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A Comprehensive Entry, Descent, Landing, And
A Comprehensive Entry, Descent, Landing, and Locomotion (EDLL) Vehicle for Planetary Exploration Kevin Schroeder Dissertation submitted to the Faculty of the Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Mechanical Engineering Javid Bayandor, Chair Jamshid Samareh Sasan Armand Francine Battaglia Walter O’Brien Wayne Scales July 18th, 2017 Blacksburg, Virginia Keywords: Entry Descent Landing (EDL), Tensegrity, Venus Rover, Deployable Heat Shield Copyright 2017, Kevin Schroeder A Comprehensive Entry, Descent, Landing, and Locomotion (EDLL) Vehicle for Planetary Exploration Kevin Schroeder Abstract The 2012 Decadal Survey has stated that there is a critical role for a Venus In-situ Explore (VISE) missions to a variety of important sites, specifically the Tessera terrain. This work aims to answer the Decadal Survey’s call by developing a new comprehensive Entry, Descent, Landing, and Locomotion (EDLL) vehicle for in-situ exploration of Venus, especially in the Tessera regions. TANDEM, the Tension Adjustable Network for Deploying Entry Membrane, is a new planetary probe concept in which all of EDLL is achieved by a single multifunctional tensegrity structure. The concept uses same fundamental concept as the ADEPT (Adaptable Deployable Entry and Placement Technology) deployable heat shield but replaces the standard internal structure with the structure from the tensegrity- actuated rover to provide a combined aeroshell and rover design. The tensegrity system implemented by TANDEM reduces the mass of the overall system while enabling surface locomotion and mitigating risk associated with landing in the rough terrain of Venus’s Tessera regions, which is otherwise nearly inaccessible to surface missions. -
Oral History Interview with Pietro Lazzari, 1964
Oral history interview with Pietro Lazzari, 1964 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 Interview HP: DR. HARLAN PHILLIPS PL: PIETRO LAZZARI HP: I think while we have the opportunity it's, I think, important to assess in a way what one begins with. You have at least, you know, a dual cultural view, more, probably, so what did you fall heir to in the way of luggage and baggage that you've carried? PL: Well, I do believe I was quite lucky, if we can put it this way, I was born in the last century, 1898, in Rome and not from a family were cultural marked point was strong. My father was very inventive himself, he could draw horses. He loved to walk long distances. I remember as a young boy we used to walk outside the gates of Rome in Via Solaria or toward Ostia, and he was not a very tall man but while he walked, and while he talked he grew, I thought he was very tall, and he was inspired, his chest forward because he was the bandolier, which is a sort of an elite corps in the Italian army and he volunteered very young. So going back to our walks, he was familiar with the Roman ruins and frescoes in churches particularly those churches on the outskirts of Rome. -
224. the Gates New York City, U.S. Christo and Jeanne-Claude. 1979
224. The Gates New York City, U.S. Christo and Jeanne-Claude. 1979-2005 C.E. Mixed media installation (2 images) Article at Khan Academy Conceived in 1979 – then executed in 2005 for only 2 weeks in Central Park, NYC Content: Each gate, a rectilinear three-sided rigid vinyl frame resting on two steel footings, supported saffron- colored fabric panels that hung loosely from the top. The gates themselves matched the brilliant color of the fabric. The statistics are impressive: 7,503 gates ran over 23 miles of walkways; each gate was 16 feet high, with widths varying according to the paths’ width The Gates remains a complex testament to two controversial topics in contemporary art: how to create meaningful public art and how art responds to and impacts our