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text:
How does the New York Foundling's crisis nursery prevent maltreatment and entry into foster care?
Crisis nurseries are designed to provide respite and short-term care for families that experience a temporary crisis due to lost employment, a medical emergency, violence, or other family challenges.1 The goal of a crisis nursery is to decrease the risk of child maltreatment and stabilize a family by reducing parental stress and enhancing parental skills. While crisis nurseries are not traditionally thought of as family resource centers, they are similar in that they provide initial crisis assessments and intervention services, including referrals and concrete supports. The nurseries even may be a part of a family resource center.
The New York Foundling's crisis nursery provides:2
A 24-hour help line.
A safe place for children to stay during a family crisis.
Individualized attention and support in a secure, nurturing environment.
Childcare by trained professional staff.
Casework counseling for parents.
Linkages to community-based support services.
Routine medical care for children, if necessary during their stay.
Follow-up and aftercare.
Originally founded by the Sisters of Charity in 1869 as a home for abandoned children, the New York Foundling was the first institution in the U.S. devoted exclusively to the care of abandoned and neglected infants, regardless of demographics. The agency now offers an extensive array of services for children and families to address needs across the social service spectrum — child protection, foster care, adoption, juvenile justice, education, as well as services for single mothers, young people aging out of foster care, and individuals with developmental disabilities. The Foundling reaches 30,000 children and families each year in all five boroughs of New York City, surrounding New York counties, and Puerto Rico.3
Dr. Vincent Fontana, the New York Foundling's longtime medical director, researched the effects of child maltreatment as part of his work to develop prevention strategies. As a result of his decades-long research, the agency established the Maria Lucadamo Crisis Nursery in 1982. While there are numerous crisis nurseries throughout the country, the Foundling's is currently the only fully licensed, around-the-clock emergency respite care and prevention facility for children in New York City.
The Maria Lucadamo Crisis Nursery has 10 beds (five cribs and five adjustable beds), in addition to two pullout beds to allow for flexibility or emergencies. Children may range in age from newborn to 10 years old, although older siblings are allowed if necessary to keep a family intact.
The crisis nursery serves a variety of families — including single parents, parents from out of state, and immigrant families — that may not have strong social networks to help them navigate stressful situations, such as mental health crises, medical procedures, detox, and seeking safety from domestic violence. The nursery works with parents to address these challenges and keep children safely out of the foster care system.4
The original goal of the Foundling's crisis nursery was to provide respite for families that were dealing with a one-time emergency, regardless of child welfare involvement. Currently, almost half of the families served are involved with the New York City Administration for Children's Services (ACS), either through its child protection or preventive services divisions. The majority of families are referred by hospital social workers due to medical issues, followed by schools and shelters.
In 2018, the Foundling's staff received and processed more than 16,300 calls to its parenting support helpline, while the crisis nursery responded to more than 1,200 calls and cared for 186 individual children in 116 different families.5 The crisis nursery tracks data to measure specific outcomes about families served, including:
Re-entry: Approximately 92 percent of the families that use aftercare services do not need to re-enter the crisis nursery for the same reasons that previously brought them there.6 When receiving aftercare, no families have had child protection investigations, dependency filings, or children removed and placed in foster care.
Parental community engagement: Families that engage in their communities when aftercare is assigned are very successful. The aftercare worker assists in and advocates for aftercare services on behalf of the family within the community. The nursery, it should be noted, does not track families that leave and do not receive aftercare services.
I'm at my wit's end. … To do what's best for my children, I know I need to check into rehab, but I have no one to take care of them.7
– Parent served by the New York Foundling's crisis nursery
The Maria Lucadamo Crisis Nursery's team of social workers, doctors, nurses, and teachers creates a nurturing environment for vulnerable children, providing shelter, educational and playtime activities, medical care, toys, and clothes, as well as supportive services for parents. There are three stages of the crisis nursery program:
Pre-admission: When parents and caregivers contact the Foundling's helpline, case planners triage the calls, gather pertinent information, and make appropriate referrals to the crisis nursery and/or other supportive services.
Admission: Case planners meet with parents and caregivers to understand the crisis and underlying needs. When children are admitted to the crisis nursery, the case planner also works with the family to develop a service/discharge plan, which includes referrals for services, as well as links to community resources and advocacy groups, to ensure the family will remain safe and stable once the child returns home.
Post-discharge and aftercare: After the child's stay at the crisis nursery, staff continue to provide care and support to the family as identified in the service/discharge plan. Staff work closely with the ACS Division of Prevention Services to identify the right preventive program for the family. Aftercare is voluntary for families not involved with ACS preventive programs. If a family elects to sign up for these services, the case planner assigns an aftercare worker who monitors the family for three to six months. Families are not tracked once they leave aftercare services.
Throughout these three stages, staff identify and address the concerns of the families, and work with them to: 1) plan and implement appropriate goals and interventions; 2) identify family and community resources to assist in achieving desired goals; and 3) recognize when they may be in crisis and in danger of harming their children so they can reach out for help. The crisis nursery team also identifies any medical and developmental issues during the child's stay and works with the parent to address them.
To prevent the crisis nursery from becoming a daycare or drop-off center, a child must stay at least 24 hours but typically no longer than 21 days. Longer stays may be allowed if, for example, the parent is in a 28-day treatment program or has medical complications. In such cases, the nursery must notify ACS. On average, children spend three to five days at the nursery.
It is essential to ensure that the family and child remain in contact and that the crisis nursery does not disrupt family bonds. Parents are invited and expected to call daily, both to connect with their child and to provide the case planner with an update. If a parent is not responsive for three days, for reasons other than medical issues, ACS is notified about potential neglect. In extreme but rare situations, ACS may become involved if the parent is unable to take the child back home. While the nursery lacks the budget and infrastructure to provide transportation, it works closely with local area hospital social workers to arrange transportation to and from the hospital, should children need to visit their parents while they are hospitalized.
As part of the admissions process to the crisis nursery, the parent or legal guardian provides consent, as well as information about who can and cannot visit and/or communicate with the child. If the legal guardian signs the consent and the birth parent is not listed, the staff will neither confirm nor deny to the birth parent that the child is in the nursery. This level of caution is especially important in situations involving domestic violence.
Preventing trauma
The crisis nursery seeks to prevent further trauma to the child or family, and to make the process as welcoming and non-threatening as possible. This is evident in all stages of a family's engagement, beginning with admission and continuing through aftercare services. In non-emergency situations, staff schedule a tour for the family prior to the child's admission. The child's response to the tour helps staff anticipate how the child will adapt to the nursery — and to separation from the parent. This in turn helps staff better prepare for the child's stay. Parents are encouraged to have children bring personal items from home. Once children are admitted, staff talk with them about why they are there, prepare them for what the stay entails, and facilitate regular contact with their parents.
Recognizing that routine is important for children, the nursery maintains a regular schedule. Staff work with the parents and family members to ensure phone calls and visits do not disrupt that routine. The crisis nursery also partners with the agency's school program to provide classes for children ages 3½ and older. Teachers work individually with the children to identify any behavioral or developmental concerns, including whether an individualized education plan may be necessary.
Service coordination and collaboration
Being nested within a broader social services agency like the Foundling provides the crisis nursery with easy access to other contracted services, including substance use treatment, domestic violence, and mental health services. For example, the crisis nursery partners with the agency's deaf services program to provide video phones for children and parents. In addition, the New York Foundling's chief medical officer and nursing staff are located down the hall from the Maria Lucadamo Crisis Nursery and provide additional care for the children, including a check of vital health statistics at admission and discharge, distribution of medication, medical care if a child is sick, and additional coverage on nights and weekends as needed.
The crisis nursery also spends time educating other service providers in the community about what it does and whom it helps. This ensures the providers have the information they need to refer families during times of crisis. In addition, the crisis nursery and ACS's preventive programs have developed a strong relationship. For example, they worked together to customize intake documentation for the nursery to ensure the most critical information was captured to meet the needs of both entities, given the unique, voluntary, and short-term nature of the program.
While the Maria Lucadamo Crisis Nursery currently receives funding as one of ACS's preventive programs, it needs to constantly raise money and in-kind donations, as it historically has operated at a deficit. The Foundling is working closely with ACS on a new budget model to address actual operational costs associated with running the crisis nursery.
1 Note: Unless otherwise cited, information in this brief was derived from a January 24, 2019, interview with Liyan Bao, vice president, and Timothy Jefferson, assistant vice president, of the specialized programs and permanency support of the Maria Lucadamo Crisis Nursery of the New York Foundling; or from the New York Foundling's crisis nursery web page at https://www.nyfoundling.org/
2 The New York Foundling. (n.d.). The Maria Lucadamo crisis nursery: We can help. New York City, NY: The New York Foundling.
3 Retrieved from https://www.nyfoundling.org/who-we-are/our-why/
4 The crisis nursery is not eligible for foster families because they already have access to respite care.
5 Correspondence with Liyan Bao, dated February 26, 2019, and May 14, 2019.
6 However, a family dealing with a chronic medical issue that does not have a strong support system can use the nursery as needed, and are not counted in this data point.
7 Retrieved from https://www.nyfoundling.org/
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Categorized in: Prevention, Questions from the field, Resources, Safe children, Strategy Brief
Tagged with: Child safety
Strategy Brief
PDF: 716.64 KB
What do we know about crisis nurseries?
This issue brief explores how crisis nurseries can support parents during a crisis and prevent abuse and neglect to children.
Do place-based programs, such as Family Resource Centers, reduce risk of child maltreatment and entry into foster care?
Family Resource Centers offer community-based family support to prevent child abuse and neglect. Explore key elements and effectiveness.
What are some ways San Francisco's Family Resource Centers strengthen families and protect children?
These brief videos describe how family resource centers in San Francisco offer concrete supports to families and build protective factors.

