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American Conceptual Artist
Born: February 10, 1942 - New York City, New York
Died: December 2, 2021 - New York City, New York
Title Unknown (1965)
ONE QUART EXTERIOR GREEN INDUSTRIAL ENAMEL THROWN ON A BRICK WALL (1968)
Earth to Earth, Ashes to Ashes, Dust to Dust (1970)
A FIRST QUARTER (1975)
SOME LIMESTONE SOME SANDSTONE ENCLOSED FOR SOME REASON (1993)
Forever and a Day (2017)
Late Period
"All I do is make things and present them."
"Art presents a reality. Art doesn't present a metaphor."
"The conversation with society is not: what is the function of art? The conversation with society is: what do people do with this stuff that other people make? What do people do with the idea that there are human beings making things and placing them in the world and that those things are just means for other people to understand their relationship to the world?"
"The last thing I would like to do as an artist is stand for legitimacy."
"Art's not made by frightened people, it's made by angry people."
"A lot of good art comes out of people who see freedom and light in things."
"Nobody gets out of bed in the morning unless they have a political reason for doing it, just as nobody makes art or music or dance without it being political."
"As artists, we do things that add something into the world. Once it's added, the world is not the same as it was before."
"I don't know why, but it makes a lot of people angry. I make a specific object, without a specific form. But in fact whatever you read is what it means. It doesn't have a hidden meaning. This is not Dada, making noises and hoping that those noises have meaning within a society - it's not that at all."
"There's no metaphor in any work of mine. There's no secret in the words. You have to look at the work."
"I am interested in what the words mean. I am not interested in the fact that they are words. I am capable of using words for their meaning, presenting them to other people. I hope that the vast majority will read the words for their meaning and that they will place that meaning within the sculptural context of their parameters and how they get through the world."
"I am a sensual artist. I am involved with the sensual relationships of materials."
"Art is about showing a perception of the world where you aren't in the sun, that it's open to anybody if they're willing to take the trouble."
"Art is a conversation. And if there's no conversation, what the hell is it about?"
Summary of Lawrence Weiner
Lawrence Weiner was one of the pioneers of text-as-art during the era of Conceptualism. His use of language is notable for its lyricism, its inquisitive engagement with the material world around it, and its distinctive, often colorful and playful visual forms. A fiercely egalitarian and anti-authoritarian spirit, hailing from a working-class background, Weiner saw his artworks as invitations for viewers to reconsider their relationships with the world around them, including with other people and systems of power. Based between Amsterdam and his home city of New York for most of his career, Weiner remained an engaging and humane force within modern art for half a century, creatively active throughout.
Lawrence Weiner's work contributed to the so-called "dematerialization of the art object" defined by critic Lucy Lippard in 1973. This involved the replacement of visual and three-dimensional forms with linguistic ideas as the primary substance of art. This gesture, which defined Weiner's practice from 1968 onwards, was hugely influential on modern art across the late 20th century, from Post-Conceptualism and Post-Minimalism to book art, Performance art, and more.
Weiner's use of language was notable for its lyricism, brevity, and visual beauty, in contrast with other Conceptual artists who often worked with more emotionally detached, sometimes long and repetitive textual forms. Weiner even designed his own typeface, Margaret Seaworthy Gothic, to convey the particular, poetic spirit of his work. As such, he endowed language with many of the qualities of aesthetic beauty and emotional depth that might previously have defined a more traditional artwork. Indeed, he saw himself as a sculptor working with words.
Weiner wanted his art to communicate with his audiences in an open-ended and thought-provoking manner, without the baggage of 'high art.' He often chose to locate his works in public spaces, including on exterior walls and floors, rather than in galleries, and the language of his work often explored the material objects and processes around it, asking questions or making connections. In this way, his practice can often be seen as site-specific, though the artist himself always contested that description.
The Life of Lawrence Weiner
Lawrence Weiner's works make playful, probing interventions into the world around them. One of the first artists to work with text as his primary material, he rarely accepting teaching positions, as he was more interesting in questioning authority than assuming it.
