text:
+"Photographs "+" Daguerreotypes "+" 1840-1860"
Mathew B. Brady, 1823? - 15 Jan 1896 Search this
Sitter:
James Buchanan, 21 Apr 1791 - 1 Jun 1868 Search this
James Buchanan: Male Search this
James Buchanan: Law and Law Enforcement\Lawyer Search this
James Buchanan: Politics and Government\Presidential candidate Search this
James Buchanan: Politics and Government\US Congressman\Pennsylvania Search this
James Buchanan: Politics and Government\President of US Search this
James Buchanan: Politics and Government\Cabinet member\Secretary of State Search this
James Buchanan: Politics and Government\Diplomat\Minister Search this
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Portrait Search this
Owner: Library of Congress, Prints & Photographs Division
2004663891 LOC
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Mathew Brady Studio, active 1844 - 1894 Search this
Stephen Arnold Douglas, 23 Apr 1813 - 3 Jun 1861 Search this
Interior Search this
Stephen Arnold Douglas: Male Search this
Stephen Arnold Douglas: Law and Law Enforcement\Lawyer Search this
Stephen Arnold Douglas: Politics and Government\Presidential candidate Search this
Stephen Arnold Douglas: Politics and Government\US Senator\Illinois Search this
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Stephen Arnold Douglas: Politics and Government\US Congressman\Illinois Search this
Stephen Arnold Douglas: Law and Law Enforcement\Judge\Justice\State Supreme Court Justice\Illinois Search this
Owner: Library of Congress
DC340010
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Unidentified Artist Search this
Owner: James Buchanan Foundation for the Preservation of Wheatland
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Joseph Cornell Study Center Collection
Cornell, Joseph Search this
Benton, Elizabeth Cornell Search this
Cornell, Robert Search this
186 Nitrate negatives
1750-1980, bulk 1930-1972
The Joseph Cornell Study Center collection measures 196.8 linear feet and dates from 1750 to 1980, with the bulk of the material dating from 1930 to 1972. Documenting the artistic career and personal life of assemblage artist Joseph Cornell (1903-1972), the collection is primarily made up of two- and three-dimensional source material, the contents of the artists' studio, his record album collection, and his book collection and personal library. The collection also includes diaries and notes, financial and estate papers, exhibition materials, collected artifacts and ephemera, photographs, correspondence, and the papers of Robert Cornell (1910-1965) and Helen Storms Cornell (1882-1966), the artist's brother and mother.
Correspondence is with collectors, museums, galleries, artists, friends, family, charity organizations, admirers and those admired by Cornell, and World War II European pen pals. Discussions about the appreciation, donation, sale, purchase, and exhibition of Cornell's works are frequent, with the inclusion of shipping and loan documentation or notices of payment installments. Galleries and museums frequently request that Cornell agree to an exhibition, which he often declines, and fans request free works be mailed or affordable works be sold to them. With friends, artists, and those he admired, Cornell discussed topics that fascinate him, included bits of poetry or philosophical musings, sent clippings or a collaged letter, and occasionally discussed a project or work in process. After World War II, when so many were displaced by the war in Europe, Cornell answered ads for pen pals in the "Christian Science Monitor," often responding to requests for clothing or other goods, and sometimes exchanging many letters over several years. Family correspondence is with his mother, sisters, brother, and others, and often notes activities of the day, foods eaten, and general musings, as well as occasionally mentioning a project or artwork. Correspondents of note include Stan Brakhage, Betty Freeman, Charles Henri Ford, Allegra Kent, Yayoi Kusama, Roberto Matta, Marianne Moore, Octavio Paz, Sonia Sekula, Pavel Tchelitchew, Parker Tyler, Dorothea Tanning, and Betsy von Furstenberg, among others.
Cornell was often preoccupied with his thoughts, feelings, memories, a project or thematic "exploration," and jotted notes on seemingly any surface available. Notes and musings are on napkins, the backs of envelopes, newspaper clippings, and paper bags from record and magazine stores. Frequently, an observation would trigger a lengthy nostalgic moment, or a "feé," fairy-like child or girl, would capture his imagination and lead him to thoughts of 18th-century ballerinas and silent film stars. Cornell wrote longer diary notes, sometimes expanding on an earlier notation or emotion, and often wrote when he experienced trouble sleeping or woke early. Drafted letters to imaginary muses or admired individuals are interspersed among diaries, often revealing Cornell's yearnings to find emotional intimacy and human connection. Over time, Cornell revisited his notes and occasionally made further notations about renewed thoughts on a topic, dating the note with "revisited" or "reviewed." Notes are often written in a stream-of-consciousness style, for example, jumping from the mention of a record album or composer, to a ballerina of the same period, a note about a French poet, the memory of childhood, or an observation made earlier in the day, all in the space of a few lines. Notes about artistic processes or meanings behind works or images do occasionally emerge from the tangled, poetic notations. Notes also often provide insights into Cornell's internal emotional state and give clues about his intentions behind an artwork or a particular thematic fixation.
Financial materials document Cornell's professional and personal business activities, including the sale of artworks, annual expenses for supplies and household incidentals, payments and schedules for personal assistants, receipts for donations to charities and nonprofits, and tax documents. There is also information about who worked as assistants, or "helpers," in his later years and where Cornell purchased art supplies. Additionally, specific details are documented through receipts and invoices, such as what kind of paint he purchased. Estate records include preparations made for Cornell's artworks after his death, and clippings about other deceased artist's estates show that he thought often about such arrangements in his later years.
Exhibition files highlight several select solo exhibitions for Cornell, as well as preparations and planning for the "Robert Cornell: Memorial Exhibition" in honor of his brother in 1966. Also included are several early exhibition catalogs and announcements, including "Surréalisme" (January 9-29, 1932) and "Exhibition of Objects (Bibloquet) by Joseph Cornell" (December 6-31, 1939) at the Julien Levy Gallery, and "Romantic Museum: Portraits of Women, Constructions and Arrangements by Joseph Cornell" (December 1946) at the Hugo Gallery.
Film projects and collected film materials consist of files related to Cornell's various experimental film projects: "Aviary," "Cappuccino," "Centuries of June," "Fable for Fountains," "Nymphlight," "Serafina's Garden," and unrealized film scenario "Monsieur Phot." Files include film-making notes, correspondence, and photographs. Cornell's interest in film also led him to collect film-related materials, such as film stills, film posters, and screening programs. Scattered correspondence documents the interest other institutions and individuals had in purchasing and viewing his collection. Though most of his collected film stills and movie posters were donated to the Anthology Film Archives, film stills from "Escape Me Never" (1935) and "The Passion of Joan of Arc" (1928) are still within the collection, as well as film-screening programs for Cornell's collection of films.
Writing and design projects document Cornell's work authoring articles and designing issues of specialty dance magazine "Dance Index," and his layouts for popular magazines like "Good Housekeeping," "House and Garden," and "Mademoiselle." Other writing projects include brochures dedicated to opera singers Maria Malibran and Giulia Grisi, "Maria" and "Bel Canto Pet." Materials used for these brochures, such as copper photo engraving plates, are also found. Design work includes a series of Christmas cards created with The Museum of Modern Art as well as traced patterns ("textile tracings") and design clippings from Cornell's time working as a "textile designer" for Traphagen Commercial Textile Studio.
Cornell acquired troves of source material from bookstalls, antique stores, sporting good and department stores, hardware stores, and magazine and record shops. He kept boxes and files of material on admired individuals, such as actresses, artists, dancers, and singers, as well as on art projects or thematic "explorations." Files are on general topics such as American history, scientific phenomena, animals, plants, and humankind, as well as on series of artworks, such as "Castles," "Homage to the Romantic Ballet," and "Medici Slot Machines." Focused "exploration" projects include "Celestial Theatre," "Colombier," "GC 44," and "Switzerland," among others. Materials include photographs, photostats, maps, book fragments, autographed letters, notes, collage clippings and cutouts, collected prints and engravings, box and collage fragments, and scattered artifacts.
Collected ephemera includes large amounts of blank postcards and greeting cards, stamps, collected bus and train tickets, food labels and packaging, decals, and other materials. Artifacts are three-dimensional collected objects and source objects, which include found objects from the streets, dried flowers, and pieces of nature gathered from walks around his neighborhood. Cornell may have gathered materials because they inspired a memory or nostalgic feeling, or because they fit with a bin of other similar objects to select from for an artwork in progress.
Photographs found within the collection are of Cornell at work and as a child with family. Also found are assorted personal and family photographs, photographs of Cornell's attic and garage storage, and photographs of his Utopia Parkway house. Photographs of artwork include few installation photographs, in addition to photographs of Cornell's boxes and collages. Collected photographic materials include vintage photographs, such as tintypes, a cyanotype, stereoscopic glass slides, albumen prints, cabinet cards, and cartes-de-visite. Cornell also collected cased photographs, such as daguerreotypes, ambrotypes, and one opalotype. Negatives and photostats were often produced from various prints and even other photographs and used in Cornell's boxes and collages. Images are of men and women, actors, authors, dancers, performers, well-known men and women, royalty, places, and artwork. Photographs of note include those by Hans Namuth of Willem and Lisa de Kooning and of Edward Hopper's bedroom; photographs by Henri Cartier-Bresson; a photograph by Julia Margaret Cameron; photographs by Brassai; and a photogravure by Alfred Stieglitz from "Camerawork."
Also found in the collection are works of art by others, including a sketch by Pavel Tchelitchew, as well as artwork by Cornell, such as unfinished collages, Rorschach drawings or ink blots, and childhood artwork. Printed material includes assorted bulletins, flyers, exhibition materials for other artists, journals, and sent printed membership and charity materials. Magazines, including "View," are also included, and often have annotations by Cornell or a note to "cut" or "review" with page numbers. A large amount of magazine and newspaper clippings are in the collection, sometimes collected with a group of like material by Cornell, and at other times simply gathered in heaps. Occasional annotations are also found on the clippings.
Cornell's personal library and book collection includes over 2500 titles, ranging from fiction, poetry, and cinema, to history, science, and travel. Notable among the titles are "Baedeker's" travel guides that Cornell often sourced for his "Hotel" box series, as well as an influential publication by Max Ernst, "La Femme 100 têtes," which includes a typed letter and exhibition flyer tucked within. Books often have annotations, some fairly extensive, by Cornell, and assorted collected items, notes, and correspondence tucked between pages. Pages were often cut by Cornell, either to make photostats and use in a box, or to file with other thematic "explorations." A wide range of authors and topics provide insight into Cornell's interests and to ideas behind artwork and diary notes. Cornell's collection of record albums includes over 145 records. These contain inserted notes and clippings and are often referenced in diary notes Cornell made, noting a recent album or song listened to while at work in his studio.