redpajama_set_name: RedPajamaCommonCrawl


text:
Tel.:+40 757 055 590
Baia Mare was shortlisted for the European Youth Capital 2022 title
Home > Press releases > Baia Mare was shortlisted for the European Youth Capital 2022 title
Baia Mare was shortlisted for the European Youth Capital 2022 title, the European Youth Forum announced on Monday.
12 cities applied for the title, the other ones on the shortlist are Kazan (Russia), Poznań (Poland), Tirana (Albania) and Varaždin (Croatia).
"I would like to thank the youth community for this result. This project is mainly created by them, and it is for what they would like this city to become. Their message is that even in Baia Mare there can exist youth policies and projects relevant on an European level", said Mayor Cătălin Cherecheș, who also announced that a consolidation of a partnership is in the making.
The deadline for the bid for the second round is 26th May. The jury will give feedback until August 7th and the final bid needs to be sumbitted until September 22th. The presentation before the jury is on November 15th and the winner will be announced on November 21th in Amiens, the European Youth Capital in 2022.
"The city made the shortlist thanks to the quality of the bid but also to the vision, the coherence between the elements of such a bid. We were given the opportunity to develop a whole bid based on the concept of the Urban Youth Circle, a concept containing three elements: young people, the city and sustainability. We want to create a scalable model, something useful for any European city that confronts similar challenges as those of Baia Mare", said the application's coordinators.
The Urban Youth Circle presents an original and innovative programme which tackles the subject of sustainability in urban and regional environments, focusing on the participation of young people in this process. Sustainability is a complex concept as it is, and involves a number of viewpoints, especially when we are talking about cities – it involves the capacity of the city for functioning and using its resources in a sustainable way, the quality of life of citizens, the level of social inclusion and many more.
The programme addresses the circle of human innovation and sustainability in the context of the Sustainable Development Goals with the core presence and participation of youth.
At present, Baia Mare is the Youth Capital of Romania, it has invested in the young people, includes them and runs a year-long program where young people are co-managers and active participants, too. The allpicaton for EYC 2022 is a natural follow-up on this effort, a result of the national program. The title will help create the context in which all these can take on an European level, the coordinators say.
The concept was developed by the management of the Baia Mare Romanian Youth Capital programme and by the experts of PONT Group.
Baia Mare Brâncovenești Castel în Transilvania Com'On Romania consultare CRITBIZ Satu Mare sesiune de informare tineret tineri
PONT Group
Horea street nr. 5, ap. 7, Cluj-Napoca 400174 Romania
E-mail: office@pontgroup.org
Website: pontgroup.org
About PONT Group
Founded in 2009, PONT Group works in the field social innovation through participation, entrepreneurship and culture with a special focus on youth and digitalization. PONT Group's approach is to create general frameworks, programmes and to implement specific projects through cross-sectoral and multidisciplinary partnerships on local, regional, national and European level, too. The main office of PONT Group is located in Cluj-Napoca, Transylvania, however, through the different projects it is active in different cities of Romania and Europe, too.
Proiect cofinanţat prin Fondul European de Dezvoltare Regională. Pentru informaţii detaliate despre celelalte programe cofinanţate de Uniunea Europeană, vă invităm să vizitaţi www.fonduri-ue.ro.
Conţinutul acestui material nu reprezintă în mod obligatoriu poziţia oficială a Uniunii Europene sau a Guvernului României.


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Psychotria ayangannensis är en måreväxtart som beskrevs av Julian Alfred Steyermark. Psychotria ayangannensis ingår i släktet Psychotria och familjen måreväxter. Inga underarter finns listade i Catalogue of Life.

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ayangannensis

redpajama_set_name: RedPajamaWikipedia


Primary topics of the HotQCD Collaboration include calculations of the location and nature of the chiral and deconfinement transition temperatures, and the QCD equation of state. The collaboration calculates thermodynamic observables such as the chiral condensate, chiral susceptibilities, and quark number susceptibilities which are directly related to charge and isospin fluctuations in heavy ion collisions. All calculations are performed with near physical quark masses and close to the continuum. Calculations are performed using both improved staggered and domain wall fermion actions.


Get warm and snuggly with our cornflower blue knitted jacket. Crafted from a super soft knit it has a hood and turn up cuffs. Wrap yourself up like a blanket and cosy up on the sofa with a hot chocolate. Also, perfect for wearing outside with a scarf to double up as a jacket.


