DOCSLIB.ORG

The Women's Studio Workshop: Inside an All-Woman Art Space Kara Kelley Hallmark

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Women's Studio Workshop: Inside an All-Woman Art Space Kara Kelley Hallmark Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 The Women's Studio Workshop: Inside an All-Woman Art Space Kara Kelley Hallmark Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE AND DANCE THE WOMEN’S STUDIO WORKSHOP: INSIDE AN ALL-WOMAN ART SPACE By KARA KELLEY HALLMARK A Dissertation submitted to the Department of Art Education in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2007 Copyright ©2007 Kara Kelley Hallmark All Rights Reserved The members of this Committee approve the dissertation of Kara Kelley Hallmark, defended on October 3, 2007. Tom Anderson Professor Directing Dissertation Jeffrey Milligan Outside Committee Member Penny Orr Committee Member Pat Villeneuve Committee Member Approved: Marcia Rosal, Chair Department of Art Education Sally E. McRorie, Dean College of Visual Arts, Theatre and Dance The Office of Graduate Studies has verified and approved the above named Committee members. ii I dedicate this story of the Women’s Studio Workshop to ANN, Tana, Nita, and Babs for creating and maintaining a safe space for women to find support, inspiration, and the tools that they need and desire to be artists. iii ACKNOWLEDGMENTS After an extended leave of absence from my doctoral coursework at The Florida State University, I was disheartened to learn that Dr. Sally McRorie was no longer with the Art Education Department but was delighted to discover that she had become Dean of the School! I pursued the FSU Art Education program to have the opportunity to work with Dr. McRorie. However, my uncertainty about whether or not I should stay at Florida State was quickly put to rest. I was relieved and even encouraged when I approached Dr. Tom Anderson about my interest in weaving together art education, women’s studies, qualitative research, and storytelling. He graciously accepted all of my ideas without hesitation and agreed to supervise my research. Dr. Anderson was instrumental in the initial shaping of my research design and approach to the process. For this and so much more, a special thank you to Dr. Tom Anderson, my supervising professor and friend. As well, thank you to all of my committee members for their time and suggestions. Thank you to Dr. Penny Orr for reminding me to think about how my research affects the art education classroom. Thank you to Dr. Pat Villeneuve for her diligence with APA and unyielding positive support. Thank you to Dr. Tomeiko Ashford for her instruction with writing mechanics and organizing the process. When Dr. Ashford took a position at the University of North Carolina, mid-project, Dr. Jeffrey Milligan stepped in to take her place; thank you Dr. Milligan for coming on board and making that a smooth transition. My experience in the doctoral program at Florida State University was shaped, in part, by the other students who shared dialog, ideas, and criticism in and out of the classroom. I want to extend a special thank you to Hilary Pendleton and Eunice Lee for their friendship and insights. I would be remiss if I did not mention the professors from my master’s program at the University of Central Florida. Dr. Thomas M. Brewer who mentored my application process into the doctoral program at Florida State University and Dr. Kristin G. Congdon who guided my interest and research in feminist studies and who continues to inspire my interest in telling artist’s stories. A very special thank you to everyone at the Women’s Studio Workshop. First and foremost, thank you to Ann Kalmbach, Executive Director, for being so open to my presence at the workshop, making room for me during my trips, and giving me her time, even when she did iv not have it to give. Thank you to Tatana Kellner for sharing her story and for always cooking for me! Thank you to Anita Wetzel for coffee and toast and chats that became so much more than informal daily chatter, and for her open and honest approach to everything in life. Thank you to Barbara Leoff Burge for inspiring me to live my life without caution or regret. Thank you to all of the staff, interns, and visiting artists of the workshop and to all of the other people who I encountered on each of my trips, who gave me their time and offered insight. My family was excited about my pursuit of graduate studies and showed interest time and again in whatever project or research I might be working on. My partner, prince, and champion, John Hallmark was tremendous support throughout all of my graduate work, which I initiated two years after we married (we are celebrating our twelfth wedding anniversary this year!). He understood my craziness and seemingly endless stress by cheering me through each phase and contributed by picking up extra housework, cooking meals, washing stacks of dirty dishes, and even did a load of laundry or two. v TABLE OF CONTENTS Page List of Figures……………………………………………………………………………..ix Abstract……………………………………………………………………………………xi CHAPTER 1: INTRODUCTION………………………………………………………….1 Research Statement ………………………………………………………………..1 Research Questions………………………………………………………………...2 Purpose of the Study……………………………………………………………….3 Implications for Art Education...