The papers of Cornell's mother, Helen Storms Cornell, and his brother, Robert Cornell, are also included in the collection. Both lived with Cornell his whole life, spending the most time with him at their home at 3708 Utopia Parkway. Financial materials document shared responsibilities for billing, utilities, household fixes and chores, and expenditures, and Helen kept detailed financial records in a series of ledgers. Robert notes when he borrowed money from Cornell, or when he means to pay Cornell back for the purchase of a typewriter. Activities documented in diaries also occasionally cross paths with Cornell, noting his visitors or an exchange of letters continued after introductions through Cornell. Personal activities, such as Robert's interest in his train collection and his drawing projects and cartoon series, are also documented.
The Joseph Cornell Study Center Collection is arranged into 15 series:
Series 1: Biographical Material, 1917-1972 (Boxes 1, 98, OV118; 0.9 linear feet)
Series 2: Correspondence, 1813, 1934-circa 1973 (Boxes 1-8, 86; 6.5 linear feet)
Series 3: Diaries and Notes, 1940-1976 (Boxes 8-10, 98-99, 135, OV108, OV119; 3.5 linear feet)
Series 4: Personal Business and Estate Records, 1950-1978 (Boxes 10-14; 4.1 linear feet)
Series 5: Exhibition Files, 1932-1973 (Box 14; 0.3 linear feet)
Series 6: Film Projects and Collected Film Materials, circa 1924-1972 (Boxes 14-16, 100, 133; 1.6 linear feet)
Series 7: Writing and Design Projects, circa 1910s, 1936-1962 (Boxes 16-18, 86, 100, 131-132, OV109-OV111, OV120-OV122; 3.6 linear feet)
Series 8: Source Material, 1750-circa 1911, 1926-1972 (Boxes 19-49, 86-92, 96, 100-105, 126-130, 132-137, OV112-OV115, OV125; 42.2 linear feet)
Series 9: Artifacts and Ephemera, 1768, circa 1839-1972 (Boxes 49-52; 3.2 linear feet)
Series 10: Photographic Material, circa 1800s-1972 (Boxes 52-56, 80-86, 93, 106, 128, 133, OV116, OV123-OV124; 7.5 linear feet)
Series 11: Artwork, circa 1810-1972 (Boxes 56-57, 107, OV117; 1.2 linear feet)
Series 12: Printed Material, 1855-1972 (Boxes 57-76, 94-96, 107; 16 linear feet)
Series 13: Book Collection and Personal Library, 1722-1980 (99.8 linear feet)
Series 14: Record Album Collection, circa 1925-1974 (3.2 linear feet)
Series 15: Cornell Family Papers, 1910-1980 (Boxes 77-79, 97, 107; 3.2 linear feet)
Joseph Cornell (1903-1972) was a self-taught assemblage and collage artist, and filmmaker, active in New York City. He was born in Nyack, New York on December 24, 1903, and died of heart failure at his home in Queens, New York on December 29, 1972. The oldest of four children, he was born Joseph I. Cornell to his mother, Helen Storms Cornell (1882-1966), and his father, Joseph I. Cornell (1875-1917). Cornell had two younger sisters, Elizabeth ("Betty") Cornell Benton (1905-2000) and Helen ("Sissy") Cornell Jagger (1906-2001), as well as one brother, Robert Cornell (1910-1965), who had cerebral palsy.
Cornell attended the Phillips Academy, a preparatory boarding school in Andover, Massachusetts, beginning shortly after his father's death in 1917. He attended for four years but did not receive a diploma, and soon began work as a textile salesman for the William Whitman Company in Manhattan. His work took him, by foot, through the city, visiting secondhand bookshops on Fourth Avenue, browsing music stores and magazine shops, and catching early shows at the Metropolitan Opera House. He would occasionally wait outside the stage doors for favorite singers and dancers to emerge, requesting signatures on photographs or bits of costumes.
Around 1926, Cornell joined the Christian Science Church, joined by his brother Robert shortly thereafter, and both continued to be lifelong members. Cornell kept a number of books in his personal library on Christian Science teachings and regularly subscribed to "The Christian Science Monitor."
After living in several rental houses in Bayside, New York, Cornell's mother purchased a house for the family in 1929 in Flushing, Queens. Cornell, along with his mother and brother, would live at 3708 Utopia Parkway, for the rest of their lives. His two sisters soon married and moved away, eventually settling in Westhampton, Long Island and in the poultry-farming business.
With no formal art training to speak of, Cornell's first work was a Max Ernst-inspired collage, "Untitled (Schooner)," created in 1931. He was especially inspired by Ernst's collage novel, "La Femme 100 têtes," published in 1929. French artist Odilon Redon was also among the few artists Cornell named as an influence on his art. His first sculptural works were small, cardboard pill boxes with bits of ephemera, costume adornments, and nature hidden inside. Cornell also created a series of glass bell jar works, placing small trinkets and Victorian-era-like compositions within. It was these early collages and bell jar works that were included in Cornell's debut exhibition, "Surréalisme" (January 9-29, 1932), a group show at the Julien Levy Gallery. Cornell designed the announcement for the show and exhibited alongside Max Ernst, Man Ray, Pierre Roy, Pablo Picasso, Marcel Duchamp, Eugène Atget, George Platt Lynes, Jean Cocteau, and Salvador Dalí. Months later, Cornell was invited to have his first solo show, "Objects by Joseph Cornell: Minutiae, Glass Bells, Shadow Boxes, Coups d'Oeil, Jouets Surréalistes" (November 26-December 30, 1932), also at the Julien Levy Gallery.
In 1932, after eleven years of work, Cornell was laid off from the William Whitman Company due to the Great Depression. Soon after, he took on more responsibility in the church, working part-time as an attendant in the Christian Science Reading Room in Great Neck, New York. Beginning in 1933, he taught Sunday school classes for three years and in 1935, became the Sunday school librarian. However, his religious activities and artistic ventures continued to remain separate.
In the early 1930s, Cornell progressed from movie lover to filmmaker. When Julien Levy began his New York Film Society in 1933, holding screenings of various experimental films in the gallery, Cornell began buying and collecting films and film stills in earnest. He set up a 16-millimeter projector in his home to screen favorites, such as those by Georges Méliès, D.W. Griffith, and Louis Feuillade. His collection quickly grew to over 2,500 film stills and several hundred films, and included silent era films, such as nature documentaries, goofy newsreels, travelogues, early cartoons, and slapstick comedies, as well as several feature films. In 1933, Cornell wrote a screenplay, or "scenario," entitled "Monsieur Phot." Between 1935 and 1937, Cornell also occasionally created publicity photomontages for Universal and Columbia studios. Of the nearly thirty films Cornell created, periods of activity can generally be separated into two areas: collage films of the late 1930s, consisting of combined elements from films in his own collection, and films he directed in the 1950s, which were collaborations with other filmmakers set in New York City. "Rose Hobart," Cornell's most celebrated collage film, was created and shown in the Julien Levy Gallery in 1936 and includes clipped footage from "East of Borneo." Later films were directed and filmed with cinematographers Stan Brakhage, Rudy Burckhardt, and Larry Jordan.
In 1934, Cornell began a job at the Traphagen Commercial Textile Studio as a "textile designer," a job he held for six years. Continuing to work at his kitchen table in the evenings, Cornell completed his first assemblage box construction, "Untitled (Soap Bubble Set)," in 1936. It was first exhibited at The Museum of Modern Art's show, "Fantastic Art, Dada and Surrealism" (December 9, 1936-January 17, 1937). This work was also the first to be acquired by a museum, purchased for $60.00 by the Wadsworth Atheneum in Massachusetts in 1938. Cornell's European debut was also in 1938, as one of three Americans represented in the "Exposition Internationale du Surréalisme" (January 17-Febuary 24, 1938) at the Galerie Beaux-Arts in Paris, alongside Man Ray and Anne Clark.
At the end of 1939, Cornell began corresponding with poet Charles Henri Ford, founder of avant-garde magazine "View," Pavel Tchelitchew, and Parker Tyler. After his "Soap Bubble Sets," this period saw the development of Cornell's homages to singers and actresses, including "Untitled (Fortune-Telling Parrot for Carmen Miranda)," the destroyed "Garbo (Greta Garbo in the Legendary Film 'The Crystal Mask,' c. 1845)," and "Dressing Room for Gilles." He also began using photostats of art reproduction prints, as with the print of Jean Antoine-Watteau's painting, "Pierrot" (circa 1719), used in his "Gilles" box.
In the 1940s, the Romantic ballet emerged as Cornell's new topic of interest. Through his friend Pavel Tchelitchew, Cornell was introduced to the School of American Ballet and New York City Ballet founders, Lincoln Kirstein and George Balanchine. Cornell collected dance memorabilia and had a great love of the Romantic ballet. His favorite dancers were primarily ballerinas of the nineteenth century, including Fanny Cerrito, Marie Taglioni, Fanny Elssler, Lucille Grahn, and Carlotta Grisi. Cornell's "Homage to the Romantic Ballet" works largely took the shape of jewel-box style wooden boxes with glass overlays and included bits of velvet, tulle, sequins, crystals, and chiffon, occasionally collected from dancers themselves. His most well-known work of this series is "Taglioni's Jewel Casket" (1940). Cornell also admired several living ballet dancers, including Tamara Toumanova, Zizi Jeanmaire, and Allegra Kent, who would all make their way into Cornell's box works and/or collages. Collecting for the "exploration," "Portrait of Ondine," Cornell's cased portfolio dedication to Fanny Cerrito and her role in the ballet "Ondine," began in the 1940s, though not completed until around 1960.
In late 1940, Cornell quit his job at Traphagen to concentrate on freelance commercial magazine design and editorial work during the day and his artwork at night. That same year, Charles Henri Ford started "View" magazine to promote Surrealists and Neo-Romantics in New York City and often asked Cornell to contribute. Published in the December 1941-January 1942 issue, one of his early contributions was a collage dedication to stage actress Hedy Lamarr: "Enchanted Wanderer: Excerpt from a Journey Album for Hedy Lamarr" (1941). Along with writing the accompanying text, he created a photomontage of Lamarr with her face overlaying the painted portrait of a Renaissance boy by Italian painter Giorgione. Peggy Guggenheim, at the advice of Marcel Duchamp, purchased multiple Cornell works prior to opening her new gallery, Art of This Century. Cornell also befriended Roberto Matta Echaurren, another Surrealist living in exile, who introduced him to Robert Motherwell.
After deciding to fully dedicate his time to his art in early 1940, he set up a studio in his basement. Complete with floor-to-ceiling wooden shelving, he kept his large collection of boxed source material stacked with handwritten labels in cardboard boxes. Themed folders of materials such as "Stamps" or "Maps" were kept in stacks and works in progress and finished works were stored in the basement, garage, and attic. Entering a renewed period of productivity, Cornell embarked on many new and important box projects in 1942. One of the first boxes created in his new basement studio, and the first of the "Penny Arcade" or "Medici Slot Machine" series, was "Medici Slot Machine" (1942), which includes a photostat of "Portrait of Marquess Massimiliano Stampa" (1557) by Sofonisba Anguissola. Another work from this time is the first of his "Castle" or "Palace" series, "Setting for a Fairy Tale" (1942), which uses a photostat of a French building from Jacques Androuet du Cerceau's book, "Les Plus excellents bastiments de France" (1576). "Untitled (Pharmacy)" (circa 1942) was the first of his "Pharmacy" series and included twenty-two apothecary jars. Cornell tended to work in series and created thirteen "Palace" boxes between 1942 and 1951, and ultimately created six "Pharmacy" works.