Important Art by Lawrence Weiner
Title Unknown
This work, from Weiner's series of Propeller Paintings (1960-65), features a central sunburst- or propeller-like yellow form, set inside a larger red form with a similar shape. The background is comprised of geometric blue and orange fields, each outlined either by black lines or thicker gold lines. As with all of the works in the series, Weiner used readily available materials (or as he put it, materials that were not "exotic") to create the piece. Weiner's desire to present art as accessible, both to audiences and other would-be artists, would come to define his career.
Weiner said of his Propeller Paintings, "I was in a very distressed state about the political relation of the artist to society [...] I began to understand things that were being discussed in the context of the painting of emblems. I had an old television set which only had one channel, with signals that I watched all night. That became my modus operandi. I began to make these paintings, all in different sizes and all in different shapes and all at the same price." Looking back on these works later in his career, he conceded that although he thought them to be "important" and impressive at the time, he ultimately came to feel that they weren't.
The artist noted that this series led to the creation of three-dimensional pieces, including his "cut-out sculptures" of 1966 and his later "notched paintings". He had also already begun experimenting with immaterial, or so-called "conceptual" art projects, when he made his Propeller Paintings. In 1960 he created Cratering Piece, an undocumented, unsanctioned performance-based earthwork that involved detonating a series of explosives in a California state park and declaring the resulting "craters" to be sculptures. Thus, his Propeller Paintings came at a time when the artist was experimenting with both tangible, traditional art forms and with practices that challenged the object-status of painting and sculpture.
Synthetic polymer paint and sawdust on canvas - Museum of Modern Art, New York City
ONE QUART EXTERIOR GREEN INDUSTRIAL ENAMEL THROWN ON A BRICK WALL
This work, which comprises the title phrase written on a wall in green, is amongst the first of Weiner's text-based installations, which dominated his oeuvre from 1968 onwards. Weiner started producing these pieces after an incident at Windham College in Putney, when students cut down the twine that made up his outdoor sculpture Hay, Mesh, String (1968) to walk across the college lawn. It was at that point that Weiner realized the work would have functioned better as a simple verbal description rather than as a physical manifestation. Many of the works he created subsequently (including ONE QUART...) refer to materials and/or a physical action or process. By describing the process that created the artwork, Weiner invites audiences to break down the veil of mystery, rarefication, and secrecy that surrounds the idea of 'art' or 'artists,' implying that anyone could remake this piece or produce an equivalent piece of their own. He was therefore engaging in a subtly radical movement to democratize the discourses around modern art.
Weiner later described his shift towards using words as form as "a political decision. If you wanted to make something that everybody could get, the way to do that was to make something with genuine sculptural values and to portray it in a language so that people could be able to do it themselves. Not instructions. But something that sat by itself." As per his Declaration of Intent (1968) these text-based works do not need to be executed by the artist himself. Curator Ann Goldstein writes that "Weiner's employment of language allows the work to be used by its receiver. It is purposely left open for translation, transference, and transformation; each time the work is made, it is made anew. Not fixed in time and place, every manifestation and point of reception is different - each person will use the work differently and find a different relationship to its content."
Weiner considers his text-based works to be sculptural and lists the works' materials as "language + materials referred to". He says "I realized that I was working with the materials that people called 'sculptors' work with. I was working with mass, I was working with all of the processes of taking out and putting in [...] I also realized that I was dealing with very generalized structures in an extremely formalized one [...] we were all talking about the ideas generated by placing a sculpture in the world. Therefore I did not think I was doing anything different from somebody putting fourteen tons of steel out. [...] I finally realized that it was possible just to leave it in language."
Language + materials referred to - Collection of Alice Zimmerman-Wiener
Earth to Earth, Ashes to Ashes, Dust to Dust
In this text-based work, Weiner's words do not so much refer to an imagined or imaginable artistic intervention as open out a lyrical space for wide-ranging viewer interpretations. Curator Nancy Spector asserts that "[i]n a radical restructuring of the traditional artist/viewer relationship, Weiner shifted the responsibility of the work's realization to its audience, while also redefining standard systems of artistic distribution." She adds that "Weiner gradually extended his engagement with language to [include] ready-made structures, such as idioms, clichés, and proverbs, which underscore the contingent nature of meaning when encountered in different contexts. The Christian burial recitation 'Earth to Earth, Ashes to Ashes, Dust to Dust' becomes, in non-liturgical circumstances, a simple meditation on materials and processes of transmutation." Thus, whereas many of Weiner's works signify a kind of transparency of form, whereby the piece describes what it is made of, Earth to Earth embodies the more open-ended and allusive dimensions of his language. This is one of the most unique and engaging aspects of his practice as compared to Conceptualism in general.