………………………………………....3 Implications for Women’s Studies……………………………………….4 Research Design……………………………………………………………………7 Key Terms………………………………………………………………………….8 Summary…………………………………………………………………………...13 CHAPTER 2: LITERATURE REVIEW………………………………………………….14 Theoretical Framework...………………………………………………………….14 Construction of Gender …………………………………………………………...17 Language…….……………..………………………………………….20 Knowledge Acquisition………………………………………………..23 The Art World……………………………………………………………………..25 Exclusion from Art World Institutions……………………………………………27 Feminist Response to Sex Discrimination in Art Education………………………29 Women’s Artist Organizations…………………………………………………….34 Woman-centered Environments…………………………………………………...39 vi CHAPTER 3: METHODOLOGY.……………………………………………………….44 Research Questions……………………………………………………………….44 Theoretical Framework…………………………………………………………...45 Ethnography with a Feminist Perspective………………………………45 The Self as Primary Instrument………………………………………...47 Field Site………………………………………………………………………….47 Research Design…………………………………………………………………..47 Going into the Field………..…………………………………………...47 Observation.................………………………………………………….48 Participation…………………………………………………………….49 Interviews………………………………………………………………50 Phases and Time Frame………………………………………………...51 Data Collection and Instruments ………………………………………………...53 Field Notes and Photography…………………………………………..53 Digital Recorder and Interview Questions……………………………..54 Data Analysis ……………………………………………………………………55 Thematic Codes………………………………………………………55 Coding Process……………………………………………………….56 Interpretations and Thematic Connections……………………………………….56 Little Narratives...…………………………………………………….57 Assumptions and Limitations in the Study……………………………………….58 Credibility…………………………………………………………………………59 Summary……………..…………………………………..………………………..60 CHAPTER 4: GOING INTO THE FIELD………………………………………………..62 The Pilot Study…..……….………………………………………………………..62 Four Women and a Grant……..……………………………………………………79 A Room of Her Own……………………………………………………………....93 You Can Always Count on the Daily Potluck…………………………………….103 vii Quiet Feminism…………..……………………………………………………….106 Working the Auction…….………………………………………………………..114 CHAPTER 5: INTERPRETATIONS AND SUMMARY…………………………………120 Analysis of Question 1……..………………………………………………………120 Analysis of Question 2……..………………………………………………………121 Analysis of Question 3……..………………………………………………………123 Analysis of Question 4……..………………………………………………………124 Analysis of Question 5……..………………………………………………………126 Analysis of Question 6……..………………………………………………………128 Summary……………………………………………………………………………129 Future Research…………………………………………………………………….131 APPENDIX A: IRB Letters ……………………………………………………………….133 APPENDIX B: Interview Transcripts……………………………………………………...137 APPENDIX C: Field Notes………………………………………………………………...215 APPENDIX D: Thematic Code Count……………………………………………………..245 APPENDIX E: Women’s Studio Workshop Select Publications and Brochures…………..246 REFERENCES……………………………………………………………………………..253 BIOGRPHICAL SKETCH…………...……………………………………………………260 viii LIST OF FIGURES Figure 1. Sign for the Women’s Studio Workshop……………………………………………...62 Figure 2. The Women’s Studio Workshop………………………………………………………63 Figure 3. The Intern House……………………………………………………………………...63 Figure 4. My Bedroom in Intern House ………………………………………………………...64 Figure 5. Intern House Kitchen…………………………………………………………………64 Figure 6. Intern House Common Area………………………………………………………….64 Figure 7. Ramona……………………………………………………………………………….65 Figure 8. Papermaking Studio…………………………………………………………………..66 Figure 9. Materials Harvested from the Art Farm………………………………………………67 Figure 10. Ceramic Studio………………………………………………………………………68 Figure 11. Printmaking Studio………………………………………………………………….68 Figure 12. Original Rosendale Post Office……………………………………………………..69 Figure 13. Silkscreen Studio…………………………………………………………………….70 Figure 14. Front Office………………………………………………………………………….70 Figure 15. Main Kitchen in Women’s Studio Workshop………………………………………..71 Figure 16. Ann and Tana’s and Tana’s Studio…………………………………………………..71 Figure 17. Intern House Dining Area……………………………………………………………73 Figure 18. Antonina, Photographer, Website Design Volunteer………………………………..74 Figure 19. Landscape near the Women’s Studio Workshop…………………………………….75 Figure 20. Kara and Ann in upstairs Gallery at
Load more

Recommended publications
  • GSN Edition 01-01-13
    Happy New Year The MIDWEEK Tuesday, Jan. 1, 2013 Goodland1205 Main Avenue, Goodland, Star-News KS 67735 • Phone (785) 899-2338 $1 Volume 81, Number 01 8 Pages Goodland, Kansas 67735 weather report 21° 9 a.m. Saturday Today • Sunset, 4:34 p.m. Wednesday • Sunrise, 7:07 a.m. The dry conditions in 2012 contributed to numerous County Roads 20 and 54. The fire was one of several often hampered firefighting efforts. • Sunset, 4:35 p.m. fires, such as this one in a stubble field in June near believed to have been started by lightning. High winds Midday Conditions • Soil temperature 29 degrees • Humidity 54 percent • Sky sunny • Winds west 10 mph Drought, bricks are top stories • Barometer 30.23 inches and rising Was 2012 a year of great change? cember added to the total precipita- • Record High today 70° (1997) Or a year of the same-old same- tion. As of Dec. 28, Goodland had • Record Low today -15° (1928) old? A little bit of both as it turned seen 9.52 inches of precipitation out. The Goodland Star-News staff during 2012, making it not the dri- Last 24 Hours* has voted on the top 10 local news est year on record. The Blizzard on High Friday 27° stories of 2012. Stories 10 through Dec. 19 pushed Goodland over the Low Friday 1° six appeared in the Friday, Dec. 28, edge. 1956, which saw 9.19 inches, Precipitation none paper. The top five stories of the year remains the driest year. This month 0.50 appear below.
    [Show full text]
  • Volcanic Legacy
    United States Department of Agriculture Forest Service Pacifi c Southwest Region VOLCANIC LEGACY March 2012 SCENIC BYWAY ALL AMERICAN ROAD Interpretive Plan For portions through Lassen National Forest, Lassen Volcanic National Park, Klamath Basin National Wildlife Refuge Complex, Tule Lake, Lava Beds National Monument and World War II Valor in the Pacific National Monument 2 Table of Contents INTRODUCTION ........................................................................................................................................4 Background Information ........................................................................................................................4 Management Opportunities ....................................................................................................................5 Planning Assumptions .............................................................................................................................6 BYWAY GOALS AND OBJECTIVES ......................................................................................................7 Management Goals ..................................................................................................................................7 Management Objectives ..........................................................................................................................7 Visitor Experience Goals ........................................................................................................................7 Visitor
    [Show full text]
  • Downloaded from Brill.Com09/28/2021 03:24:39AM Via Free Access ,    
    Blood, Sweat and Tears. The Martyred Body in Chinese Performance Art Tania Becker When we speak of offending images in the context of contemporary Chinese art, some of us may remember articles that were published in , voices of outrage in reaction to Zhu Yu’s performance Eating People: Is it art when a man eats a dead baby? london — My God, what kind of society do we live in? A Chinese man eats a dead baby on TV and actually claims it’s art! The announcement alone unleashed one of Great Britain’s hottest debates on the freedom of the media, the press, and art: the British tv Channel wanted to broad- cast the documentary Beijing Swings, which includes photographs of Chinese artist Zhu Yu apparently eating a dead baby. According to Zhu, the corpse is from a miscarriage. In one of the photographs, he’s washing the body in a sink. Another photo shows him biting into a dismembered body part. Zhu has said that the pictures were taken during a perfor- mance titled »Eating Humans« in his house in Beijing. Yesterday, Zhu Yu claimed that as an artist, it’s his job to initiate debates over morality and art. His work involves exploring whether boundaries still exist. It does not, however, seem to bother anyone when this »artist« transgress- es these boundaries. Not even the guardians of the law — because de- spite the fact that artists using human body parts for their art can be sentenced to ten years in prison, nothing happened [...]. Tania Becker - 9783846763452 Downloaded from Brill.com09/28/2021 03:24:39AM via free access , After the images made the rounds in the Internet, the shocking act of consum- ing a fetus met with reactions worldwide.