In 1943, Cornell began working at an electronics company, the Allied Control Company, Inc., to do his part to contribute to the defense effort during the war. He also sent correspondence and care packages to displaced Europeans, who listed their needs in "The Christian Science Monitor." Influenced by World War II, one of his strongest works to emerge in 1943 was "Habitat Group for a Shooting Gallery." Another notable work to come out of this period, "The Crystal Cage (Portrait of Berenice)," was an excerpt from one of his album "explorations" that was published in the January 1943 issue of "View."
Cornell left his job at Allied Control in 1944, but soon began working at the Garden Centre in Flushing, owned by a fellow Christian Scientist. Cornell was often nostalgic for this time in his life, devoting an entire "exploration" of material fondly remembered as "GC 44." He rode a bicycle to work and enjoyed collecting trips gathering dried grasses, driftwood, shells, and other relics of nature on the same bicycle as he rode through the streets of Queens. During this time, he continued to tend to his projects for "Dance Index," a magazine founded in 1942 by Lincoln Kirstein, but taken over by Donald Windham in 1944. Cornell designed several covers for the magazine and was given control of the entire summer 1944 issue, which he devoted to the Romantic ballet. He also devoted a special 1945 issue to Hans Christian Andersen, making great use of the New York Public Library Picture Collection.
Throughout the 1940s, Cornell continued to support himself with commercial design work for magazines like "Vogue," "Good Housekeeping," "Harper's Bazaar," "Town & Country," and "Mademoiselle." In 1946, after thirteen years at the Julien Levy Gallery, he joined the Hugo Gallery. In December 1946, Cornell's solo exhibition, "Romantic Museum at the Hugo Gallery: Portraits of Women by Joseph Cornell," celebrated his favorite movie stars, singers, and ballet dancers, and included his work created for the show, "Untitled (Penny Arcade Portrait of Lauren Bacall)." Cornell's "Greta Garbo" box, as well as "Souvenir for Singleton," an homage to Jennifer Jones and her role in the film "Love Letters," were also included in the show. In late 1948, his West Coast debut was in the exhibition, "Objects by Joseph Cornell," held at the Copley Gallery. The end of the 1940s saw the final issue of "View" magazine in 1947, the closure of the Julien Levy Gallery in April 1949, and Cornell's departure from the Hugo Gallery after his last show in November 1949.
In late 1949, Cornell joined the Charles Egan Gallery, known primarily for showing Abstract Expressionists. At this time, Cornell was working on a new series of boxes known as his "Aviary" works, most of which include a white-painted box with cutouts of birds mounted on wood. Though he had worked on bird-related boxes before, including an "Owl" series in the mid-1940s, his "Fortune Telling Parrot" (1939), and "Object 1941" (1941), these newer works were stripped of French elements and left "clean and abstract" by design. His first show at the Egan Gallery, "Aviary by Joseph Cornell" (December 7, 1949-January 7, 1950), included twenty-six "Aviary" works, nearly all created in 1949. Donald Windham agreed to write the foreword for the exhibition catalog, a single folded sheet, and Cornell gave him one of the boxes in the show, "Cockatoo: Keepsake Parakeet," in appreciation. Through the Egan Gallery, Cornell became friends with a new group of artists, including Franz Kline, Jack Tworkov, and Willem de Kooning. Cornell also held two screenings of a selection of his collected films at Subjects of the Artist, an art school founded by Robert Motherwell, Mark Rothko, David Hare, and William Baziotes.
In 1950, Cornell's second show at the Egan Gallery, "Night Songs and Other New Work" (December 1, 1950-January 13, 1951), introduced his new "Observatory" series. These works are largely defined by stark, whitewashed spaces with astronomical charts and constellations replacing colorful birds. The Museum of Modern Art purchased its first Cornell work from this show in early 1951, "Central Park Carrousel, in Memoriam" (1950).
For three months in 1951, Cornell was beset by various ailments and had trouble finding the energy to create new work. He worried more for his aging mother and the health of his brother. After a monthlong vacation with his sisters in Westhampton, he returned with renewed interest in Emily Dickinson's poetry. His whitewashed boxes took on a new form in his newest "Dovecote" series, using grids and circular cutouts. The works then transformed into homages to Dickinson, notably "Toward the Blue Peninsula: For Emily Dickinson" (circa 1953), and then to his "Hotel" series. Cornell's "Hotel" boxes include photostats of vintage European ads for hotels collected from vintage travel guides, especially "Baedeker's," adhered to the back walls of the boxes. Another new series of work, his "Juan Gris" series, was dedicated to Cubist artist Juan Gris. Between 1953 and the mid-1960s, Cornell created at least fifteen "Juan Gris" boxes, which often include a cutout of a white cockatoo in a Cubist-collage habitat. Cornell's third and last show at Egan Gallery, "Night Voyage" (February 10-March 28, 1953), included some of these newest works. After leaving Egan Gallery, his work was introduced to Chicago collectors in a solo show at the Frumkin Gallery, "Joseph Cornell: 10 Years of His Art" (April 10-May 7, 1953), which included nearly thirty pieces. Cornell's first museum retrospective was this same show held at the Walker Art Center in Minneapolis (July 12-August 30, 1953).
As New York City continued to change, Cornell grew more nostalgic for the city he had explored since the 1920s. The impending closure of the Third Avenue El train prompted him to dream up a film project to capture its last days, resulting in "Gnir Rednow," a reworking of Stan Brakhage's 1955, "Wonder Ring." During this time, Cornell joined the Stable Gallery, run by Eleanor Ward, interacting often with Robert Rauschenberg, Cy Twombly, and Joan Mitchell, remaining there until the end of the 1950s. His astronomy-themed exhibition, "Winter Night Skies" (December 12, 1955-January 13, 1956), included his "Night Skies" series of work with celestial chart fragments, Greek mythological figures, and paint-splattered "windows" representative of star-filled night skies. In 1956, he became aware of ballerina Allegra Kent, and began a series of work devoted to her, the first of which was "Via Parmigianino (Villa Allegra)" (1956), which included a photostat of a painting by Parmigianino, "The Madonna of the Long Neck" (circa 1540). In late 1957, after two years, Cornell had his last show at Stable Gallery, "Joseph Cornell: Selected Works" (December 2-31, 1957), consisting of a series of "Sand Fountain" boxes and "Space Object" or "Celestial Navigation" works. The "Sand Fountain" boxes included different colors of sand meant to flow within, often from the tops into cordial glasses. His "Celestial Navigations" included galaxy-like compositions set within the boxes, with rolling, painted cork balls, metal rings, and constellation charts, sometimes hovering over cordial glasses or clay pipes. This last Stable Gallery show earned him his first published profile, written by Howard Griffin for the December 1957 issue of "Art News." Also in 1957, he won the Kohnstamm Prize for Construction at the Art Institute of Chicago's 62rd Annual Exhibition of Paintings and Sculpture.
Towards the end of the 1950s, Cornell spent less time creating new bodies of work, and focused more on revisiting previous series and reviewing piles of collected source material. In 1959, Cornell returned to making collages, frequently sourcing popular magazines. In December 1959, Cornell was awarded $1,500 for his "Orion" collage, entered in the Art Institute of Chicago's "63rd American Exhibition of Painting and Sculpture." Also in December, he was offered a show at Bennington College in Vermont, which he titled, "Bonitas Solstitialis: Selected Works by Joseph Cornell and an exploration of the Colombier" (November 20-December 15, 1959). The show included one of his newest "explorations" of collected material related to "colombier," or pigeon houses.
By 1962, Cornell was working diligently on new collages, using Masonite boards and colorful magazine clippings. He also began creating collages using nude images interspersed with constellation clippings or hazy blue dyes. As in previous decades and art movements, Cornell became acquainted with new artists, spending less time in the city and more time hosting visitors at his Utopia Parkway home. Visitors included artists Walter De Maria, Robert Whitman, Andy Warhol, James Rosenquist, and Robert Indiana. Tony Curtis also became a frequent visitor and friend, introduced by Richard Feigen in 1964. The early 1960s was also the first time Cornell put out an advertisement for assistants in the "Long Island Star-Journal," employing a number of young men and women who helped organize clippings and run errands. Cornell also met Joyce Hunter, a young runaway waitress at a city coffee shop, who would occupy his thoughts and diary notes for the next several years. When she was murdered at the end of 1964, Cornell paid for her funeral. He went on to make several "Penny Arcade" collages in memoriam to her, including, "Penny Arcade (re-autumnal)" (1964).
In 1964, Cornell began friendships with several women including artist Carolee Schneeman, who was his first assistant in the early 1960s. He also met artist Yayoi Kusama through art dealer Gertrude Stein. After becoming friends, she visited him often and they exchanged letters and notes. As he did with other artist friends, Cornell supported her by purchasing several of her early watercolor paintings, and they stayed connected until his death in 1972.
Cornell's life greatly changed in 1965 with the death of his brother, Robert. By this time, his mother lived with his sister in Long Island, and Cornell was alone in the Utopia Parkway house for the first time. He exchanged frequent letters and phone calls with his mother and devoted much time to thinking about Robert and Joyce, often aligning them in his diary notations. Cornell also created a series of collages dedicated to his brother's memory, incorporating photostats of Robert's hundreds of drawings into Cornell's work, as with the later collage, "The Heart on the Sleeve" (1972). Cornell's "Time Transfixed" series of collages were also dedications to Robert's memory, referencing Magritte and Robert's love of trains. He mounted an exhibition, "Robert Cornell: Memorial Exhibition" (January 4-29, 1966), at the Robert Schoelkopf Gallery, where he showed Robert's artwork alongside his newly created collage dedications.
After Robert's death, Cornell relied more heavily on assistants, going through many part-time "helpers." In October 1966, Cornell's mother died, adding her to his constant thoughts and diaries. Though he was still grieving, he was given two major retrospectives in 1967. The first was at the Pasadena Art Museum, put on by James Demetrion and Walter Hopps, "An Exhibiton of Works by Joseph Cornell" (January 9-February 11, 1967). The second retrospective was at the Guggenheim Museum just three months later, "Joseph Cornell" (May 4-June 35, 1967), organized by Diane Waldman. After these shows, he was highlighted in the December 15, 1967 issue of "Life" in the article, "The Enigmatic Bachelor of Utopia Parkway."
In 1968, Cornell was given an "award of merit," which included a medal and $1,000, by the American Academy and Institute of Arts and Letters. He was also given a medal and $1,000 by the Brandeis University Creative Arts Awards in the painting category, along with an exhibition. Days later, "The New York Times" announced Cornell the winner, along with Donald Judd, of India's first Triennale of Contemporary World Art. The Brandeis exhibition, "Boxes and Collages by Joseph Cornell" (May 20-June 23, 1968), was organized by William Seitz and concentrated on Cornell's more recent 1960s collages. Cornell was also included in the Metropolitan Museum of Art's hundredth anniversary show, "New York Painting and Sculpture: 1940 to 1970" (October 18, 1969-February 1, 1970), where twenty-two of Cornell's boxes were shown in their own gallery. At the end of 1970, Cornell was given a solo show at the Metropolitan, "Collages by Joseph Cornell" (December 10, 1970-January 24, 1971), which included forty-five of his newest collages.
