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Patricia Ainslie Fonds (RBSC-ARC-1691)
University of British Columbia Library Rare Books and Special Collections Finding Aid - Patricia Ainslie fonds (RBSC-ARC-1691) Generated by Access to Memory (AtoM) 2.4.0 Printed: March 04, 2020 Language of description: English University of British Columbia Library Rare Books and Special Collections Irving K. Barber Learning Centre 1961 East Mall Vancouver British Columbia V6T 1Z1 Telephone: 604-822-2521 Fax: 604-822-9587 Email: [email protected] http://rbsc.library.ubc.ca/ http://rbscarchives.library.ubc.ca//index.php/patricia-ainslie-fonds Patricia Ainslie fonds Table of contents Summary information ...................................................................................................................................... 3 Administrative history / Biographical sketch .................................................................................................. 3 Scope and content ........................................................................................................................................... 3 Arrangement .................................................................................................................................................... 4 Notes ................................................................................................................................................................ 4 Access points ................................................................................................................................................... 5 Series descriptions -
Knights of Columbus Continues Service to Church Rapidly Growing Organization Focuses on Offering Spiritual Programs
. ^ I ^ ^ . D enver C atholic Vol. LXXVI No. 7 35 Cents Ninety-nine years of service to the Gospel March I, 7000 ^ 0 0 ^ h* ■ ^ t s Coptic Orthodox children cheer for Pope John Paul II as he arrives for a meeting with their religious leader, Pope Shenouda III, in Cairo Feb. 24. (CNS photo from Reuters) Journey to Egypt Pope begins long-anticipated series of Holy Year pilgrimages - Page 3 Father Dennis Ryan, pastor of Nativity of Our Lord Parish, stands near the baptismal font at the entrance to the new church. House of God New church to be dedicated in Broomfield - Page 7 Jubilee for Deacons Local deacon addresses g a th e rin g at V a tica n - Page 5 Father Michael McGivney, founder of the Knights, is being considered for canonization - 1 6 New Bishop Welcomed Jubilee Mass at JPll - Page 8 DFNVFR ( ATI lOlK k’h( ilSTFR M.ik h I , ?00() Carrying the cross of the poor Colorado Knights celebrate 100 years of service defense of the family. The Knights are hat would happen if all Archbishop's convinced that hand in hand with sup Catholics and other porting religious and priestly voca W Christians would suddenly Column tions is the need for strengthening fam stop accommodating the "culture of ily values. As husbands and fathers, death" anct dedicate themselves to the grit By Most Rev. f members are called to set a standard of goal of making Christ the vital princi prayer and faithful leadership in the ple in their lives? Charles J. -
Bryan Riley Ecatalog
The Drawers - Headbones Gallery Contemporary Drawings and Works on Paper Bryan Ryley Drawer’s Selection February 4, - March 11, 2006 Bryan Ryley Inaugural Drawer’s Selection February 4, 2006 - March 11, 2006 Artist Catalog, ‘Bryan Ryley - Headbones Gallery, The Drawers ’ Copyright © 2006, Headbones Gallery Images Copyright © 2006, Bryan Ryley Headbones commentary: Julie Oakes, filtered Copyright © 2006, Headbones Gallery Rich Fog Micro Publishing, printed in Toronto, 2006 Layout and Design, Richard Fogarty All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage or retrieval system, except as may be expressly permitted by the 1976 copyright act or in writing from Headbones Gallery. Requests for permission to use these images should be addressed in writing to Bryan Ryley, c/o Headbones Gallery, 260 Carlaw Avenue, Unit 