I have heard that Lord Rama was born at afternoon 12 O'clock (In day time) in Treta yuga. Same as in Dwapara yuga, Lord Krishna was born at mid night 12 O'clock (In night time). Both Lord Rama and Lord Krishna were avatara of Lord Vishnu, then what is the need of choosing specific time? They can born anytime, time never bond to gods as per my understanding.
Why did Lord Rama and Lord Krishna choose to born at 12 O'clock in day and in night time respectively?
What is significance of birth timing in both case?
We commonly perform Krishnastami pooja and Ramnavami pooja at same time which I mentioned. I have heard from my elders, those people, who are in "Bhojan or external desires" were unaware of Lord Rama's birth and those people, who are in "Kama bhog" were unaware of Lord Krishna's birth.
I got birth time (12 O'clock) details of Lord Rama and Lord Krishna from one of the article based on "Stotra mantranche vignyan"(page no.25) by Parampujya Swami Savitanand which is published by Prasad prakashan, Pune. Soft copy link for this is not available online, but from here get the hard copy. Scriptures are only defining that Lord Rama was born at mid-day and Lord Krishna was born at Midnight. Beside this I did not find any scriptural reference of exact birth time.
Well, I wouldn't say they were born at 12 o'clock. Rather they were born when the sun was highest in the sky (Rama) and at the darkest part of night (Krishna). We often say 12 o'clock because that is usually when the sun is the highest in the sky or the darkest part of night, but not always. I don't think there is a reason for Rama, but there is one for Lord Krishna. Krishna was least likely to be seen while being transported across the Yamuna river at the darkest hour so he was born in the darkest hour to refrain from being seen.
The noon time/midnight when sun is exactly at top/below at your Meridian is considered to be Abhijit Muhurt. The reigning deity of Nakshtara Abhijit is Vishnu and has powerful connotations.
Not the answer you're looking for? Browse other questions tagged mahabharata ramayana krishna bhagavata-purana rama .


text:
Teaching Sucks
Ng Yan Ji Dai
Hong Kong [1997] - 93m
Wilson Yip
A very early Wilson Yip romcom. Not really the genre you'd expect from Yip, but like most Hong Kong directors he found his calling by trying out whatever genre he could get his hands on. '97 was a bad year for Hong Kong cinema though and Yip wasn't really skilled enough yet to rise to the challenge.
Lam and Wong are two teacher who have lost their passion to teach. They keep each other occupied, but their students show little respect for them. Until Cathy joins the teacher squad, a young teacher full of drive and will to make a difference. Lam and Wong are both captivated by Cathy's vigor, but it's obvious they want more than just be friends.
Performances are a little lifeless, the cinematography is dim and the comedy is rarely funny. The story is anything but original, but at least the atmosphere is quite light and the pacing is decent. It's not that the film is terrible or doesn't work, it's just that there's hardly anything here that jumps out. Very basic filler.

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: header.h: No such file or directory even though source and header are in same directory I have made a header and a source but I don't know how to link them up. I looked it up on the web but the commands provided didn't work (or I wouldn't be here :) ).
To compile it (if you use GCC):
Header:
$ gcc -c whatever.h -o whatever.o

Source:
$ gcc -c sample.c -o sample.o

To link the files to create an executable file:
$ gcc sample.o whatever.o -o sample

What did I do wrong. I am using geany for writing (compile error is here) but the commands are executed on a terminal in the same directory. can anybody give me the build commands for geany so whenever I want to include a header I can just compile and run?

A: Good and the right way would be to
sample.c
#include "header.h"

and compile
gcc sample.c -o ob

A: Thumb Rule:

*

*header files [.h] are for #includeing

*source files [.c] are for compiling and linking together to create the executable.

Once you've #included your header file in a .c file, there's no need to compile the header file and produce an object file.
FYI, you can check the effect of #include-ing the header file by running
gcc -E sample.c

and hope you'll understand why you need not compile and link the header file separately.

EDIT:
if you have a sample.c and whatever.h, to produce and run the binary, simply do

*

*#include "whatever.h" in the top of sample.c

*gcc -o sample sample.c

*./sample

A: if you include header file by:
#include <header.h>

it will give this error.
Instead you can write as given below:
#include "header.h"

redpajama_set_name: RedPajamaStackExchange


The crazy Christian gospel, so sneered at by the cultural elites that day, eventually showed forth its spiritual power to change lives and its cultural power to shape societies. Christianity met the populace's needs and answered their questions. The dominant culture could not. And so the gospel multiplied.
Do we have Paul's courage, wisdom, skill, balance, and love to do the same thing today in the face of many sneering cultural leaders? It won't be the same journey, because we live in a post-Christian Western society that has smuggled in many values gotten from the Bible but now unacknowledged as such. Late modern culture is not nearly as brutal as pagan culture. So the challenges are different, but we must still, I think, plunge into the agora as Paul did.
Does it surprise you that I agree with this? I'm still looking for ways in which Tim Keller and I substantively disagree on cultural engagement. If you know of any, please let me know — I'm serious about that. What I emphasize in The Benedict Option is that if we Christians are going to do that in a hostile, post-Christian public square, we have no choice but to take a step back from the public square to deepen our knowledge of the faith, our prayer lives, and our moral and spiritual discipline.
One difference right off the bat is that Keller is not pessimistic about the contemporary world, the way Rod is. That's why it had to come as a surprise when Princeton Seminary thought Keller was too conservative and should not receive the Kuyper Prize.
I'm somewhat favorably disposed to Tim Keller's ministry, and even attended his church for a season. But that movement is likely to head off in its own direction. The current alliances that make up evangelicalism were forged in an era before liquid modernity. There is no reason why we should expect those alliances to continue to make sense in the very different social context that we face today. And we have to avoid the trap of conflating Christian orthodoxy with practical Christian wisdom. Families raising kids need something very different from a church community than what I need, as a 30-something professional who travels 50% of the time, usually in Asia….
Liquid modernity poses a certain challenge to Western rules-based cultures. Things change faster than our ability to develop rules to address certain situations. And that places a degree of stress on existing institutions, requiring them to be thicker than they were in the past. But it's hard for institutions to be both thick and broad. For thickness to work, there has to be a high degree of overlap in people's life situations. Demographic differences matter more.
I'm actually an advocate of an evangelical break-up. I believe that the Benedict Option is necessary. But the Benedict Option is going to look very different for different people. My fear is that evangelicalism ends up targeting the largest market, middle-class white suburbanites with kids, and castigated everyone else as a sinner. One need not look to hard for criticisms of Tim Keller's efforts to reach out to people like me. And it disappoints me that Keller is largely silent in the face of those criticisms. If Christianity is to survive in an age of liquid modernity, it's going to take more than suburban mega-churches.
Another difference then is that Rod thinks modernity is a force that hurts Christianity while Keller, like Pope Francis, tries to come along side moderns.
Over the past decade or so, evangelical millennials like myself and my peers (and possibly even you), could be found across the country, repenting of our former fundamentalist ways.
We've put away our moralistic understanding of Christianity. We've reclaimed what is essential: Jesus, and his gospel. We've tossed aside our simplistic, and less than nuanced answers to those who criticize our faith and worldview.
Aided by an Internet-powered, Information Age, we have set out to re-engage culture in a fresh new way, following Tim Keller and Russell Moore on one end of the spectrum, or Rob Bell and Rachel Held Evans on the other.
As those who will soon lead the church, we are convinced that we are called to a new vision of cultural engagement and mission. . . .
Therefore, we've raised our sensitivity to xenophobic nationalism, misogyny, gay-bashing, microaggressions, and anti-intellectualism. For us, being uninformed and un-'woke' is shameful and most harmful to our Christian witness.
Instead, we have taken up the mission to winsomely engage the brightest of thinkers in order that they might believe, and to prophetically rebuke the most narrow-minded of evangelicals in order that they might think.
We see far too little cultural influencers operating out of a biblical framework. And we've seen too many of our friends leave the faith due to overly simplistic, unsatisfying, and stale apologetic answers to their genuine contemporary questions.
We want to articulate, in a Keller-esque fashion, an attractive "third way," between the liberals and the conservatives, between the irreligious and the religious. And in doing so, we hope to find a better place to stand, where we are neither apostates nor anti-intellectuals, neither prodigals nor older brothers.
So we continue to study Scripture and affirm its absolute authority, while still paying close attention to contemporary culture, the media, and the academy, seeking common grace insights from them, and wrestling with how to interpret and make sense of their findings.
We heed Peter's exhortation that we be prepared to make a defense to all, while reminding ourselves of James' admonition to be quick to listen, and slow to speak, even when it comes to a secular culture such as ours.
We don't settle for just being Christians, but we seek to be informed, knowledgeable, and sensitive Christians. And by God's grace, we sometimes do find a way forward, a third way, in which we actually become "believers who think," equipped to interact with "thinkers" who don't believe.
And discovering a "third way" feels good. It's the rewarding feeling of progress, and confidence — confidence in the fact that we've found more thoughtful and persuasive answers than the ones our Sunday School teachers gave us 20 years ago. But it's also the feeling of transcendence, and if we're not careful, arrogant superiority.
The Fundamentalists see, and they see truly, that in this last generation there have been strange new movements in Christian thought. A great mass of new knowledge has come into man's possession—new knowledge about the physical universe, its origin, its forces, its laws; new knowledge about human history and in particular about the ways in which the ancient peoples used to think in matters of religion and the methods by which they phrased and explained their spiritual experiences; and new knowledge, also, about other religions and the strangely similar ways in which men's faiths and religious practices have developed everywhere. . . .
Now, there are multitudes of reverent Christians who have been unable to keep this new knowledge in one compartment of their minds and the Christian faith in another. They have been sure that all truth comes from the one God and is His revelation. Not, therefore, from irreverence or caprice or destructive zeal but for the sake of intellectual and spiritual integrity, that they might really love the Lord their God, not only with all their heart and soul and strength but with all their mind, they have been trying to see this new knowledge in terms of the Christian faith and to see the Christian faith in terms of this new knowledge.
For anyone who detects an example of the genetic fallacy, please write a note to Pastor Tim and ask him to explain how he avoids the errors that modernists like Fosdick committed.
A desire to preserve unity at the cost of clarity and an unwillingness to take a stance is not a solution and, in fact, will probably cause as many to drift as will a lack of charity and restraint in our rhetoric. Being in the PCA, this is the concern that occupies my mind more as it seems the greater danger in my immediate ecclesial context. I suspect that it is also the greater danger in most Catholic dioceses and many non-denominational evangelical churches.
Even so, a lack of charity and restraint in our rhetoric will lead some who might otherwise be persuadable to dismiss us. That seems the greater danger in the Southern Baptist Convention, if my read of things is accurate. It is also the greater danger in many reformed microdenominations such as the OPC and CREC, I strongly suspect.
For the record, the books that came out recently about the contemporary cultural bankruptcy had no ties to the micro Reformed denominations. They came from an Eastern Orthodox layman (Dreher), a Roman Catholic archbishop (Chaput), and a Roman Catholic layman (Esolen). Those are churches that have labored under the Christ and culture burden, have tried to make society Christian, and are now showing the effects of that weight.
What has the little old OPC produced about the current crisis (a conference on gay marriage that technical glitches prevented from being recorded?)? Nothing. It is still more or less wedded to J. Gresham Machen's assessment of the Protestant mainstream and is more or less committed to passing on the faith without the assistance of America's cultural or political institutions. But when a church simply tries to do what a church is called to do (see 25.3 of the Confession of Faith), it is in danger of showing a lack of restraint and charity?
Not to be missed is the kind of transformationalist vision that has become the PCA's calling card of late. Perhaps the idea of being a church to the big city is charitable and restrained (though to anyone with half a brain it sure looks delusional to think you can teach Woody Allen's New Yorkers to become Wheaton's evangelicals). But from the perspective of the Protestant mainline, the PCA looks downright sectarian.
That may be the single recommendation for Rod Dreher's book — to provoke those who want a seat at the table (or a mouthful of the Big Apple) to consider what it means to be a stranger and alien. I know Jake Meador already knows this. But sometimes his PCA identity gets in the way of his inner Stanley Hauerwas and he never says "boo" about PCA exceptionalism in the era of Tim Keller.
All the power of a global hegemon and we use it like this?