Now preferring to stay closer to his home in Flushing, Cornell was more interested in sharing his art with young adults and children, than an adult audience. He hosted a group of high school students, sponsored by the Metropolitan Museum of Art's education department, at his home in conjunction with his collage show (1970-1971). He also showed his work in the art department of Queens College of the City University of New York. Cornell still hosted visitors on occasion, having Yoko Ono and John Lennon at his home at least once. Leila Hadley, Betsy von Furstenberg, and Anne Jackson also made frequent visits. With his deteriorating health, Cornell worried about what would happen to his work after his death and hired lawyer Harry Torczyner to help him plan his estate and get his affairs in order.
In 1972, Cornell had a show at the Cooper Union, a college in New York, specifically for children. He displayed his boxes and collages at child-height and had cherry soda and brownies at the opening reception on February 10. He then held a show at the Albright-Knox Art Gallery in Buffalo, also for children: "Children's Preview of the Exhibition of Joseph Cornell – Collages and Boxes (April 18-June 17, 1972). In the winter of 1972, at the request of the Phoenix House drug treatment and prevention program, Cornell contributed to a charity project compiling limited-edition lithographic prints for a portfolio, which included artists like David Hockney, James Rosenquist, and Ellsworth Kelly.
On December 29, 1972, a week after turning sixty-nine, Cornell died of heart failure at his home. He was cremated and interred near the graves of his mother, father, and brother, overlooking the Hudson River in Nyack, New York.
1. Hartigan, Lynda Roscoe. "Joseph Cornell: Navigating the Imagination." New Haven, Connecticut and London: Yale University Press, 2007. Exhibition Catalog.
2. McShine, Kynaston. "Joseph Cornell." New York: Museum of Modern Art, 1980.
3. San Francisco Cinematheque and The San Francisco Museum of Modern Art. "Joseph Cornell: Films." 2007. Exhibition Program. (Presented in conjunction with SFMOMA's exhibition of "Joseph Cornell: Navigating the Imagination").
4. Schaffner, Ingrid and Lisa Jacobs. "Julien Levy: Portrait of an Art Gallery." Cambridge, Massachusetts and London: The MIT Press, 1998.
5. Solomon, Deborah. "Utopia Parkway: The Life and Work of Joseph Cornell." New York: Farrar, Straus and Giroux, 1997.
Separated Materials:
The Smithsonian Archives of American Art houses the Joseph Cornell papers, 1804-1986, bulk 1939-1972.
The Joseph Cornell Study Center collection was donated to the Smithsonian American Art Museum by Joseph Cornell's sister and brother-in-law, Elizabeth Cornell Benton and John A. Benton, in 1978, which prompted the creation of the Joseph Cornell Study Center. Additional materials were donated in installments by the artist's estate, the Joseph and Robert Cornell Memorial Foundation, from 1985 to 1997. Elizabeth and John A. Benton originally donated 66 linear feet of three-dimensional and non-textual source material and 50 linear feet of books to the Smithsonian Archives of American Art, which were subsequently transferred to the Smithsonian American Art Museum's Joseph Cornell Study Center in 1994 and 1995.
Access to the collection requires an advanced appointment. Contact collection staff at least two weeks prior to preferred date, at AmericanArtCornellStudy@si.edu.
Series 9: Artifacts and Ephemera, Series 13: Personal Library and Book Collection, and Series 14: Record Album Collection, are still undergoing processing and preservation and may not be available for research use. Record albums are unavailable for playback. Contact collection staff for full lists of publications and record albums.
Unpublished materials are protected by copyright. Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder.
Collagists -- New York (State) -- New York Search this
Art, Modern -- 20th century -- United States Search this
Assemblage (Art) Search this
Assemblage artists -- New York (State) -- New York Search this
Found objects (Art) Search this
Works of art Search this
Celebrities Search this
Filmmakers -- New York (State) -- New York Search this
Photographs -- 1900-1950 -- Photoprints -- Silver gelatin
Photographs -- 1860-1870 -- Black-and-white photoprints -- Silver albumen -- Cartes-de-visite
Photographs -- Daguerreotypes -- 1840-1860
Joseph Cornell Study Center collection, 1750-1980, bulk 1930-1972. Joseph Cornell Study Center, Smithsonian American Art Museum.
Funding for the processing of this collection was generously provided by the Joseph and Robert Cornell Memorial Foundation.
SAAM.JCSC.1
Smithsonian American Art Museum, Research and Scholars Center
https://n2t.net/ark:/65665/ih7d97fc249-474d-41bf-953d-5305df1e4c06
ead_collection:sova-saam-jcsc-1
Man with Curly Hair and Large Bow Tie
Southworth & Hawes, active 1843 - 1862 Search this
Unidentified Man Search this
Plate: 14 x 10.8 cm (5 1/2 x 4 1/4 in.)
Costume\Dress Accessory\Neckwear\Tie\Bowtie Search this
Unidentified Man: Male Search this
Owner: Museum of Fine Arts, Boston
43.1480 MFAB
http://n2t.net/ark:/65665/sm41a98f9e6-2ffd-4805-bbdd-734e3ee81ea2
edanmdm:npg_43.1480_MFAB
Alexander Thorn, Photographer, Wearing Vest, Bow Tie and Jacket
J. P. Ball, 1825 - 1904 Search this
Possible attribution:
James P. Ball, 1825 - 1904/1905 Search this
Alexander Thorn Search this
7.6 x 8.9cm (3 x 3 1/2")
Home Furnishings\Furniture\Table Search this
Costume\Dress Accessory\Neckwear\Tie Search this
Alexander Thorn: Male Search this
Alexander Thorn: Visual Arts\Artist\Photographer Search this
Owner: Cincinnati Historical Society
OH110147
http://n2t.net/ark:/65665/sm4113612cc-f3e2-4bcf-9109-b544fb05fc00
edanmdm:npg_OH110147
Daguerreotype of miners
overall: 3 1/4 in x 4 1/4 in; 8.255 cm x 10.795 cm
Date made:
ID Number:
PG.75.17.907
Work and Industry: Photographic History
http://n2t.net/ark:/65665/ng49ca746a5-5dd4-704b-e053-15f76fa0b4fa
edanmdm:nmah_741853
William Langenheim
William Langenheim, 1807 - 1874 Search this
Former attribution:
Frederick Langenheim, 1809 - 1879 Search this
Image: 7.1 x 5.9 cm (2 13/16 x 2 5/16 in.)
Frame: 8.4 x 7.1 cm (3 5/16 x 2 13/16 in.)
c. 1853-55
Self-portrait Search this
William Langenheim: Male Search this
William Langenheim: Visual Arts\Artist\Photographer Search this
William Langenheim: Visual Arts\Artist\Photographer\Daguerreotypist Search this
Owner: The Metropolitan Museum of Art
2005.100.224 MMA
http://n2t.net/ark:/65665/sm462eaf2a2-2c9e-40ae-804a-5ac3f072a9e5
edanmdm:npg_2005.100.224_MMA
Donald McKay
Donald McKay, 4 Sep 1810 - 20 Sep 1880 Search this
Plate: 16.5 x 21.6 cm (6.5 x 8.5 in. )
United States\Massachusetts\Suffolk\Boston
Home Furnishings\Furniture\Seating\Chair Search this
Costume\Jewelry\Chain Search this
Architecture\Column Search this
Donald McKay: Male Search this
Donald McKay: Visual Arts\Architect\Naval architect Search this
Donald McKay: Business and Finance\Transportation\Shipbuilder Search this
Donald McKay: Science and Technology\Engineer\Ship designer Search this
37.14.1 MMA
http://n2t.net/ark:/65665/sm46e1916be-640b-4593-a61f-0487d01099a7
edanmdm:npg_37.14.1_MMA
Young Woman looking at George Washington by Gilbert Stuart
Unidentified Woman Search this
Associated Person:
George Washington, 22 Feb 1732 - 14 Dec 1799 Search this
Gilbert Stuart, 3 Dec 1755 - 9 Jul 1828 Search this
16.5 x 21.6cm (6 1/2 x 8 1/2") [whole plate]
Artwork\Portrait\George Washington Search this
Unidentified Woman: Female Search this
37.14.53 MMA
http://n2t.net/ark:/65665/sm4cf8372c5-3aaf-4687-bd58-a0c0711de476
edanmdm:npg_37.14.53_MMA
Dr. Edward Norris Kirk
Edward Norris Kirk, 1802 - 1874 Search this
Plate: 21.7 x 16.2 cm (8 9/16 x 6 3/8 in.)
Edward Norris Kirk: Male Search this
Edward Norris Kirk: Religion and Spirituality\Clergy\Pastor Search this
http://n2t.net/ark:/65665/sm402376ae8-e1c4-4447-9dd9-37e69f597b0a
Charles Sumner, 6 Jan 1811 - 11 Mar 1874 Search this
Plate: 21.6 x 16.5 cm (8 1/2 x 6 1/2 in.)
Charles Sumner: Male Search this
Charles Sumner: Law and Law Enforcement\Lawyer Search this
Charles Sumner: Politics and Government\Statesman Search this
Charles Sumner: Education and Scholarship\Educator\Lecturer Search this
Charles Sumner: Politics and Government\US Senator\Massachusetts Search this
http://n2t.net/ark:/65665/sm4338def3b-6562-4edd-88cc-020ccea0dd97
General John Ellis Wool
John Ellis Wool, 29 Feb 1784 - 10 Nov 1869 Search this
John Ellis Wool: Male Search this
John Ellis Wool: Military and Intelligence\Army\Officer\Civil War army officer\Union army officer Search this
John Ellis Wool: Military and Intelligence\Army\Officer\Brigadier General Search this
John Ellis Wool: Military and Intelligence\Army\Officer\War of 1812 army officer Search this
John Ellis Wool: Military and Intelligence\Army\Officer\Mexican War army officer Search this
http://n2t.net/ark:/65665/sm43746ac20-bd1b-4ca1-904d-2b6425ad7fb3
Unknown Lady (Plaid Silk Waist)
Costume\Jewelry\Earring Search this
Costume\Hair Accessory Search this
http://n2t.net/ark:/65665/sm4f63440a6-5715-43ca-81c8-003b54be88f7
Portrait of a Woman in Nine Oval Views
Image: 21.6 x 16.5 cm (8 1/2 x 6 1/2 in.)
http://n2t.net/ark:/65665/sm492ec5608-8dc0-477d-9bd3-e69c14566dfd
Mrs. Harrison Gray Otis
Sally Foster Otis, 10 Jan 1770 - 6 Sep 1838 Search this
Costume\Outerwear\Shawl Search this
Home Furnishings\Furniture\Carpet Search this
Sally Foster Otis: Female Search this
http://n2t.net/ark:/65665/sm4c7501c74-13a2-480a-bcf3-8a4eacebd3d3
Unidentified Boys Search this
Sight: 9.1 x 8 cm (3 9/16 x 3 1/8 in.)
Case: 12.1 x 10.8 x 1.4 cm (4 3/4 x 4 1/4 x 9/16 in.)
Costume\Headgear\Hat Search this
Costume\Footwear\Boots Search this
Unidentified Boys: Male Search this
http://n2t.net/ark:/65665/sm475716158-fd84-461a-85f5-8628a45300ed
Plate: 10.8 x 8.4 cm (4 1/4 x 3 5/16 in.)
http://n2t.net/ark:/65665/sm41786529f-3dce-4e60-aec8-1f877c6793ae
Woman in Profile, Looking Right, in Oval Vignette
Plate: 10.8 x 8.3 cm (4 1/4 x 3 1/4 in.)
http://n2t.net/ark:/65665/sm4a6e66a02-aeaa-4b3b-ad87-06139974ea97
Louis Kossuth
Louis Kossuth, 1802 - 1894 Search this
Personal Attribute\Facial Hair\Mustache Search this
Personal Attribute\Facial Hair\Beard Search this
Louis Kossuth: Male Search this
Louis Kossuth: Politics and Government\Patriot Search this
http://n2t.net/ark:/65665/sm4a3a7f68a-e880-4ea5-9333-25ab7769ac91
Include Term Exclude Term Daguerreotype (2)
Include Term Exclude Term Photograph; Photograph; Daguerreotype (2)
Include Term Exclude Term Portraits (2)
Include Term Exclude Term Camera, Daguerreotype (1)
Include Term Exclude Term Daguerreotypes (1)
Include Term Exclude Term Portraits (70)
Include Term Exclude Term Men (41)
Include Term Exclude Term Costume (27)
Include Term Exclude Term Women (27)
Include Term Exclude Term Furnishings (14)
Include Term Exclude Term Home Furnishings (14)
Include Term Exclude Term Seating (13)
Include Term Exclude Term Chairs (12)
Include Term Exclude Term Headgear (12)
Include Term Exclude Term Hats (11)
Include Term Exclude Term Jewelry (11)
Include Term Exclude Term Southworth & Hawes (52)
Include Term Exclude Term Brady, Mathew B. (4)
Include Term Exclude Term Buchanan, James (2)
Include Term Exclude Term Healy, George Peter Alexander (2)
Include Term Exclude Term Langenheim, Frederick (2)
Include Term Exclude Term Langenheim, William (2)
Include Term Exclude Term Mathew Brady Studio (2)
Include Term Exclude Term Otis, Sally Foster (2)
Include Term Exclude Term Unidentified Girl (2)
Include Term Exclude Term United States. Army (2)
Include Term Exclude Term Badger, George Edmund (1)
Include Term Exclude Term Massachusetts (3)
Include Term Exclude Term Pennsylvania (2)
Include Term Exclude Term Boston (1)
Include Term Exclude Term Davidson County (1)
Include Term Exclude Term Illinois (1)
Include Term Exclude Term Nashville (1)
Include Term Exclude Term New York, New York (1)
Include Term Exclude Term North America (1)
Include Term Exclude Term Catalog of American Portraits (67)
Include Term Exclude Term National Museum of American History (6)
Include Term Exclude Term Smithsonian American Art Museum (1)
Include Term Exclude Term Smithsonian American Art Museum, Research and Scholars Center (1)
Include Term Exclude Term Smithsonian Institution Archives (1)