relationship with the built environment Context: The saffron color in The Gates was used to create “a golden ceiling creating warm shadows” [1} for the visitor walking along the Central Park path o Central Park, a much-loved urban oasis, is one of the most famous examples of urban planning. The Gates reinforce and highlight pre-existing routes within this manmade environment. Critiques of The Gates that are rooted in the issue of the artwork’s relationship with nature are therefore curious since the Park itself is not an untouched natural space o The title alludes to a threshold, a point of exit and entrance. In fact, in some places, the structures form an oval. There is no starting point and no end point and moreover, no favored point from which to view the work. -
P R O C E E D I N G S of the of the United States
107th_covers 6/21/07 10:41 AM Page 1 110th Congress, 1st Session ......................................................House Document 110-40 P R O C E E D I N G S OF THE 107th NATIONAL CONVENTION OF THE VETERANS OF FOREIGN WARS OF THE UNITED STATES [SUMMARY OF MINUTES] Reno, Nevada : : : August 26 - August 31, 2006 107TH NATIONAL CONVENTION OF THE VETERANS OF FOREIGN WARS 107th_backstrip 6/21/07 10:58 AM Page 1 107th_covers 6/21/07 10:41 AM Page I 110th Congress, 1st Session ......................................................House Document 110-40 PROCEEDINGS of the 107th ANNUAL CONVENTION OF THE VETERANS OF FOREIGN WARS OF THE UNITED STATES (SUMMARY OF MINUTES) Reno, Nevada August 26-31, 2006 Referred to the Committee on Veterans’ Affairs and ordered to be printed. U.S. GOVERNMENT PRINTING OFFICE WASHINGTON : 2007 36-122 107th 5/25/07 1:05 PM Page II U.S. CODE, TITLE 44, SECTION 1332 NATIONAL ENCAMPMENTS OF VETERANS’ ORGANIZATIONS; PROCEEDINGS PRINTED ANNUALLY FOR CONGRESS The proceedings of the national encampments of the United Spanish War Veterans, the Veterans of Foreign Wars of the United States, the Amer- ican Legion, the Military Order of the Purple Heart, the Veterans of World War I of the United States, Incorporated, the Disabled American Veterans, and the AMVETS (American Veterans of World War II), respectively, shall be printed annually, with accompanying illustrations, as separate House doc- uments of the session of the Congress to which they may be submitted. [Approved October 2, 1968.] II 107th 6/22/07 3:11 PM Page III LETTER OF TRANSMITTAL VETERANS OF FOREIGN WARS OF THE UNITED STATES, RENO, NEVADA, April, 2007 Honorable Nancy Pelosi The Speaker U.S. -
Frederick Douglass
S. G. & E. L. ELBERT THE BEACON BIOGRAPHIES EDITED BY M. A. DeWOLFE HOWE FREDERICK DOUGLASS BY CHARLES W. CHESNUTT ''//.////////,. >'///,. / e s «infflit of Beacon mU^' J /&<////; a///7m/r// 7m6ner$G(k BOSTON FREDERICK DOUGLASS BY CHARLES W. CHESNUTT LONDON KEGAN PAUL, TRENCH, TRUBNER & CO. Limited A Copyright^ i8pp By Smalls Maynard & Company (Incorporated) Entered at Stationers' Hall Press of George H. Ellis, Boston, U.S. The photogravure used as a frontispiece to this volume is from a photograph by J. H. Kent, Rochester, New York, one of the last taken of Mr. Douglass. It is the por- trait most highly thought of by his family, by whose permission it is used. The pres- ent engraving is by John Andrew & Son, Boston. PEEFACE. Frederick Douglass lived so long, and played so conspicuous a part on the world) s stage, that it would be impossible, in a work of the size of this, to do more than touch upon the salient features of his career, to suggest the respects in which he influenced the course of events in his lifetime, and to epitomize for the readers of another genera- tion the judgment of his contemporaries as to his genius and his character. Douglass's fame as an orator has long been secure. His position as the champion of an oppressed race, and at the same time an example of its possibilities, was, in his own generation, as picturesque as it was unique; and his life may serve for all time as an incentive to aspiring souls tvho would fight the battles and win the love of mankind. -