text:
Square Enix Won't Release Final Fantasy Type-0 In North America, So Fans Are Taking Over
Jason Schreier
Filed to: Final FantasyFiled to: Final Fantasy
Type-0
It's been a year and a half since Square Enix released the PSP role-playing game Final Fantasy Type-0 in Japan, and the publisher has not yet said a word about a possible U.S. release.
Enter the fans. A group of dedicated translators are doing their best to release an English version of Type-0, and you can see the first footage above.
I'll be following this one closely. Buzz out of Japan suggests that Type-0 is excellent, and if Square Enix won't let us play it, at least these guys might.
I've reached out to Square Enix to ask what they think of this whole thing, and whether it will affect plans to rebrand Final Fantasy Type-0 as a browser game release Type-0 outside of Japan. I'll update with any comments.
Final Fantasy Type-0 Translation POC [YouTube via NeoGAF]
Recent from Jason Schreier
Final Fantasy IX Retrospective: The Final Fantasy's Final Fantasy
Why Veronica Mars Is Still Worth Watching, 15 Years Later
Dragon Quest Builders 2 Is Even Better Than The First


text:
// Copyright 2015 The Bazel Authors. All rights reserved.
//
// Licensed under the Apache License, Version 2.0 (the "License");
// you may not use this file except in compliance with the License.
// You may obtain a copy of the License at
//
//    http://www.apache.org/licenses/LICENSE-2.0
//
// Unless required by applicable law or agreed to in writing, software
// distributed under the License is distributed on an "AS IS" BASIS,
// WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
// See the License for the specific language governing permissions and
// limitations under the License.
package com.google.devtools.build.lib.rules.android;

import com.google.common.collect.ImmutableList;
import com.google.devtools.build.lib.actions.Artifact;
import com.google.devtools.build.lib.actions.MutableActionGraph.ActionConflictException;
import com.google.devtools.build.lib.analysis.ConfiguredAspect;
import com.google.devtools.build.lib.analysis.ConfiguredAspectFactory;
import com.google.devtools.build.lib.analysis.RuleContext;
import com.google.devtools.build.lib.analysis.TransitionMode;
import com.google.devtools.build.lib.analysis.TransitiveInfoCollection;
import com.google.devtools.build.lib.collect.nestedset.NestedSetBuilder;
import com.google.devtools.build.lib.packages.AspectDefinition;
import com.google.devtools.build.lib.packages.AspectParameters;
import com.google.devtools.build.lib.packages.BuildType;
import com.google.devtools.build.lib.packages.NativeAspectClass;
import com.google.devtools.build.lib.packages.StarlarkProviderIdentifier;
import com.google.devtools.build.lib.rules.java.JavaCommon;
import com.google.devtools.build.lib.rules.java.JavaInfo;
import com.google.devtools.build.lib.skyframe.ConfiguredTargetAndData;
import java.util.ArrayList;
import java.util.List;

/**
 * An aspect that collects neverlink libraries in the transitive closure.
 *
 *
Used for determining the -libraryjars argument of the Proguard invocation in Android binaries.
 *
 *
One would think that using the compile time classpath would be enough, but alas, those are
 * ijars,
 */
public class AndroidNeverlinkAspect extends NativeAspectClass implements ConfiguredAspectFactory {
  public static final String NAME = "AndroidNeverlinkAspect";
  private static final ImmutableList<String> ATTRIBUTES =
      ImmutableList.of(
          "deps", "exports", "runtime_deps", "binary_under_test", "$instrumentation_test_runner");

  @Override
  public ConfiguredAspect create(
      ConfiguredTargetAndData ctadBase,
      RuleContext ruleContext,
      AspectParameters parameters,
      String toolsRepository)
      throws ActionConflictException {
    if (!JavaCommon.getConstraints(ruleContext).contains("android")
        && !ruleContext.getRule().getRuleClass().startsWith("android_")) {
      return new ConfiguredAspect.Builder(ruleContext).build();
    }

    List<TransitiveInfoCollection> deps = new ArrayList<>();

    // This is probably an overestimate, but it's fine -- Proguard doesn't care if there are more
    // jars in -libraryjars than is required. The alternative would be somehow getting
    // JavaCommon.getDependencies() here, which would be fugly.
    for (String attribute : ATTRIBUTES) {
      if (!ruleContext.getRule().getRuleClassObject().hasAttr(attribute, BuildType.LABEL_LIST)) {
        continue;
      }

      deps.addAll(ruleContext.getPrerequisites(attribute, TransitionMode.TARGET));
    }

    NestedSetBuilder<Artifact> runtimeJars = NestedSetBuilder.naiveLinkOrder();
    runtimeJars.addAll(JavaInfo.getJavaInfo(ctadBase.getConfiguredTarget()).getDirectRuntimeJars());
    AndroidLibraryResourceClassJarProvider provider =
        AndroidLibraryResourceClassJarProvider.getProvider(ctadBase.getConfiguredTarget());
    if (provider != null) {
      runtimeJars.addTransitive(provider.getResourceClassJars());
    }
    return new ConfiguredAspect.Builder(ruleContext)
        .addProvider(
            AndroidNeverLinkLibrariesProvider.create(
                AndroidCommon.collectTransitiveNeverlinkLibraries(
                    ruleContext, deps, runtimeJars.build())))
        .build();
  }

  @Override
  public AspectDefinition getDefinition(AspectParameters aspectParameters) {
    AspectDefinition.Builder builder = new AspectDefinition.Builder(this);
    for (String attribute : ATTRIBUTES) {
      builder.propagateAlongAttribute(attribute);
    }

    return builder
        .requireStarlarkProviders(StarlarkProviderIdentifier.forKey(JavaInfo.PROVIDER.getKey()))
        .requireStarlarkProviders(
            StarlarkProviderIdentifier.forKey(JavaInfo.PROVIDER.getKey()),
            StarlarkProviderIdentifier.forKey(
                AndroidLibraryResourceClassJarProvider.PROVIDER.getKey()))
        .requiresConfigurationFragments()
        .build();
  }
}

redpajama_set_name: RedPajamaGithub


This is a used CPU. All of our used CPU's are taken from working machines and fully stress tested prior to listing. Specifications Model: Intel Xeon Processor E5-2630 v3 Core Name: Haswell Core Count: 8 Thread Count: 16 Clock Speed: 2.4 GHz Max Turbo Frequency: 3.2 GHz Intel Smart Cache: 20 MB Intel QPI Speed: 8.0 GT/s Lithography: 22 nm Socket: LGA 2011-3 Max Thermal Design Power: 85 W Memory Type: DDR4-1866/1600 Max Memory Bandwidth: 59.0 GB/s. The item "Intel Xeon E5-2630 v3 Eight-Core Haswell 85W 2.4 GHz 8.0GT/s 20MB Processor CPU" is in sale since Saturday, November 26, 2016. This item is in the category "Computers/Tablets & Networking\Computer Components & Parts\CPUs/Processors".
The seller is "bokypond" and is located in sz. This item can be shipped worldwide.


This is what a quality Re-Thatching job on a Bali Hut looks like!
Comments Off on This is what a quality Re-Thatching job on a Bali Hut looks like!
We not only install beautiful, eco-friendly Bamboo fences, we also supply Thatch for DIY and Bamboo Panels to build Screens and Fences.