text:
Review: THE (ONE ACT) PLAY THAT GOES WRONG at Austin Playhouse
Awful Good Fun
by Joni Lorraine Nov. 23, 2022
Austin Playhouse has unfortunately collaborated with The Cornley Polytechnic Drama Society for a production of Susie H.K. Brideswell's Murder at Haversham Manor for the first show in the theatre company's new season. I'm sure there were plenty of other alternatives to choose from, but perhaps budgets and the pandemic have made it impossible to produce good works without this usually professional theatre company partnering with an arguably questionable "Drama Society." Chris Bean, the Director, Scenic and Prop Designer, Lighting Designer, Costume Designer, Sound Designer, Fight Choreographer and (the list never ends!) lead actor for this wild fiasco, tells us in his director's note that a run in at HEB with Austin Playhouse Associate Director Ben Wolfe, resulted in the collaboration. I can only wonder if Mr. Wolfe was blackmailed or kidnapped to agree to such a misfortunate opportunity. On opening night I counted no less than a dozen dropped lines and cues, doors that wouldn't open when they should, props that weren't where they should be, a decidedly lame curtain speech, and actors who were literally accidentally knocked out right on stage for all to see.
And it was all hilarious! Seriously.
THE ONE ACT PLAY THAT GOES WRONG is indeed a delightful farce. A play within a play written by Henry Lewis, Jonathan Sayer, and Henry Shields, THE ONE ACT PLAY THAT GOES WRONG is the first in a quite successful series of modern farces including A CHRISTMAS CAROL GOES WRONG and PETER PAN GOES WRONG. This trio has given us comedy gold with their series of plays that garnered a number of Olivier awards across the pond. Indeed, Austin Playhouse has given us a wonderfully fun opening show in their new west campus home. Despite the rain, a full house was in attendance for this hysterical debacle.
You might guess from the title of the play within the play that this is a murder mystery, and a synopsis for that is unnecessary. I'm not even sure I can recall whodunit, or why. The premise of the play though, is not complicated either. The Cornley Polytechnic Drama Society is presenting a production of Susie H.K. Brideswell's Murder at Haversham Manor, and everything - well- goes wrong. When we're greeted by the cast and crew of Murder at Haversham Manor, rather than the cast and crew playing the cast and crew of The One Act Play That Goes Wrong, you can guess something's afoot. It's easy to see where this farce is headed, and just how committed both Austin Playhouse and playwrights Lewis, Sayer and Shields are to this theatrical device. Down to cast bios on the theatre walls for the characters in the play, this device is evident. Fear not though, bios for our illustrious real cast are in the program.
And what a cast it is! Farce isn't an easy feat, but the Austin Playhouse ensemble is up to the task and director Ben Wolfe has given us near perfection with this production. I noticed no flaw in it's multitude of flaws. A well done farce requires impeccable comic timing. It contains physically and emotionally exaggerated behavior that should be believable. This requires taking the genre and the character seriously. Contextually speaking, it's more vital in a farce than any other kind of comedy, that the entire cast commit to BIG reactions to outlandish situations. In the 21st century, this style can sometimes get lost on actors with lesser skill. I can personally attest to the frustration, as a director, of working with actors who are too committed to "realism" to understand farce. In this production of THE ONE ACT PLAY THAT GOES WRONG, the skillful execution of the craft is evident. Director Ben Wolfe has accomplished the two great accomplishments of directing: he cast the show perfectly, and he gets the actors where they need to go for a play that calls for everyone to get it wrong in just the right way. I'm pretty sure he did much more than this, as well.
It's difficult to call out one actor as outstanding, and I hope this conveys the highest of compliments to the cast and crew of this ensemble production. Nonetheless, I do want to highlight the antics of some above and beyond work happening in the show. Tobie Minor (Robert) and Ben G. Bazan (Max) entertain us in a particular scene that involves a phone call while the set falls apart around them. It's quite deserving of applause. And kudos goes to the set crew who help make it happen. Huck Huckaby masters the art of effortlessly making low key a big deal as Dennis. And my hat is off to each actor in the cast who had to be lugged around by the others. Lisa Beckham, Chase Brewer, Sarah Chong Harmer, Scott Shipman, and Owen Ziegler round out this outstanding cast.
It's a great start to what I hope is a wonderful season for Austin Playhouse in their new home on West Campus. It's not entirely holiday fare despite the pointless Christmas tree on set, but it's totally worth a diversion from the holiday stress. I wholeheartedly encourage you to attend this fiasco of a play that runs through December 18th. THE (ONE ACT) PLAY THAT GOES WRONG, five stars; Murder at Haversham Manor, one star, would not recommend. Well done, Austin Playhouse, well done.
The (ONE ACT) PLAY THAT GOES WRONG
by Henry Lewis, Henry Shields, and Jonathan Sayer
Directed by Ben Wolfe
Austin Playhouse West Campus (in the University Baptist Church)
405 W 22nd St Austin, TX 78705
Tickets available here
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redpajama_set_name: RedPajamaCommonCrawl


