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Thursday Calendar 20142018
THURSDAY Five-Year Calendar Unit 2014 20152016 2017 2018 Week # 1 Jan. 2 - Jan. 9 Jan. 1 - Jan. 8 Jan. 7 - Jan. 14 Jan. 5 - Jan. 12 Jan. 4 - Jan. 11 2 Jan. 9 - Jan. 16 Jan. 8 - Jan. 15 Jan. 14 - Jan. 21 Jan. 12 - Jan. 19 Jan. 11 - Jan. 18 3 Jan. 16 - Jan. 23 Jan. 15 - Jan. 22 Jan. 21 - Jan 28 Jan. 19 - Jan. 26 Jan. 18 - Jan. 25 4 Jan. 23 - Jan. 30 Jan. 22 - Jan. 29 Jan. 28 - Feb. 4 Jan. 26 - Feb. 2 Jan. 25 - Feb. 1 5 Jan. 30 - Feb. 6 Jan. 29 - Feb. 5 Feb. 4 - Feb. 11 Feb. 2- Feb. 9 Feb. 1 - Feb. 8 6 Feb. 6 - Feb. 13 Feb. 5 - Feb. 12 Feb. 11 - Feb. 18 Feb. 9 - Feb. 16 Feb. 8 - Feb. 15 7 Feb. 13 - Feb. 20 Feb. 12 - Feb. 19 Feb. 18 - Feb. 25 Feb. 16 - Feb. 23 Feb. 15 - Feb. 22 8 Feb. 20 - Feb. 27 Feb. 19 - Feb. 26 Feb. 25 - Mar. 3 Feb. 23 - Mar. 2 Feb. 22 - Mar. 1 9 Feb. 27 - Mar. 6 Feb. 26 - Mar. 5 Mar. 3 - Mar. 10 Mar. 2 - Mar. 9 Mar. 1 - Mar. 8 10 Mar. 6 - Mar. 13 Mar. 5 - Mar. 12 Mar. 10 - Mar. 17 Mar. 9 - Mar. 16 Mar. 5 - Mar. 15 11 Mar. 13 - Mar. 20 Mar. 12 - Mar. 19 Mar. 17 - Mar. 24 Mar. 16 - Mar. 23 Mar. 15 - Mar. 22 12 Mar. 20 - Mar. 27 Mar. 19 - Mar. 26 Mar. 24 - Mar. 31 Mar. 23 - Mar. 30 Mar. 22 - Mar. -
THE CLEVELAND MUSEUM of ART ANNUAL REPORT 2002 1 0-Cover.P65 the CLEVELAND MUSEUM of ART
ANNUAL REPORT 2002 THE CLEVELAND MUSEUM OF ART THE CLEVELAND MUSEUM OF ART REPORT 2002 ANNUAL 0-Cover.p65 1 6/10/2003, 4:08 PM THE CLEVELAND MUSEUM OF ART ANNUAL REPORT 2002 1-Welcome-A.p65 1 6/10/2003, 4:16 PM Feathered Panel. Peru, The Cleveland Narrative: Gregory Photography credits: Brichford: pp. 7 (left, Far South Coast, Pampa Museum of Art M. Donley Works of art in the both), 9 (top), 11 Ocoña; AD 600–900; 11150 East Boulevard Editing: Barbara J. collection were photo- (bottom), 34 (left), 39 Cleveland, Ohio Bradley and graphed by museum (top), 61, 63, 64, 68, Papagayo macaw feathers 44106–1797 photographers 79, 88 (left), 92; knotted onto string and Kathleen Mills Copyright © 2003 Howard Agriesti and Rodney L. Brown: p. stitched to cotton plain- Design: Thomas H. Gary Kirchenbauer 82 (left) © 2002; Philip The Cleveland Barnard III weave cloth, camelid fiber Museum of Art and are copyright Brutz: pp. 9 (left), 88 Production: Charles by the Cleveland (top), 89 (all), 96; plain-weave upper tape; All rights reserved. 81.3 x 223.5 cm; Andrew R. Szabla Museum of Art. The Gregory M. Donley: No portion of this works of art them- front cover, pp. 4, 6 and Martha Holden Jennings publication may be Printing: Great Lakes Lithograph selves may also be (both), 7 (bottom), 8 Fund 2002.93 reproduced in any protected by copy- (bottom), 13 (both), form whatsoever The type is Adobe Front cover and frontispiece: right in the United 31, 32, 34 (bottom), 36 without the prior Palatino and States of America or (bottom), 41, 45 (top), As the sun went down, the written permission Bitstream Futura abroad and may not 60, 62, 71, 77, 83 (left), lights came up: on of the Cleveland adapted for this be reproduced in any 85 (right, center), 91; September 11, the facade Museum of Art. -
Property Tax Deadline
California State Association of Counties 1100 K Street, Suite 101 Sacramento, CA 95814 916.327.7500 Facsimile 916.441-5507 FOR IMMEDIATE RELEASE April 4,2020 Contact: Sara Floor, Communications Manager 916‐327‐7500, ext. 516; email: [email protected] Joint CSAC / CACTTC Statement on COVID‐19 and the April 10 Property Tax Deadline SACRAMENTO – California State Association of Counties (CSAC) and the California Association of County Treasurers and Tax Collectors issue the following statement regarding the COVID‐19 crisis and the April 10th property tax deadline. “Taking care of Californians is our top priority, and counties, cities, and schools are burning through local reserves to