Looking for images related to classical studies? Try searching our Image Quest database. It features over 2 million rights cleared for educational & non-commerical use in your papars and presentations.
Welcome to the Classical Studies Guide!
Welcome to the Classical Studies Guide. Here you will find general information about locating resources on Classical Studies.
Located on the tabs are different resources- books, journals, websites, etc. Click on a tab and a page appears listing specific resources about Classical Studies in that format. For example, under the "Find Books" tab is a list of books located here in Warner Library about Classical Studies. For specific resources on the Roman and Greek empires, please check out their own guides.
Here is a list of subscription databases the library offers that contain information about Classical Studies.
Want to know more about Classical Studies? Take a look at these general articles about the Classics.
An article from Britannica Online.


Juniper Networks has re-affirmed its presence in the Middle East region with three new key appointments to its leadership team. Saeed M. Agha has joined as partner director for Middle East, Turkey and Africa, where he will be tasked with driving the company's channel strategies, managing partner operations and commercial business. Mr. Agha has previously worked at several technology vendors, including Cisco Systems, Palo Alto Networks and IBM.
Mohammad Chabayta has joined as sales director for Juniper's STC account team, and will be responsible for helping the telecom provider address its most complex technical challenges. Mr. Chabayta was formerly vice president of the STC account at Ericsson KSA, and brings both extensive knowledge of the local business landscape and a detailed understanding of the customer's business objectives.
Fayez Eweidat has been appointed as sales director, enterprise, overseeing Middle East, Turkey and Africa (META). In this role, he is focused on helping Juniper's enterprise customers in the region to undergo digital transformation in their businesses. Previously, Mr. Eweidat was senior regional sales manager at Brocade Communications Systems. Mr. Eweidat has also worked in various regional leadership roles at Apple Inc., Cisco Systems and Foundry Networks.
"The appointments of Saeed, Mohammad and Fayez have been made at a pivotal time for our business, when many organizations in the region demand network architecture that performs exceptionally without the burden of complexity. Juniper's vision of creating operational simplicity through innovative engineering has made it possible for people to connect in ways that are changing the world. I am confident the combined experience of these new team members will prove to be highly beneficial for our customers and, in turn, their customers, too," said Yarob Sakhnini, head of Middle East, Turkey and Africa, Juniper Networks.


Animal Planet's Wild Obsession follows brave individuals fulfilling their lifelong dream to come face-to-face with some of the world's most exotic and elusive animals.
Premiering Monday, December 10 at 7 p.m. ET/4 p.m. PT, each thrilling episode in this six-part series pairs an average person with an expert in the field.
This original Canadian production by Calgary-based Pyramid Productions captures these rare encounters that are life-changing missions for both the animal-obsessed person and the wildlife expert.


Our shirts are guaranteed to get you high fives! Don't miss out on your chance to have the best beer tasting experience of your life. Order today!
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Edge Kote is a flexible, water resistant surface coating, used to finish the cut edges of your leather project, once complete. To use, stir (never shake) and apply using an artists paint brush or a wool dauber. Edge Kote dries to a medium gloss.
This is a 32oz (946ml) bottle of Brown Edge Kote.


text:
package ch.hevs.jscada.model;

/**
 * All objects that can be converted from or to a string have to implement this interface.
 */
public interface StringConvertible {

    /**
     * Returns the string representation of the object or the object's value.
     *
     * @return String representation of the object or the object's value.
     */
    String getStringValue();

    /**
     * Updates the object or the object's value using the given string.
     *
     * @param value String representation of the object or object's value.
     * @param owner Reference to the object that wants to write the value. Used to check if the object has selected the
     *              datapoint before.
     * @throws ConversionException Thrown if the value can not be converted from the given string.
     */
    void setStringValue(String value, Object owner) throws ConversionException, SelectException;
}


Add the New York Giants to the list of NFL teams now embracing the physical aspects of their long history.
The Green Bay Packers have had a team hall of fame for about 40 years. The Cleveland Browns launched one recently (thanks to current GM and former Packers' coach Mike Holmgren).
Now, fans attending games at the Giants' new stadium can get a look at an impressive collection of artifacts dating back to the earliest days of pro football.
While the Mara family saved some of the items on display, a New Jersey collector is apparently responsible for most of what is on display.
From game and practice-worn jerseys covering the team's history, to a very old leather helmet and a modern-day gamer from Jeremy Shockey, it's a mini-Canton.
The New York Times got a tour of the 'Giants Legacy Club" that's already open on game days and will soon be available for general public tours.


Library classes are offered weekly for students Pre-K through 8th Grade. The classes, led by HFS Librarian Miss Jen Hudak, support and enhance the core curriculum, teach library skills, provide the opportunity for research and expose students to a wide variety of updated reading materials for personal reading.
Our library, containing more than 6,000 titles, is equipped with multiple computers, on which every book in the library is cataloged, so parents can view from home the choices their children have prior to their weekly library class. Students also receive instruction on how to use the Dewey Decimal System. Parents and students may even access the HFS library system from their home computer.
With Miss Hudak's attention to detail and passion for literature, the HFS library has been transformed into a welcoming, warm place that allows students the chance to explore, all the while nuturing their love of reading.


text:
Joshua S. Friedman
Joshua Friedman
Co-Chairman and Co-Chief Executive
Canyon Partners
Joshua Friedman co-founded Canyon Partners in 1990. Canyon, a leading alternative asset manager with about $23 billion in assets under management, specializes in value-oriented investments for institutional investors worldwide. Prior to forming Canyon, Friedman was director of capital markets for high-yield and private placements at Drexel Burnham Lambert. He previously worked at Goldman Sachs in New York in mergers and acquisitions. Friedman serves on the board of Harvard Management Co. and is a member of the university's Committee on University Resources and Task Force on Science and Engineering, among other groups. Friedman also is a trustee for the California Institute of Technology, the Los Angeles Philharmonic and the UCLA Hospital Department of Neurosurgery.
Rob Francais
Jeffrey Glassman


Magician Steven Anthony is an Ottawa Valley based entertainer who wows audiences near and far. Are you looking for the ultimate entertainment experience? Are you looking to plan an event that will wow your audience? Would you like your guests to rave about your event long after it is over? Stretching Reality – The Magic Of Steven Anthony is your solution!
Ottawa Valley's favorite magician Steven Anthony has been entertaining thousands of satisfied clients spanning 15 years. Steven utilizes his background in theatre and his captivating personality to amaze your guests and make a lasting impression. Whether it is a small gathering of friends, a school show, or a large scale stage show, Stretching Reality – The Magic of Steven Anthony is your magician. Based in the Pembroke, Ontario area, Steven Anthony will reach into his bag of tricks and leave your audience stunned!
Whether you're looking to entertain a small group or hundreds of people, Steven IS the solution. Book him today!
Whether you're looking for sleight of hand/walk-around magic or a full on stage show, Steven Anthony can tailor his act to suit your needs. His clients range from private birthday parties, to weddings, all the way to corporate Christmas parties and town-sponsored events. Steven is an entertainer who performs in venues all across Canada. Stretching Reality – The Magic of Steven Anthony is amongst the Ottawa Valley's most in demand and busiest magicians.
"Like" my Facebook page to stay up on all of the latest news and events!


text:
GCU Club Tennis Places 6th at 2019 USTA Southwest Sectionals
By David Carter/GCU Staff
"Both teams were put into tough brackets, and we had extreme inclement weather with 30 to 40 mile-per-hour wind."
Those words from GCU Club Tennis Head Coach Ed Prudhomme illustrated this past weekend for both the GCU Club Tennis "A" and "B" teams as the "A" team placed sixth and the "B" team placed ninth at the 2019 United States Tennis Association (USTA) Tennis on Campus (TOC) Southwest Sectionals.
This event, otherwise known as sectionals, determined which two teams from the USTA Southwest Region make it to the USTA TOC National Championships in Surprise next month. Those spots were filled by tournament champion University of New Mexico (UNM) "A" team and runner-up Arizona State University (ASU)'s "A" team.
GCU A Team Results
"Just like the last two tournaments we have played in, except sectionals, GCU "A" and ASU "A" were in the semifinals of the main draw, and the schools from the southwest do not always make it that far," said Prudhomme. "It would have been nice to earn a trip to nationals, but I am still happy with the progress (our) program is making."
GCU "A" faced ASU "A" in bracket play- a challenging matchup for the Lopes considering they have lost to ASU "A" in elimination round matches in two tournaments earlier this season.
GCU "A" lost to ASU "A", 30-10, which put the GCU "A" team into the silver flight. Once there, the Lopes lost to the ASU "B" team, 22-20, sealing their 6th-place finish.
GCU B Team Results
There was nothing 'B' about the Lopes' "B" team's pool play bracket, since they were forced to play more opponents' "A" teams than GCU's top team, including eventual tournament champions, the UNM "A" team.
"They had a rough draw," said Prudhomme. "They faced two 'A' teams, and only won one of their pool play matches. That was nice for them, though, because they won their last match of pool play, won the bronze bracket and finished with three wins in a row."
The GCU "B" Team lost to the eventual tournament champions, the UNM 'A' team, before rebounding to win their last match of bracket play against the University of Arizona (U of A) "C" team, 23-18. In the bronze flight, they defeated both the U of A "D" team and the UNM "B" team to win the bracket and finish 9th.
"Some of the players learned a lot of fight and competition skills this weekend," said Prudhomme. "A lot of them showed good heart and fight which will help us in the long run."
This may be the last tournament for the Lopes of the 2018-2019 season. The Lopes are still looking for other possible tournaments later in the semester.
Interested in learning more or joining GCU Club Tennis/GCU Club Sports? Follow us on Instagram or Twitter to get connected!
Tags:club sports, GCU, gcu club tennis, sectionals, USTA
GCU Club Baseball stays entrenched at No. 3 in latest NCBA DI Poll
GCU Triathlon fights through tough conditions at Tritonman Triathlon


text:
Melt's First Major Menu Change, Columbus Opening Date Revealed
Almost since the beginning, Melt Bar & Grilled has been accumulating sandwiches like a music fan collects used vinyl. It was always front man Matt Fish's goal to assemble a collection of 36 unique sandwiches — and that's precisely how many currently are on the menu.
At least until September 3, when Melt rolls out its first major menu overhaul in seven years.
"We've decided to take the plunge and move to a smaller, more specialized seasonal menu, and committing to changing our menu every three months," explains Fish.
Instead of a 36-sandwich menu that barely budges, the new menu lists just 20, with sandwiches selected for their season-appropriate flavor profiles. Popular specials like the New Bomb Turkey, which had been available just one month a year, will be added to the regular seasonal menu and be available for three months.
In addition to making the selection process easier for guests, the change will make reading the menu easier as well. If you've dined at Melt, you know that the menu is affixed to the back of a rock 'n' roll LP. More items meant smaller print.
"The menu has gotten bigger and bigger but the 12-by-12 record album has stayed exactly the same size," says Fish. "The menu is now easier to read with a larger print size."
Other changes include new starters and salads and the removal of signature burgers. Don't worry; burgers are still available, but now they are billed as "Choose Your Own Fate," with diners picking beef or veggie, regular or rubbed, preferred temp, choice of cheese and other toppings.
In other Melt news, Fish has revealed for the first time the opening date of the Columbus store, which will take place November 1. The restaurant, located in the heart of the Short North, will hold a hiring fair in that city September 23-24 for all positions but management.
"I think we're going to fit in really well down there," says Fish. "There's nobody doing what we're doing, and our price points, flavors and portions are all a good fit. Our brand is really strong, even in Columbus."
When Columbus opens, Melt will have five restaurants and employee approximately 360 people.
Bites melt bar & grilled matt fish