In his early years, Weiner spent a great amount of time experimenting with sans-serif typefaces, trying to find the best one for his artistic purpose. He began by using Helvetica, which he described is "nice enough" although "sort of dumpy". However, he was soon turned off as he felt it had accrued an air of "intellectual power" and didn't like things "that get away with just having power". He then turned to Franklin Gothic but later said that "after a while, the work entered the culture so much that if anybody saw something in Franklin Gothic, they thought it was me and it wasn't". In the end, he developed his own unique typeface, Margaret Seaworthy Gothic.
Works such as Earth to Earth, Ashes to Ashes, Dust to Dust exemplify the difference between Weiner's approach to Conceptual Art (though he never accepted that term) and other artists associated with the movement such as Joseph Kosuth. Whereas both artists used language to describe an imagined visual or sculptural artwork that was not actually presented, Weiner's nuggets of language had a quality of self-sufficient aesthetic beauty that was often lacking in the more clinical, documentary style of Kosuth's texts. For this reason, Weiner is amongst those Conceptual Artists whose work has been appreciated by poets and compared to poetry as well as being placed in the company of art movements.
Language + materials referred to - Solomon R. Guggenheim Museum, New York City
A FIRST QUARTER
Weiner considered this film to be his "Godard movie". He was strongly influenced by Godard's A Bout de Souffle (1960) when it first came out, viewing it as "the first real work of Pop Art in film". He was most taken by Godard's "understanding of the relationships between reality and non-reality". In his own film, Weiner adopted many of the techniques used by Godard and other directors of Nouvelle Vague cinema, such as the presentation of simultaneous realities, altered flashbacks, and plays on time and space.
Says Weiner, "I started to make movies because I didn't want to write magazine articles [...] I am not a writer and so I'm better off making the movie, putting the mise-en-scène of how I wanted to present the emotional thing." He notes that in A FIRST QUARTER, "my major dialogue was existential: I decided to make a mise-en-scène that was closer to where my work could exist, and, in fact, cheapen its value within the society." The actors in the film are all artists, who at various times recite or write the names of artworks by Weiner. The work is imagined as a series of "simultaneous realities" along the lines of Godard's cinema. Structurally, the artist stated that the film adapts the form of a feature film.
Weiner went on to make a number of other films, such as DO YOU BELIEVE IN WATER? (1976), which he refers to as a "programmatic" and "very structured tape [...] about playing games", and which features a homosexual male character who feels uncomfortable around lesbian women. Also from 1976 is A BIT OF MATTER AND A LITTLE BIT MORE, which focuses on pornography as a political statement on how the United States government was imprisoning pornographers at the time.
Black-and-white video transferred to 16mm film - Museum of Modern Art, New York City
SOME LIMESTONE SOME SANDSTONE ENCLOSED FOR SOME REASON
Weiner sometimes incorporated a more explicitly sculptural element in his work, as in this three-dimensional piece which involved recasting the iron weighbridge of the former Dean Clough Carpet Factory and embossing the title-text onto the metal. Writer Naomi Blumberg notes that "[s]ome of Weiner's phrases are unique to one site, whereas others may be repeated or installed in multiple places - in a public space, on a gallery wall, in a book - each context carrying with it a different meaning and experience for the reader." Although the artist himself has repeatedly argued against the assertion that many of his works are site-specific, this work does refer precisely to the context and history bound up in its physical environment. Part of the value of Weiner's work is in drawing attention to the wider realities enclosing it, including the industrial and architectural materials and space around it. This gesture gave his Conceptual art more direct cultural and political relevance than the movement sometimes possessed.
