.com/the-long-sweep-a-conversation-with-ed-clark-about-his- 60-plus-years-in-the-art-world Abstract Expressionist painter Ed Clark has been an influential figure in the world of painting for more than six decades. In addition to his signature push-broom sweep paintings, he was also an innovator in the field of shaped canvases and one of the original artists in the Brata Gallery during New York’s Tenth Street co-op gallery boom in the 1950s. His works are included in the permanent collections of more than a dozen museums and institutions, including The Art Institute of Chicago, the Studio Museum in Harlem, the Metropolitan Museum of Art and the Museum of Modern Art in New York, the California African American Museum in Los Angeles and the Centro de Arte Moderno in Guadalajara, Mexico. In anticipation of his upcoming retrospective at N’Namdi Contemporary Miami, we spoke with Clark about his life as an artist, the evolution of his style and techniques, and some of the experiences he’s had during his travels around the world. By Jeff Edwards Jeff Edwards - You were born in New Orleans, but during the years of the Great Depression your family moved to Chicago. When were you first interested in art, and when did you discover your vocation as a visual artist? Bundesallee 221 TN +49(030) 2391 9560 Hours Second Floor [email protected] Thu-Sat 13-18h 10719 Berlin www.weissberlin.com and by appointment Germany weiss berlin Ed Clark - It was in Louisiana when I first kind of knew. -
PRICES REALIZED DETAIL - Hollywood - Summer 2016 Auction 83, Auction Date
26662 Agoura Road, Calabasas, CA 91302 Tel: 310.859.7701 Fax: 310.859.3842 PRICES REALIZED DETAIL - Hollywood - Summer 2016 Auction 83, Auction Date: LOT ITEM PRICE PREMIUM 1 THEDA BARA (36) VINTAGE ORIGINAL PHOTOGRAPHIC PORTRAITS. $3,250 $650 2 (100+) VINTAGE ORIGINAL BEHIND THE SCENES PHOTOGRAPHS OF EARLY $1,500 $300 HOLLYWOOD STUDIOS AND FILMMAKING. 3 MGM STARS OF THE 1930S (53) VINTAGE ORIGINAL PHOTOGRAPHIC $1,300 $260 PORTRAITS BY HURRELL AND BULL. 4 JEAN HARLOW (7) VINTAGE ORIGINAL PHOTOGRAPHIC PORTRAITS BY BULL, $450 $90 GRIMES, AND HURRELL. 5 CAROLE LOMBARD VINTAGE ORIGINAL PHOTOGRAPHIC PORTRAIT BY $225 $45 CLARENCE SINCLAIR BULL. 6 CAROLE LOMBARD (50+) VINTAGE ORIGINAL PHOTOGRAPHIC PORTRAITS. $2,750 $770 7 CLARK GABLE (14) VINTAGE ORIGINAL PHOTOGRAPHS. $300 $60 8 GONE WITH THE WIND (40+) VINTAGE ORIGINAL PRODUCTION PHOTOS AND (1) $1,100 $308 WINDOW CARD. 9 LAUREN BACALL (2) VINTAGE OVERSIZE PHOTOGRAPHIC PORTRAITS BY JOHN $2,250 $450 ENGSTEAD. 10 REBEL WITHOUT A CAUSE (22) VINTAGE ORIGINAL SET CONTINUITY $400 $80 PHOTOGRAPHS. 11 COLLECTION OF (5000+) ORIGINAL VINTAGE AND CONTEMPORARY $37,500 $7,500 ENTERTAINMENT PHOTOGRAPHS. 12 COLLECTION OF (5000+) ORIGINAL VINTAGE AND CONTEMPORARY $35,000 $7,000 ENTERTAINMENT PHOTOGRAPHS. 13 COLLECTION OF (5000+) ORIGINAL VINTAGE AND CONTEMPORARY $37,500 $7,500 ENTERTAINMENT PHOTOGRAPHS. 14 COLLECTION OF (500+) VINTAGE AND CONTEMPORARY OVERSIZE $9,000 $1,800 PHOTOGRAPHIC PORTRAITS. 15 LON CHANEY, SR. VINTAGE ORIGINAL PHOTOGRAPHER SIGNED GLASS PLATE $450 $90 NEGATIVE. 16 COLLECTION OF (1000++) ORIGINAL VINTAGE AND CONTEMPORARY $5,500 $1,100 NEGATIVES, SLIDES, AND COLOR TRANSPARENCIES. Page 1 of 71 26662 Agoura Road, Calabasas, CA 91302 Tel: 310.859.7701 Fax: 310.859.3842 PRICES REALIZED DETAIL - Hollywood - Summer 2016 Auction 83, Auction Date: LOT ITEM PRICE PREMIUM 17 IN OLD CHICAGO VINTAGE ORIGINAL SCRIPT. -
Dwight D. Eisenhower Library Audiovisual Department Brownell, Herbert Jr