do so. Any delay in payments beyond the April 10 property tax deadline, for individuals or businesses that can pay, will tip local governments into insolvency at a time when our residents need us the most. Counties will use all existing authority to cancel penalties and other charges for homeowners, small businesses, and other property owners that are unable to pay their property taxes due to circumstances caused by COVID‐19 on a case‐by‐case basis. However, property owners who can pay or that haven’t been directly affected by COVID‐19, including international corporations and out‐of‐state landlords, still need to pay on time to keep critical government services running. Assisting taxpayers in this way is not new to Tax Collectors, who most recently worked to help those who were affected by the Camp and Woolsey fires. Property taxes only go to local governments—schools, counties, cities and special districts—not to the state or federal government, and directly fund education, health care, hospitals, welfare services, fire protection, and homelessness efforts, to name a few. -
Cronología Gunther Gerzso
EXPOSICIONES INDIVIDUALES 1950 Galería de Arte Mexicano. México, D.F. 1954 Galería de Arte Mexicano. México, D.F. 1956 Galería de Antonio Souza. México, D.F. 1958 Galería de Antonio Souza. México, D.F. SALÓN DE ARTE MEXICANO. Museo Nacional de Arte Moderno, Instituto Nacional de Bellas Artes. México, D.F. 1961 Galería de Antonio Souza. México, D.F. 1963 GUNTHER GERZSO, EXPOSICIÓN RETROSPECTIVA. Instituto Nacional de Bellas Artes. México, D.F. GUNTHER GERZSO, EXPOSICIÓN RETROSPECTIVA. Museo Nacional de Arte Moderno. México, D.F. 1964 Museo de Arte Moderno. México, D.F. 1967 GUNTHER GERZSO. Faire Internationale d'Art Contemporain. Grand Palais. París, Francia. 15 OBRAS DE GUNTHER GERZSO. Instituto Cultural Mexicano Israelí. México, D.F. 1969 SALÓN INDEPENDIENTE 69. Salón Independiente. México, D.F. NUEVAS ADQUISICIONES. Museo de Arte Ponce. Ponce, Puerto Rico. 1970 GUNTHER GERZSO: RETROSPECTIVE EXHIBITIONS. Phoenix Art Museum. Phoenix, AZ, EUA. GUNTHER GERZSO: RETROSPECTIVE EXHIBITIONS. Museo de Arte Moderno. México, D.F. TWENTY YEARS OF GUNTHER GERZSO. Phoenix Art Museum. Phoenix, AZ, EUA. GUNTHER GERZSO: DIBUJOS Y PINTURAS. Museo de Arte Moderno, Instituto Nacional de Bellas Artes. México, D.F. 1976 GUNTHER GERZSO: PAINTINGS AND GRAPHICS REVIEWED. University of Texas Art Museum. Austin, TX, EUA. 1977 GUNTHER GERZSO. Museo de Arte Moderno, Instituto Nacional de Bellas Artes. México, D.F. 1981 GUNTHER GERZSO: RETROSPECTIVA. Museo de Monterrey. Monterrey, NL., México. DEL ÁRBOL FLORIDO: 14 SERIGRAFÍAS INSPIRADAS EN POEMAS PREHISPÁNICOS. Galería Arvil. México, D.F. 1982 VEINTICUATRO OBRAS. Mary-Anne Martin/Fine Art Gallery. Nueva York, NY, EUA. VEINTICUATRO OBRAS. Galería de Arte Mexicano. México, D.F. -
Elizabeth Sprague Coolidge Foundation Collection [Finding Aid]
Elizabeth Sprague Coolidge Foundation Collection Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 1980 Revised 2014 Contact information: http://hdl.loc.gov/loc.music/perform.contact Additional search options available at: http://hdl.loc.gov/loc.music/eadmus.mu012012 LC Online Catalog record: http://lccn.loc.gov/2012562124 Processed by the Music Division of the Library of Congress Collection Summary Title: Elizabeth Sprague Coolidge Foundation Collection Span Dates: 1894-1953 Bulk Dates: (bulk 1920-1953) Call No.: ML29 Creator: Coolidge, Elizabeth Sprague, 1864-1953 Extent: 56,680 items ; 109 containers ; 48.50 linear feet Language: Collection material in English Location: Music Division, Library of Congress, Washington, D.C. Summary: Elizabeth Sprague Coolidge was a composer, pianist, and patron of music. In 1925, she created the Elizabeth Sprague Coolidge Foundation at the