The discussion as to whether any of his works belong in one place more than another was a source of disagreement between Weiner and many of his viewers and critics. For Weiner, "[t]he site is not terribly important. The concept of who your audience is becomes more important than your site. Sometimes you can be commissioned to do a piece in Strasbourg, and it works. Sometimes you're commissioned to do a piece somewhere else and it doesn't work, but then it moves to another city, the people embrace it, and becomes part of them. You just misjudged the needs of the people."
Nevertheless, the public setting of this and other works outside of gallery settings is an important aspect of their meaning. Blumberg notes that "a primary motivating factor behind Weiner's work was the desire to make it accessible, without needing to buy a ticket or understand a secret visual language. He contended that language reaches a broader audience [than other artistic media], and situating language in contexts outside traditional art-viewing settings, such as art museums, furthers that reach."
Embossed iron - Dean Clough Carpet Factory, Halifax, England
This work, which features written phrases in Weiner's characteristic style on the pavement of Mexico City's Zócalo square, also incorporates some of the simple graphic marks and lines he began including in his later work, when he felt that language could not fully speak for itself. Towards the end of his life, Weiner explained that his approach to his text-based art had shifted somewhat since he began creating such works in 1968. "When I started," he recalled, "I was under the misimpression of a Chomskyan idea that all language was universal and innate" (the linguist turned political commentator Noam Chomsky had, since the 1950s, proposed that there was a universal structure to world languages, so that all human cultures held certain aspects of their outlook on the world in common). "I am not so sure any longer, but I don't know the answer to that. I find that I have to look at something and determine what it's called, in order to be able to communicate it to somebody. I have to make gestures in the work that I do because language cannot accommodate what I'm trying to show. I feel that the negotiation is not one of information, it is a social one."
In spite of his sense in later years that language did not always contain self-sufficient meaning, Weiner continued to argue against readings of his work as site-specific - that is, as only making sense in a particular setting or place. Of the Mexico City project he stated that "[w]hat I am trying to do with work now is making the context that is not based on the ethnicity but because it is a sculpture, it will relate to almost any ethnic culture. Doing that you have an obligation to do as closest as you possibly can to the reality with all relationship to materials and how they relate to each other." This seems to reaffirm the Chomskyan idea of a deep, universal structure underlying all languages - and perhaps all perceptual encounters with reality - and therefore providing a basis for human communication across any given social, cultural, or racial boundary, that informed his early work.
Ultimately, Weiner believed that the true value of a work came from engaging with society, and that the function of the artist in relation to society was to question "the relationships of human beings to objects, and objects to objects in relation to human beings." Cultural director Fernando Francés states that for Weiner, "the idea is more important than the artistic creation itself [and] as such it can be translated into any language, is versatile, flexible, and can be adapted most easily to a particular location."
Language + materials referred to - Zócalo, Mexico City
Biography of Lawrence Weiner
Lawrence Weiner was born in the South Bronx, New York in 1942. His father, Harold, was a veteran (though he never spoke of his wartime experiences) and grocery store worker. Later, he ran a candy store at 149th Street and Southern Boulevard with his wife, Toba. Weiner later said that his parents "were very nice to me, but they were not successful. They were not unsuccessful [...] There was food on the table all the time, but you had to work for it." He often helped his parents out at the candy store starting from the age of nine. He had no siblings.
Weiner's parents were Jewish but did not make this a significant aspect of their son's upbringing. Even though both parents were youngest children of large families, he never knew any of his aunts, uncles, or cousins. Instead of spending time with family, he recalls spending time out on the streets as a "slum kid" amidst a culturally diverse urban population. He enjoyed going to Harlem to eat and listen to jazz, and also learned how to hotwire cars. As a teen he worked at various jobs, including on an oil tanker, on docks, and unloading railroad cars.
Weiner was arrested several times in his youth, mainly for participating in anti-nuclear protests, and his parents considered enrolling him in either the Coast Guard Academy or reform school. He attended Stuyvesant, an all-boys high school, though he cut class frequently and later attributed his early education more to the public library than to the school system. He received no formal art education as a child and his parents had little interest in, or time for, cultural activities. He cites his first encounters with art as occurring during visits to the Metropolitan Museum of Art and the Museum of Modern Art in the 1950s.