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Want to be Popular With the Mainstream Media? Just Advocate Infanticide
Human Exceptionalism
Peter Singer is the most popular bioethicist around for the "in crowd" of the MSM. The New York Times loves him, often offering him its coveted pages within which to engage in punditry, for example in support of medically mutilating a profound disabled girl so she wouldn't mature. Ditto, the LA Times which let him push infanticide in its pages. And now CNN brought him in has a health care expert. From the story:
This morning, CNN's American Morning tried to explain health-care rationing. Their guest? Princeton ethicist Peter Singer. The network failed to mention anything about Singer's extremely controversial background as a euthanasia advocate who defines "person" in such a way as to exclude newborn infants and others — such as elderly dementia patients — who lack self-awareness and the ability to make plans. The network promised a response to The Examiner"s inquiries, but finally offered a "no comment" this afternoon.
Of course, Singer has explicitly called for health care rationing. The MSM has sure shown its colors: Disdain town hallers as Astro Turfers, while embracing a man who argues parents should be able to kill babies that don't serve their interests and that people with dementia aren't persons. But I think it goes beyond policy to style. MSMers fancy themselves as members of the intelligentsia, and if anyone epitomizes that sector–and why it has become so dangerous–it is Peter Singer.


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Q: Find an element in an XML tree using ElementTree I am trying to locate a specific element in an XML file, using ElementTree. Here is the XML:
<documentRoot>
    <?version="1.0" encoding="UTF-8" standalone="yes"?>
    <n:CallFinished xmlns="http://api.callfire.com/data" xmlns:n="http://api.callfire.com/notification/xsd">
        <n:SubscriptionId>96763001</n:SubscriptionId>
        <Call id="158864460001">
            <FromNumber>5129618605</FromNumber>
            <ToNumber>15122537666</ToNumber>
            <State>FINISHED</State>
            <ContactId>125069153001</ContactId>
            <Inbound>true</Inbound>
            <Created>2014-01-15T00:15:05Z</Created>
            <Modified>2014-01-15T00:15:18Z</Modified>
            <FinalResult>LA</FinalResult>
            <CallRecord id="94732950001">
                <Result>LA</Result>
                <FinishTime>2014-01-15T00:15:15Z</FinishTime>
                <BilledAmount>1.0</BilledAmount>
                <AnswerTime>2014-01-15T00:15:06Z</AnswerTime>
                <Duration>9</Duration>
            </CallRecord>
        </Call>
    </n:CallFinished>
</documentRoot>

I am interested in the <Created> item. Here is the code I am using:
import xml.etree.ElementTree as ET

calls_root = ET.fromstring(calls_xml)
    for item in calls_root.find('CallFinished/Call/Created'):
        print "Found you!"
        call_start = item.text

I have tried a bunch of different XPath expressions, but I'm stumped - I cannot locate the element. Any tips?

A: You aren't referencing the namespaces that exist in the XML document, so ElementTree can't find the elements in that XPath. You need to tell ElementTree what namespaces you are using.
The following should work:
import xml.etree.ElementTree as ET

namespaces = {'n':'{http://api.callfire.com/notification/xsd}',
             '_':'{http://api.callfire.com/data}'
            }
calls_root = ET.fromstring(calls_xml)
    for item in calls_root.find('{n}CallFinished/{_}Call/{_}Created'.format(**namespaces)):
        print "Found you!"
        call_start = item.text

Alternatively, LXML has a wrapper around ElementTree and has good support for namespaces without having to worry about string formatting.