text:
Le FK Olimpija Riga est un ancien club letton de football basé à Riga. Le club est fondé en 1992 et dissout en 1995.

Historique

Histoire

L'équipe évolue à 4 reprises dans le championnat de Lettonie entre 1992 et 1995. Elle se classe deuxième du championnat en 1993, ce qui constitue sa meilleure performance dans cette compétition.

Le club remporte la Coupe de Lettonie en 1994, ce qui lui permet de participer dans la foulée à la Coupe des coupes.

Repères historiques
 1992 : fondation du club sous le nom de Kompar/Daugava Riga
 1993 : le club est renommé Olimpija Riga
 1994 :  à une Coupe d'Europe (C2, saison 1994/1995)
 1995 : dissolution du club

Bilan sportif

Palmarès
 Championnat de Lettonie
 Vice-champion : 1993

 Coupe de Lettonie (1)
 Vainqueur : 1994
 Finaliste : 1992

Bilan européen

Légende

Anciens joueurs
  Oļegs Karavajevs
  Igors Korabļovs
  Jurijs Popkovs
  Andrejs Štolcers
  Dzintars Sproģis
  Vitālijs Teplovs

Notes et références

Riga, Olimpija
Olimpija
Olimpija
Olimpija

redpajama_set_name: RedPajamaWikipedia


The highest climb ever in the Tour de France was the Col de la Bonette (2715m) in the 2008 Tour de France.
The modern Tour typically has 21 daily stages, 2 rest days, and usually not more than 3,500 km (2,200 miles) of riding.
The longest Tour was in 1926 at 5,745 km, the shortest in 1904 at 2,428 km.
The Tour's first fatality was Adolphe Hélière, who was electrocuted by a jellyfish while bathing in Nice during a rest day in 1910.
The broom wagon was introduced in 1910 to pick up the cyclists that abandoned during the race. It was first used during Stage 10, in the Pyrénees. In 1910 cyclists were allowed to finish the stage in the broom wagon and still start again the following day.


text:
Q: Bessel Functions Eigenfunctions I've been asked to find the bounded eigenvalues and eigenfunctions of this DE in this form:
$$\frac{d}{dx}\left(x\frac{dy}{dx}\right) = \lambda xy$$
where $x\in[0,1]$ and $y(1)=0$
The hint given is to change the variables in the form $r=\beta x$, but I'm still really struggling to see where to go after this. I'm pretty sure that the answers are supposed to be Bessel functions (from the phrasing of the subsequent parts of the question) but I can't show it.

A: The Bessel functions $J_0(t)$ and $Y_0(t)$ of order $0$ satisfy the Bessel differential equation of order $0$:
$$ t^2 y'' + t y' + t^2 y = 0 $$
i.e.
$$ (t y')' = - t y$$
Thus $y(x) = J_0(\beta x)$ and $Y_0(\beta x)$ would satisfy
$$ (x y')' = - x \beta^2 y $$
Thus you want $\lambda = -\beta^2$.
Since you want $y$ to be bounded at $0$, you can't have $Y_0$, so
$y(x) = J_0(\beta x)$.  Now you want $y(1) = J_0(\beta) = 0$, so $\beta$
must be one of the zeros of $J_0$.

redpajama_set_name: RedPajamaStackExchange


text:
Cross of Sacrifice 2
Post By: Web Admin
Shot By: CFB Kingston
Shot Location: Macdonald Park
Cross of Sacrifice Sword
Cross of Sacrifice
MemorialWall_5.jpg
Post By: Mike Weber
Shot Location: n/a
Remembering Kingston's fallen service men & women
Among the many public commemorations found in City of Kingston parks and buildings are special monuments erected to honour local men and women who served and died in past wars and other military conflicts.
These memorials take many forms. The grandest war monument in Kingston is City Hall's Memorial Hall chamber with its beautiful stained glass, bronze tablets, and illuminated book of remembrance. Other monuments honour Kingston's fallen who served in different branches of Canada's armed forces and theatres of battle.
The Memorial Wall at the Veterans Memorial Garden, 303 York St. (outside the Memorial Centre) is etched with 1,022 names of Kingstonians who died in service (south side of the wall). The north side of the wall features the Royal Canadian Legion's Ode of Remembrance: "For The Fallen."
The City of Kingston worked with veterans and the military community to complete the Wall – the central feature of the new Garden at the revitalized Memorial Centre. The engraved names are of men and women who called the Kingston area home through birth, residence or work, and who:
died in service in the First or Second World Wars and are commemorated by the Commonwealth War Graves Commission (CWGC) or by the Canadian Virtual War Memorial (CVWM) or in the Ottawa Books of Remembrance
died in service in the South African War, the Korean conflict, or the Middle East missions and are commemorated by the Canadian Virtual War Memorial (CVWM) or in the Ottawa Books of Remembrance
died in service and are commemorated by their own countries
were civilians who died in war-related activities during the First or Second World Wars.
Erected in 1925, the Cross of Sacrifice stands in what is now McDonald Park, near Murney Tower and is the home for Kingston's Remembrance Day ceremonies each November 11.
The Cross of Sacrifice was originally funded and commissioned by the Kingston Chapter of Imperial Order Daughters of the Empire (IODE). When the local chapter of IODE closed in the 1950s, the Princess of Wales' Own Regiment became stewards of the monument – an organization with a strong connection to the reality of military loss. As Capt. Marc Gallant, PWOR Regimental Adjutant describes it, the PWOR is "the only agency in town at the pointy end of the spear." The Cross of Sacrifice is now part of the City's civic collection of artifacts, art and public memorials, making the stewardship of the monument a collaborative effort.
Originally erected in memory of the Kingstonians who gave their lives in the First World War, the cenotaph now serves as a symbol of contribution and sacrifice for all of Kingston's fallen men and women. The Cross also represents the volunteerism and generosity of the IODE. This spirit of community service continues with the contributions now raised by the Princess of Wales' Own Regiment Foundation to collaborate with the City and Veterans Affairs Canada in restoring this monument.
Memorial Centre
Kingston,ON, K7K 4M4
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Sanger Institute researcher honoured by EMBO
Professor Nicole Soranzo becomes an elected member of the European Molecular Biology Organization
News announcement by the Communications Team11 Jun 2019
Professor Nicole Soranzo has been elected as a member of EMBO
Professor Nicole Soranzo joins 48 fellow scientists from 17 countries in being elected as Members of the European Molecular Biology Organization (EMBO). An additional eight researchers from Argentina, Australia, Japan and the US have become Associate Members of the organisation whose mission is to promote excellence in European molecular life sciences research.
Professor Soranzo plays a pivotal role at the Wellcome Sanger Institute in understanding the role of genetics and molecular pathways in determining cardiovascular health. In particular, Nicole explores the relationship between metabolic pathways and signalling in blood cell development and the impact this has on diseases ranging from heart disease to blood clotting and inflammatory disorders.
"I am delighted to be elected to EMBO. Understanding the molecular basis of health and disease, through the lens of genetics, is central to my scientific approach. To join such a distinguished group of scientists is an honour. Yet the scale of science needed to investigate the underlying genetics of complex disease requires worldwide collaboration and I would like to thank everyone in my team and all my collaborators for their dedication, creativity and support."
Professor Nicole Soranzo, Wellcome Sanger Institute
As an EMBO Member, Professor Soranzo will play an active role in helping to guide the organisation's activities by serving on committees, evaluating funding applications and mentoring young scientists. The latter role is particularly close to her heart; at the Wellcome Sanger Institute, Nicole chairs the Postdoctoral Research Fellows committee that supports the training, career development and mentoring of the next generation of genomics research leaders.
"Nicole is an inspiring scientist whose research is opening up new fields of scientific exploration into the underlying molecular biology of health and disease. Her dedication to nurturing world-class science through collaboration is laying firm foundations for genomic research for years to come and I am thrilled that she has received this honour."
Professor Sir Mike Stratton, Director of the Sanger Institute
Ever since the very first EMBO Council in 1963, new members are nominated and elected by the existing membership. The new members will be formally welcomed at the Annual Members' Meeting in Heidelberg between 29 and 31 October 2019.
"EMBO Members are excellent scientists who conduct research at the forefront of all life science disciplines, ranging from computational models or analyses of single molecules and cellular mechanics to the study of higher-order systems in development, cognitive neuroscience and evolution."
Maria Leptin, EMBO Director
Selected Websites
EMBO is an organization of more than 1800 leading researchers that promotes excellence in the life sciences in Europe and beyond. The major goals of the organization are to support talented researchers at all stages of their careers, stimulate the exchange of scientific information, and help build a research environment where scientists can achieve their best work.
EMBO helps young scientists to advance their research, promote their international reputations and ensure their mobility. Courses, workshops, conferences and scientific journals disseminate the latest research and offer training in techniques to maintain high standards of excellence in research practice. EMBO helps to shape science and research policy by seeking input and feedback from our community and by following closely the trends in science in Europe.
For more information: www.embo.org
The Wellcome Sanger Institute
The Sanger is one of the world's leading genome and biodata institutes. Through its ability to conduct research at scale, it is able to engage in bold and long-term exploratory projects that are designed to influence and empower science globally. Institute research findings, generated through its own research programmes and through its leading role in international consortia, are being used to develop new diagnostics and treatments for human disease and to understand life on Earth. Find out more at www.sanger.ac.uk or follow @sangerinstitute on Twitter, Facebook, LinkedIn and on our Blog.
About Wellcome
Wellcome exists to improve health by helping great ideas to thrive. We support researchers, we take on big health challenges, we campaign for better science, and we help everyone get involved with science and health research. We are a politically and financially independent foundation. https://wellcome.ac.uk/
Profile: Nicole Soranzo
Profile: Mike Stratton
Research Team: Soranzo Group
News: Landmark project shows heart disease and rheumatoid arthritis risk raised by genetic changes in blood cells
News: GARFIELD classifies disease-relevant changes in the genome
News: Cambridge heart research boosted by £6 million British Heart Foundation Research Excellence Award
Related Programmes, Associate Research Programmes and Facilities
More on yourgenome.org
FactsWhat is a complex disease?
Many common diseases are influenced by a combination of multiple genes and environmental factors. These diseases are referred to as complex diseases.
StoriesGenome-wide association studies
Genome-wide association studies have led to the discovery of hundreds of genes with a role in common diseases.
Emily Mobley, Media Manager
Dr Samantha Wynne, Media Officer
Dr Matthew Midgley, Media Officer
Wellcome Sanger Institute,
Hinxton,
Cambridgeshire,
CB10 1SA,
Mobile +44 (0) 7748 379849
press.office@sanger.ac.uk
Analysis of CRISPR-Cas9 datasets leads to largest genetic screen resource for cancer research
Study will help narrow down the list of targets for the next generation of cancer treatments
Researchers identify over 140 genes linked to immune system regulation
First extensive immune profiling of mice reveals a vast catalogue of genes that regulate the immune system and model human disease
Dr Konstantinos Tzelepis receives ASH–BSH Abstract Achievement Award for leukaemia target research
Award-winning abstract on METTL3 presented at American Society of Hematology meeting