FOR IMMEDIATE RELEASE May 4, 2011 No. 140
T HE CITY OF NEW Y ORK OFFICE OF THE M AYOR N EW Y ORK, NY 10007 FOR IMMEDIATE RELEASE May 4, 2011 No. 140 www.nyc.gov MAYOR BLOOMBERG DISCUSSES FREEDOM OF EXPRESSION AT OPENING OF CHINESE ARTIST AI WEIWEI’S HISTORIC OUTDOOR SCULPTURE EXHIBITION: CIRCLE OF ANIMALS/ZODIAC HEADS Prominent Members of City’s Arts and Cultural Community Join Mayor to Commemorate the Exhibition and Speak the Words of Ai Weiwei, Who Remains in Detainment in China First-Ever Public Art Exhibition at the Landmarked Pulitzer Fountain in Manhattan’s Grand Army Plaza – May 4 through July 15, 2011 – Kicks Off Five-City Outdoor Public Sculpture Installation Mayor Michael R. Bloomberg’s Remarks As Prepared Follow: “Good morning. It’s a bittersweet honor to welcome you all here to celebrate the opening of a remarkable piece of public art by one of the world’s most creative and courageous public citizens: Ai Weiwei. Ai Weiwei could not be here with us for the unveiling of his latest work, Circle of Animals/Zodiac Heads. He has been detained by the Chinese government, and the fact that we do not know where he is, or when he will be released, is very disturbing. “Today, we stand in solidarity with the millions of people around the world who are hoping that Ai Weiwei is quickly and safely released. And we stand in solidarity with the billions of people who do not have the most fundamental of all human rights, the most cherished of all American values, and the most valuable of all New York City’s riches: free expression. -
USDI/NPS NRHP Registration Form Atalaya and Brookgreen Gardens Page #1 *********** (Rev
USDI/NPS NRHP Registration Form Atalaya and Brookgreen Gardens Page #1 *********** (Rev. 8-86) United States Department of the Interior National Park Service NATIONAL REGISTER OF HISTORIC PLACES REGISTRATION FORM NATIONAL HISTORIC LANDMARK NOMINATION FORM 1. Name of Property historic name: Atalaya and Brookgreen Gardens other name/site number: 2. Location street & number: U.S. Highway 17 not for publication: N/A city/town: Murrells Inlet vicinity: X state: SC county: Georgetown code: 043 zip code: 29576 3. Classification Ownership of Property: private Category of Property: district Number of Resources within Property: Contributing Noncontributing _10_ buildings _1_ sites _5_ structures _0_ objects 16 Total Number of contributing resources previously listed in the National Register: 9 Name of related multiple property listing: N/A USDI/NPS NRHP Registration Form Atalaya and Brookgreen Gardens Page #2 4. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act of 1986, as amended, I hereby certify that this ___ nomination ___ req'uest for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property ___ meets ___ does not meet the National Register Criteria. __ See continuation sheet. Signature of certifying official Date State or Federal agency and bureau In my opinion, the property ___ meets ___ does not meet the National Register criteria. __ See continuation sheet. Signature of commenting or other official Date State or Federal agency and bureau 5. National Park Service Certification I, hereby certify that this property is: entered in the National Register __ See continuation sheet. -
Robert Moses