redpajama_set_name: RedPajamaStackExchange


text:
Left Bank Art Blog
Peter Voulkos and the Ceramics Revolution of the 1950s
By Charles Kessler
As I noted in a recent post, ceramics, as an art medium rather than a utilitarian craft, has become popular with artists. In fact, discarding functionality for the more purely aesthetic or expressive is happening to all the applied arts: textiles, glass, graphic design. I've even seen jewelry and fashion that's so wildly outlandish it really isn't intended for ordinary wear.
There's a history in the evolution of ceramics that can put this phenomenon in context and enrich our understanding of it. Clay has long been used as a medium for sculpture – prehistoric figurines, Japanese Haniwa, Greek vases, etc.. But for whatever reason, ceramics was shunned as a medium for sculpture during much of the past few centuries. It was considered a craft – an applied art limited by the requirement that it produce something functional, like a plate or a vessel of some sort. As a craft, it was considered inferior to fine art.
The Bauhaus improved matters a bit by treating ceramics, and the other applied arts, with the same respect as fine art. Nevertheless, it was assumed that ceramics, along with the other crafts, would serve a utilitarian purpose.
Johannes Drisch, breakfast service, 1921-22, free thrown high-fired earthenware with slip decoration (private collection, included in MoMA exhibition, Bauhaus 1919-1933, Workshops for Modernity),
Peter Voulkos was the first person to radically change a craft medium into a viable art medium, some seventy-five years ago. Few people have had such an impact on an art medium as Voulkos, both as an innovator and as an inspiring teacher.
Peter Voulkos in his Glendale Blvd. studio with Black Butte-Divide, 1959.
When I came to Los Angeles in 1965, Voulkos and his students John Mason, Ken Price and others at the Otis Art Institute (they were typically referred to as the "Abstract Expressionist Ceramicists"), were regularly exhibited in major galleries and museums, but almost no notice was taken in the rest of the world, including New York. And, with the notable exception of Ken Price, it's still pretty much the case.
Installation view, Ken Price Sculpture - A Retrospective, September 16, 2012 - January 6, 2013, (Los Angeles County Museum of Art, © Ken Price. Photo © Fredrik Nilsen).
I believe this is about to change. The fact is, Voulkos is relevant today for the influence, direct or indirect, he's having on many vital young artists.
Until recently, Voulkos's sculptures looked dated, like a lot of the Abstract Expressionist sculpture of this period. Rather than being colorful, polished and relatively minimal like the ceramic sculptures of Ken Price, Voulkos' work looks rough, handmade – what is referred to today (in a good way) as "sloppy craft." Also there is an emphasis on surface texture and materiality in his work.
Peter Voulkos, Little Big Horn, 1959, polychromed stoneware, 62 x 40 x 40 inches (Oakland Museum of California).
These are just the things that interest some of the most adventurous artists today. In contrast to the over-produced, highly polished art commonly found in Chelsea, there's a refreshing authenticity about handmade art. There's also a growing interest in surface and materiality (perhaps from a discontent with video). You can see evidence of these trends in Bushwick – one of the most vital art scenes in the world right now. (See my posts on Bushwick Open Studios here and here.) And Voulkos has had a direct influence, in this respect, on many important young ceramic artists, Sterling Ruby, Kathy Butterly, Nicole Cherubini, Arlene Shechet, Jessica Jackson Hutchins among them.
Installation view, Arlene Shechet, solo exhibition at Sikkema Jenkins & Co., 2013.
Jessica Jackson Hutchins, Couple, 2010, couch, ink spray paint, charcoal dust, hydrocal, ceramic, 52 x 67 x 38 inches (Derek Eller Gallery).
Sterling Ruby, Basic Theology, 2013, ceramic, 20 ½ x 42 ¾ x 44 inches.
So what about Voulkos? What in particular did he do that was so revolutionary?
His major artistic breakthrough, in the early 1950s, was to create abstract ceramic sculptures from parts of wheel-thrown pots; that is, to build ceramic assemblage sculptures rather than monolithic vessels. He thereby not only broke away from the utilitarian, but he was no longer limited by what could be thrown on a wheel in one shot.
Peter Voulkos, Untitled, 1956, stoneware, 20 x 14 x 15 inches.
Later Voulkos innovated the use of epoxy glue rather than kiln firing to join parts, and epoxy paints along with colored glazes to add color to the sculptures.
Peter Voulkos, Red River, ca. 1960, stoneware with slip, glaze and epoxy paint, 37 x 12 ½ x 14 ½ inches (Whitney Museum).
The other big innovation, large-scale ceramic sculpture, Voulkos developed with John Mason, one of his older and more advanced students. They shared a studio from 1957 until 1965 when Voulkos moved to Berkeley. (Update: See Frank Lloyd's clarification in the comments section below.) With the advice of Mike Kalan, a ceramics engineer, they built two industrial-size kilns capable of firing sculptures up to six feet high.
Peter Voulkos and John Mason in their shared studio, late 1950s.
In addition to being a great innovator, Voulkos was an inspiring teacher and, with his students, he spawned the "Abstract Expressionist Ceramics" movement. He was sociable, charismatic, rebellious and extraordinarily energetic. He was about the same age as his students, and he treated them more like colleagues than pupils. He worked alongside them and they exchanged techniques and ideas. Most important, since all Voulkos's students came from the crafts world, he introduced them into the fine arts world, and to the different intentions and values of that world.
As a group they were hard-working, collaborative and highly competitive – but they were also independent and, to Voulkos' credit as a teacher, they all made very different ceramic art. (The term "Abstract Expressionist Ceramics" really only applies to Voulkos and the early work of John Mason. Later Mason became more of a Minimalist making highly refined constructivist tile walls and abstract sculptures.)
Installation view, John Mason, ceramic, 2014 Whitney Biennial.
In addition to Ken Price and John Mason, the other Abstract Expressionist Ceramicists incude: Billy Al Bengston, Michael Frimkess, Mac McClain, Jerry Rothman, Paul Soldner, and Henry Takemoto. And in 1959, when Voulkos moved to the University of California at Berkeley, James Melchert and Ron Nagle came under his influence.
* I'm grateful to my friend Ken Garber who loaned me his informative unpublished 1973 thesis about these artists. It helped put their achievement in context.
To prevent this post from getting clogged up, I heavily edited it. Here are some of the things I left out. Feel free to skip it if you want!
Publications about this art and period. Not many good ones, but here are two:
the 2012 catalog for a Scripps College exhibition entitled Clay's Tectonic Shift;
and online, there is an article by Garth Clark, and several posts in the Frank Lloyd Blog.
More on the visibility of these artists in New York – or lack thereof:
John Mason had three sculptures and a ceramic wall in the 2014 Whitney Biennial, and the Whitney has a large collection of California ceramics — the Howard and Jean Lipman Collection – but they hardly ever show it, and none of it is on their website. (Update: See Frank Lloyd's clarification in the comments section below.)
The Museum of Modern Art lists no work on their extensive website by Mason or Peter Voulkos, and only four minor lithographs by Ken Price – no ceramics. I contacted MoMA to find out if they owned work that wasn't on their site, and they said they had a Voulkos vase from 1956, and nothing by Mason.
Peter Voulkos, Jar, ca. 1956, stoneware, 22 inches high (MoMA).
The Metropolitan Museum of Art lists some 400,000 works on their website including more than one thousand ceramic works from 1900 to the present, but nothing by Voulkos, Mason or even Price who was just given a major retrospective there. The Met did have a show of some work by Voulkos and Mason in 1998 as part of a small contemporary ceramics exhibition installed in a glass display case on the Great Hall Balcony. Not the most prestigious space, but it's something – and they continue to occasionally exhibit contemporary ceramics there.
There are a few museums that seriously collect and exhibit ceramics: the Los Angeles County Museum of Art, the Carnegie Museum of Art, in Pittsburgh, and the Hirschhorn Museum in Washington D.C..
Hedges and provisos:
Of course, there have been exceptions to the functionality requirement, such as Gauguin's disturbing stoneware sculpture that made me gasp every time I saw it at the recent Gauguin exhibition at MoMA. It's difficult to see in reproduction, and not easy in person either, but at her feet is a bloody wolf that she probably killed, and she's holding a wolf cub – probably the cub of the dead wolf. This was Gauguin's last sculpture, and his biggest. He considered it his masterpiece and wanted it placed on his tomb.
Front, back and close-up views of Paul Gauguin's Oviri (Savage), 1894, partly enameled stoneware, 29 1/2 x 7 1/2 x 10 5/8 inches (Musée d'Orsay, Paris).
And needless to say, there's nothing wrong with craft ceramics; in fact, all of the ceramicists discussed here continued to make functional objects their entire careers. And, of course, some of the greatest, most breathtakingly beautiful art in the world is functional.
Unknown artist, Qing dynasty vase, 1713-22, porcelain with peach-bloom glaze, 7 ¾ inches high (Metropolitan Museum of Art).
Influences and inspirations for the ceramics revolution:
In 1954, when Voulkos still considered himself a craftsman, Rosanjin, a well-known Japanese ceramicist, had an exhibition at the Los Angeles County Museum of Art (LACMA) that impressed Voulkos because the work was less refined than traditional pottery. Rosanjin's Zen aesthetic allowed for more chance and improvisation in the making, and for asymmetry and imperfection in the end product. In addition, even though Rosanjin continued to make functional vessels, he repudiated the craft tradition and declared himself a fine artist.
Rosanjin, Jar, 1954, 8 ½ inches high.
Joan Miró worked with ceramics in 1947-48 and again in 1953-56, and Voulkos saw some at a 1959 Miró exhibition at the Los Angeles County Museum of Art (LACMA).
Joan Miró, Monument,1956, earthenware, 28 1/4 x 12 3/4 x 12 3/4 inches (courtesy of the Chazen Museum of Art, University of Wisconsin-Madison, Terese and Alvin S. Lane Collection).
Especially influential were the ceramics of Picasso who made a mind-boggling 2000 ceramic pieces in 1947-48, and even more in 1953.
Pablo Picasso with some of his painted ceramic works at his studio at Vallauris.
They were impressed that Picasso and Miró didn't stop after the pot was thrown, but continued working on it, manipulating it, cutting it, and using the clay surface as a medium to paint on. And just the fact that artists with the stature of Picasso and Miro (and, BTW, Fernand Leger) made ceramics lent credibility to the medium as a fine art.