Reflecting on growing up in the Bronx, Weiner stated: "I didn't have the advantage of a middle-class perspective. Art was something else; art was the notations on the wall, or the messages left by other people. I grew up in a city where I had to read the walls; I still read the walls. I love to put work of mine out on the walls and let people read it. Some will remember it and then somebody else comes along and puts something else over it. It becomes archaeology rather than history." When, at the age of sixteen, he told his mother that he planned to become an artist because he wanted to use art to dialogue with his fellow citizens, her memorable response was, "Lawrence, you'll break your heart. Art is for rich people [...] and it's never going to change."
Weiner graduated from high school at 15 and enrolled in courses on philosophy and literature at Hunter College. After less than a year he dropped out and traveled across the United States, Mexico, and Canada, making it as far as the Arctic, where he worked briefly on tuna and Albacore boats. During his travels he often slept under bridges or in doorways, working odd jobs to pay for short periods in rooming houses. Back in New York he began showing his Abstract Expressionist paintings (all of which are now destroyed) in coffee houses.
Weiner saw Abstract Expressionism as "a sign of freedom for working-class people". In his opinion, "the Abstract Expressionists believed that they really were going to change the world," and they "accepted anybody's work that they thought was interesting. They really didn't care about the person. [...] People were just looking at the work. I was attracted to the lack of exclusivity." While beginning his career in New York, Weiner often visited painter Robert Ryman at his studio on the Bowery.
In the 1960s Weiner also spent several stints (a few months at a time) in California. As he recalls, "I found myself in San Francisco around the City Lights bookshop and the Discovery bookshop and I was working around people like John Altoon, Bruce Conner, and others. [...] I had gotten to California by hitchhiking my way across the country, building structures, and constructing things everywhere I went, leaving them on the sides of the road. The Johnnie Appleseed idea of art was perfect for me."
Weiner's debut public artwork was an undocumented action piece called Cratering Piece (1960) which involved setting off explosives simultaneously at the four corners of a field in a national park in Marin County, California. He continued to create crater-like works with explosives in California over the next six years. Other early works consisted of experiments with systematic approaches to shaped canvases and works using squares cut out of carpeting or walls. In 1963 he took his first trip to Europe; the same year, he met curator Seth Siegelaub, who by chance had attended the same high school as Weiner. A year later, Weiner began exhibiting at the Seth Siegelaub Contemporary Art Gallery in New York City.
One day in 1967 sculptor John Chamberlain invited Weiner on a night out which ended up at Max's Kansas City, a nightclub in Manhattan - because, as Weiner recalled, they were too broke to go anywhere else. It was there that Weiner met his future wife, a waitress named Alice. Soon after, they and their daughter Kirsten went to Amsterdam where Weiner was offered an apartment by Siegelaub. Once in Amsterdam, he and Alice bought a houseboat from some sailors. The family lived on the vessel for several years without heat, electricity, or running water.
In 1968 Weiner reached a turning point in his career after creating a work titled Hay, Mesh, String for an outdoor exhibition organized by Siegelaub at Windham College in Putney, Vermont. For the exhibition, Weiner placed a series of stakes in the ground at regular intervals, with twine strung between them to create a grid. But it was the events following the show that provided a moment of epiphany. Students at the college soon cut the twine as it blocked their path across the campus lawn, leading Weiner to the conclusion that he could have created a less obtrusive and equally engaging work by simply reading a verbal description of his sculpture. Of course, the three-dimensional presence of the work had an intrinsic value too, but in making this conceptual leap Weiner was reflecting a general mood then building amongst his peers that the concept behind an artwork was more significant than its physical expression.
With this new idea in mind, later in 1968 (the year that fellow Minimalist artist Sol LeWitt wrote his "Paragraphs on Conceptual Art") Weiner penned a "Declaration of Intent" in which he outlined what would become guiding principles for the rest of his career: "1. The artist may construct the piece. 2. The piece may be fabricated. 3. The piece need not be built. Each being equal and consistent with the intent of the artist the decision as to condition rests with the receiver upon the occasion of receivership."