text:
Stuart Korfhage
skorfhage@staugustine.com
Only in her mid-20s, Alanna Elliott speaks for a lot of county residents when she says the place where she grew up is quickly disappearing before her eyes.
"This is a beautiful town, but it won't be much longer with all this development," said Elliott, who was born at Flagler Hospital and lives in the World Golf Village area. "I'm only 26 years old and I have been disgusted with the development for the last decade."
And what she'll likely see in the next 10 years will be just as disconcerting.
Already the 11th fastest-growing county in the entire country according to the latest information available from the U.S. Census Bureau (based on estimates from 2013 to 2014), St. Johns County is still bursting with new or resurrected developments.
Meanwhile, many established developments are nowhere near capacity. The St. Johns County office of Growth Management reports that there are almost 70,000 homes approved to be built in the county, though construction has yet to start. That's today.
Yet, there is a steady stream of new applicants lined up and ready to ask to build even more.
"I don't understand why the county begs for money for schools and lets people (continue to move) in," Elliott said. "Natural habitat for animals is destroyed so thousands of people can move in? Makes me want to relocate somewhere less desirable."
The county's main issue
While St. Johns County continues to be desirable for outsiders, there is little question those who have been here for a while are growing weary of the influx.
It's obvious at zoning meetings, county commissioners meetings and just ordinary discourse among those who have some history of residency in the county.
A quick scan of reader comments on local websites like staugustine.com or other news sites reporting on new developments will confirm the sentiment. Those moving into the county seem to love the move. Those already here are wondering if there is anything to slow down the move-ins.
"Yes, I do think there is too much residential development in St. Johns County," county resident Brenda Csencsits said in an email to The Record. "This will never be passed by our county commissioners, but I would vote for not approving any new developments, except for low-cost housing and business/professional. Allow time for developments already approved to build out."
However, Florida law leans heavily in favor of the rights of property owners. County commissioners, along with others in the administration and on other governing boards, have often made public statements about how they can't simply deny a development because there are already so many.
County commissioner Rachael Bennett said she understands the emotional response from residents who might not like a new development where there was previously vacant land or silvaculture.
But that doesn't mean that land can't - or shouldn't - be developed. Property rights must be respected, she said.
"We are so constricted by (state) law," Bennett said of the commissioners, who must approve new developments in the county. "(People) think if we don't like something, I can vote against it but I can't."
Bennett, who represents District 5 and just completed a term as the board chair, explained that what the county government can do and is doing is managing the growth. That means demanding the protection of wetlands, charging impact fees and collecting funds for "proportionate fair share" for infrastructure like roads and fire stations.
Bennett agrees there has been a lot of growth, but she also points out the quality of that growth. Many of the new residential neighborhoods are master-planned communities with houses that go for at least $250,000, most of them even more.
She said there is a great deal of scrutiny for every project by county planning staff.
"That by itself discourages bad development," Bennett said. "They (developers) understand the cost of doing business in St. Johns County is expensive.
"We don't have to relax our regulations in any way."
It isn't just the commissioners who find rapid development growth to be an uncomfortable - and possibly misunderstood - subject.
Dick Williams is chair of the Planning and Zoning Agency in the county, a volunteer board that makes recommendations to county commissioners on development projects. At a June 18 meeting, Williams expressed his frustration at the perception the county just gives developers whatever they want and that boards can arbitrarily choose to deny a development because they think there are too many.
"What I want to make sure you understand, though, because I hear this often - and recently a lot - is: 'How in the heck can you people continue to approve developments when there's no gosh darn schools available, the roads are full of cars and yet you keep approving and approving?'" Williams said. "The answer partially is we are not, by state law, allowed to turn down an application for rezoning based on lack of school capacity, based on lack of road capacity provided a developer who is requesting a zone change agrees to proportionate fair share, meaning some way they're going to pay some money to improve roadways, traffic signals. Or basically the school board negotiates with the developer.
"'Why in the heck would you say yes?' The answer is I can't say no based on that alone if they agree to pay into proportionate fair share."
Is no an option?
Although it might seem otherwise, not all developments - even those proposed by reputable companies - gain approval.
But it can be quite a fight. A recent example is King's Grant, a proposed development that includes 999 homes and commercial space near the Interstate 95-State Road 206 interchange.
The development was twice rejected by the county Planning and Zoning Agency and eventually denied approval by county commissioners by a vote of 3-2.
Yet the issue didn't end there, as the developer has filed a civil lawsuit challenging the legality of the commissioners' decision.
So even when a development is rejected, it might not really be done. The county has vowed to fight the lawsuit, but the eventual outcome is hard to predict.
That hasn't stopped some people from fighting against certain developments, despite the difficulties.
Certain development proposals bring out area residents who speak against projects, and sometimes entire homeowners associations mobilize against a proposal.
And sometimes, local attorney Jane West is hired to prevent, slow or ask for changes to a local development.
It's often a David vs. Goliath scenario, and she's not Goliath. But she isn't powerless. She is still working against the King's Grand project that has been labeled as "urban sprawl" by some PZA members.
Her practice, Jane West Law, specializes in land use law. Her clients are those who oppose certain developments, many of them much smaller than King's Grant.
West said too many people - often those in local government - see huge developments as inevitable. She argues that not every development, regardless of its quality, is good for the community as a whole.
"It's always a tricky balancing act," she said of property rights issues. "But there's a misconception that you are entitled to the best, most valuable use of that land.
"It is not our responsibility to make the developers rich."
Suzanne Konchan, director of growth management for St. Johns County, said she knows the number of approved homes sounds amazingly high when looked at by itself.
However, she says, an approved home and a built, sold home are two very different things. She pointed out that the number of building permits for single-family homes in the last three years has averaged about 2,700 per year. At the height of the housing boom, the numbers were higher. In 2005, for example, there were about 4,500 permits for single-family detached, attached and modular homes.
"I don't think that (the current growth) represents a particularly high growth rate," she said, comparing the current rate to the boom a decade ago.
She also pointed out that a huge portion of that growth is limited to Nocatee, a master-planned community near Ponte Vedra Beach. Nocatee is approved for more than 12,000 homes and is on pace to sell about 1,000 per year.
No matter how many homes are allowed to be built, developers will only put up as many as they think they can sell.
"We're a market-driven society," Bennett said. "No one can afford to build houses no one's going to buy."
County resident Art Lancaster, vice president of Eastland Partners, the company that developed Bartram Park starting 15 years ago, said large projects rarely reach complete build-out.
The Batram Park development, which is in St. Johns and Duval counties, was approved for about 9,800 homes but will likely top out at about 6,000, Lancaster said.
"You typically never hit that benchmark," he said.
But he thinks people will continue to pour into St. Johns County as long as there are jobs available, whether here or in Jacksonville. And he said it's about more than just the advantage of top-rated schools. He said the master-planned communities available here, especially in the north and northwest, have proven very popular.
"Quality of lifestyle is just as important," he said. "I think everybody is very aware of that. You're trying to provide a product that people want. Part of the reason they want to be in St. Johns County is because of what developers are offering.
"You look at it statewide, and Florida is not going to stop growing."


text:
Documents in this collection
The Message of a Good Woman; Review of Democracy and Social Ethics, April 16, 1902
Newspaper clipping of a review ofDemocracy and Social Ethics.
Books, Gambling, Praise
The Business Woman's Opportunity for Philanthropy, November 19, 1901
Newspaper coverage of Addam's November 19 address to the Chicago Business Woman's Club linking child labor to laziness in adults.
Child Labor, Hull-House, Lectures, Philanthropy
Statement on Tenement Housing in Chicago, May 1, 1901
Addams reports on the recommendations of the City Homes Association in regard to the building of tenement houses in Chicago.
Housing, Hull-House, Lectures, Poverty
Social Regeneration, December 7, 1903 (summary)
The Chicago Daily Tribune, summarizes Addams' talk to the Chicago Bureau of Charities on the morality of charity.
Charity, Lectures, Poverty
Address at Memorial for Teachers Who Perished in the Iroquois Theatre Fire, January 16, 1904 (excerpt)
Addams spoke at a memorial meeting for Iroquois Theater fire victims, organized by the Chicago Teacher's Federation, about the dangers of overlooking violations in fear of being seen as bad people.
Death, Education, Lectures
Address at Meeting for Catherine Breshkovsky, January 22, 1905 (excerpt)
Addams spoke at a meeting of Chicago Russians to hear Madame Katherine Breshkovsky speak on Russian freedom.
Lectures, Peace, Russia
Jane Addams et al. to Emmeline Pankhurst, October 19, 1913
Addams and other Chicago women send a message to Emmeline Pankhurst in solidarity with her, appalled at her detention at Ellis Island.
Government, Immigration, Woman Suffrage
Summary of Jane Addams et al. to Woodrow Wilson, October 19, 1913
Addams and forty-five other women petition Wilson to halt the deportation of Emmeline Pankhurst.
Civil Rights, Government, Woman Suffrage
Address to the Merchant's Club, March 8, 1902
With Maud Booth, Addams addresses the Merchant's Club, appealing for aid in helping criminals and rescuing boys who may become criminals.
Child Welfare, Courts, Crime, Immigrants, Lectures, Poverty
Address to the Traction Commission of the Council, January 4, 1902
Addams speaks to the Traction Commission, representing the working people living in the 19th Ward and seeking a reduction of public transportation fares.
Labor, Lectures, Transportation
Address to Merchant's Club, March 8, 1902
Crime, Crime Enforcement, Poverty
Address to Hull House Woman's Club, April 16, 1902
Addams reports about Chicago's reputation on the East Coast as a dirty city.
Hull-House, Lectures, Sanitation
Address on Costs of Child Insurance. January 4, 1903
Addams discusses the pros and cons of child insurance.
Child Welfare, Children, Lectures
Address to the Stewart Avenue Universalist Church, January 4, 1903 (excerpt)
Newspaper summary of Addams' speech on child labor and the need for new laws.
Child Labor, Lectures, Manufacturing
Address on Swedish Famine, February 19, 1903 (excerpt)
Addams calls for a charitable response to aid the famine sufferers in Sweden, discussing the different kinds of charitable work in education and relief.
Charity, Education, Relief Efforts, Sweden
Peace and War, September 16, 1903 (excerpts)
Addams suggests sending peacemakers rather than warships to Turkey.
Lectures, Peace, Politics, War
Statement on Child Labor and the Plight of Orphans, June 4, 1903 (excerpt)
Newspaper account of Addams' statement on raising of women's clubs funds to support child care for widows attending school.
Child Labor, Education, Lectures
Newer Ideals of Education as Affecting National Life, June 17, 1903 (excerpt)
Addams delivered the commencement speech at Rockford College, arguing that a lack of growth was a danger to moral life of individual and nation.
Education, Lectures, Morality, Peace, War
Idea of the Social Settlement, July 12, 1903 (excerpt)
An excerpt of Addams' talk at "Settlement Sunday," held at the University of Chicago.
Education, Immigrants, Lectures, Settlement Movement
Comments on High Schools, November 5, 1903
Addams calls for more high schools to make it easier for children to continue their education.
Children, Education
Statement on Charges Against Hull-House, November 11, 1903
Addams denies an accusation that Hull-House turned away a woman appealing for help.
Charity, Criticism, Health, Hull-House
Address to the Chicago Woman's Club, November 11, 1903
Addams speaks about women reformers' duty to treat the unfortunate with compassion and not contempt.
Why Women Should Vote, February 4, 1912 (excerpt)
The Chicago Tribunepublished an excerpted version of Addams' speech on woman suffrage in Madison, Wisconsin, on January 23, 1912.
Labor, Lectures, Politics, Social Reform, Woman Suffrage
The Worst Phases of Wife Desertion, April 8, 1906
Addams discusses the prevalence of wife desertion among Jewish and Italian men in the Hull-House neighborhood.
Some Aspects of Child Labor Under the Present Illinois Law, March 4, 1906 (excerpts)
Addams presents reasons to oppose the employment of young children in the theater.
Traditional Housekeeping and Pure Food, February 17, 1906
At a joint meeting of the Consumers League and General Federation of Women's Clubs, Addams argues for the passage of the Heyburn Pure Food Bill in Congress.
Lectures, Public Health, Woman Suffrage
Testimony Before State Judicial Committee on Child Labor, April 13, 1905 (excerpts)
Addams testifies that the system of child labor destroys genius, and how work on the stage damages children.
Child Labor, Children, Illinois, Legislation, Theater
Comments at the Commercial Club Dinner, April 28, 1906 (excerpts)
Addams and Edward Dunne speak on Chicago's capacity to fund recreation and park spaces.
Juvenile Delinquency, Lectures, Philanthropy, Recreation, Youth
Child Labor a Social Waste, March 19, 1905
At the Saints Peter and Paul Episcopal Church, Addams argues against child labor.
Child Labor, Lectures
Jane Addams Talks for Peace, January 23, 1905
At a rally organized by Catherine Breshkovsky to raise support for Russia, Addams speaks about peace and revolution.
Lectures, Peace, Politics, Russia