But perhaps the biggest impact on Voulkos was the time he taught at Black Mountain College (BMC) in the summer of 1953, then a hotbed of experimental art activity. Because Voulkos was naturally sociable, he quickly became friends with many of the other teachers, especially the poet Charles Olson, the composer David Tudor and the painter Jack Tworkov with whom Voulkos traded work. He also met Robert Rauschenberg, Merce Cunningham, and John Cage whose performances profoundly impressed him. And Voulkos spent time in New York where he hung out at the Cedar Bar and befriended Franz Kline and many of the other Abstract Expressions.
Two small but possibly significant details:
Voulkos pinned black and white photos of Picasso's ceramics to his studio wall as inspiration for himself his students. They thought the work in these photos was more brightly colored and bigger than they actually were, which is significant since that might be one reason they ended up producing larger and more colorful ceramics.
In an interview reported in Clay's Tectonic Shift, Ken Price said: "We thought we were pretty hot stuff until we saw him. ... Voulkos was capable of an almost inhuman capacity – he made fifteen pieces to everyone else's one."
Some other Abstract Expressionist Ceramicists:
John Mason, the other great innovator, experimented with the properties of clay, pushing it to its technical limits of thickness, size and weight. He did away with the throwing wheel altogether and instead he would slam large hunks of clay to the floor, mold them, join them together, cut them up into smaller sections that could be fired without exploding, and, after firing, join them together again into large ceramic walls. This was as close to "Abstract Expressionist Ceramics" as it ever got.
John Mason working on Blue Wall, 1959 (Photo from Frank Lloyd's blog).
John Mason, Blue Wall, 1959, ceramic, 96 x 252 x 8 inches (collection of the artist. Photo by Anthony Cuñha).
Ken Price, whom I just wrote about here, is closer to the Los Angeles "Cool School,"
Ken Price, G.L. Green, 1964, fired and painted clay on a wood base, 6 1/4 x 5 x 5 inches, Betty Lee and Aaron Stern Collection © Ken Price (from Ken Price, A Retrospective at the Nasher Sculpture Center, Dallas, 2013).
as is Ron Nagle.
Ron Nagle, Red and Turquoise Knob Job, 1984, glazed earthenware, 2 ⅞ x 4 ¼ x 2 ¼ inches (de Young Museum, San Francisco).
The others were (and are) all over the place from Pop to Funk to traditional craft pottery.
Michael Frimkess, Jumpin' at the Moon Lodge, 1968, glazed stoneware, no size noted (Scripps College Collection).
Jerry Rothman, Covered Olympic Vessel, ca. 1984, glazed earthenware with colored oxides in sand, 32 ½ x 11 inches.
UPDATE: The Los Angeles Times just published an obituary for Jerry Rothman.
And finally, my pet peeve about Los Angeles artists of this period:
While the Abstract Expressionist Ceramicists considered themselves artists, they identified with blue collar workers and affected an anti-intellectual, macho, pose. This, unfortunately, set the tone for future LA art groups like the Ferus Gallery artists (below), the "Cool School," and, to some degree, even the 1980s Cal Arts graduates. It was common for them to say things that used to infuriate me like "I don't look at art (or read about art), I just make it," as if they were proud of it. (Fortunately this wasn't true of most LA artists — my friends Ron Davis, Charles Garabedian, Karen Carson, Robin Mitchell, Allan McCollum, Pat Hogan and Peter Plagens among them.)
The Ferus Gallery Artists, 1959; from Left: John Altoon, Craig Kauffman, Allen Lynch, Ed Kienholz, Ed Moses, Robert Irwin, Billy Al Bengston (photo: Patricia Faure).
Probably due to this macho ethos, the only women ceramicists I found even alluded to during this period were Susan Peterson, who taught Mason the craft of ceramics before he went to Otis, and two full-time ceramics students at Otis – Carol Radcliff and Janice Roosevelt. But I've never seen any mention of them in relation to Abstract Expressionist Ceramics.
Posted by Charles Kessler at 12:23 PM
Kyle Gallup said...
Wonderful, inspired and interesting post Charles! Thank you for the over-view. I will be looking up many of the names you include here. I was aware of Voulkos as a high school student. We had an exceptional ceramics dept. and I spent many hours working in the clay studio. PV was a personal favorite of my teacher.
The first Voulkos image you post of PV's sculpture--Little Big Horn 1959, reminds me of a Philip Guston painting but I guess that's not surprising with the abstract ex. connection.
The Ferus photo of the artists is weird--very macho as you say in your piece....mucho-macho and physical.
I really like Ken Price's work too. Can't wait to see the rock show that's up right now.
Charles Kessler said...
Thank you Kyle, I worked hard on this post. It's nice you appreciate it.
Better hurry to see the Ken Price shows (three of them!), they close June 28th.
I will hurry to see the shows--I also wanted to add that all the images and the connections you make here put a lot into perspective for me. I thank you for that.
a wonderful article - history of California ceramics and the background info is great> info like having pictures of Picasso on the wall of the studio. walter oneill
great article on west coast ceramics. the background and details like the artist had picture of Picasso on his studio wall are wonderful
Ken Garber said...
Really good post, Charles! One of the things that always puzzled me was the devaluing of clay as an expressive medium. Some of it may have been due to the technical difficulties of working with clay...shrinking, warping, cracking, that required a good deal of technical skill. But actually all media have their requirements and limitations. So I don't know. I do know lots of clay artists who really resented their 2nd class stature. In Asia, the tradition valued the work, regardless of the medium.
Thanks Ken. I value your opinion.
You mentioned once that, because of technical reasons with the firing, ceramics had to be fairly small. Maybe that's a factor too. But given how great ceramic art was over the centuries, it's still pretty inexplicable that ceramics as an art medium would be shunned.
Cathy Cullen said...
Charles, Your blog reminds me Peter Voulkos was one of the great 'originators'.
I don't know if he ever credited Chinese Han ceramics but I see the slab walls and structuring very directly in Untitled, 1956, stoneware, 20 x 14 x 15".
Also Jar, ca. 1956, stoneware, 22 inches high (MoMA) seems linked to Islamic 12/13th century jars. There was exchange between china and persia at that time along the silk road.
Good point! Japanese Haniwa figures are another precedent. Does anyone know if terracotta is easier to use in slab construction than clay?
I should have checked Wikipedia before I asked about terracotta:
"In archaeology and art history, "terracotta" is often used of objects not made on a potter's wheel, such as figurines, where objects made on the wheel from the same material, possibly even by the same person, are called pottery; the choice of term depending on the type of object rather than the material[citation needed]."
So it's slab construction by definition. It's not because it's terracotta, but because it's not made on a potter's wheel.
http://www.earlywomenmasters.net/masters/jomon/mma_jomonpot.html
Your post on Voulkos has gotten me searching for his possible sources. the link i posted in above is a middle Jomon (around 5000 B.C.) pot the Met owns. The directness, primal power and piercings/holes is akin to the wonderful physicality in Voulkos work.
I am amazed at how he synthesized sources.
Incidentally, Jomon pots were likely made by women.
In my understanding of the term, terra-cotta refers to a type of red earthenware clay body that can be used for whatever purpose. It can be glazed or unglazed. It is distinguished from stoneware and porcelain clay bodies primarily by the temperature at which it was fired. I believe that the Chinese were the first to develop kilns that could reach higher temperatures and clay bodies that matured at those higher temperatures. This allowed for the creation of work that was harder than earthenware, and thus non-porous.
Thanks Ken. It's always great having your expertise.
Serendipitously I came across this while paging through Miro; Playing with Fire:
....Voulkos preferred working "in the dark," he said with just a vague idea of the thing he wanted to bring into being.
...His ambition wasn't that of a traditional craft potter. It was that of an artist/potter. The aim had shifted from the social to the self. "When it comes right down to it," said Voulkos, "i have a very selfish attitude - I don't make pots for people but to satisfy myself."(Conrad Brown.Craft Horizons, Oct 1956).
...in the fine arts, where the ceramics of Miro and Artigas resided, Voulkos' comment would have been seen merely as an obvious statement of the modern artist's task: to bring his personal vision to life.
50+ years later, the shift is back to the social as a kind of obligation --- and to create context.
Very germane, Cathy.
BTW, I'm thinking that I should have made more of Miro's influence on Voulkos. After all, Miro left functionality in his ceramics, but Picasso never did.
One distinction that has not been brought up in the on-going discussion is that between "production potter" and "studio potter". Studio potters focus on producing one of a kind pieces that may or may not have functionality as part of their purpose, whereas production potters try to create works that are well-crafted in both the aesthetic and utilitarian sense and are usually produced in larger numbers per series. So studio potters in a way bridge a gap between craftsmen and sculptors. But to me the gap is arbitrary. An object that engages me aesthetically is a work of art, regardless of its functionality.
Re: Picasso and Miro. I think Picasso abstracted from in all his work – from body, guitar, vase- as opposed to non-objective. In my limited knowledge of his ceramics, there is evidence of the source pot that was cut up/re-formed. The pot was his starting point and a reference maintained. It was the pot form Picasso worked without regard for utilitarian purpose.
Although Miro painted on vases and plates, it is the lumpy rocks and broken tiles fragments that I find the most compelling. The gravity less space of his ptgs is coupled with the feeling of cave drawings. Miro did not build in clay but would take "pebbles, shells, bits of driftwood, and debris of all kind from the sea, and I also took squash from my garden. These forms were interpreted in clay…"(Rosamund Bernier) by the remarkable Artigas who also made up enamel glazes to replicate the bright colors Miro preferred.
I would not have made Miro connection to Voulkos had I not stumbled on Miro; Playing With Fire.
I think the 'Ceramics Revolution' is apt considering the prevailing approaches in the 50's. Craft Horizon published Dore Ashton's article on Miro and Artigas in Feb 1957 which Voulkos probably saw. It met with unhappy letters to the editor. Stepping outside the utility of craft was akin to apostasy, it seems.