Library of Congress in support of chamber music. The collection contains Coolidge's correspondence to and from many of the prominent musical artists of the first half of the twentieth century. Extensive correspondence between Coolidge and Library of Congress librarians and administrators is also included. The remaining materials in the collection, including photographs, scrapbooks, business papers, programs, publicity materials, iconography, realia, and clippings, are available for research and will be incorporated into the finding aid at a later date. Music manuscripts of works commissioned by Elizabeth Sprague Coolidge or the Elizabeth Sprague Coolidge Foundation in the Library of Congress comprise a substantial portion of the collection and are cataloged individually. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. -
Two Berkeley Professors: Arthur Bliss and Albert Elkus
N. WILLIAM SNEDDEN - ARTICLE - Two Berkeley Professors: Arthur Bliss and Albert Elkus N. William Snedden Independent 1. The Early Years in California: 1923-25 Introduction Arthur Bliss’s first visit to the USA as a young man of 31 took place in April 1923, accompanying his American father Francis, step-mother Ethel, and their children Enid, Cynthia, and Patrick. They sailed from Southampton to New York on the SS Aquitania; by coincidence Gustav Holst was also on board. Francis, aged 75, wanted to return to the place of his birth before re-settling with Ethel on the Pacific coast in Santa Barbara.1 For many years Francis had directed the Anglo-American Oil Company of John D. Rockefeller in London. Upon arrival in America the Bliss family stayed in Manhattan with Francis’s cousin Lorenzo Daniels, a wealthy merchant.2 From 1923 till 1931 Arthur journeyed to the USA on alternate years (see Table 1.1), staying with his father at 15 School House Road ‘Paradero’ in Montecito, Santa Barbara. Situated close by was ‘Casa Dorinda’, the famous 80-roomed mansion estate of William Henry Bliss (no relation), completed in 1919 and named after William’s wife Anna Dorinda Bliss (née Blaksley). The likes of Paderewski, Heifetz and Mischa Elman gave recitals there, including Arthur and the tenor Lawrence Strauss in a performance for Anna Bliss in October 1924. Francis was an avid and sophisticated art collector (as was Arthur), acquiring works by Manet and Zorn. He also held a large collection of etchings by the French painter Alphonse Legros (1837-1911) and by the ‘cowpuncher artist’ John Edward Borein (1872-1945).3 In common with H. -
Interim Guidance on Site Field Work Decisions Due to Impacts of COVID-191
April 10, 2020 MEMORANDUM SUBJECT: Interim Guidance on Site Field Work Decisions Due to Impacts of COVID-191 FROM: Peter C. Wright Assistant Administrator, Office of Land and Emergency Management Susan Parker Bodine Assistant Administrator, Office of Enforcement and Compliance Assurance TO: EPA Regional Administrators, Regions I-X As all of us at the EPA and in other Federal Agencies, State and Local Governments, Tribes, Regulated Entities, Non-governmental Organizations, and Communities continue to adjust to the evolving COVID-19 situation, we at EPA are first and foremost mindful of the health, welfare, and safety of the public, as well as our employees and cleanup partners, as we all continue our work to protect human health and the environment. Response field activities are underway at sites across the country under a range of EPA authorities including, but not limited to, the Superfund program, RCRA corrective action, TSCA PCB cleanup provisions, the Oil Pollution Act, and the Underground Storage Tank (UST) program. EPA also conducts emergency responses to releases or substantial threats of releases into the environment of chemicals, oil, and other hazardous