When is Grand 3 coming ?
Abhijeet , I am also thinking on note 3 neo , the kitkat update is just crap. How much did you get for grand 2 . And yes av , and anonymous... I did apply for redmi I as 2nd mobile but you know sale of seconds.
Ok , see Samsung is much better in its 8mp camera smartphone range than the Sony . I mean Sony L has different capability , Sony sp has different , I remember , with Sony Xperia P I shot photos , and with Sony Xperia L I shot 8mp shots , I just cannot tell you how good the 8mp with Exmor RS was (pun intended ). The same thing you don't see in Samsung across all it's 8mp range. And yes , Sony has Exmor RS sensor , whereas Samsung has it own BSI sensor which is know for its similar capability , though Sony is no.1 in sensor , in short both are good at technology , but Samsung saturated formula is more hit then miss , whereas Sony went on tinkering with settings in a wide way Sony Xperia p and Xperia s were considered the best cam. In Sony range even now despite Exmor RS whereas p and s had Exmor R , which shows it's poor software capability on photography , even many Sony users have admitted this whether it is Xperia M2 ( I mean m2 not m - av ) , Xperia t2 ultra , or Xperia zr , there are focus , light blurring etc. issues. Which is not hardware but software stuff. Even HDR mode is one of the worst. That does not remove the fact that z1 , z2 I.e. - 20 mp are excellent in daylight , they are excellent in zooming also , but at nnight time photos have more noise.
I must praise HTC which was able to turn from its 4 mp ultra pixel , into 13 mp camera with excellent daylight capability , either way yes , Samsung must move on to 12 mp - 13 mp in midrange. 8mp is lower and they should come out of their below s4 than only 8 mp mindset.
Service part is more judgemental , but htc , lg , and even Sony we're know for bad service even Sony service was with another agency , not Sony directly , whereas Samsung has many smart cafés and service station directly under them .
Net speed so slow.Need advise to boost up net speed.
Phoneuserprat, 16 Sep 2014Yes , I know Samsung is providing the same 8 mp sensor , whereas they should offer 13 mp as pe... moreSamsung uses bsi sensor while sony uses xmor r sensor in their mobile cameras.
Xmor r is based on bsi sensor with some improvement for low lighting conditions. Due to its high iso range xmor r sensor is highly sensitive to light so it captures better images in low light.while bsi sensor due to its low iso range is not much sensitive to light so doesn't produce good images in low light.
So in sunlight conditions samsung cameras are better but in low light conditions sony cameras are better.
Sony capture better in (indoor, evening and night conditions).
Both have their pros and cons. Samsung has never tried to overcome its poor low light photography.
Phoneuserprat, 16 Sep 2014Yes , I know Samsung is providing the same 8 mp sensor , whereas they should offer 13 mp as pe... moreYou said t2 ultra and zr images have low contrast. I read camera analysis of both t2 ultra and zr they having very good contrast in images . Gsmarena said that their camera performances are on par in the competition.Go and read there analysis again.
T2 ultra is not good in low light but still its images are much better than that of grand's in low light conditions.
And as I said I don't know much about lg and htc.
Both have their pros and cons. Samsung has never overcome its poor low light photography.
Phoneuserprat, 16 Sep 2014Yes , I know Samsung is providing the same 8 mp sensor , whereas they should offer 13 mp as pe... moreYou said t2 ultra and zr images have low contrast. I read camera analysis of both t2 ultra and zr they having very good contrast in images . Gsmarena said that their camera performances are on par in the competition.read there analysis again.
yo yo, 16 Sep 2014very currupt cell phone.................. You must have got a clone version.
ASus Zenfone 5 and xiaomi mi3 are much much better with almost half the price of grand2.They provide more features too.
When mobile fall on hard surface screen gets shock if shock is less it absorbs.Normal glass have less resistance to shock so they break easily even at small fall.while gorilla glass made up of special material which having more shock absorbing capacity hence more resistance to shock so they dont break for small falls.
Most of mobile use small sensors and lens which dont produce very good images.This images can be used for casual usage like use on social networking sites.
Its not good idea to print them and add them in photo album.
There are point and shoot and slr camera's specially dedicated for photography.
AnonD-307327, 14 Sep 2014Samsung Mobile, Samsung Galaxy Grand 2 SM-G7102, & Samsung Mobile ... moreJust reset the phone and see it doesn't be auto restart!!!
Every mobile uses different image processing. S duos, core, , quattro, neo are not better in camera performance. So the performances vary mobile to mobile. And these are facts if u doubt check camera performance test of every sony and samsung smartphone.
your telling analysis of xperia m which is below average performerer but 12 and 13 mp cameraphones are much better.
And who said sonys camera performance is poor in low light.
samsung have poor performance in low light.Even galaxy s4 and s5 are not good in low light conditions.
Phoneuserprat, 16 Sep 2014Yes , I know Samsung is providing the same 8 mp sensor , whereas they should offer 13 mp as pe... moreAnd to spot the difference between the images u really have look at them very carefully. So both the sony and samsung are not perfect in all photography areas.
And please dont use word poor because definitely they are not poor.Experia zr, , experia s, , experia ion are better camera phones from sony read more about it.Xperia m and xperia sp are average performerers.