Weiner embarked on this new trajectory at the end of 1968, contributing a 64-page booklet entitled Statements, which described a series of imagined but unrealized projects, to an "exhibition" organized by Siegelaub, who was at that time moving away from gallery-based curation and towards publishing and the circulation of objects as a way of showing art that reflected the new, concept-led mood of the times. Weiner also contributed a series of text-based works to Siegelaub's Xeroxbook, a compendium of photocopies by seven conceptual artists. From then on, the majority of Weiner's work took the form of text-based wall installations.
Weiner therefore made a crucial contribution to defining Conceptualism as a mode by which art could challenge and subvert the traditional object status of the work. His work from the late 1960s onwards is an example of the "dematerialization of the art object" - to use the language of art critic Lucy Lippard - whereby visual and physical form is replaced with pure language. However, Weiner came to see language itself as a sculptural material. Importantly, he also saw the use of language in art as less baggage-laden than traditional media, a means of reclaiming art for, and making it accessible to, an imagined mass audience.
During the same period Weiner also experimented with video and film, sound art, sculpture, performance art, installation art, and graphics. Often, his films include vocal recitations of statements similar to those found in his text-based sculptures. As such, they can be seen as placing his conceptual art in a different, time-bound medium, and as an important contribution to his own body of work and to early video-art.
Weiner and his wife Alice spent the last several decades of the artist's life splitting their time between New York City and Amsterdam, although Weiner's struggles with cancer later made it more difficult for him to access their houseboat in the Netherlands. In New York they lived on Bleecker Street for over 30 years before moving to the West Village, into a residence in a converted bakery dating to 1910. Weiner's studio occupied the basement of the building, with his archives on the second floor.
Weiner continued to work until just before his death, travelling around the world for various projects. He gave occasional lectures over the last decades of his life but generally avoided teaching positions, as his lifelong disdain for authority meant that he disliked assuming positions of power.
The Legacy of Lawrence Weiner
Weiner helped to define the parameters of Conceptualism, which would go on to become arguably the most influential art movement of the half century; from 1970 onward. He made crucial contributions, alongside artists such as Douglas Huebler, Robert Barry, Joseph Kosuth, and Sol LeWitt, to the idea of Post-minimalism. This terms describes a broad range of work, much of it combining some of the clinical and affectless qualities of Minimalism with more human warmth, spontaneity, and symbolism.
Although his work is rarely directly engaged with political or social themes, Weiner also maintained a subversive outlook on the world around him which was emblematic of the post-sixties worldview. Curator Dakin Hart asserts that "Lawrence Weiner has always been political[...His] interest is in the matrix of relationships that connect us with the other raw materials that constitute the world." Likewise, writer and artist Marjorie Welish states that Weiner's "words and work act as cultural irritants wherever they appear. Ranging from mildly to aggressively interventionist, Weiner's verbal art uses formalism to drive a wedge into the cultural status quo."
Although he has been categorized as a Conceptual artist, Weiner dislikes the designation, which he sees as another form of elitism, and instead considers himself to be a sculptor. He says "I think the Conceptual art thing is ridiculous [...L]et's stop giving things classifications so that they can be taught in expensive schools." For Weiner, language has a material reality and is "a means of presenting a mise-en-scène, a physical reality". In this way, his use of language differs from that of Barbara Kruger or Jenny Holzer, who tend to use language more as a call-to-arms, or as a means of calling out power structures within society, rather than an object in-and-of-itself.
Moreover, as art critic Robert Enright explains, Weiner's handling of language differs from that of artists such as Roni Horn and Ed Ruscha, in this it is "steadfastly uninflected, willfully incomplete and tantalizing, maybe even perverse". Enright adds that "[t]he viewer's tendency with Weiner's work is to turn the statement or phrase into a question. [...] The transition from making to apprehending [...] traces a shift from the declarative to the interrogative. That is precisely how Weiner wants his words to function; they may be descriptions or facts [...] but they are also catalysts for an interaction with the viewer/audience. In this understanding, the [work] changes from realist to magic realist. We enter into an engagement with the alchemy of words."