There was a good deal of resistance to the use of clay for sculptural or non-utilitarian work as can be seen in the letters written to Ceramics Monthly magazine in the 60's and 70's by traditional potters. Many felt that the craft of pottery had finally been revived after having been almost obliterated by factory made ware. So to see a magazine article dedicated to other uses of clay did seem an apostasy.
Charles, i was re-reading your article and see in the Addendum a reference to Miro and his wonderful sculpture, which renders my comment "I would not have made Miro connection to Voulkos had I not stumbled on Miro; Playing With Fire" an oversight. Its been stimulating to think about Voulkos work again
Frank Lloyd said...
I guess I missed this post the first time around. Now that it's included in your round-up of your favorites, I've had a chance to read through and to glance at the comments. I appreciate your overview of the topic, which is an area I've done considerable research on. I also appreciate your inclusion of links to my blog. If, however, any of your readers are truly interested, the publication that accompanied the exhibition "Clay's Tectonic Shift: John Mason, Ken Price, Peter Voulkos, 1956--1968." is filled with further information, as well as the most comprehensive bibliography about the subject. The catalogue for the exhibit, which was a Getty Foundation-sponsored exhibition and publication produced in conjunction with Scripps College, also includes highly researched essays by Karen Tsujimoto (former curator at the Oakland Museum), Michael Duncan (an award winning independent curator and essayist/critic for Art in America), and Mary McNaughton (Art Historian and Professor of Art History at Scripps), and a compilation of interviews done by Suzanne Muchnic. The publication was a significant contribution to scholarship about this period of time, and the authors chose to focus on the main figures in the transition to ceramic sculpture. For Voulkos, there was already a publication that accompanied a touring retrospective organized by the Oakland Museum, with essays by Tsujimoto as well as Rose Slivka.
A clarification is in order: The Howard and Jean Lipman collection isn't all ceramics! It was formed as the basis for the Whitney's sculpture collection, and did include works by Ken Price (an early "Egg" sculpture) as well as Peter Voulkos (Red River, which you have reproduced). However, it is best described by their son, who told me in an interview; "in 1964 [Howard Lipman] approached Jack Baur, who had moved up from Curator to Associate Director at the Whitney with a proposal to form a special sculpture collection representative of its time at the Whitney. The focus would be on young artists, and the collection would be first exhibited at the Whitney and then tour other museums across the country. An initial gift of 30 contemporary works that were already in the Lipman collection was to be supplemented by acquisitions selected jointly in collaboration with museum staff as a continuing program. A first selection of 45 pieces was exhibited in 1966, 47 more in 1969, and a more-comprehensive third selection of about 180 pieces in 1980." Works are by many others, and Peter Lipman clarified with me an exact list of the artists include. Media are quite varied--from all over the country, including several from the West.
At any rate, I found the post to be informative and a good summary. For anyone with continued interest, I'd highly recommend the publication "Clay's Tectonic Shift.' I am the lead essayist, and served as co-curator with Kirk Delman, the Collections Manager at Scripps College.
Thanks, Charles!
Dear Charles,
Separately, I'd suggest a couple of name corrections, as well as some date corrections/notations. The young LA-based sculptor is STERLING RUBY, not Ruby Sterling as you have it in the text. (The image caption for his work is correct). Also, for the Whitney sculpture collection, it was donated by Howard and JEAN Lipman, not Jane as in your text. As an interesting note, Peter Lipman, their son, told me; "In addition to my father's service on the Board of Trustees (1968-1985), my mother became editor of publications at the museum, after leaving Art in America in 1970. She also worked with the director and staff on special projects and exhibitions and coordinated publications which she originated for the museum."
Also, Voulkos really moved to UC Berkeley in 1959. He continued to come to LA at times, to use the studio and kiln he shared with Mason, until a time in the early sixties---but not 1965. By that date, Voulkos had a bronze foundry in Berkeley called "Garbanzo Works", which he started with Harold Paris and Don Haskins.
Thanks for posting my previous comments. In re-reading your post, I'd suggest that some of the technical comments be incorporated by edit into your post . For instance, our mutual friend Ken Garber is absolutely correct in reminding us that "terra-cotta refers to a type of red earthenware clay body that can be used for whatever purpose. It can be glazed or unglazed. It is distinguished from stoneware and porcelain clay bodies primarily by the temperature at which it was fired." PLEASE don't use Wikipedia as a technical reference. Better resources are available, and Ken Garber's excellent definition conforms to those.
In your post you state that Peter Voulkos used epoxy glue to join the elements of his sculpture. Perhaps you may find this to be nit-picking, but the artist John Mason, who shared the studio with Voulkos, has stated in an interview for the Getty-sponsored Pacific Standard Time research project Clay's Tectonic Shift: "And I guess this might be one place to clarify that I sometimes read, by people who should know better, that Peter assembled his pieces with epoxy resins. That's totally false. To my knowledge, he never built a piece starting from scratch with epoxy resins. He always used traditional methods." (Mason, John, interviewed by Frank Lloyd, June 24, 2010, grant provided by the Getty Foundation, on deposit at Ruth Chandler Williamson Gallery archives, Scripps College). Whitney's descriptive label for "Red River" refers to a possible overpainting of paint, not a joining material. Please correct this.
Abstract Expressionist ceramics is a critical term invented by a writer and critic (and friend and colleague of Voulkos), John Coplans. It may have been an unfortunate category, as the exhibit at UC Irvine when Coplans first used the term in the fall of 1966 for an essay accompanying a show at UC Irvine, which later traveled to the San Francisco Museum of Art in 1967, clearly MUCH after the movement in painting.
Finally, regarding "macho": Both of Peter Voulkos' wives, Peggy and Ann Adair, were ceramic artists. Peggy taught ceramics in Berkeley for decades; Ann Adair was an exhibiting artist (her signature sculptures were alligators).
At Otis, there were women, too. As you mention, Carol Radcliff and Janice Roosevelt. Other ceramics schools in the Los Angeles era included USC, where Susan Peterson taught. The ceramics department of UCLA was founded by a woman, Laura Anderson, in the late 1930s. Vivika Heino, ceramics teacher and second graduate of Alfred University, knew Voulkos. Perhaps these women were not directly affiliated with so-called Otis (it was known as the Los Angeles County Art Institute at the time), but Peter was certainly aware of their work. Voulkos taught for 25 years at a coeducational University of California campus. Students at Berkeley included Marilyn Levine, the Canadian-born artist known for realism. Also American abstract painter Mary Heilmann, highly regarded for her multidisciplinary work that includes ceramics as well as furniture. Voulkos owned a building in partnership with a woman, Marilyn Levine. The archivist for Voulkos is Sam (Sandra) Jornlin. What's so macho about those relationships with women?
As for the photograph that you find so objectionable of the Ferus artists, the picture was taken by a woman, Patricia Faure. Give her a photo credit please.
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A dramatic game at the Showgrounds saw St Pat's almost surrender a 3-0 first-half lead as Sligo Rovers battled back in the last 15 minutes.
Goals from Mark Quigley and Gary O'Neill saw the visitors 2-0 up after 20 minutes, and Anto Murphy added a third five minutes before the break.
But Matthew Judge and Fahrudin Kuduzovic beat Pat's sub keeper Brendan Clarke on 74 and 84 minutes respectively, while Murphy was red-carded for a second bookable offence, leaving the Dubliners hanging on for the win.
The Saints made three changes to their side, with Stephen Paisley, Darragh Maguire and Alan Kirby returning in place of Glen Fitzpatrick, Billy Gibson and John Frost.
Rovers were without defender Seamus Coleman who was on duty with the Republic of Ireland Under-21 side in Sweden, and they stuck with the same eleven that lost to Drogheda last weekend, although Adam Hughes - rumoured to be set for a switch to the league-leaders - was back in the squad and among the substitutes.
The Dubliners enjoyed a bright start, with Murphy particularly lively down the right. But it was from a break through the centre that they opened the scoring in the tenth minute.
Keith Fahey won possession in his own half and cantered forward unchecked before releasing O'Neill. Daniel Ventre got the tackle in, but Quigley latched onto the loose ball and finished skilfully into the corner from edge of the area.
Pat's could have doubled their lead in subsequent minutes as Murphy went close twice from deliveries into the area, but they didn't have too long to wait, with O'Neill nabbing the second in the 20th minute.
The goal came after Rovers failed to fully clear their lines following a Fahey free-kick, and as the defence moved out, Darragh Maguire headed the ball in behind, and Gary O'Neill had the time to gracefully chip the ball over Richard Brush and into the open net.
Rovers offered little early on, with only a stinging free-kick from Fahrudin Kuduzovic worrying Pat's keeper Barry Ryan.
Matthew Gordon, Keith Foy, Matthew Judge and Raffaele Cretaro all had half-chances, but it was no surprise when Pat's went three clear just before the break, with Murphy and Fahey again involved.
Fahey swung in a corner from the left and Murphy swooped from four yards out to head the ball into the net.
Pat's were forced into an early second-half change as Clarke replaced injured keeper Ryan, but Rovers, despite enjoying the majority of possession, failed to test the new netminder.
This prompted manager Paul Cook to make a double switch on the hour-mark, with Brian Cash and Adam Hughes replacing Cretaro and Gordon.
And Rovers were thrown a lifeline on 74 minutes, when Keith Foy headed the ball into area and Judge won possession before smashing the ball into the net off the crossbar from close range.
Amazingly, they struck again ten minutes later when Kuduzovic rifled the net from 25 yards.
But despite having Murphy sent off for a second bookable offence with six minutes remaining, the Saints withstood some late Rovers pressure to seal the victory.