text:
+"Finster, Howard, 1916-2001"
38 documents - page 1 of 2
Oral history interview with James and Beth Arient
Arient, James, 1946- Search this
Arient, Beth, 1946- Search this
Blum, Betty Search this
Camp, Jeffrey Thomas, 1944- Search this
Dawson, William, 1901-1990 Search this
Finster, Howard, 1916-2001 Search this
Webster, Derek, 1934 - 2009 Search this
213 Pages (Transcript)
1988 April 27-29
An interview of James and Beth Arient conducted 1988 April 27-29, by Betty Blum, for the Archives of American Art.
The Arients describe their backgrounds and talk about their initial interest in art and early collecting, their philosophy of collecting, their discovery of Eskimo sculpture and their first awareness of folk art. They comment on meeting Howard Finster and their subsequent relationship with him, Finster's relationship with collector Jeff Camp, the marketability of folk art, a 1987 exhibition of part of their collection at Northern Illinois University Art Gallery, and folk art patronage. They recall William Dawson and Derek Webster.
James Arient (1946-) and Beth Arient (1946-) are folk art collectors from Chicago, Illinois. James Arient is a dentist.
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 6 digital wav files. Duration is 4 hr., 29 min.
These interviews are part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Art -- Collectors and collecting -- Illinois -- Chicago -- Interviews Search this
Folk art -- Collectors and collecting -- United States Search this
Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.
AAA.arient88
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ead_collection:sova-aaa-arient88
Andy Nasisse files relating to self-taught artists
Nasisse, Andy S., 1946- Search this
Bailey, E. M. (Eldren M.) Search this
Carpenter, Miles B. (Miles Burkholder), 1889- Search this
Carroll, Tessie Search this
Damonte, Emanuel "Litto", d. 1985 Search this
Dinsmoor, Samuel Perry, 1843-1932 Search this
Doyle, Sam, 1906-1985 Search this
Ehn, John Henry, 1896-1981 Search this
Forester, Laura Pope, 1873-1953 Search this
Hall, Dilmus, 1900-1987 Search this
Hall, Irene Gibson, ca. 1895-1983 Search this
Harvey, Bessie, 1929- Search this
McKissack, Jeff, 1902-1980 Search this
Milkovitch, John, 1912-1988 Search this
Murry, J. B. (John B.), 1908-1988 Search this
Prisbrey, Tressa Search this
Pugh, Dow, 1906- Search this
Ratcliffe, W. T., 1882-1956 Search this
Rice, William Carlton, 1930-2004 Search this
Robertson, Royal Search this
St. EOM, 1908-1986 Search this
Thomas, Son, 1926-1993 Search this
Tolliver, Mose, 1920- Search this
Van Zant, Frank, 1911-1989 Search this
Zoetl, Joseph, 1878-1961 Search this
The Andy Nasisse files relating to self-taught artists measure 0.8 linear feet and date from 1979 to 1986, with additional undated materials. Included are artist files on twenty-five self-taught artists. Files consist primarily of black and white photographs of artists, their artworks, and photographs of unidentified artworks. Also included is a letter discussing artist Howard Finster's first dealer, Jeffrey Camp, and in which Nasisse offers his advice to Finster to limit production of his work. An audio recording of an interview with Miles Carpenter conducted by Nasisse, and a documentary about J. B. Murray, A Video Documentary of an Artist and His Work, are also present in these files. The documentary features many of Murray's paintings and drawings, as well as his comments on his art and visions.
The artists included in the files are Eldren M. (E. M.) Bailey, Miles Carpenter, Tessie Carroll, Emanuel "Litto" Damonte, Samuel Perry (S.P.) Dinsmoor, Sam Doyle, John Ehn, Howard Finster, Laura Pope Forrester, Dilmus Hall, Irene Hall, Bessie Harvey, St. EOM (Eddie Owens Martin), Jeff McKissack, John Milkovitch, J. B. Murray, Grandma Tressa Prisbrey, Dow Pugh, W.T. Ratcliffe (or Ratliff), William Carlton Rice (Mr. Rice), Royal Robertson, James "Son Ford" Thomas, Mose Tolliver, Frank van Zant (Chief Rolling Mountain Thunder), and Brother Joseph Zoetl.
Andy Nasisse (1946-) is a ceramicist sculptor, potter, and former professor at the University of Georgia. Starting in the 1970s, he visited self-taught artists and photographed their art, environments and, in some cases, conducted interviews with them. He has had a solo exhibition at the Museum of Contemporary Art Georgia and is the recipient of the Art Regional Fellowship from the National Endowment for the Arts.
Miles Carpenter (also known as Miles Burkholder Carpenter or Miles B. Carpenter) (1889-1985) was a sculptor active in Waverly, Virginia who carved figures and animals from wood and referred to some as "advertisements."
Tessie Carroll was an Oklahoma folk artist known for her rock sculptures and carvings.
Eldren M. (E.M.) Bailey (1903-1987) was an African American sculptor and painter from Atlanta, Georgia whose sculptures were influenced from his background making grave markers.
Emanuel "Litto" Damonte (1892-1985) started collecting hubcaps in 1957 and created an art environment on his property in Napa Country, California, known as Hubcap Ranch.
Samuel Perry (S.P). Dinsmoor (1843-1932) was a Kansan sculptor who designed a sculpture garden at his home called the Garden of Eden," consisting of over 200 concrete works reflecting his religious and political beliefs.
Sam Doyle (1906-1985) was an African American artist born on St. Helena, an island off the coast of South Carolina, whose colorful paintings document the island's people and Gullah culture.
John Ehn (1887-1981) was a former trapper turned sculptor who decorated the landscape of his Californian motel, Old Trapper's Lodge, with sculptures depicting myths and the Old West.
Howard Finster (1916-2001) was a Georgian folk artist and Baptist minister known for his former home, Paradise Garden, consisting of constructions, found objects and sculptures.
Laura Pope Forrester (1873-1953) was a sculptor who created figurative works in her Georgian garden that depicted notable women and fictional characters.
Dilmus Hall (1896-1987) was an African American artist whose sculptural works are associated with religious customs that combine African traditions and Christianity.
Irene Hall was an Oklahoman artist who decorated her home with sculptural works she had made with found objects.
Bessie Harvey (1929-1994) was an African American folk artist from Tennessee who created wooden sculptures often inspired by nature.
Eddie Owens Martin "St. EOM" (1908-1986) was a Georgian artist who created a visionary art environment called Pasaquan.
Jeff McKissack (1902-1980) is the creator of The Orange Show, an art environment constructed in Houston Texas to honor his favorite fruit.
John Milkovitch (1912-1988) was a retired upholsterer who constructed the Beer Can House, by decorating his home with over 50,000 fattened beer cans.
J. B. Murry (1910-1988) (also known as J.B. Murray) was an African American painter who incorporated illegible text in his work which he interpreted with the use of a bottle of well water.
Tressa "Grandma" Prisbrey (1896-1988) constructed numerous structures out of bottles and found objects at her home creating what became known as Grandma Prisbrey's Bottle Village.
Dow Pugh (1906-1993) was an artist from Tennessee who created paintings and sculptural works.
W. T. Ratcliffe was an engineer who, in the 1930s created sculptures in Boulder Park in Jacumba, California.
William Carlton Rice (1930-2004) was a self-ordained minister who created a Cross Garden around his home in Alabama.
Royal Robertson (1936-1997) was an African American artist and self-proclaimed prophet from Louisiana whose work incorporated biblical themes, and references to "girlie magazines" and comic strips.
James "Son Ford" Thomas (1926- 1993) was an African American sculptor and blues musician from Mississippi who is known for his clay skull sculptures.
Mose Tolliver (1919-2006) was an African American folk painter from Alabama who painted with house paint on wood.
Frank van Zant "Chief Rolling Mountain Thunder" (1921-1989) was an Oklahoman artist who created a park in Nevada dedicated to the American Indian known as Thunder Mountain Monument.
Brother Joseph Zoettl (1878-1961) was a monk who constructed a miniature city of famous religious buildings at St. Bernard Abbey known as Ave Maria Grotto.
Also found in the Archives of American Art are the Photographs and videos of self-taught artists; Willie Ann Wright photographs; Howard Finster papers; John F. Turner research material on Howard Finster; Howard Finster interview and recordings; Videos and slides on Dilmus Hall, Mary T. Smith, and J.B. Murry; Willem Volkersz interviews; and J. B. Murray drawings. There is also an oral history interview with Howard Finster conducted by Liza Kirwin in 1984.
The California State University, Channel Islands holds the Prisbrey bottle village collection. The University of North Carolina at Chapel Hill holds the Judith McWillie papers. The University of Georgia Special Collections Libraries holds the Howard Finster collection and the Howard Finster Tapes.
The Andy Nasisse files relating to self-taught artists were donated to the Archives of American Art by Andy Nasisse in 1985.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Video on J.B. Murray: Authorization to publish, quote, or reproduce requires written permission from Andy Nasisse. Contact Reference Services for more information.
Educators -- Georgia Search this
Folk artists Search this
Ceramicists -- Georgia Search this
Potters -- Georgia Search this
Self-taught artists Search this
African American artists Search this
Andy Nasisse files relating to self-taught artists, circa 1979-circa 1986. Archives of American Art, Smithsonian Institution.
Funding for the processing of this collection was provided by the Henry Luce Foundation.
AAA.nasiandy
https://n2t.net/ark:/65665/mw925d29844-be82-4471-9907-9d477d264625
ead_collection:sova-aaa-nasiandy
Willem Volkersz interviews
Volkersz, Willem Search this
Howard, Jesse, 1885-1983 Search this
The Willem Voklersz interviews measure 2.6 linear feet and date from 1975-1985. The collection consists of twenty-nine sound cassettes containing thirty-one interviews of folk artists conducted by Volkersz for a personal research project, a monologue, and readings by Volkersz of notes on individual artists. Subjects include folk artists such as Howard Finster, Jesse Howard, and St. EOM (Eddie Owens Martin). Also found are thirty-seven transcripts of the recordings.
The collection is arranged as one series.
Willem Volkersz is a teacher, collector, and sculptor of Bozeman, Montana, who was born in Holland and came to the United States following World War II. He completed his education at the University of Washington in 1965, and completed a Masters of Fine Art at Mills College in 1967.
Volkersz began researching and collecting work by visionary and naive artists while a professor at the Kansas City Art Institute. His collection is now at the John Michael Kohler Arts Center in Sheboygan, Wisconsin, and the Missoula Art Museum, in Missoula, Montana.
