JACOB LAWRENCE Lines of Influence
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Black History Month February 2020
BLACK HISTORY MONTH FEBRUARY 2020 LITERARY FINE ARTS MUSIC ARTS Esperanza Rising by Frida Kahlo Pam Munoz Ryan Frida Kahlo and Her (grades 3 - 8) Animalitos by Monica Brown and John Parra What Can a Citizen Do? by Dave Eggers and Shawn Harris (K-2) MATH & CULINARY HISTORY SCIENCE ARTS BLACK HISTORY MONTH FEBRUARY 2020 FINE ARTS Alma Thomas Jacob Lawrence Faith Ringgold Alma Thomas was an Faith Ringgold works in a Expressionist painter who variety of mediums, but is most famous for her is best-known for her brightly colored, often narrative quilts. Create a geometric abstract colorful picture, leaving paintings composed of 1 or 2 inches empty along small lines and dot-like the edge of your paper marks. on all four sides. Cut colorful cardstock or Using Q-Tips and primary Jacob Lawrence created construction paper into colors, create a painted works of "dynamic squares to add a "quilt" pattern in the style of Cubism" inspired by the trim border to your Thomas. shapes and colors of piece. Harlem. His artwork told stories of the African- American experience in the 20th century, which defines him as an artist of social realism, or artwork based on real, modern life. Using oil pastels and block shapes, create a picture from a day in your life at school. What details stand out? BLACK HISTORY MONTH FEBRUARY 2020 MUSIC Creating a Music important to blues music, and pop to create and often feature timeless radio hits. Map melancholy tales. Famous Famous Motown With your students, fill blues musicians include B.B. -
Design of Autonomous Coupling Mechanism for Modular Reconfigurable Lunar Rovers
Dartmouth College Dartmouth Digital Commons ENGS 88 Honors Thesis (AB Students) Other Engineering Materials Spring 6-6-2021 Design of Autonomous Coupling Mechanism for Modular Reconfigurable Lunar Rovers Christopher Lyke [email protected] Follow this and additional works at: https://digitalcommons.dartmouth.edu/engs88 Part of the Engineering Commons Dartmouth Digital Commons Citation Lyke, Christopher, "Design of Autonomous Coupling Mechanism for Modular Reconfigurable Lunar Rovers" (2021). ENGS 88 Honors Thesis (AB Students). 30. https://digitalcommons.dartmouth.edu/engs88/30 This Thesis (Senior Honors) is brought to you for free and open access by the Other Engineering Materials at Dartmouth Digital Commons. It has been accepted for inclusion in ENGS 88 Honors Thesis (AB Students) by an authorized administrator of Dartmouth Digital Commons. For more information, please contact [email protected]. DESIGN OF AUTONOMOUS COUPLING MECHANISM FOR MODULAR RECONFIGURABLE LUNAR ROVERS by CHRIS LYKE Bachelor of Arts Honors Thesis Thayer School of Engineering Dartmouth College Hanover, New Hampshire Date: __________________________ Approved:______________________ Advisor’s Signature ______________________________ Author’s Signature Abstract Modular reconfigurable robotics consist of modules that can join together to form larger entities capable of changing their morphologies for improved versatility, robustness, and cost. Coupling mechanisms play a key role in these systems, as they are the component connecting the modules and enabling the robot to change shape. Coupling mechanisms also define the structure, rigidity, and function of modular systems. This paper details the development of the autonomous coupling mechanism for SHREWs, a modular reconfigurable system of rovers designed to explore the permanently shadowed regions of the Moon. -
Honorary Degree Recipients 1977 – Present
Board of Trustees HONORARY DEGREE RECIPIENTS 1977 – PRESENT Name Year Awarded Name Year Awarded Claire Collins Harvey, C‘37 Harry Belafonte 1977 Patricia Roberts Harris Katherine Dunham 1990 Toni Morrison 1978 Nelson Mandela Marian Anderson Marguerite Ross Barnett Ruby Dee Mattiwilda Dobbs, C‘46 1979 1991 Constance Baker Motley Miriam Makeba Sarah Sage McAlpin Audrey Forbes Manley, C‘55 Mary French Rockefeller 1980 Jesse Norman 1992 Mabel Murphy Smythe* Louis Rawls 1993 Cardiss Collins Oprah Winfrey Effie O’Neal Ellis, C‘33 Margaret Walker Alexander Dorothy I. Height 1981 Oran W. Eagleson Albert E. Manley Carol Moseley Braun 1994 Mary Brookins Ross, C‘28 Donna Shalala Shirley Chisholm Susan Taylor Eleanor Holmes Norton 1982 Elizabeth Catlett James Robinson Alice Walker* 1995 Maya Angelou Elie Wiesel Etta Moten Barnett Rita Dove Anne Cox Chambers 1983 Myrlie Evers-Williams Grace L. Hewell, C‘40 Damon Keith 1996 Sam Nunn Pinkie Gordon Lane, C‘49 Clara Stanton Jones, C‘34 Levi Watkins, Jr. Coretta Scott King Patricia Roberts Harris 1984 Jeanne Spurlock* Claire Collins Harvey, C’37 1997 Cicely Tyson Bernice Johnson Reagan, C‘70 Mary Hatwood Futrell Margaret Taylor Burroughs Charles Merrill Jewel Plummer Cobb 1985 Romae Turner Powell, C‘47 Ruth Davis, C‘66 Maxine Waters Lani Guinier 1998 Gwendolyn Brooks Alexine Clement Jackson, C‘56 William H. Cosby 1986 Jackie Joyner Kersee Faye Wattleton Louis Stokes Lena Horne Aurelia E. Brazeal, C‘65 Jacob Lawrence Johnnetta Betsch Cole 1987 Leontyne Price Dorothy Cotton Earl Graves Donald M. Stewart 1999 Selma Burke Marcelite Jordan Harris, C‘64 1988 Pearl Primus Lee Lorch Dame Ruth Nita Barrow Jewel Limar Prestage 1989 Camille Hanks Cosby Deborah Prothrow-Stith, C‘75 * Former Student As of November 2019 Board of Trustees HONORARY DEGREE RECIPIENTS 1977 – PRESENT Name Year Awarded Name Year Awarded Max Cleland Herschelle Sullivan Challenor, C’61 Maxine D. -