A Publication of the Foundation for Landscape Studies A Journal of Place Volume ııı | Number ı | Fall 2007 Essays: The Landscapes of Robert Moses 3 Elizabeth Barlow Rogers: Robert Moses and the Transformation of Central Park Adrian Benepe: From Playground Tot to Parks Commissioner: My Life with Robert Moses Carol Herselle Krinsky: View from a Tower in the Park: At Home in Peter Cooper Village Elizabeth Barlow Rogers: Robert Moses and Robert Caro Redux Book Reviews 18 Reuben M. Rainey: Pilgrimage to Vallombrosa: From Vermont to Italy in the Footsteps of George Perkins Marsh By John Elder Elizabeth Barlow Rogers: Daybooks of Discovery: Nature Diaries in Britain 1770–1870 By Mary Ellen Bellanca Nature’s Engraver: A Life of Thomas Bewick By Jenny Uglow Calendar 23 Contributors 23 Letter from the Editor his issue of tenements, he cleared slums or New York City Housing in general, and the New York Site/Lines contin- but destroyed neighbor- Authority ownership, the City Planning Commission ues the reassess- hoods. The benefit of his land they occupy is not sub- in particular. He never saw Tment of the career parks has remained essen- ject to the market forces that himself as other than a of Robert Moses tially unchallenged, although normally drive real estate pragmatic enabler of public initiated earlier this year their creation as linear development. They remain works, the man who “got with Robert Moses and the appendages to highways has islands set apart from the things done.” Private-sector Modern City: The Transforma- been criticized. rest of a city that dynamical- economic development was tion of New York, the tripar- Inevitably, the forces of ly rebuilds itself as long as not part of his purview. -
P a R T M E N Parks Arsenal, Central Park Regent 4-1000
DEPARTMEN O F P ARK S ARSENAL, CENTRAL PARK REGENT 4- I 00 0 FOR RELEAS^^E^ IMMEDIATELY l-l-l-60M-706844(61) ^^^ 114 NewboTd Morris, Commissioner of Parks, announces that the seven Christmas week Marionette performances of "Alice in Wonderland", scheduled to be held in the Hunter College Playhouse, have been over- subscribed and the public is hereby notified that no further requests for tickets can be honored. To date there have been over 15,000 requests for tickets for these free marionette performances with only 5,000 seats available for the four days. It is hoped that the many thousands of youngsters who have been denied the pleasure of seeing any of these performances, may see "Alice in Wonderland" during the winter showings at public and Paro- chial schools in the five boroughs. The travelling marionette theatre will be in the five boroughs according to the following schedule.. Until January S Manhattan Brooklyn Jan. 9 to Jan. 30 Bronx Jan. 31 to Feb. 20 Queens Feb. 26 to March 16 Richmond March 19 to March 27 •\ o /on DEPARTMEN O F PA R K S ARSENAL, CENTRAL PARK REGENT 4-1000 FOR RELEASE IMMEDIATELY l-l-l-60M-706844(61) «^»* 114 NewboTd Morris, Commissioner of Parks, announces that the seven Christmas week Marionette performances of "Alice in Wonderland", scheduled to be held in the Hunter College Playhouse, have been over- subscribed and the public is hereby notified that no further requests for tickets can be honored. To date there have been over 15,000 requests for tickets for these free marionette performances with only 5,000 seats available for the four days. -
Lot of Pop Character of Art SAN ANTONIO MUSEUM Of
Character of Art Lot of Pop 6 | Miguel Covarrubias 11 | Corita Kent FALL | 2015 SAN ANTONIO MUSEUM of ART Anatomy of a... [Mummy Mask] The Curator: Jessica Powers Where to Find It: First Floor, Egyptian Gallery A mummy from Roman Egypt? That’s right. Three-thousand-year-old customs die hard, so even after the Romans took over Egypt in 30 BC, some of its inhabitants kept right on mummifying their dead. What's it made of? The mask is made of cartonnage, a material consisting of layers of linen soaked in animal glue Whose wing is this? and shaped over a solid form. There’s a thin outer A scarab beetle spreads its colorful wings layer of plaster that was then painted and gilded. protectively over the top of the mask. What's going on here? Why is his face gold? On both sides of the mask, the deceased man stands The gilded face connects the deceased man to the with his hands raised in adoration before Osiris, the sun god, Ra, whom the Egyptians believed had skin god of the dead. The deceased is accompanied on covered in pure gold. the left by the jackal-headed god Anubis, and on the right by the falcon-headed god Horus. Above: Mummy Mask for a Man Egypt, Roman period, late 1st century BC–1st century AD Painted and gilded cartonnage Museum Purchase: Stark-Willson Collection 86.138.97 2 FALL | 2015 2014–2015 BOARD of TRUSTEES 4 6 11 14 OFFICERS John Eadie, Chairman Claudia Huntington, Vice Chairman Jorge del Alamo, Treasurer W. -