Sound recordings of the Willem Volkersz interviews were donated to the Archives of American Art in 1986 by Willem Volkersz, who made them primarily for his own use as a researcher, collector and teacher of folk art. They were transcribed in 1989 for the Archives of American Art by Toni Reineke.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Folk artists -- United States Search this
Educators -- Montana -- Bozeman Search this
Collectors -- Montana -- Bozeman Search this
Sculptors -- Montana -- Bozeman Search this
Willem Volkersz interviews, 1975-1985. Archives of American Art, Smithsonian Institute.
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
AAA.volkwill
https://n2t.net/ark:/65665/mw92cd85520-ddfd-461a-a903-0ce2e9ec11bc
ead_collection:sova-aaa-volkwill
Howard Finster papers, 1932-1987
Howard Finster papers, 1932-1987. Archives of American Art, Smithsonian Institution.
AAA_collcode_finshowa
Howard Finster interview and recordings, 1981-1982
Howard Finster interview and recordings, 1981-1982. Archives of American Art, Smithsonian Institution.
Folk art Search this
AAA_collcode_ariejame
Oral history interview with Howard Finster, 1984 June 11
Kirwin, Liza, 1957- Search this
Quotes and excerpts must be cited as follows: Oral history interview with Howard Finster, 1984 June 11. Archives of American Art, Smithsonian Institution.
Art and religion -- Georgia Search this
Self-taught artists -- Georgia -- Interviews Search this
AAA_collcode_finste84
Oral history interview with Howard Finster
Kirwin, Liza Search this
2 Sound cassettes (Sound recording, analog)
60 Pages (Transcript)
Sound cassettes
An interview of Howard Finster conducted 1984 June 11, by Liza Kirwin, for the Archives of American Art at the National Portrait Gallery in Washington, D.C.
Finster speaks of his early childhood; his earliest vision; working as a preacher and a repairman; the construction of his GARDEN OF PARADISE; his mission in life; dealers and exhibitions; and his Chapel of the World's Folk Art Church, Inc.
Howard Finster (1916-2001) was a self-taught visionary artist and minister from Georgia. Full name: William Howard Finster.
This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Transcript available on the Archives of American Art website.
Folk artists -- Georgia -- Interviews Search this
AAA.finste84
https://n2t.net/ark:/65665/mw9c5432bdc-8d09-431a-a0e0-2c6687cf53bb
ead_collection:sova-aaa-finste84
John F. Turner research material on Howard Finster
Turner, John F. Search this
Dickinson, Eleanor, 1931- Search this
Esman, Rosa Search this
Finster, Beverly Search this
Finster, Pauline Search this
Ginsberg, Allen, 1926- Search this
Hartigan, Lynda Roscoe Search this
Hemphill, Herbert Waide Search this
Jabbour, Alan Search this
Kind, Phyllis, 1933-2018 Search this
Lancaster, Clay Search this
Nutt, Jim, 1938- Search this
The John F. Turner collection of research material on visionary self-taught artist Howard Finster measures 6.9 linear feet and dates from circa 1928 to 2015, with the bulk of the materials dating from 1978 to 1990. John Turner is a California-based curator who compiled this collection in preparation for his book Howard Finster: Man of Visions (1989). Found within the collection are correspondence; numerous interviews with Finster and Finster family members, curators and historians, collectors, and artists; draft manuscripts and research notes; compiled research files on other topics; printed materials and commercial broadcast video recordings; and photographic material, including polaroids annotated by Finster. There is also one series of Howard Finster's papers that include writings by Finster, sound and video recordings of Finster exhibitions and talks by Finster related to those exhibitions, recordings of other speaking engagements, sermons, and other events, a scattering of personal business records that includes a ledger and price list of artwork, and artwork.
Correspondence mostly consists of letters to John Turner from Howard Finster and Finster family members, folklorist Alan Jabbour, Clay Lancaster, Andy Nasisse, and others. There are also letters to Howard Finster from miscellaneous correspondents.
Numerous interviews with and about Howard Finster are found on 47 sound cassettes, and one partial transcript. In addition to interviews conducted by Turner, there are interviews with Finster conducted by Liza Kirwin and Willem Volkerz. Most of the interviews are with others about Finster, including family members, collectors, curators and art historians, and other artists. Interviewees include Jim and Beth Arient, Jeffrey Camp, Eleanor Dickinson, Rosa Esman, Beverly and Pauline Finster, Allen Ginsberg, Lynda Hartigan, Herbert Waide Hemphill, Alan Jabbour, Phyllis Kind, Jim Nutt, and others.
Writings consist of Turner's research notebooks and a typescript draft for his book Howard Finster: Man of Visions. There are some curator's statements and loose notes possibly written by others. Research files include printed material compiled by John Turner on various artists and subjects not directly related to Finster, except for bibliographies.
Papers and other materials created by Howard Finster are arranged into one separate series. These include writings; exhibition files, including video and sound recordings; personal business records; artwork, including album covers and posters; and sound recordings of Finster's public and private talks, sermons, and events. Many of the sound recordings were recorded by Finster himself.
Printed material consists of newspaper and magazine clippings about Howard Finster, exhibition catalogs, announcements, magazines, and art periodicals. There are also 2 videocassettes of commercially released television appearances and music videos.
Photographic material includes photographs, slides, negatives, and transparencies of Howard Finster and his artwork. There are images of Finster and his family, artwork, exhibitions, openings, and events. Some of the images are annotated by Finster.
Series 1: Correspondence, 1967-2005 (0.3 linear feet; Box 1)
Series 2: Interviews, 1977-circa 1989 (1.5 linear feet; Boxes 1-2)
Series 3: Writings, circa 1980-circa 1989 (0.4 linear feet; Boxes 2-3)
Series 4: Research Files, circa 1971-2015 (0.5 linear feet; Box 3)
Series 5: Howard Finster Files and Sound and Video Recordings, circa 1970-2001 (1.6 linear feet; Boxes 3-5, OV 9, 11)
Series 6: Printed Material, circa 1975-2010 (1.2 linear feet; Boxes 5-6, OV 10)
Series 7: Photographic Material, circa 1928-circa 2000 (1.4 linear feet; Boxes 6-8)
John F. Turner is a writer and curator who lives in California. Turner has written books on photography and folk art and is an adjunct curator at the San Francisco Craft and Folk Art Museum. He has also worked for NBC news and documented the lives of folk artists for many years.
Turner befriended visionary, self-taught artist and Baptist minister Howard Finster sometime in the late 1970s. The research material in this collection was compiled over a decade for Turner's book Howard Finster: Man of Vision (Alfred A. Knopf, 1989).
The Archives of American Art also has the Barbara Shissler Nosanow materials relating to Howard Finster, circa 1981; an oral history interview with Howard Finster conducted on June 11, 1984 by Liza Kirwin; and an interview with Howard Finster conducted by James Arient and Howard Finster's own sound recordings of himself from 1981-1982.
The John F. Turner research material on Howard Finster was donated by John F. Turner in 1987 and 2016.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Use of archival visual recordings with no duplicate access copy requires advance notice.
U-matic videocassette recording Howard Finster exhibition opening: Authorization to quote or reproduce for the purposes of publication requires written permission from John Turner. Contact Reference Services for more information.
Folk artists -- California Search this
Painters -- Georgia Search this
Museum curators -- California Search this
Authors -- California Search this
John F. Turner research material on Howard Finster, circa 1928-2015, bulk dates 1978-1990. Archives of American Art, Smithsonian Institution.
AAA.turnjohn
https://n2t.net/ark:/65665/mw9369b50b3-a26c-4e8d-bf75-e17a90f122ce
ead_collection:sova-aaa-turnjohn
Jimmy Hedges papers and Rising Fawn Folk Art Gallery records
Hedges, Jimmy, 1942-2014 Search this
Rising Fawn Folk Art Gallery Search this
Blizzard, Georgia, 1919-2002 Search this
Green, Homer, 1910-2002 Search this
Hoskinson, Danny Search this
Lancaster, Paul Search this
Mohammed, A.J. Search this
Simmons, Charlie Search this
Sudduth, Jimmy Lee, 1910-2007 Search this
Young, Purvis, 1943- Search this
15.63 Gigabytes
1969-2016, bulk 1991-2013
The papers of art collector and dealer Jimmy Hedges and the records of his Rising Fawn Folk Art Gallery measure 23.5 linear feet and 15.63 GB and date from 1969-2016, with the bulk of the material dating from 1991-2013. The collection documents Hedges's career as a dealer of outsider art and as an advocate for self-taught artists. Records include administrative and sales records, correspondence, artist files, collector and gallery files, exhibition and art fair files, regional files, printed and digital material, photographic material, and unidentified sound and video recordings. The bulk of the collection consists of artist files and color photographs documenting hundreds of artists that Hedges visited at their homes and studios, including Georgia Blizzard, Howard Finster, Homer Green, Bessie Harvey, Danny Hoskinson, Paul Lancaster, A.J. Mohammed, Charlie Simmons, Jimmy Lee Sudduth, Mose Tolliver, and Purvis Young, among many others.
The records of art collector and dealer Jimmy Hedges and his Rising Fawn Folk Art Gallery measure 23.5 linear feet and 15.63 GB and date from 1969-2016, with the bulk of the material dating from 1991-2013. The collection documents Hedges's career as a dealer of outsider art and as an advocate for self-taught artists. Records include administrative and sales records, correspondence, artist files, collector and gallery files, exhibition and art fair files, regional files, printed and digital material, photographic material, and unidentified sound and video recordings. The bulk of the collection consists of artist files and color photographs documenting hundreds of artists that Hedges visited at their homes and studios, including Georgia Blizzard, Howard Finster, Homer Green, Bessie Harvey, Danny Hoskinson, Paul Lancaster, A.J. Mohammed, Charlie Simmons, Jimmy Lee Sudduth, Mose Tolliver, and Purvis Young, among many others.
This collection is arranged as 9 series.
Series 1: Administrative and Sales Records, 1969-1971, 1991-2015 (Boxes 1-4; 3.9 linear feet, ER01-ER03; 0.134 GB)
Series 2: Correspondence, 1974, 1981, 1990-2013 (Boxes 4-5; 0.2 linear feet)
Series 3: Artist Files, 1985-2014 (Boxes 5-9, 31, 33, OV 32; 4.6 linear feet, ER04-ER15; 5.35 GB)
Series 4: Collector and Gallery Files, 1992-2014 (Boxes 9-10; 1.2 linear feet)
Series 5: Exhibition and Art Fair Records, circa 1992-2013 (Boxes 10-11; 1.3 linear feet, ER16-ER18; 1.52 GB)
Series 6: Regional Files, 1976, 1980s-2012 (Boxes 11-13; 1.7 linear feet)