Technical Memorandum
NASA Technical Memorandum NASA TM-82563 3EVELOPMEYT OF AN IMPROVED PROTECTIVE COVERILIGHT BLOCK FOR MULTlLAYEFi INSULATION By L. M. Thompson, Dr. J. M. S;uikey, Don Wilkes? 2nd Dr. Randy Humphries Materials arid Processes Laboratory October 1983 (YASA-TM-02503) DEYELOPHiiL? OF AN IYPBCVEI) B84- 15269 PROTECTIVE CQVEh/LIGHI BLCCK EGP MULTILAYEfi i&SiJLAl!IUAl (bASA) LO p HC A02/nP A01 CSCL 11E Unc~as Gr)/L7 1803b National keronauflcs and .Space Admr i;!rat $?r8 George C. Marshall Space Flight Center AISFC - Form 3190 (Rev. Msv 1983) TECdNICAL REPORT STANDARD TITLE PAGE 1. REPORT NO. 12. GOVERNmNT ACCESSION NO. 13. RECIPIENT'S CATALOG NO. NASA TM-825b3 I 4. TITLE AND SUBTITLE 5. REPORT DATE Development of an Inlproved hatective Cover/Llght October 1983 Block for Multdayer Insulation 6. PERFORMING 0RGANIZATIZ)N ClOE 7. AUTHm(S) L. M. Thompson, Dr. J. M. Stuckey, Don Wilkcs and 8. PERFORMING ORGANIZATION REPORT U Dr,dv Hunlphries -- 9. PERFORMING ORGANIZATION NAME AND ADDRESS 10. WORK UNIT NO. I George C. Marshall Space Flight Center 1 1. CONTRACT OR GRANT NO. Marshall Space Flight Center, Alabama 358 12 13. TYPE OF REPOR; % PERIOD COVERED 12 SPONSORING AGENCY NAME AND ADORESS I Technical Memorandum National Aeronautics and Space Administration I Washington, D.C. 20546 1.1. SPONSORING AGENCY CODE I -l 15. SUPPLEMENTARY NOTES 1I 1 Prepared by Materials and Processes Laboratory. Science md Engineering This task was directed toward demonstrating the feasibilit~.of using a scrim-reinforced. single metallized. 4mil Tedlar film as a replacement for the Teflon coated Beta-c!oth/single metallized 3-mil Kapton film prexntly used as the protective coverllight block for multilayer insulation (MLI) on the Orbiter, Spacelab, and other space applications. -
Nytimes Black History Month Is a Good Excuse for Delving Into Our
Black History Month Is a Good Excuse for Delving Into Our Art An African-American studies professor suggests ways to mark the month, from David Driskell’s paintings and Dance Theater of Harlem’s streamed performances to the rollicking return of “Queen Sugar.” David Driskell’s “Swing Low, Sweet Chariot,” (1972), acrylic on canvas. Estate of David C. Driskell and DC Moore Gallery By Salamishah Tillet • Feb. 18, 2021 Black History Month feels more urgent this year. Its roots go back to 1926, when the historian Carter G. Woodson developed Negro History Week, near the February birthdays of both President Abraham Lincoln and the abolitionist Frederick Douglass, in the belief that new stories of Black life could counter old racist stereotypes. Now in this age of racial reckoning and social distancing, our need to connect with each other has never been greater. As a professor of African-American studies, I am increasingly animated by the work of teachers who have updated Woodson’s goal for the 21st century. Just this week, my 8- year-old daughter showed me a letter written by her entire 3rd-grade art class to Faith Ringgold, the 90-year-old African-American artist. And my son told me about a recent pre-K lesson on Ruby Bridges, the first African-American student who, at 6, integrated an elementary school in the South. Suddenly, the conversations my kids have at home with my husband and me are the ones they’re having in their classrooms. It's not just their history that belongs in all these spaces, but their knowledge, too. -
African American Creative Arts Dance, Literature, Music, Theater, and Visual Art from the Great Depression to Post-Civil Rights Movement of the 1960S
International Journal of Humanities and Social Science Vol. 6, No. 2; February 2016 African American Creative Arts Dance, Literature, Music, Theater, and Visual Art From the Great Depression to Post-Civil Rights Movement of the 1960s Dr. Iola Thompson, Ed. D Medgar Evers College, CUNY 1650 Bedford Ave., Brooklyn, NY 11225 USA Abstract The African American creative arts of dance, music, literature, theater and visual art continued to evolve during the country’s Great Depression due to the Stock Market crash in 1929. Creative expression was based, in part, on the economic, political and social status of African Americans at the time. World War II had an indelible impact on African Americans when they saw that race greatly affected their treatment in the military while answering the patriotic call like white Americans. The Civil Rights Movement of the 1960s had the greatest influence on African American creative expression as they fought for racial equality and civil rights. Artistic aesthetics was based on the ideologies and experiences stemming from that period of political and social unrest. Keywords: African American, creative arts, Great Depression, WW II, Civil Rights Movement, 1960s Introduction African American creative arts went through several periods of transition since arriving on the American shores with enslaved Africans. After emancipation, African characteristics and elements began to change as the lifestyle of African Americans changed. The cultural, social, economic, and political vicissitudes caused the creative flow and productivity to change as well. The artistic community drew upon their experiences as dictated by various time periods, which also created their ideologies. During the Harlem Renaissance, African Americans experienced an explosive period of artistic creativity, where the previous article left off. -
A Finding Aid to the Charles Henry Alston Papers, 1924-1980, in the Archives of American Art
A Finding Aid to the Charles Henry Alston Papers, 1924-1980, in the Archives of American Art Jayna M. Hanson Funding for the digitization of this collection was provided by the Terra Foundation for American Art August 2008 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical Note............................................................................................................. 2 Scope and Content Note................................................................................................. 3 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Biographical Information, 1924-1977........................................................ 5 Series 2: Correspondence, 1931-1977.................................................................... 6 Series 3: Commission and Teaching Files, 1947-1976........................................... -
Extra Credit
Artist: Charles Alston Title: Family No. 1 Date of Work:1955 Dimensions 21 3⁄4 x 16 1⁄4 in. / 55.2 x 41.3 cm Charles Alston (1907 - 77), painter, sculptor, muralist and teacher of art, was born in North Carolina. This important artist has had a brilliant career studded with prizes and recognition of his varied talents. He received his Bachelor of Arts and Master of Arts degrees from Columbia University where he held a Dow Fellowship in 1931 and was Rosenwald Fellow in Painting (1939 - 41). He did further graduate work at New York University and studied art at Pratt Institute in Brooklyn and the New York art Students League, where he has been an instructor since 1950. He was an Associate Professor of Art at the University of the City of New York. Alston has exhibited in the principal museums of the US and many of them count his works in their permanent collections, as do a number of important art collectors. His murals may be found in such institutions as the Museum of National History in NY, Harlem Hospital in LA, The City College of New York and Abraham Lincoln High School in Brooklyn. His work encompasses many styles, from pure abstraction to almost pure realism. In the latter form, we may note the influence of African sculpture. His work is always strong and highly individualistic; warm with rich color, sharp in blacks and clear whites, or soft and compassionate in texture and color. It is, in fact, so varied that it cannot be categorized, but it is always masterly. -
Diversity in the Arts
Diversity In The Arts: The Past, Present, and Future of African American and Latino Museums, Dance Companies, and Theater Companies A Study by the DeVos Institute of Arts Management at the University of Maryland September 2015 Authors’ Note Introduction The DeVos Institute of Arts Management at the In 1999, Crossroads Theatre Company won the Tony Award University of Maryland has worked since its founding at the for Outstanding Regional Theatre in the United States, the John F. Kennedy Center for the Performing Arts in 2001 to first African American organization to earn this distinction. address one aspect of America’s racial divide: the disparity The acclaimed theater, based in New Brunswick, New between arts organizations of color and mainstream arts Jersey, had established a strong national artistic reputation organizations. (Please see Appendix A for a list of African and stood as a central component of the city’s cultural American and Latino organizations with which the Institute revitalization. has collaborated.) Through this work, the DeVos Institute staff has developed a deep and abiding respect for the artistry, That same year, however, financial difficulties forced the passion, and dedication of the artists of color who have theater to cancel several performances because it could not created their own organizations. Our hope is that this project pay for sets, costumes, or actors.1 By the following year, the will initiate action to ensure that the diverse and glorious quilt theater had amassed $2 million in debt, and its major funders that is the American arts ecology will be maintained for future speculated in the press about the organization’s viability.2 generations. -