Dwight D. Eisenhower Library Audiovisual Department Brownell, Herbert Jr. Photographs 96-14-1: Portrait of Herbert Brownell, Jr., taken his senior year of high school, 1919-1920. Same as 96- 14-675. Credit: Dole Studio, Lincoln, NE. Two 2 ¼ x 3 ¾ b/w prints. 96-14-2: Portrait of Herbert Brownell, Jr.; this was his high school graduation picture, taken in 1920. Same as 96-14-733 and 96-14-892. Credit: Townsend Studio, Lincoln, NE. Two 3 x 4 b/w prints. 96-14-3: Portrait of Herbert Brownell, Jr., taken when he was a junior at the University of Nebraska, 1922-23. Same as 96-14-673 and 96-14-893. Credit: unknown. One 3 x 4 b/w print. 96-14-4: “Herbert Brownell Jr., Peru, Neb., 17 months old.” Baby picture of Herbert Brownell, Jr. Same as 96-14-903. Credit: Lewis, Utica, NY. One 2 x 2 ¾ oval b/w print on 4 x 5 ½” card. 96-14-5: Photo of Herbert Brownell, Jr., as a young man; face in profile. Credit: unknown. One 5 x 7 b/w print. 96-14-6: Photo of Herbert Brownell, Jr., probably in late 1940s. Credit: unknown. One 4 x 5 b/w print. 96-14-7: Photo of Herbert Brownell, Jr., outside of a brick building; probably 1ate 1920s or early 1930s. Credit: unknown. One 7 x 8 b/w print. 96-14-8: Photo of Herbert Brownell standing in front of a bookcase, reading a book; 1940s. Credit: Acme Newspictures, Inc., NYC. One 7 x 9 b/w print. -
Peter Bradley
Oral History Center University of California The Bancroft Library Berkeley, California Peter Bradley Peter Bradley: A Life in Paint Getty Trust Oral History Project African American Art History Initiative, Getty Research Institute Interviews conducted by Andrianna Campbell and Shanna Farrell In 2019 Interviews sponsored by the J. Paul Getty Trust Copyright © 2020 by J. Paul Getty Trust Oral History Center, The Bancroft Library, University of California, Berkeley ii Since 1954 the Oral History Center of The Bancroft Library, formerly 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 method of collecting historical information through recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in 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, -
The Arkansas Family Historian
THE ARKANSAS FAMILY HISTORIAN VOLUME 46, NUMBER 3 September 2008 Arkansas Genealogical Society P.O. Box 17653 Little Rock, AR 72222 Publications: [email protected] Membership: [email protected] AGS E-Zine: [email protected] Questions: [email protected] Website: www.agsgenealogy.org Officers and Board Members President Gloria Futrell Little Rock [email protected] 1st Vice President Rebecca Wilson Little Rock [email protected] Treasurer Whitney McLaughlin Little Rock [email protected] Membership Sec. Rita Benafield Henard Little Rock [email protected] Historian Nina Corbin Little Rock [email protected] Parliamentarian Wensil Clark Little Rock [email protected] Jan Hearn Davenport No. Little Rock [email protected] Russell P. Baker Mabelvale [email protected] Lynda Suffridge No. Little Rock [email protected] Suzanne Jackson No. Little Rock [email protected] Tommy Carter Pine Bluff [email protected] Susan Boyle Little Rock [email protected] Jerrie Townsend Stuttgart [email protected] Bob Edwards Russellville [email protected] Betty Clayton Paragould [email protected] Kaye Holmes Paragould [email protected] Richard C. Butler Little Rock [email protected] Linda Fischer Stuttgart [email protected] Rufus Buie Rison [email protected] Editorial Board Susan Boyle, Editor Rebecca Wilson, Technical Editor Rita Benafield Henard, Contributing Editor Whitney McLaughlin, Contributing Editor On the Cover: William Samuel Coleman (1861-1894) and his mother, Mary Hutchison (Grogan) Coleman (Mrs. Robert S.) (1822-1908) with Sam’s daughters left to right: Elsie Coleman (1887-1979) who married A. B. White, Elba Coleman (1885-1974) who married Milan Findley, and Oca Coleman (1889-1892). Photo taken ca. -
University Microfilms International
INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target’* for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the Him along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy.