Oenglandcv.Pdf
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
NEW ZEALAND PRIMITIVE METHODIST MINISTERS By
This research is dedicated to Mr. Alan Charlesworth Armitage (1915- 2002) of Christchurch, who encouraged this research. His family roots NEW ZEALAND in England were in the West Riding. Originally Independents living at Hightown in the Spen Valley, here they joined the Primitive Methodists and then moved to Leeds. Subsequently some of the family moved to New Zealand where they became Wesleyan Methodists. PRIMITIVE METHODIST MINISTERS by CIRCUITS [2015] In 1988 the late William Leary published his Ministers & Circuits in the Primitive ABBREVIATIONS Methodist Church, a Directory which records the ministerial stationing. Ths accuracy of Leary’s listing in part is complicated by an inconsistency of B - born presenting material for the oversea stations – Australia/Australasia, Canada and CH - children New Zealand. His source for this research was the annual Primitive Methodist Ct. - circuit Conference. D - died - EM - entered ministry When conference met in late spring in the United Kingdom to decide the Kendall - H.B. Kendall, The Origin and History of the Primitive Methodist Church ministerial stationing, it was mid-winter in New Zealand. Given also the time 2 vols (London, Joseph Johnson, nd [c1905]) taken to get there from the United Kingdom, especially prior to the opening of HLP - hired local preacher the Suez Canal in 1869, the newly arrived minister might be go to another circuit LP - local preacher other than that in the Conference Minutes. The New Zealand Conference also M - married met in the spring, mid-winter in the United Kingdom MinTr - ministerial training MT - New Zealand Methodist Times One further complication is not so much that ministers served both in the NZ Meth Ch – New Zealand Methodist Church [post 1913] United Kingdom and New Zealand, but some served both in Australia and New NZ Mins – New Zealand Methodist Minutes of Conference Zealand (Australasia), and a few also in Canada. -
Of the 90 YEARS of the RAAF
90 YEARS OF THE RAAF - A SNAPSHOT HISTORY 90 YEARS RAAF A SNAPSHOTof theHISTORY 90 YEARS RAAF A SNAPSHOTof theHISTORY © Commonwealth of Australia 2011 This work is copyright. Apart from any use as permitted under the Copyright Act 1968, no part may be reproduced by any process without prior written permission. Inquiries should be made to the publisher. Disclaimer The views expressed in this work are those of the authors and do not necessarily reflect the official policy or position of the Department of Defence, the Royal Australian Air Force or the Government of Australia, or of any other authority referred to in the text. The Commonwealth of Australia will not be legally responsible in contract, tort or otherwise, for any statements made in this document. Release This document is approved for public release. Portions of this document may be quoted or reproduced without permission, provided a standard source credit is included. National Library of Australia Cataloguing-in-Publication entry 90 years of the RAAF : a snapshot history / Royal Australian Air Force, Office of Air Force History ; edited by Chris Clark (RAAF Historian). 9781920800567 (pbk.) Australia. Royal Australian Air Force.--History. Air forces--Australia--History. Clark, Chris. Australia. Royal Australian Air Force. Office of Air Force History. Australia. Royal Australian Air Force. Air Power Development Centre. 358.400994 Design and layout by: Owen Gibbons DPSAUG031-11 Published and distributed by: Air Power Development Centre TCC-3, Department of Defence PO Box 7935 CANBERRA BC ACT 2610 AUSTRALIA Telephone: + 61 2 6266 1355 Facsimile: + 61 2 6266 1041 Email: [email protected] Website: www.airforce.gov.au/airpower Chief of Air Force Foreword Throughout 2011, the Royal Australian Air Force (RAAF) has been commemorating the 90th anniversary of its establishment on 31 March 1921. -
Press Release Frank Gehry First Major European