202B, Toronto, Ontario M4M 3L1 Canada Telephone/Facsimile: 416-465-7352 Email: [email protected] Director: Richard Fogarty www.headbonesgallery.com Bryan Ryley Drawer’s Selection To leave the mark of individuality, a sense of the intellect and spirit, is to wax poetic. Abstraction reveals what it left behind, a track of energy. Abstraction indicates the state of mind that the artist inhabited while he assumed the creative responsibility. Bryan Ryley leaves indicators and passes over the flame of insight to the viewer with a practiced hand. Ryley has never tied down the field of possibilities with inconsequential dribble. Throughout series past, he has held a strict abstract agenda, giving us paint, pencil, paper, canvas a “medium is the message” type of artist. -
Pierre Coupey Solo Exhibitions 2013 Clusters / Selected Work 1980
Pierre Coupey Solo Exhibitions 2013 Clusters / Selected Work 1980-2010, curators Astrid Heyerdahl / Darrin Morrison, Evergreen Cultural Centre / West Vancouver Museum [Catalogue]* 2012 New Work, Gallery Jones, Vancouver [Catalogue]* 2011 Featured Artist, Gallery Jones, West Vancouver 2010 Projects, Capilano University Art Gallery, North Vancouver Between Memory and Perception, Gallery Jones, Vancouver 2008 Counterpoint, Gallery Jones, Vancouver [Catalogue] 2006 Requiem Notations I-IX, curator Cecilia Denegri Jette, Richmond Art Gallery (Gateway Theatre) Tangle, curator Darrin Martens, Burnaby Art Gallery [Catalogue] 2004 Paintings / Prints, curator Ingun Kemble, West Vancouver City Hall BlackWhiteGrey, curator Marcus Bowcott, Capilano University Art Gallery, North Vancouver Artist in Residence, The Urban Garage, West Vancouver 2002 Notations: Recent Work, Ballard Lederer Gallery, Vancouver 1999 Requiem Notations I-IX, curator Patrick Montgomery, Evergreen Art Gallery [Catalogue] 1998 Notations 1994-1998, curator Paula Gustafson, Canadian Embassy Gallery, Tokyo [Catalogue] Work from the Notations Series, Montgomery Fine Art, Vancouver 1997 Work in Process: Drawings, Proofs, Prints, Capilano University Art Gallery, North Vancouver 1995 Notations 12-15 (For Eva), curator Carole Badgley, Seymour Art Gallery, North Vancouver From the 80’s: Trellis, Wedge, Montgomery Fine Art, Vancouver From the 70’s: Selected Journal Drawings / New Work on Paper, Atelier Gallery, Vancouver 1994 Notations: Painting the Lion from a Claw, Atelier Gallery, Vancouver -
Penticton Art Gallery 199 Marina Way Penticton, BC V2A 1H5
Arts Letter Vol. XXXIII No. 6 November / December 2013 Letter Vol.Arts XXXIII No. 6 Publication Agreement #40032521 November / December 2013 Joice M. Hall in her studio working on Descending Light. Photo by: Joice M. Hall Joice M. by: Photo Light. on Descending working studio her in Hall M. Joice Penticton Art Gallery 199 Marina Way Penticton, BC V2A 1H5 Arts Letter Vol. XXXIII No. 6 November / December 2013 PENTICTON ART GALLERY Mission Statement 199 Marina Way, Penticton, BC V2A 1H5 Tel: 250-493-2928 Fax: 250-493-3992 The Penticton Art Gallery exists to exhibit, interpret, preserve and E-mail: [email protected] promote the visual artistic heritage of the region, the province and www.pentictonartgallery.com the nation. www.twitter.com/pentartgallery The Arts Letter is the newsletter for members of Values Statement the Penticton Art Gallery. In setting the Mission Statement, the Board of Directors also identifies ISSN 1195-5643 the following values: Publication Agreement # 40032521 Community Responsibility The gallery interacts with the community by designing programs that in- GALLERY HOURS spire, challenge, educate and entertain while recognizing excellence in Tuesday to Friday - 10 a.m. to 5 p.m. the visual arts. Saturday & Sunday - noon to 5 p.m. Professional Responsibility The gallery employs curatorial expertise to implement the setting of exhi- GALLERY ADMISSION bitions, programs and services in accordance with nationally recognized Members Free, Students & Children Free professional standards of operation. Weekends Free Fiscal Responsibility Adult Non-Members $2 The gallery conducts the operations and programs within the scope of the financial and human resources available. -
