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House of Representatives
HULES AND ORDERS TO BE OBSERVED IN THE HOUSE OF REPRESENTATIVES OF THE ©ommontoealtlj of JHassacijusctts, FOR THE YEAR 1850. PUBLISHED BY ORDER OF THE HOUSE. BOSTON: DUTTON AND WENTWORTH, STATE PRINTERS. 1850. RULES AND ORDERS OF TIIE HOUSE. CHAPTER I. I O f the Duties and Powers of the Speaker. I. T h e Speaker shall take the Chair every day at the hour to which the House shall have adjourned ; shall call the Members to order; and, on the ap pearance of a quorum, shall proceed to business. II. He shall preserve decorum and order; may speak to points of order in preference to other Members ; and shall decide all questions of order, subject to an appeal to the House by motion regularly seconded ; and no other business shall be in order till the ques tion on the appeal shall have been decided. III. He shall declare all votes; but, if any Member rises to doubt a vote, the Speaker shall order a re turn of the number voting in the affirmative, and in the negative, without any further debate upon the question. IV. He shall rise to put a question, or to address the House, but may read sitting. V. In all cases the Speaker may vote. 4 Duties of the Speaker. Ch. I. VI. When the House shall determine to go into a Committee of the whole House, the Speaker shall appoint the Member who shall take the Chair. VII. On all questions and motions whatsoever, the Speaker shall take the sense of the House by yeas and nays, provided one fifth of the Members pres ent shall so require. -
The History of Lowell House
The History Of Lowell House Charles U. Lowe HOW TO MAKE A HOUSE Charles U. Lowe ’42, Archivist of Lowell House Lucy L. Fowler, Assistant CONTENTS History of Lowell House, Essay by Charles U. Lowe Chronology Documents 1928 Documents 1929 Documents 1930-1932 1948 & Undated Who’s Who Appendix Three Essays on the History of Lowell House by Charles U. Lowe: 1. The Forbes story of the Harvard Riverside Associates: How Harvard acquired the land on which Lowell House was built. (2003) 2. How did the Russian Bells get to Lowell House? (2004) 3. How did the Russian Bells get to Lowell House? (Continued) (2005) Report of the Harvard Student Council Committee on Education Section III, Subdivision into Colleges The Harvard Advocate, April 1926 The House Plan and the Student Report 1926 Harvard Alumni Bulletin, April, 1932 A Footnote to Harvard History, Edward C. Aswell, ‘26 The Harvard College Rank List How Lowell House Selected Students, Harvard Crimson, September 30, 1930, Mason Hammond “Dividing Harvard College into Separate Groups” Letter from President Lowell to Henry James, Overseer November 3, 1925 Lowell House 1929-1930 Master, Honorary Associates, Associates, Resident and Non-Resident Tutors First Lowell House High Table Harvard Crimson, September 30, 1930 Outline of Case against the Clerk of the Dunster House Book Shop for selling 5 copies of Lady Chatterley’s Lover by D. H. Lawrence Charles S. Boswell (Undated) Gift of a paneled trophy case from Emanuel College to Lowell House Harvard University News, Thursday. October 20, 1932 Hizzoner, the Master of Lowell House - Essay about Julian Coolidge on the occasion of his retirement in 1948 Eulogy for Julian L. -
Jake Berthot
Jake Berthot 1939 Born in Niagara Falls, NY 1941 Family moves to Clearfield, PA 1959 Moves to New York, NY 1960-61 Studies at New York School for Social Research, New York, NY 1960-62 Studies at Pratt Institute, Brooklyn, New York, NY Teaches at Cooper Union, New York, NY 1976 Venice Biennial, Venice, Italy 1981 Receives Guggenheim Fellowship 1982 Resident Artist, Skowhegan School, Skowhegan, ME Teaches at Yale University, New Haven, CT 1983 National Endowment for the Arts Grant 1992 Teaches at the School of Visual Arts, New York, NY Present Lives and works in Accord, NY One Person-Exhibitions 2006 “Ink Drawings: The Artist and Model,” Woodstock Byrdcliffe Guild, Woodstock, NY 2005 Betty Cuningham Gallery, New York, NY 2004 "Jake Berthot: 1968 - Present," Nielsen Gallery, Boston, MA 2002 “The Dark Paintings,” Nielsen