materials/substances, as well as pollutants or contaminants that may present an imminent and substantial danger to the public health or welfare. The following interim guidance is being issued for response actions related to cleanup and emergency response sites where EPA is the lead agency or has direct oversight of or responsibility for the work being performed. EPA will, as appropriate, update this guidance as the current situation evolves. The response action work at this broad range of sites may be conducted by EPA, states, tribes, other agencies of the Federal Government, and by other parties, including potentially responsible parties (PRPs). -
A Stellar Century of Cultivating Culture
COVERFEATURE THE PAAMPROVINCETOWN ART ASSOCIATION AND MUSEUM 2014 A Stellar Century of Cultivating Culture By Christopher Busa Certainly it is impossible to capture in a few pages a century of creative activity, with all the long hours in the studio, caught between doubt and decision, that hundreds of artists of the area have devoted to making art, but we can isolate some crucial directions, key figures, and salient issues that motivate artists to make art. We can also show why Provincetown has been sought out by so many of the nation’s notable artists, performers, and writers as a gathering place for creative activity. At the center of this activity, the Provincetown Art Associ- ation, before it became an accredited museum, orga- nized the solitary efforts of artists in their studios to share their work with an appreciative pub- lic, offering the dynamic back-and-forth that pushes achievement into social validation. Without this audience, artists suffer from lack of recognition. Perhaps personal stories are the best way to describe PAAM’s immense contribution, since people have always been the true life source of this iconic institution. 40 PROVINCETOWNARTS 2014 ABOVE: (LEFT) PAAM IN 2014 PHOTO BY JAMES ZIMMERMAN, (righT) PAA IN 1950 PHOTO BY GEORGE YATER OPPOSITE PAGE: (LEFT) LUCY L’ENGLE (1889–1978) AND AGNES WEINRICH (1873–1946), 1933 MODERN EXHIBITION CATALOGUE COVER (PAA), 8.5 BY 5.5 INCHES PAAM ARCHIVES (righT) CHARLES W. HAwtHORNE (1872–1930), THE ARTIST’S PALEttE GIFT OF ANTOINETTE SCUDDER The Armory Show, introducing Modernism to America, ignited an angry dialogue between conservatives and Modernists. -
ACTION | ABSTRACTION Alberto Burri Lucio Fontana
ACTION | ABSTRACTION Alberto Burri Lucio Fontana PRESS RELEASE 14th January 2019 TORNABUONI ART LONDON - 46 Albemarle St, W1S 4JN London Exhibition: 8th February - 30th March 2019 Press view: 10am - 12pm from 6th to 8th February Conference: 7th March, 5pm-7pm, Royal Academy of Arts London, ‘Alberto Burri: A Radical Legacy’ moderated by Tim Marlow, Director of Programmes at the Royal Academy, with professor Bruno Corà, President of the Alberto Burri Foundation, professor Luca Massimo Barbero, Director of the Art History Institute at the Fondazione Giorgio Cini, Venice, and professor Bernard Blistène, Director of the Centre Georges Pompidou, Paris. This exhibition sets out to recapture one of the most dramatic periods of Post-War art in Italy. The selection of works by the avant-garde artists Alberto Burri and Lucio Fontana will shed light on how the trauma and destruction of two world wars spurred these artists to reject representation and to return to primordial forms of communication through material and gesture – in Fontana’s case, through a simple but supremely efective piercing of the canvas surface and, in Burri’s case, a radical and sometimes violent reimagining of the expressive potential of traditionally ‘non-artistic’ materials. The show will shine a light on the correspondences and convergences between these artists who, despite their vastly difering aesthetics, now stand together as luminaries of material- based abstraction and an inspiration to an entire generation of artists who grew up in their shadow. Tornabuoni Art will explore their work in a tightly curated selection of highlights on display in the London gallery. Both artists are being honoured with institutional exhibitions this year. -