    [Show full text]
  • Fresh Meat Rituals: Confronting the Flesh in Performance Art
    FRESH MEAT RITUALS: CONFRONTING THE FLESH IN PERFORMANCE ART A THESIS IN Art History Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF ARTS By MILICA ACAMOVIC B.A., Saint Louis University, 2012 Kansas City, Missouri 2016 © 2016 MILICA ACAMOVIC ALL RIGHTS RESERVED FRESH MEAT RITUALS: CONFRONTING THE FLESH IN PERFORMANCE ART Milica Acamovic, Candidate for the Master of Arts Degree University of Missouri-Kansas City, 2003 ABSTRACT Meat entails a contradictory bundle of associations. In its cooked form, it is inoffensive, a normal everyday staple for most of the population. Yet in its raw, freshly butchered state, meat and its handling provoke feelings of disgust for even the most avid of meat-eaters. Its status as a once-living, now dismembered body is a viscerally disturbing reminder of our own vulnerable bodies. Since Carolee Schneeman's performance Meat Joy (1964), which explored the taboo nature of enjoying flesh as Schneeman and her co- performers enthusiastically danced and wriggled in meat, many other performance artists have followed suit and used raw meat in abject performances that focus on bodily tensions, especially the state of the body in contemporary society. I will examine two contemporary performances in which a ritual involving the use of raw meat, an abject and disgusting material, is undertaken in order to address the violence, dismemberment and guilt that the body undergoes from political and societal forces. In Balkan Baroque (1997), Marina Abramović spent three days cleansing 1,500 beef bones of their blood and gristle amidst an installation that addressed both the Serbo-Croatian civil war and her personal life.
    [Show full text]
  • ONWARD and UPWARD Opportunity Comes in Many Forms and Two Colors, Blue and Gold
    NURSING’S ACCESS WEATHERSPOON’S NANCY ADAMS, P.2 FOR VETERANS P. 24 BIG BANG P. 28 AHEAD OF HER TIME FOR ALUMNI AND FRIENDS SPRING 2016 Volume 17, No. 2 MAGAZINE ONWARD AND UPWARD Opportunity comes in many forms and two colors, blue and gold. PG. 12 SHOW AND TELL Students in Professor Jo Leimenstoll’s interior architecture class had the opportunity to do prospective design work for a historic downtown building. Best of all, they had the chance to speak with and learn from developers, city officials and consultants 12 such as alumna Megan Sullivan (far right in picture) as they presented their creative work. UNCG’s undergraduate program was rated No. 4 nationally in a DesignIntelligence Magazine survey of deans and department heads. See more opportunity-themed stories and photos in the Golden Opportunity feature. PHOTOGRAPHY BY MARTIN W. KANE. KANE. PHOTOGRAPHY BY MARTIN W. contents news front 2 University and alumni news and notes out take 8 Purple reigns in Peabody Park the studio 10 Arts and entertainment 12 Golden Opportunity UNCG provides the chance to strive for dreams and prepare to make your mark on the world. Some alumni and students share their tales of transformation. Weatherspoon’s Big Bang 24 Gregory Ivy arrived to create an art department, and ultimately de Kooning’s “Woman” was purchased as part of the Weatherspoon collection. Ahead of Her Time 28 Nancy Adams ’60, ’77 MS didn’t set out to be a pioneer. But with Dean Eberhart’s help, she became North Carolina’s first genetic counselor.