Gallery, Boston, MA 2001 “Jake Berthot, New Paintings,” McKee Gallery, New York, NY 2002 "Landscape Paintings & Drawings," Nielsen Gallery, Boston, MA 1999 "Trees: Drawings and Texts," Humanities Gallery, The Cooper Union, New York, NY 1998 “Paintings and Drawings,” Nielsen Gallery, Boston, MA 1997 “New Paintings and Drawings,” McKee Gallery, New York, NY 1996 “Drawings,” McKee Gallery, New York, NY “Enamel Drawings," Nielsen Gallery, Boston, MA 1995 “Jake Berthot: The Red Paintings,” Nielsen Gallery, Boston, MA “Jake Berthot,” Jaffe-Friede and Strauss Galleries, Hopkins Center, Dartmouth College, Hanover, NH 1994 “Jake Berthot: The Kristin Paintings and Works on Paper,” David McKee Gallery, New York, NY “Jake Berthot : Paintings and Works on Paper,” David McKee Gallery, New York, NY 1992 “Jake Berthot - Paintings,” Toni Oliver Gallery, Sydney, Australia. -
Berthot Press Release 2016
Jake Berthot: In Color March 12 – April 23, 2016 Opening Saturday March 12th, 4 – 7 PM Celebrating the career of Jake Berthot, Betty Cuningham Gallery is pleased to open Jake Berthot: In Color on Saturday, March 12th, with a reception from 4 – 7 PM. The exhibition will include approximately 20 works dating from 1969 to 2014. As this is the first exhibition of Berthot’s work since his death in December of 2014, the Gallery chose to feature Nympha Red, a major work only once exhibited in 1988 at the Rose Art Museum (Brandeis University). Painted in 1969, Nympha Red measures 60 ½ x 210 inches and is the ‘sister painting’ to another major horizontal painting, Walken's Ridge, 1975-6, in the collection of the Museum of Modern Art. From these two paintings – painted early in his career – the titles alone indicate Berthot’s instinctive interest in both color and landscape. Berthot began exhibiting in the mid-1960s, at a time when Abstract Expressionism, Pop and Minimalism were part of the aesthetic environment. Berthot’s early work was geometric and the color was subdued. Over the following years, his color intensified and the underlying grid opened to include an oval (some thought a portrait or a head). In 1992, Berthot moved to upstate New York where he wrote a quote from Ralph Waldo Emerson on the wall of his new studio: We may climb into the thin and cold realm of pure geometry and lifeless science, or sink into that of sensation. Between these extremes is the equator of life, of thought, or spirit, or poetry – a narrow belt. -
Susan Howe Papers
http://oac.cdlib.org/findaid/ark:/13030/tf5q2nb4cj No online items Susan Howe Papers Special Collections & Archives, UC San Diego Special Collections & Archives, UC San Diego Copyright 2005 9500 Gilman Drive La Jolla 92093-0175 [email protected] URL: http://libraries.ucsd.edu/collections/sca/index.html Susan Howe Papers MSS 0201 1 Descriptive Summary Languages: English Contributing Institution: Special Collections & Archives, UC San Diego 9500 Gilman Drive La Jolla 92093-0175 Title: Susan Howe Papers Creator: Howe, Susan, 1937- Identifier/Call Number: MSS 0201 Physical Description: 29 Linear feet(69 archives boxes, 4 card file boxes, 6 oversize folders) Date (inclusive): 1942-2002 Abstract: Papers of Susan Howe, American poet. The collection consists of Howe's literary correspondence, poetry manuscripts, notes and typescripts for readings and talks, personal and working journals, recordings, research files, and art/poetry installations dating from the 1950s to 2002. Scope and Content of Collection The collection consists of Susan Howe's literary correspondence, poetry manuscripts, notes and typescripts for readings and talks, personal and working journals, recordings, research files, and art/poetry installations dating from the 1950s to 2002. The collection is arranged in three accessions: an accession processed in 1991, an accession processed in 2003, and a small additional accession of manuscripts for Coracle Press Publications acquired in 2009. Accession Processed in 1991: Correspondence, poetry manuscripts, typescripts and notes for readings and talks, personal and working journals, art/poetry installations and over 100 tape recordings from Howe's WBAI Radio program, "Poetry." Most of the material dates from the early 1970s to the mid-1980s. -