Getting Started with MLA Documentation Style
Getting Started with MLA Documentation Style What is MLA Style? Modern Languages Association (MLA) style is one of several styles for academic citation. It is used in the hu- manities, especially English. The examples in this guide cover the more common sources only. For more detailed information, refer to the MLA Handbook for Writers of Research Papers (7th ed) available in the reference and the circulation collections at LB 2369.G53 2009. General Rules • Double-space the entire list. • Use hanging indentation format. Indent one-half inch from the left margin. In MS Word use Format > Paragraph>Special>Hanging. • Alphabetize entries by the author’s last name or, if there is no author, by title, ignoring initial articles such as A, An or The. • Reverse the author’s name for alphabetizing but otherwise give the author’s name as it appears in the source. • If there are two or more entries by the same author(s), give the name(s) in the first entry, and then use three hyphens in place of the name(s) in the following entry or entries; alphabetize the entries by title. • Capitalize the first, the last and all significant words of a title and subtitle regardless of how they are capitalized in your source. • Omit initial articles for titles of journals, magazines and newspapers; also omit subtitles. • Italicize titles and subtitles for works published independently; use quotation marks for works published only as part of another work, e.g. essay in a book or article in a journal. • If more than one city is listed for a publisher, give only the first city as place of publication. -
Kelowna Art Gallery 2011 Annual Report
Kelowna Art Gallery Annual Report 2011 Cover image: Wanda Lock, She laughs every time she thinks about it, 2011, mixed media on paper, 22 x 30 in. (55.8 x 76.2 cm). Gift from the artist, 2008. Left to right: Marla O’Brien, Fern Helfand, Derek Sanders. Birgit Bennett, Leona Baxter, Deborah Owram, Nataley Nagy, Lori Van Rooijen, Stan Somerville, Laura Myles, Joanne Onrait. Absent: Ian Jones, Jim Meiklejohn, Tammy Moore, Mary Smith McCulloch, Sandra Kochan. The Kelowna Art Gallery Photo taken March 2012 gratefully acknowledges the financial assistance of the City of Kelowna, the Canada Council for the Arts, British Columbia Arts Council, the Province of British Columbia, Board of Directors 2011 Central Okanagan School District #23, Regional District of Central Okanagan, Central Leona Baxter Birgit Bennett Okanagan Foundation, and President Fern Helfand our members, donors and sponsors. Jim Meiklejohn Tammy Moore Laura Myles Vice President Marla O’Brien (until April 2011) Joanne Onrait To engage, inspire, Derek Sanders and enrich the greater Marla O’Brien Mary Smith McCulloch community through the Vice President Stan Somerville exhibition, collection, (from May 2011) (from October 2011) and interpretation of Lori Van Rooijen visual art. Ian Jones (from October 2011) Treasurer Directors Deborah Owram Sandra Kochan Secretary City Liaison © Kelowna Art Gallery 2012 Design by Kyle L. Poirier Presidents’s Report All of us – the Board of Directors, staff and volunteers of the Kelowna Art Gallery, would like to take this opportunity to sincerely thank you, our members and friends, for your continued support of the Gallery and its mission to strengthen visual arts in the community. -
Friends of the British Columbia Archives Is Open to Everyone and Covers the Year from September to August