    [Show full text]
  • "Woman.Life.Song" by Judith Weir Heather Drummon Cawlfield
    University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 5-1-2015 Study and analysis of "woman.life.song" by Judith Weir Heather Drummon Cawlfield Follow this and additional works at: http://digscholarship.unco.edu/dissertations Recommended Citation Cawlfield, Heather Drummon, "Study and analysis of "woman.life.song" by Judith Weir" (2015). Dissertations. Paper 14. This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2015 HEATHER DRUMMOND CAWLFIELD ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School STUDY AND ANALYSIS OF woman.life.song BY JUDITH WEIR A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Heather Drummond Cawlfield College of Performing and Visual Arts School of Music Music Performance May 2015 This Dissertation by: Heather Drummond Cawlfield Entitled: Study and Analysis of “woman.life.song” by Judith Weir has been approved as meeting the requirement for the Degree of Doctor of Arts in College of Performing Arts in School of Music, Program of Vocal Performance Accepted by the Doctoral Committee ______________________________________________________ Melissa Malde, D.M.A., Research Advisor ______________________________________________________ Brian Luedloff, M.F.A., Co-Research Advisor (if applicable) _______________________________________________________ Robert Ehle, Ph.D., Committee Member _______________________________________________________ Susan Collins, Ph.D., Committee Member Date of Dissertation Defense _________________________________________ Accepted by the Graduate School _________________________________________________________ Linda L. Black, Ed.D.
    [Show full text]
  • The Social and Environmental Turn in Late 20Th Century Art
    THE SOCIAL AND ENVIRONMENTAL TURN IN LATE 20TH CENTURY ART: A CASE STUDY OF HELEN AND NEWTON HARRISON AFTER MODERNISM A DISSERTATION SUBMITTED TO THE PROGRAM IN MODERN THOUGHT AND LITERATURE AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY LAURA CASSIDY ROGERS JUNE 2017 © 2017 by Laura Cassidy Rogers. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial-Share Alike 3.0 United States License. http://creativecommons.org/licenses/by-nc-sa/3.0/us/ This dissertation is online at: http://purl.stanford.edu/gy939rt6115 Includes supplemental files: 1. (Rogers_Circular Dendrogram.pdf) 2. (Rogers_Table_1_Primary.pdf) 3. (Rogers_Table_2_Projects.pdf) 4. (Rogers_Table_3_Places.pdf) 5. (Rogers_Table_4_People.pdf) 6. (Rogers_Table_5_Institutions.pdf) 7. (Rogers_Table_6_Media.pdf) 8. (Rogers_Table_7_Topics.pdf) 9. (Rogers_Table_8_ExhibitionsPerformances.pdf) 10. (Rogers_Table_9_Acquisitions.pdf) ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Zephyr Frank, Primary Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Gail Wight I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Ursula Heise Approved for the Stanford University Committee on Graduate Studies. Patricia J.