1st August 2014 PRESS RELEASE communications and partnerships department 75191 Paris cedex 04 FRANK GEHRY director Benoît Parayre telephone FIRST MAJOR EUROPEAN 00 33 (0)1 44 78 12 87 e-mail [email protected] RETROSPECTIVE press officer 8 OCTOBER 2014 - 26 JANUARY 2015 Anne-Marie Pereira telephone GALERIE SUD, LEVEL 1 00 33 (0)1 44 78 40 69 e-mail [email protected] www.centrepompidou.fr For the first time in Europe, the Centre Pompidou is to present a comprehensive retrospective of the work of Frank Gehry, one of the great figures of contemporary architecture. Known all over the world for his buildings, many of which have attained iconic status, Frank Gehry has revolutionised architecture’s aesthetics, its social and cultural role, and its relationship to the city. It was in Los Angeles, in the early 1960s, that Gehry opened his own office as an architect. There he engaged with the California art scene, becoming friends with artists such as Ed Ruscha, Richard Serra, Claes Oldenburg, Larry Bell, and Ron Davis. His encounter with the works of Robert Rauschenberg and Jasper Johns would open the way to a transformation of his practice as an architect, for which his own, now world-famous, house at Santa Monica would serve as a manifesto. Frank Gehry’s work has since then been based on the interrogation of architecture’s means of expression, a process that has brought with it new methods of design and a new approach to materials, with for example the use of such “poor” materials as cardboard, sheet steel and industrial wire mesh. -
Andy Warhol Who Later Became the Most
Jill Crotty FSEM Warhol: The Businessman and the Artist At the start of the 1960s Roy Lichtenstein, Claes Oldenburg and Robert Rauschenberg were the kings of the emerging Pop Art era. These artists transformed ordinary items of American culture into famous pieces of art. Despite their significant contributions to this time period, it was Andy Warhol who later became the most recognizable icon of the Pop Art Era. By the mid sixties Lichtenstein, Oldenburg and Rauschenberg each had their own niche in the Pop Art market, unlike Warhol who was still struggling to make sales. At one point it was up to Ivan Karp, his dealer, to “keep moving things moving forward until the artist found representation whether with Castelli or another gallery.” 1Meanwhile Lichtenstein became known for his painted comics, Oldenburg made sculptures of mass produced food and Rauschenberg did combines (mixtures of everyday three dimensional objects) and gestural paintings. 2 These pieces were marketable because of consumer desire, public recognition and aesthetic value. In later years Warhol’s most well known works such as Turquoise Marilyn (1964) contained all of these aspects. Some marketable factors were his silk screening technique, his choice of known subjects, his willingness to adapt his work, his self promotion, and his connection to art dealers. However, which factor of Warhol’s was the most marketable is heavily debated. I believe Warhol’s use of silk screening, well known subjects, and self 1 Polsky, R. (2011). The Art Prophets. (p. 15). New York: Other Press New York. 2 Schwendener, Martha. (2012) "Reinventing Venus And a Lying Puppet." New York Times, April 15. -
Office of Staff Secretary; Series: Presidential Files; Folder: 6/14/77 [2]; Container 25
6/14/77 [2] Folder Citation: Collection: Office of Staff Secretary; Series: Presidential Files; Folder: 6/14/77 [2]; Container 25 To See Complete Finding Aid: http://www.jimmycarterlibrary.gov/library/findingaids/Staff_Secretary.pdf THE PRESIDENT'S SCHEDULE Tuesday - June 14, 1977 8:15 Dr. Zbigniew Brzezinski - The Oval Office. 8:45 Mr. Frank Moore The Oval Office. 