text:
Carole Hackney (ur. 10 maja 1955 w Preston, zm. 17 lutego 2015 w Keele) – brytyjska neurobiolog i audiolog, profesor  na Uniwersytecie Keele.

Życiorys
W młodości, wraz z matką, Mavis (nauczycielką), wielokrotnie zmieniała miejsce pobytu (bazy wojskowe), z uwagi na pracę ojca, Malcolma Walkera, oficera RAF. W 1969 rodzina osiadła w Kendal (Kumbria). Z uwagi na niestabilny tryb życia od wczesnych lat przyzwyczajona była do obcowania z dziećmi różnych środowisk i narodowości. Rozpoczęła studia na Uniwersytecie w Manchesterze, gdzie zdobyła tytuł licencjata z wyróżnieniem 1. klasy w dziedzinie genetyki i biologii komórki. Z tej drugiej dziedziny doktoryzowała się, a potem została wykładowcą i profesorem na Uniwersytecie Keele.

W Keele została szefem Departamentu Komunikacji i Neurobiologii. Niedługo potem została dyrektorką szkoły wyższej, gdy wydziały nauk biologicznych i komunikacji oraz neurologii połączyły się, tworząc nową Szkołę Nauk Przyrodniczych (School of Life Sciences). Pomimo przeszkód administracyjnych, jej kariera badawcza nadal się rozwijała – publikowała artykuły naukowe i rozdziały w książkach, niektóre z Dave'em Furnessem. W tym czasie odwiedzała różne państwa podczas konferencji naukowych i badawczych, np. Czechosłowację, Norwegię i Japonię. W chwilach wolnych obserwowała ptaki, a także poddawała leczeniu i rehabilitacji ranne ptaki drapieżne (sowy płomykówki, myszołowy i pustułki).

Po rozwodzie z mężem przeniosła się na Uniwersytet Wisconsin w Madison, aby skupić się na badaniach prowadzonych w Stanach Zjednoczonych. Po pewnym czasie wzrastające w niej obawy dotyczące rodziny skłoniły ją do powrotu do Wielkiej Brytanii, gdzie ponownie przez krótki czas pracowała na Uniwersytecie Keele. Potem pojawiła się możliwość przeniesienia się na Uniwersytet Cambridge, gdzie pracowała na Wydziale Anatomii jako wykładowca. Był to dla niej trudny okres – zmagała się z depresją i uzależnieniem od alkoholu. W 2008 poślubiła Dave'a Furnessa, porzuciła pracę i wróciła do Cheshire, a potem do wsi Keele.

W tym okresie, kontynuując badania, postanowiła również rozpocząć działalność gospodarczą. – założyła przedsiębiorstwo o nazwie Advanced Imaging and Microscopy zajmujące się mikroskopią elektronową. Dwa lata po tym wydarzeniu zmarła w wypadku. Została skremowana w Bradwell Crematorium.

Osiągnięcia
Była autorką 65 artykułów naukowych w czasopismach i rozdziałów w książkach, z których przełomowe były te dotyczące ucha środkowego. W 1997 zdobyła nagrodę Thomasa Simma Littlera (Thomas Simm Littler Prize) za wkład w rozwój audiologii.

Rodzina
Wyszła za mąż za Paula Hackneya, którego poznała, gdy oboje uczyli się w Kendal (para z czasem rozwiodła się). Paul i Carole mieli dwóch synów: Sama (ur. 1986) i Petera (ur. 1991). Powtórnie wyszła za mąż za profesora Davida Furnessa. Miała też dwie siostry: Janet i Katherine.

Przypisy

Brytyjscy neurobiolodzy
Brytyjscy neurolodzy
Urodzeni w 1955
Zmarli w 2015
Hasła utworzone w ramach Tygodni Tematycznych 2019


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text:
Q: C# Window gets blank when busy -> Progressbar? But how? I have a program which does some copy jobs (via File.Copy) that could last a few minutes. When the user brings another window to foreground in this time the program window gets blank since it doesn't redraw itself.
Now I want to show a ProgressBar in an extra window in the center of the screen, but that window get's blank too.
So I startet it in another thread which didn't help.
I'm quite sure someone did this before but I cannot find a working example. Any Ideas?

A: There is nice example in the documentation on BackgroundWorker class.

A: You can use BackgroundWorker class.
See this answer.

A: ChrisF is correct. Your long operation should be done in a BackgroundWorker thread. You can use BackgroundWorker to report progress, and hook that up to a progress bar on your form.

A: You need to thread your operation using a BackgroundWorker. There are other ways to thread the operation, but this one is probably the simplest, and will continue to perform message pumping in the foreground so Windows doesn't think your application has stopped responding.
Another option would be to use a Thread, and use Thread.Join to wait for the background task to complete, since Thread.Join also sends standard message pump information to Windows while it waits.


text:
Molgula manhattensis, commonly known as "sea grapes", is a species of ascidian commonly found along the East Coast and Gulf Coast region of the United States. Although it is native to this region, it has been introduced to other areas of Europe, Australia, and the West Coast.

Description
Molgula manhattensis is small, spherical, brownish-grey in color, somewhat translucent, and feels soft and rubbery to the touch. Like other ascidians, they have two siphons (incurrent and excurrent), through which they draw water for ventilation and filter-feeding, and also for releasing their gametes. They are hermaphroditic, and release sperm and eggs into the water for external fertilization, unlike some other species of Molgula which may be viviparous (e.g. M. citrina). The tunic is covered with many little fibrils.

Habitat
Molgula manhattensis can live from the intertidal zone to a depth of 300 feet. They can attach to solid organisms or even rocks, pilings, buoys, or sand. The sea squirts can also live in a temperature range of about 50 °F to about 80 °F. They can live in water with a salinity of 33.270 to 36.231 PSS, with oxygen concentrations between 3.960 and 6.328 mL/L.

History
Mogula manhattensis is native to the East Coast of the United States and to waters around Europe. It is also found on the West Coast of the United States and to parts of Asia. Adults can live off of almost anything making them very good survivors in bodies of water though they prefer protected waters. The larvae can only live for a few days unless it attaches to a hard surface (similar to oysters and mussels).

References

Stolidobranchia


text:
Q: How to use Separate Passport api for Api and Web There are web and api route files. Web Routes are guarded by auth and the unauthenticated users are getting redirected to login page. But my requirement is in api route file. Unauthenticated api routes should get a custom json response instead of redirection to login page.
I am new to passport feature. And I cannot change the Web routes because its made by some other developer.

A: When a laravel request is not authorized (aka 'unauthenticated api routes') laravel throws the same exception regardless of it being a web or api route.
However, when the exception is handled/rendered by the application the response is determined by $request->expectsJson(), if its true it returns it as json, if not it will act as if it is a web route.
The above function checks multiple function, and returns true if any number of these is correct:

*

*header X-Requested-With === XMLHttpRequest

*header Content-Type contains application/json

*header Content-Type contains a wildcard (*/*)

*header Accept contains application/json
Ensure that your api request matches any of the above described headers, and in that case should return the authentication error as json.
To enforce that api routes always throw json authentication errors you could do any of these:

*

*override the request header in a service provider if the route is determined to be an api route. (do not try this in middleware, it might not work)

*override the exception handler in a same manner as described above

*and of course other scenarios are also possible

A: I updated render method of app/Exception/Handler.php method to as follows and it worked.
    {

        if($exception instanceof \Illuminate\Auth\AuthenticationException && $request->is('api/v*'))
            {

                return Response(['success'=>-1,'statuscode'=>401,'msg'=>'Sorry, your account has been logged in from another device.'],401);
            }

                return parent::render($request, $exception);
    }