    [Show full text]
  • A Portrayal of Gender and a Description of Gender Roles in Selected American Modern and Postmodern Plays
    East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 5-2002 A Portrayal of Gender and a Description of Gender Roles in Selected American Modern and Postmodern Plays. Bonny Ball Copenhaver East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the English Language and Literature Commons, and the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Copenhaver, Bonny Ball, "A Portrayal of Gender and a Description of Gender Roles in Selected American Modern and Postmodern Plays." (2002). Electronic Theses and Dissertations. Paper 632. https://dc.etsu.edu/etd/632 This Dissertation - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. The Portrayal of Gender and a Description of Gender Roles in Selected American Modern and Postmodern Plays A dissertation presented to the Faculty of the Department of Educational Leadership and Policy Analysis East Tennessee State University In partial fulfillment of the requirements for the degree Doctor of Education in Educational Leadership and Policy Analysis by Bonny Ball Copenhaver May 2002 Dr. W. Hal Knight, Chair Dr. Jack Branscomb Dr. Nancy Dishner Dr. Russell West Keywords: Gender Roles, Feminism, Modernism, Postmodernism, American Theatre, Robbins, Glaspell, O'Neill, Miller, Williams, Hansbury, Kennedy, Wasserstein, Shange, Wilson, Mamet, Vogel ABSTRACT The Portrayal of Gender and a Description of Gender Roles in Selected American Modern and Postmodern Plays by Bonny Ball Copenhaver The purpose of this study was to describe how gender was portrayed and to determine how gender roles were depicted and defined in a selection of Modern and Postmodern American plays.
    [Show full text]
  • Feminist Perspectives on Curating
    Feminist perspectives on curating Book or Report Section Published Version Richter, D. (2016) Feminist perspectives on curating. In: Richter, D., Krasny, E. and Perry, L. (eds.) Curating in Feminist Thought. On-Curating, Zurich, pp. 64-76. ISBN 9781532873386 Available at http://centaur.reading.ac.uk/74722/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Published version at: http://www.on-curating.org/issue-29.html#.Wm8P9a5l-Uk Publisher: On-Curating All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online ONN CURATING.org Issue 29 / May 2016 Notes on Curating, freely distributed, non-commercial Curating in Feminist Thought WWithith CContributionsontributions bbyy NNanneanne BBuurmanuurman LLauraaura CastagniniCastagnini SSusanneusanne ClausenClausen LLinaina DzuverovicDzuverovic VVictoriaictoria HorneHorne AAmeliamelia JJonesones EElkelke KKrasnyrasny KKirstenirsten LLloydloyd MMichaelaichaela MMeliánelián GGabrielleabrielle MMoseroser HHeikeeike MMunderunder LLaraara PPerryerry HHelenaelena RReckitteckitt MMauraaura RReillyeilly IIrenerene RevellRevell JJennyenny RichardsRichards DDorotheeorothee RichterRichter HHilaryilary RRobinsonobinson SStellatella RRolligollig JJulianeuliane SaupeSaupe SSigridigrid SSchadechade CCatherineatherine SSpencerpencer Szuper Gallery, I will survive, film still, single-channel video, 7:55 min. Contents 02 82 Editorial It’s Time for Action! Elke Krasny, Lara Perry, Dorothee Richter Heike Munder 05 91 Feminist Subjects versus Feminist Effects: Public Service Announcement: The Curating of Feminist Art On the Viewer’s Rolein Curatorial Production (or is it the Feminist Curating of Art?) Lara Perry Amelia Jones 96 22 Curatorial Materialism.
    [Show full text]
  • Ponte Vedra and the Beaches Since 1969 Waterfront &Estate Properties
    October 20, 2016 Volume 46, No. 42 75 cents PonteVedraRecorder.com Breast Cancer Awareness Page 9 Howl-o-ween Pet Special Page 37 Repairs, Storm RECOVERY GUIDE clean-up begin Storm Many evacuated residents along A1A returned to find their homes de- Photo by Ralphi Oakley, stroyed or in need of major repairs. Read more in the Recorder’s Storm Recovery Ralphi Reign’sPhotography SPECIAL SECTION TO: Recovery Guide, which begins on page 19. Photo by Ralphie Oakley Guide OctoberPage20, 2016 19 PV2-LV32153 Serving Ponte Vedra and the Beaches since 1969 Waterfront &Estate Properties 904.607.4196 LuxuryHomeBrokers.com V32112 PV3-L 2 Ponte Vedra Recorder · October 20, 2016 Send us your news PUZZLE SOLUTIONS INSIDE We welcome submissions of photos, stories, columns and letters to the Breast Cancer editor. Let us know what’s happening. If you have hard copies of pho- Awareness tos you want us to feature, feel free to bring them to our office — we’ll Pages 9-13 scan them and hand them right back. E-mail submissions to [email protected] bring them by our office at 1102 A1A N., Calendar Unit 108, Ponte Vedra Beach. Pages 16-17 Storm Recovery Visit our new website at Pages 19-30 www.pontevedrarecorder.com Sports Plus, find the Recorder on Facebook at Pages 41-44 www.facebook.com/ThePVRecorder WHAT’S THIS? Do you know what this is? Susan Griffin Publisher [email protected] Email your answer to [email protected] (904) 686-3938 by Tuesday at 5 p.m. Jennifer Logue All correct entries will be entered into a ran- Managing Editor [email protected] dom drawing to win tickets for two adults and (904) 686-3943 two children to the Jacksonville Zoo.