1 Friends of the NEWSLETTER British Columbia Archives Vol. 14, No. 5 Royal BC Museum to Launch Crowd-Sourcing Transcription Site, Transcribe This spring the Royal BC Museum will launch Transcribe, a crowd-sourcing website that will allow the public to transcribe valuable historical records. The project aims to improve the Royal BC Museum and Archives’ public accessibility by turning handwritten, audio, and video records into searchable data. By donating their time to transcribe letters, diaries, journals, and other materials Transcribe volunteers can help share BC’s history from the comfort of home. Crowd-sourcing is an increasingly popular way for archives and museums to improve the accessibility of their collections. The concept behind Transcribe is simple – the Royal BC Museum provides digital photographs of archival materials alongside a blank text area and users type exactly what they see. Volunteers simply visit the website, choose a collection and begin to transcribe, all on their own time. The finished transcriptions are reviewed and approved by Royal BC Museum staff and the data becomes searchable on the Transcribe site. The project was initiated by the New Archives and Digital Preservation department and Archivist Ann ten Cate. “We wanted to enlist the help of volunteers to make our collections more accessible,” said Ember Lundgren, Preservation Manager. “There’s a huge, untapped resource of talented and enthusiastic volunteers, just waiting to help out. Transcribe will help us use that resource. Plus, it’s fun!” 1 Lundgren notes that visitors are not obligated to transcribe work; they will also have the option to view the materials as an online exhibition, and browse existing transcriptions. -
Chorographies, Ancient Ruins, and Placemaking in the Salt
Casas Montezumas: Chorographies, Ancient Ruins, and Placemaking in the Salt and Gila River Valleys, Arizona, 1694-1868 by Linnéa K. E. Caproni A Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Approved April 2017 by the Graduate Supervisory Committee: Victoria Thompson, Chair Philip VanderMeer Dallen Timothy ARIZONA STATE UNIVERSITY May 2017 ABSTRACT This dissertation uses the narrative practice of chorography as a genre for assessing the history of placemaking in the Salt and Gila River region of central Arizona from the late seventeenth century through the mid-nineteenth century. Chorography concerns the descriptive representation of places in the world, usually of regions associated with a particular nation. Traditionally, chorography has served as a written method for describing geographical places as they existed historically. By integrating descriptions of natural features with descriptions of built features, such as ancient ruins, chorography infuses the physical landscape with cultural and historical meaning. This dissertation relies on a body of Spanish- and English-language chorographies produced across three centuries to interpret how Euro- American descriptions of Hohokam ruins in the Salt and Gila River valleys shaped local placemaking. Importantly, the disparate chorographic texts produced during the late- seventeenth, eighteenth, and early nineteenth centuries reflect ‘discursive continuity’—a continuity of thought spanning a long and frequently disregarded period in the history of central Arizona, in which ruminations about the ruins of ancient cities and irrigation canals formed the basis for what people knew, or thought they knew, about the little-known region. When settlers arrived in the newly-formed Arizona Territory in the 1860s to establish permanent settlement in the Salt and Gila River valleys, they brought with them a familiarity with these writings, maps, and other chorographical materials. -
Pierre Coupey Solo Exhibitions 2015 New Work, Gallery Jones, Vancouver * 2014 New Work, Odon Wagner Contemporary, Toronto [C
Pierre Coupey Solo Exhibitions 2015 New Work, Gallery Jones, Vancouver * 2014 New Work, Odon Wagner Contemporary, Toronto [Catalogue]* 2013 Cutting Out the Tongue: Selected Work 1976-2012, curators Astrid Heyerdahl / Darrin Morrison, Art Gallery at Evergreen / West Vancouver Museum [Catalogue] Field Work, Gallery Jones, Vancouver 2011 Featured Artist, Gallery Jones, West Vancouver 2010 Between Memory and Perception, Gallery Jones, Vancouver Projects, Capilano University Art Gallery, North Vancouver 2008 Counterpoint, Gallery Jones, Vancouver [Catalogue] 2006 Tangle, curator Darrin Martens, Burnaby Art Gallery [Catalogue] Requiem Notations I-IX, curator Cecilia Denegri Jette, Richmond Art Gallery (Gateway Theatre) 2004 Paintings / Prints, curator