Useful Resources on Lawrence Weiner
written by artist
Lawrence Weiner (Phaidon Contemporary Artist Series)Our Pick
By Lawrence Weiner
Lawrence Weiner: Henry the Navigator in a Sea of Sand
Lawrence Weiner: If in Fact There is A Context: 100 Notes, 100 Thoughts: Documenta Series
Lawrence Weiner - Something to Put Something On
Lawrence Weiner: AS FAR AS THE EYE CAN SEE 1960-2007 (Whitney Museum of American Art)Our Pick
By Donna De Salvo and Ann Goldstein
Lawrence Weiner: Drawings: Written on the Wind
By Kathryn Chiong, Gregor Stemmrich, and Alice Zimmerman Weiner
View more books
Lawrence Weiner and Kim Gordon on the Ins and Outs of Making StuffOur Pick
By Kim Gordon / Interview Magazine / September 22, 2020
Lawrence Weiner: 'There's No Secret in Words'
By Ana Bogdan / The Talks / May 1, 2019
Art Is Not About Skill': Benjamin Buchloh Interviews Lawrence Weiner On His Sensual Approach to Conceptual ArtOur Pick
By Benjamin Buchloh / Artspace / February 16, 2017
Artists at Work: Lawrence Weiner
By Emily McDermott / Interview Magazine / September 2, 2015
Oral History Interview with Lawrence WeinerOur Pick
By Lisa Zapol / Archives of American Art / March 28, 2019
Lawrence Weiner Told Us About F**king Up Your Life With Art
By Nathaniel Ainley / Vice / June 11, 2017
Lawrence Weiner Interview
By Alex Moshakis / It's Nice That / July 11, 2011
Interview: Artist Lawrence Weiner on Communication, the Market, and the Artist's Role in Society
By Peter Simek / D Magazine / November 28, 2012
Lawrence WeinerOur Pick
By Marjorie Welish / BOMB Magazine / January 1, 1996
(Subject to Change): Lawrence Weiner and the Contingencies of Language
By Robert Enright / Border Crossings / December 2009
Christophe Cherix, "Remembering Lawrence Weiner"
MoMA / December 2021
Lawrence Weiner Interview: The Means to Answer QuestionsOur Pick
Louisiana Channel
Art Should Fuck Up Your Life: The Zen of Lawrence Weiner
Lawrence Weiner - Studio Visit
TateShots
SCAD deFINE ART 2019 Honoree Talk with Lawrence WeinerOur Pick
The Savannah College of Art and Design
Lawrence Weiner at Blenheim Palace
To the Moon via the Beach - Lawrence Weiner: '& Then Untended As'
Lawrence Weiner in Stedelijk Museum Amsterdam
ArtTube
Lawrence Weiner, BENT TO A STRAIGHT AND NARROW AT A POINT OF PASSAGEOur Pick
Utah Museum of Fine Arts
ARKEN Museum of Modern Art
Lawrence Weiner - Artist Interview
South London Gallery
Liam Gillick and Lawrence Weiner: A Syntax of Dependency
BOMB Live: Sharon Hayes & Lawrence WeinerOur Pick
Lawrence Weiner in Conversation with Gilda WilliamsOur Pick
Lawrence Weiner for "Artist Talk"Our Pick
Edited and revised, with Summary and Accomplishments added by Greg Thomas
"Lawrence Weiner Artist Overview and Analysis". [Internet]. . TheArtStory.org
First published on 05 Feb 2022. Updated and modified regularly


(e) if not, the steps taken/proposed to provide modern equipment in Government hospitals to treat the cases of liver ailment and transplantation?
(a): The data on the number of people including children suffering and died of liver ailment in the country is not maintained centrally.
(b): Government of India has introduced Hepatitis B vaccination in the Universal Immunization Programme for children under 1 year of age. This will prevent infection due to Hepatitis B, which is one of the causes of liver ailment in children.
Besides this, health education is imparted in the community to promote simple measures like use of safe water and personal hygiene to prevent Hepatitis A and E infections, which are water borne and known to causes liver ailment in children.
(c) to (e): District Hospitals and CHCs, teaching hospitals are equipped to deal with common liver ailments. However very few Government hospitals are conducting liver transplantation.
Five Government hospitals, namely; AIIMS, G.B. Pant Hospital, Institute of Liver and Biliary Sciences and Army Hospital (R & R) in Delhi and PGIMER in Chandigarh are registered for Liver transplantation under transplantation of Human Organ Act, 1994.