9:30 Mr. Jody Powell The Oval Office. .i:45 Drop-By Meeting of Leaders of Veteran/ (10 min.) Military Groups. (Ms. Midge Costanza). The Roosevelt Room. 10:00 Budget Revie\'1 Meeting. (Mr. Bert Lance) . (2 hrs.) The Cabinet Room. 1:30 Budget Review Meeting. (Mr. Bert Lance). (90 min.) The Cabinet Room. 3:15 Secretary Harold Brown ....... ,The· Office. :oval. (15 min.) ~ :00 Meeting with Senator Joseph R. Biden, Jr. (15 min.) and the Delaware Delegation. (Mr. Frank Moore) - The Cabinet Room. 4:20 Drop-By White House Conference on HIRE. (15 min.) . .. ~he East Room. Lo Reception for the Inaugural Portfolio (10 min.) Artists The Rose Garden. .l' THE WHITE HOUSE WASHINGTON June 14, 1977 < / Gretchen Poston The attached was returned in the President's outbox. It is forwarded to you for appropriate handling. Rick Hutcheson cc: Z. Brzezinski Frank Moore THE WHITE HOUSE WASHINGTON z 0 H 8 H C) :>I ,::C Iii MONDALE COSTANZA EIZENSTAT JORDAN EXECUTIVE ORDER LIPSHUTZ Comments due to I")( MOORE Carp/Euron within POWELL 48 hours; due to WATSON Staff Secretary next day FOR STAFFING FOR INFORMATION ~ FROM PRESIDENT'S OUTBOX LOG IN/TO PRESIDENT TODAY IMMEDIATE TURNAROUND ARAGON BOURNE HOYT HUTCHESON JAGODA WEL S KING VOORDE < • MEMORAND UM THE WHITE HO U SE W AS HIN G T O N June 13, 1977 MEMORANDUM FOR: THE PRESIDENT FROM: GRETCHEN POSTON RE: GUEST LIST FOR PM FRASER LUNCHEON 12:30 p.m. -
Murray Ave School Art Appreciation Presentation: Robert Rauschenberg
Murray Ave School Art Appreciation Presentation: Robert Rauschenberg Lesson Plan Biography: (show picture 1, photo of him in his studio) Considered by many to be one of the most influential American artists due to his radical blending of materials and methods, Robert Rauschenberg was one of the key Neo-Dada movement artists in the 1950s and 60s. He would pick up trash he found on the street, use pages ripped from the phone book, photographs, and even 3 dimensional objects like spoons. He would then affix these objects to his canvas, and paint over them to create a layered effect. He was quoted as saying "I really feel sorry for people who think things like soap dishes or mirrors or Coke bottles are ugly because they're surrounded by things like that all day long, and it must make them miserable.” Robert Rauschenberg was born in the small town of Port Arthur, Texas. His father, was a strict and serious man and his mother was a very frugal woman. She made the family's clothes from scraps. That embarrassed little Robert, but possibly influenced his artwork later in life with his collages. He asked for a store-bought shirt for his high school graduation present, the very first in his young life!! During WWII, Robert was drafted into the Navy. While stationed in San Diego, he was assigned the job as a medical technician to care for wounded soldiers. On a break one day, he walked into an art gallery and saw oil paintings in person for the first time, and became instantly fascinated by art. -
Postmodernism
Black POSTMODERNISM STYLE AND SUBVERSION, 1970–1990 TJ254-3-2011 IMUK VLX0270 Postmodernism W:247mmXH:287mm 175L 130 Stora Enso M/A Magenta(V) 130 Stora Enso M/A 175L IMUK VLX0270 Postmodernism W:247mmXH:287mm TJ254-3-2011 1 Black Black POSTMODERNISM STYLE AND SUBVERSION, 1970–1990 TJ254-3-2011 IMUK VLX0270 Postmodernism W:247mmXH:287mm 175L 130 Stora Enso M/A Magenta(V) 130 Stora Enso M/A 175L IMUK VLX0270 Postmodernism W:247mmXH:287mm TJ254-3-2011 Edited by Glenn Adamson and Jane Pavitt V&A Publishing TJ254-3-2011 IMUK VLX0270 Postmodernism W:247mmXH:287mm 175L 130 Stora Enso M/A Magenta(V) 130 Stora Enso M/A 175L IMUK VLX0270 Postmodernism W:247mmXH:287mm TJ254-3-2011 2 3 Black Black Exhibition supporters Published to accompany the exhibition Postmodernism: Style and Subversion, 1970 –1990 Founded in 1976, the Friends of the V&A encourage, foster, at the Victoria and Albert Museum, London assist and promote the charitable work and activities of 24 September 2011 – 15 January 2012 the Victoria and Albert Museum. Our constantly growing membership now numbers 27,000, and we are delighted that the success of the Friends has enabled us to support First published by V&A Publishing, 2011 Postmodernism: Style and Subversion, 1970–1990. Victoria and Albert Museum South Kensington Lady Vaizey of Greenwich CBE London SW7 2RL Chairman of the Friends of the V&A www.vandabooks.com Distributed in North America by Harry N. Abrams Inc., New York The exhibition is also supported by © The Board of Trustees of the Victoria and Albert Museum, 2011 The moral right of the authors has been asserted. -
The National Arts Awards Chair