Ingun Kemble, West Vancouver City Hall BlackWhiteGrey, curator Marcus Bowcott, Capilano University Art Gallery, North Vancouver Artist in Residence, The Urban Garage, West Vancouver 2002 Notations: Recent Work, Ballard Lederer Gallery, Vancouver 1999 Requiem Notations I-IX, curator Patrick Montgomery, Art Gallery at Evergreen, Coquitlam [Catalogue] 1998 Notations 1994-1998, curator Paula Gustafson, Canadian Embassy Gallery, Tokyo [Catalogue] Work from the Notations Series, Montgomery Fine Art, Vancouver 1997 Work in Process: Drawings, Proofs, Prints, Capilano University Art Gallery, North Vancouver 1995 Notations 12-15 (For Eva), curator Carole Badgley, Seymour Art Gallery, North Vancouver From the 80’s: Trellis, Wedge, Montgomery Fine Art, Vancouver From the 70’s: Selected Journal Drawings / New -
Download Conference Program
Help BuckeyeLink Map Find People Webmail Search Ohio State SOCIETY FOR MILITARY HISTORY CONFERENCE HOME Program CFP SMH2020 Conference Program (subject to change) COLUMBUS: NEEDS 86th Annual Meeting of the Society for Military History AND WANTS “Soldiers and Civilians in the Cauldron of War” May 9 – 12, 2019, Columbus, Ohio COLUMBUS: RESTAURANTS Thursday 05/09/2019 COLUMBUS: THINGS TO 8 am – 6 pm SEE AND DO Bellows Ballroom ABC: Book Exhibit Setup CONFERENCE HOTEL 8:30 am – 5 pm ROOM SHARE Burkhart A: Chinese Military History Society Meeting EXHIBITORS 12 pm – 5 pm Burkhart B: SMH Executive Board Lunch and Meeting MAPS 12 pm – 6 pm MENTORSHIP Registration Desk (Lower Level): Conference Registration NEH CHAIRMAN 6 pm – 9 pm SPEECH AND LUNCH Ohio Statehouse Atrium and Rotunda: SMH Annual Meeting Opening Reception (1 Capitol Square: a walkable .7 miles away) NEH GRANTS Buses depart from the Lower Level Alley every ten minutes between 5:30 pm and 6:30 pm WORKSHOP Return from Statehouse every fifteen minutes beginning at 7:00 and ending at 9:15 pm ONE DAY PASS 8 pm – 10 pm Bellows Ballroom DEF: SMH Awards Banquet (Ticketed Event) OPENING RECEPTION: THE OHIO STATEHOUSE Friday 05/10/2019 PROGRAM 7 am – 8 am REGISTRATION Private Dining Room (Second Floor): Editorial Committee Breakfast REUNIONS/MEETUPS 8 am – 6 pm SMH 2020 AND SMH Registration Desk, Lower Level: Conference Registration 2021 SMH2019 FAQ 8 am – 6 pm Bellows Ballroom ABC: Book Exhibit SPONSORS 9 am – 5 pm TEACHER DAY AT SMH2019 Departure point: Lower Level Alley: Tour of National Museum of the U.S. -
Carlos Montezuma's Fight Against
Carlos Montezuma’s Fight against “Bureauism”: An Unexpected Pima Hero David Martínez Studies in American Indian Literatures, Volume 25, Number 2, Summer 2013, pp. 311-330 (Article) Published by University of Nebraska Press DOI: 10.1353/ail.2013.0018 For additional information about this article http://muse.jhu.edu/journals/ail/summary/v025/25.2.martinez.html Access provided by Arizona State University (8 Aug 2013 18:30 GMT) Carlos Montezuma’s Fight against “Bureauism” An Unexpected Pima Hero David Martínez What follows is an account of how Yavapai writer and activist Car- los Montezuma (ca. 1866– 1923) became a prominent fi gure in early twentieth- century Indigenous Arizona history. Specifi cally, it is about how Montezuma became an unexpected hero to the Akimel and To- hono O’odham communities (or Pima and Papago, respectively). Th is occurred as part of Montezuma’s advocacy work for the Fort McDowell community. Because of the courageous way Montezuma battled the In- dian Bureau, his reputation spread, as did his ideas and infl uence. And, while some regard Montezuma’s belated reconnection to his Yavapai community as a contradiction to his assimilationist political agenda, this article argues to the contrary that Montezuma’s fi ght against “bu- reauism” was the culmination of a life devoted to abolishing the Indi- an Bureau. Montezuma’s legacy was made from inspiring the Yavapai, Pima, and Papago communities to assert their rights. Th e scholarly literature, however, has been unfortunately slow at recognizing Mont- ezuma’s role in Arizona Indian history, not to mention American Indian intellectual history.