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Daily Update 9 June 2014 from Destination Health: Travel Vaccination Clinic in London.
There have been reports of water-borne disease in the Jammu and Kashmir states in India which has caused diarrhoea and vomiting in over 80 people including 12 confirmed cases of Typhoid. Contaminated water is the cause of this latest outbreak and travellers are reminded to drink only bottled water.
15 cases of Malaria have been reported in the Aswan region of Southern Egypt since the start of May. Travellers to this region should consider appropriate malaria prophylaxis medication prior to travel to this region. Speak to one of our travel nurses at either of our Travel Clinics in London for further advice.
The outbreak of Ebola in West Africa continues to be a major health concern for the region. There have now been over 200 deaths in Guinea as well as deaths and confirmed cases in Sierra Leone and Liberia. Travellers to this region are advised to keep up-to-date with news reports and advice from the Foreign and Commonwealth Office regarding travel alerts.
The latest figures from the outbreak of the Middle Eastern Respiratory Syndrome (MERS) which started in Saudi Arabia report that there have been over 285 deaths from the disease. MERS is a severe respiratory illness which is related to the SARS virus. It is spread by infected people when they cough or sneeze. Travellers should be alert in crowded areas, avoid contact with people suspected to have this illness and practice high levels of hygiene.
There has now been over 130,000 confirmed and suspected cases of Chikungunya Fever across seventeen countries across the Caribbean, which includes over 50,000 in the Dominican Republic. Chikungunya Fever causes intense pain in muscles and joints and high fevers. most people recover from the illness within a week or so. Travellers need to avoid being bitten by the daytime biting mosquitos that spread this disease. Avoidance measures include using DEET 50% insect repellant and covering areas of exposed skin.
The recent Cholera Outbreak that has spread across South Sudan in the wake of overcrowding and unsanitary conditions following people fleeting the fighting in the country has now claimed the lives of 29 people. Travellers to this region should consider a cholera vaccination from either of our travel clinics in London to help reduce the risk of contracting this disease.
Over 900 people have been affected by a recent outbreak of Cholera in Nepal which has also claimed the lives of two people. The outbreak which started about a month ago was caused by the local water source being contaminated by sewerage. Travellers to this area should always avoid tap water and only drink bottled water.
There have been a number of outbreaks of Measles across countries in South East Asia in including Vietnam, Indonesia and The Philippines. Travellers should ensure that they are up-to-date with their routine vaccination schedule which includes the measles vaccine. Reports suggest that unvaccinated travellers are returning home from countries in this region and helping to spread the disease in their home countries.