New Work on Paper I John Elderfield
New work on paper I John Elderfield Author Elderfield, John Date 1981 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/2019 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art NEW WORK ON PAPER JAKE BERTHOT DAN CHRISTENSEN ALAN COTE TOM HOLLAND YVONNE JACQUETTE KEN KIFF JOAN SNYDER WILLIAM TUCKER JOHN ELDERFIELD THE MUSEUM OF MODERN ART NEW YORK NEW WORK ON PAPER 1 Thisis the first in a seriesof exhibitionsorganized by The Museumof ModernArt, New York, each of whichis intendedto showa relativelysmall number of artists througha broadand representativeselection of their recentwork on paper.Emphasis is placedon newwork, with occasionalglances backward to earlierproduction where the characterof the art especially reguiresit, and on artists or kindsof art not seenin depth at the Museumbefore. Beyond this, no restrictionsare imposedon the series,which may include exhibitions devoted to heterogeneous and to highlycompatible groups of artists, and selectionsof workranging from traditional drawing to workson paper in mediaof all kinds.Without exception, however, the artists includedin each exhibitionare presentednot as a definitive selectionof outstandingcontemporary talents but as a choice, limitedby necessitiesof space, of only a fewof those whose achievementmight warrant their inclusion— and a choice, moreover,that is entirelythe responsibilityof the directorof the exhibition,who wished to share someof the interestand excite mentexperienced in lookingat newwork on paper. NEW WORK ON PAPER 1 JOHN ELDERFIELD THE MUSEUM OF MODERN ART, NEW YORK Copyright© 1981by The Museumof ModernArt TRUSTEES OF THE MUSEUM Jr.,Mrs. -
Samuel Starr Richardson
Samuel Starr Richardson LBJ School of Public Affairs ▪ The University of Texas at Austin ▪ P.O. Box Y, Austin, TX 78713 ▪ (512) 232-3687 ▪ [email protected] EDUCATION Harvard University. Cambridge, MA PhD, Health Policy, Economics Concentration Expected November 2012 Dissertation: “Quality-based payment in health care: Theory and practice” Stanford University. Stanford, CA BA with Honors, ΦΒΚ, Human Biology, Health Policy Concentration, Economics Minor 2002 EXPERIENCE Lyndon B. Johnson School of Public Affairs, The University of Texas at Austin. Austin, TX Instructor July 2012-present Harvard Kennedy School and National Bureau of Economic Research. Cambridge, MA Research Assistant to Amitabh Chandra 2006-2009 VA Health Economics Resource Center. Menlo Park, CA Research Assistant to Wei Yu, Mark W. Smith, and Todd H. Wagner 2003-2006 PUBLICATIONS Papers in progress: Richardson SS. “Integrating pay-for-performance into health care payment systems.” Richardson SS, Gosden TB, Batata, A. “Effect of payment reform on quality of primary care for coronary heart disease, diabetes, and chronic kidney disease in the United Kingdom.” Richardson SS, Gosden TB, Batata, A. “Specificity of provider responses to incentives under pay-for- performance in the United Kingdom.” Peer-reviewed publications: Richardson SS, Sullivan G, Hill A, Yu W. 2007. “Use of aggressive medical treatments near the end of life: Differences between patients with and without dementia.” Health Serv Res. 42(1p1): 183-200. Wagner TH, Richardson SS, Vogel WB, Wing K, Smith MW. 2006. “The cost of inpatient rehabilitation care in the Department of Veterans Affairs.” J Rehabil Res Dev. 43(7): 929-937. Richardson SS, Yu W. -
HARVARD Magazine