1 Edye and Eli Broad salute Americans for the Arts and 2 tonight’s honorees for their commitment ensuring broad access to the arts 2014 Americans for the Arts National Arts Awards Monday, October 20, 2014 Welcome from Robert L. Lynch Performance by YoungArts Alumni President and CEO of Americans for the Arts Outstanding Contributions to the Arts Award Legacy Award American Legion Auxiliary Madeleine H. Berman Presented by Nolen V. Bivens, Presented by Anne Parsons Brigadier General, U.S. Army, (Ret) Accepted by Janet Jefford Lifetime Achievement Award Richard Serra Eli and Edythe Broad Award for 3 Presented by Jennifer Russell Philanthropy in the Arts Vicki and Roger Sant Arts Education Award Presented by The Honorable Christopher J. Dodd P.S. ARTS Presented by Ben Stiller Bell Family Foundation Young Artist Award Accepted by Joshua B. Tanzer David Hallberg Presented by RoseLee Goldberg Dinner Closing Remarks Robert L. Lynch introduction of Maria Bell Abel Lopez, Chair, Americans for the Arts Vice Chairman, Americans for the Arts Board of Board of Directors Directors and Chair, National Arts Awards and Robert L. Lynch Greetings from the Board Chair and President It is our pleasure to welcome you to our annual Americans for the Arts National Arts Awards. Tonight we again celebrate a select group of cultural leaders— groundbreaking artists, visionary philanthropists, and two outstanding nonprofit organizations—who help ensure that every American has access to the transformative power of the arts. We gratefully acknowledge the contributions of all of our honorees. In this time of increasing challenges to our nation’s security and the sacrifices made by our servicemen and women and their families, we are especially pleased to recognize the American Legion Auxiliary, one of our many partners in the work we do with the military and veterans on the role of the arts & healing. -
Charlie Crosdale and Jack Palmer
3. A crew assembles: Charlie Crosdale and Jack Palmer It was Squadron Leader A. D. Carey’s job. The Station Administrative Officer at RAAF Station Laverton initiated preparations on Friday, 9 August 1940 for a flight on Tuesday, August 13 to ‘Convey Minister for Air and five other passengers to Canberra A.C.T.’ Alfred Carey’s Flying Operation Instruction No. 111 advised that the aircraft would be one of No. 2 Squadron’s latest acquisitions, a Lockheed Hudson bomber, A16-97. The captain and crew for the flight to Canberra were to be detailed by No. 2 Squadron’s commanding officer. When their delivery of important people to the capital was completed the intention was that, in the absence of alternative orders, A16-97 should return to Laverton, empty save for ballast and its crew of four.1 A16-97 was one of the second batch of 50 Hudsons delivered to the RAAF from the Lockheed plant in California. Of the 100 Hudsons in the country at the end of July 1940 two had already been ‘written off by conversion’ as a result of crashes. One was undergoing ‘major repair owing to crash’, and another two had been ‘robbed of various parts’. The last four machines in the second group were fitted with seven passenger seats as well as dual controls. These specially fitted Hudsons were to be dispersed to bases around the country. They would form part of a Hudson squadron reserve at Richmond, Pearce, Darwin, and Laverton, and be available to transport ‘essential maintenance stores and personnel to advanced operational bases’. -
Ten Journeys to Cameron's Farm
Ten Journeys to Cameron’s Farm An Australian Tragedy Ten Journeys to Cameron’s Farm An Australian Tragedy Cameron Hazlehurst Published by ANU Press The Australian National University Acton ACT 2601, Australia Email: [email protected] This title is also available online at http://press.