The Censored Paintings of Paul Cadmus, 1934-1940
THE CENSORED PAINTINGS OF PAUL CADMUS, 1934-1940: THE BODY AS THE BOUNDARY BETWEEN THE DECENT AND OBSCENE by ANTHONY J. MORRIS Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY May 2010 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the dissertation of Anthony J. Morris, candidate for the PhD degree*. ________________ Henry Adams ________________ (chair of the committee) ________________ Ellen G. Landau ______________ ________________ T. Kenny Fountain ____________ ________________ Renée Sentilles _______________ Date: March 15, 2010 *We also certify that written approval has been obtained for any proprietary material contained therein. Table of Contents: Table of Contents: ii. List of Figures v. Acknowledgements xi. Abstract xiii. Chapter I Introduction: Censorship and the American Scene 1. Censorship of Sex: The Comstock Laws 3. Censorship of Hate Speech: Griffith’s “The Birth of a Nation” 10. Censorship of Political Ideology: Diego Rivera 13. Censorship and the New Deal Mural Program 16. Paul Cadmus and Other Painters of the American Scene 21. The Depiction of the Working Class 23. The Depiction of Women and Sexuality 27. The Depiction of Alcohol Following the Prohibition Era 31. Chapter II Historiography of Paul Cadmus: The Gay Satirist 34. 1930s: Repulsive Subjects and Garish Color 35. 1941-1968: Near Silence 41. 1968-1992: Re-emergence and Re-considered 44. 1992-present: Queering Paul Cadmus 51. ii Chapter III The Navy, The New Deal, and The Fleet’s In! Reconsidered 59. The National Exhibition of Art by the Public Works of Art Project 60. -
Vitamin C Clay + Ceramic
VITAMIN C CLAY + CERAMIC IN CONTEMPORARY ART IN CONTEMPORARY Vitamin C: Clay and Ceramic in Contemporary Art Roberto Amigo Sarah Douglas Juste Jonutyte Jeremy Millar Stephanie Rosenthal Chief Curator, Museo Nacional de Bellas Editor-in-Chief, Art News, New York Director, Rupert Centre for Arts and Tutor in Art Criticism, Royal College Chief Curator, Hayward Gallery,London The revival of clay as material for contemporary visual artists Artes de Buenos Aires Education, Vilnius, Lithuania of Art, London and a growing interest by curators and collectors in the work Ben Eastham Beatrix Ruf of overlooked ceramic artists, has resulted in a blurring of Max Andrews Co-founder and Editor, The White Review Eungie Joo Jed Morse Director, Stedelijk Museum, Amsterdam Independent curator and writer, and Assistant Editor, Art Agenda, London Independent curator and writer, New York Chief Curator, Nasher Sculpture Centre, boundaries between ‘fine art’ and ‘craft’ and an increase in Barcelona Dallas exhibitions featuring art made of this most traditional material. Bart Rutten Reem Fadda Mami Kataoka Head of Collections, Stedelijk Museum, Laura Barlow Associate Curator, Middle Eastern Art for Chief Curator, Mori Art Museum, Tokyo Hanne Mugaas Amsterdam Vitamin C: Clay and Ceramic in Contemporary Art is the latest Curator, Mathaf Arab Museum of Modern the Abu Dhabi Project of the Solomon R Director and Curator, Kunsthall Stavanger, in Phaidon's best-selling 'Vitamin' series in which art experts Art, Doha, Qatar Guggenheim, New York Norway (curators, critics and collectors) are invited to nominate key Inés Katzenstein Sam Sherman Director, Department of Art, Universidad Independent curator and writer, London artists working in particular medium.