African American Art Holbrook Lauren South Dakota State University
The Journal of Undergraduate Research Volume 6 Journal of Undergraduate Research, Volume Article 3 6: 2008 2008 Documented Struggles and Triumph: African American Art Holbrook Lauren South Dakota State University Follow this and additional works at: http://openprairie.sdstate.edu/jur Part of the African American Studies Commons, Art and Design Commons, and the Other History of Art, Architecture, and Archaeology Commons Recommended Citation Lauren, Holbrook (2008) "Documented Struggles and Triumph: African American Art," The Journal of Undergraduate Research: Vol. 6, Article 3. Available at: http://openprairie.sdstate.edu/jur/vol6/iss1/3 This Article is brought to you for free and open access by Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange. It has been accepted for inclusion in The ourJ nal of Undergraduate Research by an authorized administrator of Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange. For more information, please contact [email protected]. GS019 JUR08_GS JUR text 11/18/09 8:53 AM Page 7 DOCUMENTED STRUGGLES AND TRIUMPH: AFRICAN AMERICAN ART 7 Documented Struggles and Triumph: African American Art (winner of a 2008 SDSU Schultz-Werth Award) Author: Holbrook Lauren Faculty Sponsor: Dr. Leda Cempellin Department: Visual Arts “I am not unmindful that some of you have come here out of great trials and tribulations. Some of you have come fresh from narrow jail cells. Some of you have come from areas where your quest for freedom left you battered by the storms of persecution and staggered by the winds of police brutality. You have been the veterans of creative suffering. -
Bringing Space Textiles Down to Earth by Fi Forrest
Feature Bringing Space Textiles Down to Earth By Fi Forrest DOI: 10.14504/ar.19.2.1 extiles are an essential part of the space industry. Every gram sent into orbit costs hundreds of thousands of dol- lars, so textiles must be lightweight as well as strong, and Tresistant to extremes of heat, cold, and ultraviolet radiation that they never have to experience down here on Earth. With the US National Aeronautics and Space Administration’s (NASA) recent announcement of a lunar spaceport—the Gate- way Project—and manned missions to Mars being proposed by Elon Musk, the next generation of space textiles are GO.1,2 In space you find textiles everywhere, from the straps that hold you in place during take-off to the parachute on your re-entry. Diapers are in your underwear, you might work in an inflat- able module on the International Space Station (ISS) and even that flag on the moon was specially designed in nylon. In space everything acts, and reacts, differently. Whether in low-gravity environments like the moon, or micro-gravity on the ISS, even the way moisture wicks away from the human body is different. Disclaimer: Responsibility for opinions expressed in this article is that of the author and quoted persons, not of AATCC. Mention of any trade name or proprietary product in AATCC Review does not constitute a guarantee or warranty of the product by AATCC and does not imply its approval to the exclusion of other products that may also be suitable. March/April 2019 Vol. 19, No. -
Jacob Lawrence a Biography Timeline
Jacob Lawrence Timeline a biography Jacob Lawrence, born on September 7, 1917, in Atlantic City, New The easel division required that artists submit two paintings every six weeks, which gave Jersey, first moved to Easton, Pennsylvania at the age of two and Lawrence free time to research and create two series of paintings on Frederick Douglass and Harriet 1910 then relocated to Philadelphia in 1924 after his parents separated. Tubman. People began to talk about his work and both The Life of Frederick Douglass (1939) and The Lawrence’s mother, unable to find a steady job, moved to New York Life of Harriet Tubman (1940) were exhibited at the Library of Congress, Washington, D.C., for the 75th where she believed there would be more economic opportunity. anniversary of the Thirteenth Amendment. Lawrence and his siblings stayed in Philadelphia, moving between In 1940 Lawrence began research for a huge project called The Migration of the Negro. All 60 foster homes until 1930, when they rejoined their mother in New panels were completed in 1941 with the assistance of artist Gwendolyn Knight (the two artists married 1917 Jacob Lawrence York. The city was exciting for young Lawrence, who loved to later that year). was an instant success, and Downtown Gallery exhibited it, The Migration of the Negro is born on September 7 in observe the constant activity in his Harlem neighborhood. In the subsequently making Lawrence the first African American artist to be represented by a major New York Atlantic City, New Jersey 1930s, almost 35,000 African Americans lived within five square commercial gallery.