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Author: Hazlehurst, Cameron, 1941- author. Title: Ten Journeys to Cameron’s Farm / Cameron Hazlehurst. ISBN: 9781925021004 (paperback) 9781925021011 (ebook) Subjects: Menzies, Robert, Sir, 1894-1978. Aircraft accidents--Australian Capital Territory--Canberra. World War, 1939-1945--Australia--History. Australia--Politics and government--1901-1945. Australia--Biography. Australia--History--1901-1945. Dewey Number: 320.994 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design and layout by ANU Press Printed by Griffin Press © Flaxton Mill House Pty Ltd 2013 and 2015 Cover design and layout © 2013 ANU E Press Cover design and layout © 2015 ANU Press Contents Part 1 Prologue 13 August 1940 . ix 1 . Augury . 1 2 . Leadership, politics, and war . 3 Part 2 The Journeys 3 . A crew assembles: Charlie Crosdale and Jack Palmer . 29 4 . Second seat: Dick Wiesener . 53 5 . His father’s son: Bob Hitchcock . 71 6 . ‘A very sound pilot’?: Bob Hitchcock (II) . 99 7 . Passenger complement . 131 8 . The General: Brudenell White (I) . 139 9 . Call and recall: Brudenell White (II) . 161 10 . The Brigadier: Geoff Street . 187 11 . -
NEA Chronology Final
THE NATIONAL ENDOWMENT FOR THE ARTS 1965 2000 A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS President Johnson signs the National Foundation on the Arts and the Humanities Act, establishing the National Endowment for the Arts and the National Endowment for the Humanities, on September 29, 1965. Foreword he National Foundation on the Arts and the Humanities Act The thirty-five year public investment in the arts has paid tremen Twas passed by Congress and signed into law by President dous dividends. Since 1965, the Endowment has awarded more Johnson in 1965. It states, “While no government can call a great than 111,000 grants to arts organizations and artists in all 50 states artist or scholar into existence, it is necessary and appropriate for and the six U.S. jurisdictions. The number of state and jurisdic the Federal Government to help create and sustain not only a tional arts agencies has grown from 5 to 56. Local arts agencies climate encouraging freedom of thought, imagination, and now number over 4,000 – up from 400. Nonprofit theaters have inquiry, but also the material conditions facilitating the release of grown from 56 to 340, symphony orchestras have nearly doubled this creative talent.” On September 29 of that year, the National in number from 980 to 1,800, opera companies have multiplied Endowment for the Arts – a new public agency dedicated to from 27 to 113, and now there are 18 times as many dance com strengthening the artistic life of this country – was created. panies as there were in 1965. -
Gettysburgcollegecapst
Josiah B. Adlon Preston G. Hartwick Hannah C. Knowles Erin McInerney Tara M. Mitchell Gabriella M. Schiro Francesco B. Siciliano Christine L. Walker GETTYSBURGCOLLEGECAPSTONE2012 Art and Art History Senior Projects Marielle K. Bianchi Francesca S. DeBiaso Logan D. Hanley Dana C. Forkner Briana E. Hartgers Sarah H. Moses Kristen E. Rivoli GETTYSBURGCOLLEGECAPSTONE2012 Art and Art History Senior Projects t gives us great pleasure to introduce the Gettysburg College Art and Art History senior Capstone projects for 2012. These projects serve as the culmination of the Studio Art and Art History major. They are as rich and varied as the students themselves and exemplify the commitment the Department of Art and Art History places on creativity and scholarship in a liberal arts education. The Art History research projects present an unusually rich array of artistic and historical issues, bringing together bold ideas and unearthing hidden gems. Some students investigated iconic works by well-known artists, like Picasso, Renoir and Hannah Höch, and brought to bear pressing issues of gender, Art Senior Projects prostitution, politics, colonialism and the effects of the Industrial Revolution. Some looked at lesser-known works by famed artists—The Rauschenberg Overseas 4 Josiah B. Adlon 12 Tara M. Mitchell Cultural Interchange and Judy Chicago’s Birth Project, a portion of which is owned by Gettysburg College. Other projects explored engaging social and cultural issues, 6 Preston G. Hartwick 14 Gabriella M. Schiro from the impact of the corset on 19th century visual culture and social life to the brash, Wagnerian expressions of gender ambiguities in the contemporary video art 8 Hannah C.