    [Show full text]
  • 35^ Ada Boasts Biggest Tree, Vergennes Has Most Girth Annual
    SPftlMGPOftT B 0 1IOAG 4 SONS ' -RV 35^ S' I ..'up Jar, MICH. 112 n i The Lowell I ^dger Volume 36 Issue 50 Serving Lowell Area Readers Since 1893 Wednesday, October 17,2007 Ada boasts biggest tree, Vergennes has most girth by Emma Pa I ova girth, but Ada touting the to promote rural character hile Ada single largest tree. awareness. Township "I think that is "We're educating the boasts W hilarious," said one of the public about the importance the biggest tree located organizers Betty Jo Crosby. of preserving land" said somewhere below the Maybe hilarious, Crosby. "We're always second hill on the Honey but definitely bizarre. looking for projects Creek road, Vergennes has The biggest trees in each to involve the public. the most inches in measured township happen to be Watershed awareness is high girth. willows, one in Fallasburg, on our priority list." The friendly com- the other on Crancreek The townships have petition between the two Drive. recently completed a townships has resulted The contest was photography contest basically in a tie with organized by the Open Space depicting the rural character Vergennes Township beating Preservation Committee of the area. Ada by 1.5 inches in total Annual cook-off features crafty chili concoctions by Emma Pal ova off to an early start in the as their aprons boasted. crisp autumn morning in orels and "Last year we burned round front of Larkin's and the the chili," said Todd. Msteak were Lowell Ledger offices. The Rick Seese made white among the more innovative chili chefs were equipped chili with morels.
    [Show full text]
  • Leroy Chatfield 1963-1973
    LeRoy Chatfield 1963–1973 The NFWA, etc. Documentation Project “Cesar Chavez and His Farmworker Movement” Dedication: To each volunteer in the farmworker movement who worked with such energy, dedication, and self-sacrifice to build the first farm labor union in the history of the United States. If I have anything to say about it, your good work will not go undocumented. Chapter One Interview with Professor Paul Henggeler In Memoriam: Paul R Henggeler Professor of History, University of Texas–Pan American December 12, 2004 I never met Professor Henggeler in person nor talked with him on the telephone. Our only communication was by way of letter and email. He first wrote in November of 2002, asking for my cooperation by answering some of his questions about Cesar Chavez. I agreed to do so, but only in writing. For the next six months he asked pages of questions, and I answered them. It was this exchange with Professor Henggeler that laid the groundwork for the creation of the farmworker documentation project, which began in May of 2003. Now, 20 months later, 188 essays have been written, several thousand emails have been exchanged, and almost 1000 former farmworker movement volunteers have been identified and contacted. All of this can be traced back to the research of one young academic historian. But now he is gone. Not yet 50 years old, he died of an apparent heart attack on July 22, 2004. What a great loss. I know nothing about him personally, except that he was married. I know from our correspondence that he spent the past six years of his life researching and writing about “Cesar Chavez’s leadership of the farmworker movement.” In one of my last communications with Paul, he wrote, “Hi, LeRoy: I can’t thank you enough for the CD-ROM (the essays) and your decision to get folks ‘talking’ about their experiences in the UFW before it all evaporates.” For my part, I cannot thank Paul enough for his support, and affirmation of the documentation project.
    [Show full text]