Series 7: Printed Material, 1980-2013 (Boxes 13-16, OV 32; 2.2 linear feet, ER19; 0.833 GB)
Series 8: Photographic Material, circa 1990-2011 (Boxes 16-30, 34-35; 7.9 linear feet, ER20-ER35; 7.79 GB)
Series 9: Unidentified Sound and Video Recordings, undated (Boxes 30-31; 0.5 linear feet)
James R. "Jimmy" Hedges III (1942-2014), was an artist, art collector and dealer of Outsider Art and Folk art in Tennessee and Georgia. Hedges established the Rising Fawn Folk Art Gallery, Lookout Mountain, Georgia.
Born into a prominent family from Chattanooga, Jimmy Hedges was a lifelong philanthropist as a trustee of his family's Tonya Memorial Foundation. His true vocation, however, was as an artist, collector, and dealer of outsider art and as an advocate for self-taught artists. Hedges discovered his love of wood carving as a teenager, when he created song birds, and returned to making art at age forty. Using a chain saw, he carved sculptures of Southerners he had encountered in his travels, including artists. His colleagues in this sector of the fine art craft world were predominantly southern African American self-taught painters, sculptors, potters, and carvers. Befriending them and collecting their work led Hedges to establish Rising Fawn Folk Art Gallery in 1993, building a gallery space in the early 2000s on his 500-acre farm in Lookout Mountain, Georgia.
An unconventional art dealer, Hedges would hand-deliver work to collectors' homes, driving his truck through backroads and stopping along the way to visit with artists and purchase more works to sell. He was an active presence at the Outsider Art Fair and self-taught artist exhibitions throughout the U.S., as well as at Slotin Folk Art auctions and prison auctions. His aim was to improve the economic condition of fellow artists and raise their profiles among curators and critics. Hedges' development of an archive was essential to this goal.
Donated 2016 by James R. Hedges IV on behalf of the Hedges Descendants Trust and in 2018 by James R. Hedges IV on behalf of Wildcat Asset Managment, LLC.
Use of original papers requires an appointment. Use of archival audiovisual records or born digital records with no duplicate access copy requires advance notice.
Art dealers -- Tennessee Search this
Outsider art Search this
Artists' studios -- Photographs Search this
Jimmy Hedges papers and Rising Fawn Folk Art Gallery records, 1969-2016, bulk 1991-2013. Archives of American Art, Smithsonian Institution.
AAA.hedgjimm
https://n2t.net/ark:/65665/mw9ce145e76-5e8c-4c6e-988b-6c2570b7dea7
ead_collection:sova-aaa-hedgjimm
Howard Finster: artist file, [photographs]
Finster, Howard 1916-2001 Search this
Artist files
Image number:
VFM VF001038
Photograph Study Collection, Smithsonian American Art Museum
edanmdm:siris_jul_138591
Howard Finster postcard to John Turner
Turner, J. F. (John F.), 1947- Search this
1980 February 2
Howard Finster. Howard Finster postcard to John Turner, 1980 February 2. John F. Turner research material on Howard Finster, circa 1928-2015. Archives of American Art, Smithsonian Institution.
(DSI-AAA)18986
John F. Turner research material on Howard Finster, circa 1928-2015, bulk 1978-1990
edanmdm:AAADCD_item_18986
Transcript of interview with Howard Finster
Volkersz, Willem, 1939- Search this
St. EOM Search this
Howard Finster and Willem Volkersz. Transcript of interview with Howard Finster, 1977 March 17. Willem Volkersz interviews, 1975-1985. Archives of American Art, Smithsonian Institution.
Willem Volkersz interviews, 1975-1985
Howard Finster letter to Barbara Shissler Nosanow
Nosanow, Barbara Shissler Search this
Finster, Howard Search this
Howard Finster. Howard Finster letter to Barbara Shissler Nosanow, 1981. Barbara Shissler Nosanow materials relating to Howard Finster, [ca. 1981]. Archives of American Art, Smithsonian Institution.
Illustrated letters Search this
Presidents Search this
(DSI-AAA)555
Barbara Shissler Nosanow materials relating to Howard Finster, [ca. 1981]
edanmdm:AAADCD_item_555
Howard Finster letter to Herbert Waide Hemphill
Hemphill, Herbert Waide, 1929-1998 Search this
Howard Finster. Howard Finster letter to Herbert Waide Hemphill, ca. 1978. Herbert Waide Hemphill papers, 1776-1998. Archives of American Art, Smithsonian Institution.
Art commissions Search this
Portraits Search this
(DSI-AAA)6601
Herbert Waide Hemphill papers, 1776-1998, bulk 1876-1998
edanmdm:AAADCD_item_6601
Herbert Waide Hemphill papers
Abby Aldrich Rockefeller Folk Art Center Search this
Centennial Exhibition (1876 : Philadelphia, Pa.) Search this
Exposition Universelle de Paris (1878 : Paris, France) Search this
Folk Art Society of America Search this
Museum of International Folk Art (N.M.) Search this
National Museum of American Art (U.S.) Search this
Aiken, Gayleen Search this
Bogun, Maceptaw, Rev. Search this
Borkowski, Mary Search this
Brice, Bruce Search this
Coins, Raymond Search this
Crittenden, Varick A. Search this
Donovan, Carrie Search this
Fancher, John W. Search this
Flanagan, Thos. J. (Thomas Jefferson), b. 1890 Search this
Fowler, Tim Search this
Gatto, Victor Joseph, 1893-1965 Search this
Ghostley, Alice, 1926-2007 Search this
Goins, Vernon Search this
Hall, Michael D., 1941- Search this
Hamblett, Theora, 1895-1977 Search this
Hawkins, William Lawrence, 1895-1990 Search this
Hicks, Tiny Search this
Holley, Lonnie Search this
Hunter, Clementine Search this
James, A. Everette (Alton Everette), 1938- Search this
Jennings, James Harold Search this
Jones, S. L. (Shields Landon), 1901- Search this
Jordan, John Search this
Josephson, Nancy, 1955- Search this
Klumpp, Gustave, 1902-1974 Search this
Lisk, Charles Search this
Little, Roy Search this
Lopez, George Search this
Maldonado, Alexander Aramburo, 1901-1989 Search this
McCarthy, Justin, 1891-1977 Search this
Merrill, James Ingram Search this
Morgan, Gertrude Search this
Mr. Imagination, 1948- Search this
Nathaniel, Inez Search this
O'Kelley, Mattie Lou Search this
Orth, Kevin, 1961- Search this
Patterson, Clayton Search this
Prince, Daniel C. Search this
Prince, Neal A. Search this
Rowe, Nellie Mae, 1900-1982 Search this
Smith, Fred, 1886-1975 Search this
Smith, Robert E., 1926- Search this
Smither, John Search this
Smither, Stephanie Search this
Spies, Jim Search this
Terrillion, Veronica Search this
Tolson, Edgar, 1904-1984 Search this
Walters, Hubert Search this
Weissman, Julia Search this
Zeldis, Malcah Search this
The papers of folk art collector and museum curator Herbert Waide Hemphill date from 1776-1998, bulk 1876-1998, and measure 26.7 linear feet. Found within the papers are biographical materials, personal business records, files documenting his collecting, writings, art work, minutes of meetings, a scrapbook, printed material including exhibition and auction announcements and catalogs, and miscellaneous artifacts. The collection also contains numerous photographs of Hemphill, family members, his residences, friends and colleagues, exhibitions, travel, and art work. Sound and video recordings include interviews of Hemphill.
Biographical material includes photocopies of Hemphill's birth certificate and passport, social security cards, and international health card, genealogical notes, an evaluation of his school work, membership cards, award certificates, address books, and an engagement calendar containing very brief annotations of his activities.
Correspondence documents Hemphill's affairs with miscellaneous museums and art institutions, discussing his presentation of lectures, exhibitions, and loans from his collection to organizations including the Abby Aldrich Rockefeller Folk Art Collection, the Folk Art Society of America, the Museum of International Folk Art, and the Smithsonian Institution's American Art Museum.
Hemphill's correspondence with friends and colleagues discuss collecting activities and pursuit of newly discovered folk art and artists. Many of the letters are from artists. Correspondents include Varick A. Crittenden, Michael D. Hall, A. Everette James, Daniel C. Prince, Neal A. Prince, and artists Rev. Maceptaw Bogun, Mary Borkowski, Tim Fowler, Joseph Victor Gatto, S. L. Jones, Gustav Klumpp, Roy Little, George Lopez, Kevin Orth, and Malcah Zeldis. There are also scattered letters from artists Miles Burkholder Carpenter, John W. Fancher, Rev. Howard Finster, William Hawkins, Sister Gertrude Morgan, Mr. Imagination, Mattie Lou O'Kelley, Clayton Patterson, St. EOM, and Mose Tolliver. One letter from Stephanie and John Smither is etched on a bone.
Personal business records include both legal and financial documents. There are wills for Hemphill, his mother, and for his friend Neal A. Prince. The records also include leases, insurance records, contracts, grant proposals, loan agreements, deeds of gift, price lists, consignment records, tax records, and miscellaneous receipts. Cancelled checks relate to Hemphill's collecting interests and activities, and include payments to artists for their work. There are court papers documenting a lawsuit by Hemphill's landlord who was attempting to evict him.
Art work consists of a sketchbook by Roy Little, a set of hand-cut Japanese mask designs, a collage of Polaroid photographs taped to glass created by Rev. Howard Finster, a hand-made book by Nancy Josephson, and miscellaneous drawings, watercolors, and prints by various artists including Justin McCarthy, Inez Nathaniel, and Nellie Mae Rowe.
Notes and writings include card files of artists, extensive bibliographic card files, and scattered notes on artists including Miles Carpenter, Raymond Coins, Rev. Howard Finster, Mattie Lou O'Kelley, Royal Robertson, Veronica Terrillion, Mose Tolliver, and Bill Traylor. Also found are lists of artists, patrons, and art work, miscellaneous notes, and minutes of meetings. Writings by Hemphill and others including Michael D. Hall, Lynda Roscoe Hartigan, A. Everett James, and Julia Weissman, consist of reports, typescripts, and poems concerning a wide range of art-related topics and travel.
A scrapbook consists of unbound pages of clippings and newsletters about Hemphill, his collection, and exhibitions of folk art.
There is extensive additional printed material illustrating Hemphill's many interests. This series primarily consists of clippings and exhibition announcements and catalogs for mainstream artists as well as folk artists. Also included are auction announcements and catalogs, announcements for festivals, press releases, and calendars of events. Numerous booklets, brochures, programs, menus, business cards, and novelty postcards concern a variety of topics including worldwide travel, the sale of art work, miscellaneous galleries, museums, organizations, conferences, schools, lectures, antiques and craft shops, films, publications, restaurants, household items, historical topics, and miscellaneous artists including Miles Carpenter, S. P. Dinsmoor, Lonnie Holley, Clementine Hunter, and Veronica Terrillion. There are also autographed copies of booklets The Black Swan and Other Poems by James Merrill, and The Blood of Jesus by Thomas Jefferson Flanagan. Novelty postcards range from photographs of Elvis Presley to cards with amusing captions or cartoon jokes. There is also sheet music by Charles Trenet. Miscellaneous printed material includes several eighteenth-century newspapers and a 1776 thirty shilling note from New Jersey.