HARVARD Magazine May-June 1981 FACING PAGE: The first leaves of spring appear on Mill Street, which divides Volume 83, Number 5 Lowell House from John Winthrop House. Lowell's lesser tower is at left. The photograph is by Michael Nagy. ROUNDTABLE --------------------- Essays: The oilman cometh. The scars that remain. Last words. 4 The Science Watch: William Bennett on new cancer research. 16 Letters: The eclipse of 1780, nonsense DNA, Harvard on the edge. 19. ARTICLES ----------------------- PRESIDENT'S REPORT Business and the academy 23 A re-examination of the use and abuse of professorial talent. By Derek C. Bok. AMERICAN The manongs of California 36 CIVILIZATION Migrant farm workers from the Philippines reaped discrimination and poverty in America. By Peter W. Stanley, with photographs by Bill Ravanesi. LITERATURE Historian of the present 47 Daniel Aaron has a massive editing project in hand-' 'the most completely frank, revealing diary in all of American history." By George Howe Colt. EDUCATION "Taking blocks out of women's paths" 54 At Radcliffe's Bunting Institute, founded two decades ago, the scholarly enterprise has many faces. Written and photographed by Georgia Litwack. VITA Joan of Arc 59 A brief life of the virgin warrior (1412-1431) on the 550th anniversary of her martyrdom. By Deborah Fraioli. PHOTOGRAPHY Manufacturing, marketing, and modernism 60 Harvard's photographic archives document a hidden aesthetic from the Industrial Revolution. Fifteenth in a series by Christopher S. Johnson. DISCOVERY The senses are for survival 64A We may be oblivious to many, but a host of sensory cues allow living beings to cope with their environment. -
Harvard College
Appendix A Harvard University’s Responses to Committee Requests Dated September 25, 2019 The following information and materials enclosed or cited are submitted in response to the Chairman’s questions. Although some have tried to place the decision not to reappoint Professor Sullivan and Ms. Robinson at the conclusion of their term into broader political narratives of academic freedom or even the Sixth Amendment right to legal representation, the simple truth is that this was an administrative decision about the best path forward for Winthrop House after a period of considerable disruption. Professor Sullivan and Ms. Robinson remain at Harvard University as faculty members in good standing. Question 1: The American Bar Association’s Model Rule of Professional Conduct 1.2(b) states, “A lawyer’s representation of a client, including representation by appointment, does not constitute an endorsement of the client's political, economic, social or moral views or activities.” Do you believe it is important for students of Harvard College, whether they intend to engage in the legal profession in some future capacity or not, to appreciate the essence of this rule and the implications it has for the concept of due process afforded to individuals accused of committing crimes in the United States? How heavily did Harvard College weigh consideration of this value when it decided to discontinue its relationship with Ronald S. Sullivan, Jr., and his wife, Stephanie Robinson, as faculty deans of Winthrop House? Response: The mission of Harvard College (the “College”) is to educate citizens and leaders for our society, which we achieve through our commitment to the transformative power of a liberal arts and sciences education. -
And the Winners Are...Harvard Medalists GSAS Medalists
JOHN HARVARD’S JOURNAL Harvard Medalists Three people received the Harvard Medal for outstanding service and were publicly thanked by President Drew Faust during the Harvard Alumni Association’s annual meeting on the af- ternoon of Commencement day. John F. Cogan Jr. ’49, J.D. ’52—Consummate counselor and University citizen, you have set the pace for generous and thoughtful alumni leader- ship, serving as chair of two Harvard Law School Campaigns and member of Visiting Committees to the Law School, the Davis Center for Russian Stud- ies, and Harvard’s art museums, combining your John F. Cogan Jr. Harvey V. Fineberg Patti B. Saris keen knowledge of the law, international business, and the arts to strengthen your Alma Mater. Harvey V. Fineberg ’67, M.D. ’71, M.P.P. ’72, Ph.D. ’80—Loyal and illustrious alumnus, holding posts as Provost of Harvard University and Dean of the Harvard School of Public Health, you have successfully brought together professors, practitioners, and the public through- out your career, helping to improve health and human rights by your commitment to science and civil discourse. Patti B. Saris ’73, J.D. ’76—From Boston to the federal bench, you have been an inspirational and enthusiastic leader for Harvard, dar- ing to make a difference while serving with dedicated distinction as President of the Harvard Board of Overseers, Chief Marshal of the Alumni for the Class of 1973, and Chair of the HAA Nominating Committee for Overseers and Elected Directors. see what else falls out, and find out if the ship, then you have to not be passive, you And the Winners Are... -