Identity in the Landscape Essay
JP Alvarez, Emma Kimbrough, Veronika Lubeck Professor Pappas ARTH 140 16 March 2021 de Saisset Museum Exhibition: Identity in the Landscape Abstract: In this essay, we discuss a selection of landscape and landscape-adjacent photography from the western United States, focusing on how different photographers represent different kinds of relationships between people and the landscape. We look specifically at the photographers’ identities and analyze how they could factor into the meanings of the photographs, either intentionally or unintentionally, with the goal of making traditionally invisible identities like whiteness and maleness more visible. We begin by looking at the role of gender in photography, contrasting Ansel Adams with Judy Dater, who have very different approaches to including people in their landscapes. Then, we focus on the role of cultural identity, specifically Native American identity, contrasting Laura Gilpin, who was not Native, with Dugan Aguilar, who was. We then discuss Mark Klett, a more contemporary white man whose work is in the middle; he breaks down some norms while reinforcing others. We conclude with Dorothea Lange and Anthony Hernandez, emphasizing more non-traditional and socially conscious landscapes depicting poverty and a lack of rootedness. Essay: Our exhibition attempts to show the intersection of human influence and landscape photography through the analysis of photos from photographers with various backgrounds. There are competing ideas of what role humans have in the environment, and we can clearly see this in the different perspectives of the landscape photos. Our exhibition focuses on men and women photographers as well as Native American identities. All of the photos in the exhibition were taken in the western part of the United States, which lays a common foundation for our analysis. -
April 10, 2021 As of Yesterday's Report, Greenwood County Had 18
April 10, 2021 As of yesterday's report, Greenwood County had 18 additional confirmed cases in the county for a total of 7,185 cases confirmed since 21 March 2020. Remember this is only those which have been confirmed and is for those who were tested a minimum of two days ago. This means there are others who have been tested and are in quarantine awaiting results. Additionally, an individual can be asymptomatic, (contagious but shows no symptoms), and may choose not to be tested. The first 7,030 cases in Greenwood County were reported over 15 days ago, so there are 7,030 individuals who should have recovered from the virus. Additionally, Greenwood County has had 150 confirmed deaths due to the virus. This brings Greenwood County's remaining estimated total of active confirmed cases to 150. DHEC does not track recovered individuals by county, so this number is an estimate based on the following: Most individuals recover from the virus within this time frame. From 25 March until 7 April (2 weeks), Greenwood has had 144 confirmed cases out of a population of 70,811. This equates to an incident rate of 203.4 per 100,000 individuals which is rated as high by SCDHEC. (Low = 50 or less; Medium = 51 - 200; High = 201 or more) SCDHEC reported an additional 632 new confirmed cases in the state for a total of 470,153. Also, they reported 8 new confirmed deaths in the state for a total of 8,144. Please click this link to see the deaths by county. -
Annual Report 1995
19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p.