If you are aged 19 and over, an Advanced Learner Loan could help you pay for the costs of your study. These loans are provided by the government and our advisers can help you to apply. Find out more.
Advanced Learner Loans are provided by the government via the Student Loans Company (SLC) and are available for students aged 19 and over who want to study a level 3 or above further education course, including Access to Higher Education courses. Students aged 19-23 studying for their first level 3 qualification can claim free tuition and don't need to take a loan.
The money from the Advanced Learner Loan is paid directly to your education provider (for example New City College) so you don't have the money in your bank account. The loan is very easy to apply for and you must get a Learning and Funding Information Letter from the college which contains all the information you need to apply.
Your loan repayments only start in the April after you have completed your course and you are earning above £25,000. If you complete an Access to Higher Education course and choose to continue your studies directly on to a university degree, the loan is written off upon completion of the degree.
Alternatively, you can speak to one of our course advisers about our courses and how an advanced learner loan could help you. See below for contact details.
for more information on advanced learner loans.


In 2009 it was decided to hold an event to celebrate the reopening of Reigate Priory Park following comprehensive improvements and combine this with marking Armed Forces Day.
It was so successful that a handful of like-minded local people decided to form the Reigate Events Collective with the aim of encouraging local events, with an annual festival in the park as the flagship.
Now held every year on the last weekend in June the Reigate Community Festival has become an eagerly anticipated date on the local calendar. It has since become one of the most well-attended event in the town attracting upwards of 5,000 visitors with 100 stands.
The event boasts a lively mix of displays, stands, live music, and children's entertainment including the famous Tommy Matthews Fairground. There is a wide selection of food and drink with a licensed bar. It is the perfect day out for the whole family.
Stands will sell a range of locally made produce and hand crafts, as well as promoting local charities and community groups, and offering fun activities, many of them free. This year an acoustic lounge has been added to the mix, offering live music throughout the day, with something for everyone.
Confirmed acts at time of going to press are: the Redstone Community Big Band, Andy Moore, Dee Bee Blues, Dark Ages, Stephanie Davies and the Super Dynamics, Mr Anchovy, Jason Kydd, Tin Soldiers and Sofia Ford.
The Arena programme will include the Band of the Surrey Yeomanry, Sky Birds of Prey, Hipsinc Belly Dancing, Students from the Italia Conti School, the Rock Choir, Star Steppers and the Tug of War final, heats for which will be held throughout the day.
There will of course be a military presence and displays honouring Royal Armed Forces Day.
The theme for 2014 is the Edwardian Era, and the 100th anniversary of WWI. Should you feel the urge, please do come in fancy dress: there are prizes for all those who make the effort. Entry is free for everyone, and free parking is also available throughout the day at all Reigate and Banstead Borough Council Car Parks.


text:
New flood insurance rules have consequences for Florida's economy
By John Romano
Published Sep. 8, 2013
By any reasonable measure, paradise is worth the wait.
So when Colin and Joyce Elston discovered the Pinellas beaches while on vacation from Connecticut in the 1970s, they agreed they would bide their time.
There were three children to raise. And a job opportunity for an industrial scientist of Colin's expertise in Washington. Even a seven-year stopover in the mountains of Mexico where land was cheap and money could be saved.
Yet the Elstons never forgot about the place where the sun was bright and the water stretched beyond the horizon.
So in June, nearly 40 years after they first vacationed in Tampa Bay, the retirees bought a house in Treasure Island and settled in for what they assumed was forever.
Three months later, paradise was interrupted.
The Elstons had never heard of the Biggert-Waters Act passed by Congress in 2012. They had no idea it revamped the National Flood Insurance Program and was about to cause premiums to skyrocket in high-risk areas.
Two weeks ago they discovered the flood insurance they purchased for $1,750 will likely increase 500 to 600 percent in the blink of an eye.
They are waiting for a survey to determine their home's elevation level, but have been told to expect their premium to cost between $10,000 and $12,000.
"Coming here had always been our dream, and everything seemed to work out perfectly for this house,'' Colin said. "It was going to be a stretch for us, but we … knew this could work.
"Now, we don't know what we're going to do. The best we can hope for is bad news. If it turns out to be the worst, it will be impossible for us to live with.''
The aim behind the Biggert-Waters Act is laudable.
The execution is most certainly not.
Seeking ways to help the Federal Emergency Management Agency climb out from under an enormous deficit built up from storms like Hurricane Katrina, both houses of Congress agreed the federal government would no longer subsidize flood insurance. In other words, homes in high-risk areas would pay the full freight on their premiums.
In theory, this might make sense. In reality, this problem requires a far more nuanced approach.
Come Oct. 1, any business in a high-risk area will immediately lose its flood insurance subsidy. Any home sold after Oct. 1 will also lose its subsidy. And — to the horror of the Elstons — any home sold after Biggert-Waters passed last summer will lose its subsidy.
For everyone else in high-risk areas, it's more like a slow water torture. Their premiums will increase 20 percent every year until their policies are no longer subsidized.
Admittedly, there is a certain appeal to someone paying the true cost of their home's risk, as opposed to being bailed out by other taxpayers.
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But that simplistic approach ignores some important truths.
No. 1, Congress has essentially changed the rules in the middle of a game. You can't provide subsidized insurance for decades, then pull the rug out from under people in a matter of months. That's sort of like telling a politician that campaign donations are simply bribes by another name, and so they will have to fund their own election bids starting in 2014. Not too realistic, huh?
No. 2, even if you are devoid of empathy, the ramifications of this law will impact Florida and other coastal states far beyond insurance premiums. The real estate market will take an enormous hit if high-risk homes become unsellable due to insurance rates. Property values will begin to drop, which will affect tax revenues.
It's easy to say that rich people on the beach should have seen this day coming, but what about families in modest inland homes that are in high flood zones? What about homes that have just been redrawn into flood zones by FEMA?
"There's a much bigger picture here,'' said Anita Ford, a St. Petersburg insurance agent. "It's not just, 'Gee you have a nice waterfront house, why don't you step up to the plate and pay what you owe?'
"We were told St. Pete has more parcels in high-risk zones than the top two beach communities combined. It's ludicrous to think this is just impacting a few rich people.''
So is there a solution?
Maybe not a perfect one, but there has to be something better than Biggert-Waters.
Getting rid of the retroactive home sales clause would be a start. And increasing the maximum deductible for high-risk homes so flood insurance essentially becomes catastrophic insurance is another idea.
Lawmakers in Louisiana have been screaming about the law for months now, and there is talk of delaying its implementation as well as introducing new legislation. Unfortunately, most politicians in Florida have been shamefully low-key on the topic.
The bottom line is real estate agents are worried. Local officials are worried. Homeowners are downright frightened.
It would be nice if our congressional representatives had the guts to stand up and defend homeowners, or else look them in the eye and explain why they don't see this as a problem.
Up next:Tampa Electric strikes deal to raise rates nearly $7 a month
John Romano
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They say that 3 out of 4 Americans don't know their neighbors names. How can we love them, if we don't even know them? *Christ's Church is a strategic partner of Grace Chapel in Lexington, MA and features the teaching of Pastor Bryan Wilkerson and the Grace Chapel Teaching Team.


Some friends came down for Maggie's birthday a couple of years ago and brought their teenage daughter with them. We have known her since she was a few weeks old and have seen her through all her phases so far and hope to watch her for as long as we can. These yearly or sometimes twice a year sightings are a little like watching a stop motion movie where we see the spurts and leaps as if it was a continuous sequence.
She's about 16 here and looking leggy and beautiful. I feel fortunate to have witnessed her through all the years and seeing this image, simple as it is (we were walking in the medieval part of our town in the evening) made me feel that I should collect them all and make a little book for her at some point in her life when it would be important for her to look back.
This entry was posted in Girls, Portrait and tagged evening, portrait, small town, Tuscany on August 6, 2015 by joelmeyerowitz2014.
Like that Clarence H. White's 'Miss Grace'. Beautiful.
Thanks, Jose, so often an unexpected, simple moment can transcend itself and become part of the 'beauty' of the world. Like White's photo did.


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