5441 Ca Object Representations
(1) Robin Winters and Christy Rupp at the (2) Arleen Schloss at the opening reception for (3) Anton van Dalen, Two-Headed Monster (4) Dave Sander and Ethan Swan at the opening reception for “Come Closer: Art Around “Come Closer: Art Around the Bowery, 1969– Destroys Community, 1981. Aerosol paint on opening reception for “Come Closer: Art the Bowery, 1969–1989,” New Museum, 1989,” New Museum, New York, September 19, paper, 29 x 23 in (73.7 x 58.4 cm). Installation Around the Bowery, 1969–1989,” New New York, September 19, 2012. Photo: Jesse 2012. Photo: Jesse Untracht-Oakner view: “Come Closer: Art Around the Bowery, Museum, New York, September 19, 2012. Untracht-Oakner 1969–1989,” New Museum, New York, 2012. Photo: Jesse Untracht-Oakner Courtesy the artist. Photo: Jesse Untracht-Oakner Published by When we announced that the New To date, the Bowery Artist Tribute has We are indebted to Hermine and Museum would construct a freestanding conducted over seventy interviews David B. Heller for funding the research, building on a parking lot at 235 Bowery, with artists, curators, and authors who development, and presentation of this one of our first concerns was finding a helped build the creative community archive, and for providing endowment newmuseum.org way to acknowledge the rich history of of the Bowery for the past seventy funds for its future. We are also grateful creative activity in our new neighbor- years. We’ve encountered artists who to a number of individuals who have Editor: Ethan Swan Designer: Chelsea Amato hood. We thought about 222 Bowery, were grateful for the opportunity to tell been instrumental in the research and Copy Editors: Frances Malcolm and Olivia Casa Printed by: Linco William Burroughs’s “Bunker” that shel- their Bowery stories for the first time, coordination of these efforts over the tered Lynda Benglis, John Giorno, Mark and others who weren’t convinced past nine years: Ethan Swan, Eungie Cover: Sylvia Plimack Mangold on the roof of her Grand Rothko, and a dozen more. -
BETTY CUNINGHAM GALLERY Jake Berthot Paintings and Drawings
BETTY CUNINGHAM GALLERY PRESS RELEASE IMMEDIATE RELEASE Jake Berthot Paintings and Drawings October 17- November 30, 2013 Opening Reception: Thursday, October 17, 6 – 8 PM “In an ugly time, Beauty is held in suspicion.” ~Jake Berthot, summer 2013 Betty Cuningham Gallery is pleased to announce an exhibition of new work by Jake Berthot including both paintings and drawings. This will be the artist’s fifth exhibition at the Gallery, located at 541 West 25th Street, New York, NY. The artist will be present for an opening reception on Thursday, October 17th, from 6 – 8 PM. Since the late 1960’s Jake Berthot has been known for his distinctive brushwork (an admirer of Milton Resnick), his characteristic softly-drawn line, his sensitive touch, his rich color, and his incorporation of the frame into his painting. These elements are found in his earlier, more formal, abstract work as well as in his recent subtle landscape paintings. The current exhibition includes approximately 16 paintings and 8 drawings, all completed in the last two years. Each painting or drawing, whether a broad landscape, a single tree or a still life, seem to coalesce into a single, deeply felt image. For example, in Coming Night and Ridge Line, both completed in 2013, a distant mountain emerges slowly in the light of a dark night space. Similarly, in Untitled (Tree), 2013 the tree which dominates the canvas comes into focus gradually from Berthot’s quiet touch. In the still-life, Table and Skull, 2012, the objects take form creating a poetic dialogue between object and paint.