Photographs are of Hemphill, family members, his residences, friends and colleagues including style editor Carrie Donovan, artist Rev. Howard Finster dancing at an exhibition opening, actress Alice Ghostley, Michael D. Hall, circus performers Vernon Goins and Tiny Hicks, Smithsonian curator Lynda Roscoe Hartigan, Neal A. Prince, and Jim Spies. Photographs of exhibitions include stereographic views of the International Exhibition in Philadelphia and the Exposition Universelle in Paris, and photographs of Hemphill's donation of his collection and its subsequent exhibition at the Smithsonian's American Art Museum. Travel photographs include views of South Dakota, Texas, the American West, Japan, Mexico, and The Netherlands.
Numerous photographs of art work sometimes include images of the artists with their work including Bruce Brice, Raymond Coins, John W. Fancher, Rev. Howard Finster, Theora Hamblett, Bessie Harvey, William Hawkins, James Harold Jennings, John Jordan, Charles Lisk, Alexander Maldonado, St. EOM, Fred Smith, Edgar Tolson, Hubert Walters, and Purvis Young. Some photographs of unattributed art work has been arranged by the state in which it is located and includes a Mardi Gras parade in Louisiana, a Mummer's parade in Pennsylvania, Lucy the Elephant-shaped building in New Jersey, and Holy Ghost Park in Wisconsin. Other photographs of unattributed art work include works on paper, paintings, sculpture, signs, collages, needlework, glass, ceramics, and architecture.
Sound and video recordings include a cassette from Hemphill's phone answering machine that contains only Hemphill's message to callers, cassette recordings of interviews with and concerning Hemphill, artist St. EOM, painter Robert E. Smith discussing his work, and the tour narration for a Smithsonian exhibition Made With Passion. There are videotapes about Hemphill and about artists Gayleen Aiken, Miller and Bryant, and Malcah Zeldis, and miscellaneous African American artists. There is also a videotape of an American Museum of Natural History tour group arriving in a succession of villages in Melanesia and Papua New Guinea where they are greeted by the native people and given the opportunity to purchase their art work.
Artifacts consist of a scattered assemblage of three-dimensional objects including three wooden "fringe" pieces from cigar store figures, ceramic fragments from a sword handle, a lock of horse hair, and a hand-painted View Master viewer souvenir from the opening of the American Visionary Art Museum in Baltimore. The View Master contains a disc of photographs of artists with their work including Vollis Simpson and Mary Frances Whitfield. Also included is a teacher's kit Little Adventures in Art containing four phonograph albums and four short film strips of slides showing art work in animal and bird forms.
The collection is arranged as 10 series; all series are arranged chronologically:
Series 1: Biographical Material, 1916-1997 (Box 1, 28; 12 folders)
Series 2: Correspondence, 1901-1998 (Boxes 1-5, 27- 28, OV 31; 4.0 linear feet)
Series 3: Personal Business Records, 1817-1997 (Box 5-7, 28; 2.0 linear feet)
Series 4: Art Work, 1911-1997 (Box 7, 32; 0.4 linear feet)
Series 5: Notes and Writings, 1938-1996 (Box 7-10, 28; 2.5 linear feet)
Series 6: Scrapbook, 1965-1976 (Box 10; 1 folder)
Series 7: Printed Material, 1776-1998 (Box 10-19, 28-29, OV 31; 9.5 linear feet)
Series 8: Photographs, 1876-1997 (Box 19-24, 29; 5.5 linear feet)
Series 9: Sound and Video Recordings, 1986-1991 (Box 25-26; 13 folders)
Series 10: Artifacts, 1968-1995 (Box 26, 30; 0.7 linear feet)
Herbert Waide Hemphill, Jr., (1929-1998) lived in New York city and was a prominent curator, historian, and collector of American folk art. Hemphill was one of the founding members of the Museum of American Folk Art, organized several large exhibitions of folk art, and co-authored Twentieth Century American Folk Art and Artist.
Hemphill was born on January 21, 1929 in Atlantic City, New Jersey, the son of businessman Herbert Waide Hemphill, Sr., and Emma Bryan Bradley Hemphill whose uncle, William Clark Bradley, was one of the owners of the Coca-Cola Company.
Hemphill was reared in his mother's home town of Columbus, Georgia, and attended Wynnton School. At the Lawrenceville School in New Jersey and the Solebury School in New Hope, Pennsylvania, Hemphill's principle interests were in art and theater. In 1948, he spent a year studying fine arts at Bard College under Stefan Hirsch, a painter and folk art collector.
Hemphill developed his interest in collecting while accompanying his mother on her shopping forays searching for Dresden china. His first acquisition was a wooden duck decoy purchased when he was seven years old. His early collections were of glass bottles, marbles, stamps, and puzzle jugs. In 1949, Hemphill moved to Manhattan and began to focus on modern European and American art and African sculpture, but after 1956 he concentrated exclusively on 19th and early 20th century American folk art. He often discovered artists during his extensive travels, especially in the American South.
In 1961, Hemphill became one of the six founding trustees of the Museum of Early American Folk Art, later named the Museum of American Folk Art, in New York City. Between 1964 and 1973, he was the museum's first curator and curated many exhibitions, helping to promote awareness of work created by self-taught or visionary artists. He later served as Trustee Emeritus for many years.
Between 1974 and 1988, Hemphill loaned portions of his extensive personal collection to 24 museums nationwide and in 1976, the American Bicentennial Commission selected works from his collection for a goodwill tour of Japan. He was named guest curator at the Brooklyn Museum in 1976 and at the Abby Aldrich Folk Art Collection in 1980, and often appeared as guest lecturer at various universities, the Smithsonian Institution, and at the Library of Congress. In 1986, Hemphill donated more than 400 folk art works to the Smithsonian Institution's American Art Museum, resulting in a landmark exhibition Made with Passion: The Hemphill Folk Art Collection of the National Museum of American Art.
Hemphill's publications include books Twentieth Century American Folk Art and Artists, co-authored with Julia Weissman in 1974, Folk Sculpture USA for the Brooklyn Museum in 1976, and Found in New York's North Country: The Folk Art of a Region, co-authored with Varick A. Chittenden in 1982 for the Munson-Williams-Proctor Institute.
Herbert Waide Hemphill, Jr. died on May 8, 1998 in New York City.
Herbert Waide Hemphill donated his papers in 5 installments between 1988 and 1996.
Use of original papers requires an appointment. Use of audiovisual materials with no duplicate access copy requires advance notice.
Folk art -- Collectors and collecting Search this
Herbert Waide Hemphill papers, 1776-1998, bulk 1876-1998. Archives of American Art, Smithsonian Institution.
AAA.hempherb
https://n2t.net/ark:/65665/mw9f69d462b-a5dc-45d7-bfd8-fcac50b7312b
ead_collection:sova-aaa-hempherb
Howard Finster, stranger from another world : man of visions now on this earth / Howard Finster as told to Tom Patterson ; photography by Roger Manley... [et al.]
Patterson, Tom 1952- Search this
Manley, Roger Search this
223 p. : ill. (some col.) ; 24 x 24 cm
Artists Search this
Primitivism in art Search this
N40.1.F497 P3 1989
N40.1.F497P3 1989
edanmdm:siris_sil_383716
Howard Finster, man of visions / J.F. Turner
Turner, J. F (John F.) 1947- Search this
242 p. : ill. (some col.) ; 27 cm
N40.1.F497 T94 1989
Envisioning Howard Finster : the religion and art of a stranger from another world / Norman Girardot
Girardot, N. J. Search this
Finster, Howard 1916-2001 Criticism and interpretation Search this
Finster, Howard 1916-2001 Religion Search this
xviii, 262 pages, 16 unnumbered pages of plates ; 24 cm
Criticism, interpretation, etc
Art and religion Search this
edanmdm:siris_sil_1049501
Howard Finster : American flag paintings : exhibition and catalogue / by Christopher Murray
Murray, Christopher Search this
Govinda Gallery Search this
Finster, Howard 1916- Search this
32 p. : chiefly ill. (some col.) ; 22 x 28 cm
Flags in art Search this
N40.1.F497 M9 1992
Lehigh University Art Galleries and the Religion Studies Department presents the Worlds Folk Art Church : Reverend Howard Finster and Family : September 5 to October 26, 1986, Ralph Wilson Gallery, Alumni Memorial Building, Lehigh University, Bethlehem, Pennsylvania / Ricardo Viera and Norman Girardot, co-curators
Contemporary American Art Exhibition (31st : 1986 : Lehigh University) Search this
Viera, Ricardo Search this
Girardot, N. J Search this
Lehigh University Art Galleries Search this
Lehigh University Religion Studies Department Search this
Ralph Wilson Gallery Search this
Fenster family Exhibitions Search this
Worlds Folk Art Church Exhibitions Search this
36 p. : ill. ; 32 x 14 cm
Pennville
Primitivism in art--Exhibitions Search this
N40.1.F497 V6 1986
N40.1.F497V6 1986
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Include Term Exclude Term Folk art (12)
Include Term Exclude Term Primitivism in art (11)
Include Term Exclude Term Self-taught artists (8)
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Include Term Exclude Term African American artists (2)
Include Term Exclude Term Art and religion (2)
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Finster, Howard
Include Term Exclude Term Hemphill, Herbert Waide (5)
Include Term Exclude Term Arient, James, 1946- (4)
Include Term Exclude Term Camp, Jeffrey Thomas, 1944- (4)
Include Term Exclude Term Carpenter, Miles B. (Miles Burkholder), 1889- (4)
Include Term Exclude Term Girardot, N. J (4)
Include Term Exclude Term Kirwin, Liza (4)
Include Term Exclude Term St. EOM (4)
Include Term Exclude Term Arient, Beth, 1946- (3)
Include Term Exclude Term Harvey, Bessie, 1929- (3)
Include Term Exclude Term Kind, Phyllis (3)
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Include Term Exclude Term Photograph Study Collection, Smithsonian American Art Museum (1)


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3 Torre CEPSA, originally known as Torre Repsol then Torre Caja de Madrid, and then Torre Bankia until 2014. Designed by Lord Foster and built by a joint venture of Dragados and Fomento de Construcciones y Contratas (FCC). 250m (820ft) high and 45 storeys, it is the tallest building in Spain and the 4th tallest building in the European Union.
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3 4 5 6 The four buildings are known collectively as the CTBA, Cuatro Torres Business Area and are located in the Paseo de la Castellana on the former site of the Ciudad Deportiva of Real Madrid. The area contains the tallest skyscrapers in Spain, and some of the tallest in the European Union.
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