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Renewables best option for cheap energy in Mindanao
December 5, 2022 - Philippine Daily Inquirer
Assistant Secretary Romeo Montenegro, deputy executive director of the Mindanao Development Authority (Minda), loves to remember the time, not so long ago, when electricity rates in Mindanao hovered at P6 per kilowatt-hour, the lowest in the country.
This was when hydroelectricity generated from the waters of Agus and Pulangi rivers made up the bulk of the region's energy supply. The Agus and Pulangi plants had a combined installed capacity of 1,001.1 megawatts.
Pulangi IV in Maramag town, Bukidnon, has three generating units at 85 MW each, while the Agus complex comprises six plants with a total capacity of 746.1 MW. The waters of the 36.5-kilometer Agus River that snakes down from Marawi City in Lanao del Sur to Iligan Bay, come from the vast Lake Lanao, which has a surface area of 34,000 hectares, more than twice the land area of Quezon City.
Amid rising electricity demand, the government relied on fossil-based capacities to fill the gap, fueling the massive entry of coal-fired power plants into the Mindanao grid. And as they became dominant, Mindanao consumers had to bear rising electricity costs.
In Cagayan de Oro City, commercial power consumers of coal-dependent Cagayan Electric Power and Light Co. had to bear a 33-percent increase in cost, from P10.62 per kWh in January to P14.18 in July.
In contrast, the Davao Light and Power Co. (DLPC) billed commercial customers a lower rate, at most P13.4809 per kWh in August, and went down to P11.5634 in November. DLPC has a big bulk of hydropower in its retail mix, being the biggest contractor of power produced by the Agus and Pulangi plants, according to Montenegro.
Data from the National Grid Corporation of the Philippines (NGCP) showed that as of June 30 this year, the highest actual system peak demand in Mindanao was only at 2,167 MW, on June 1. Based on Minda's economic projections, Mindanao will need an additional 3,000 MW generation capacity by 2030, and another 10,000 MW by 2040, and it wants these to be based on clean energy sources. It fixed an ambitious target of a 50 percent share of renewables in the region's power generation mix.
A solar-powered barangay hall in Marilog District, Davao City, is evidence of the immense potential of the sun in providing energy. (Photo by BARRY OHAYLAN)
Enabling policies
In overturning the dominance of fossil-based capacities, Minda advocates an unconventional investment strategy.
'One way to increase the renewable energy capacity is to encourage successful multipurpose cooperatives in Mindanao, especially those with billions of assets already, to expand their portfolio by investing in small renewables, possibly in partnership with local governments or a joint venture with electric cooperatives in their areas,' Montenegro told local officials in a gathering of Mindanao Renewable Energy Advocacy and Coordination Hub in July. 'This is the kind of design that we hope can be propagated,' he said.
Montenegro hopes for localities to build 2 MW or 3 MW capacities whether hydro, solar or biomass, whichever is technically viable in their areas, so these can add up to the projected requirement by 2030.
'Otherwise, we go business as usual, and business as usual is the situation we have today,' he said.
He also urged local governments to put up small renewable energy capacities to power their own needs, aside from promoting these in unserved and underserved communities.
According to Randell Espina, dean of the school of engineering and architecture at the Ateneo de Davao University (Addu), the target is achievable if the government stops accepting new investments in coal-fired power plants in Mindanao, and ensures the efficiency of the existing Agus and Pulangi hydropower plants.
EFFICIENCY | Village chief Roberto Itdang of Barangay Salaysay, Davao City, shows the panel board below the inverter, which converts the direct current from the solar panels to alternative current that runs the appliances. (Photo by BARRY OHAYLAN)
Up for rehab
As of December 2020, the Department of Energy said that the Agus and Pulangi plants had a combined dependable capacity of 844 MW although in the first six months of the year, these ran at most 669 MW, per NGCP data.
The aging facilities are up for rehabilitation and uprating, and there are efforts to build a seventh plant along Agus River in Baloi town, Lanao del Norte, that would add 255 MW of power generation capacity.
Espina also cited the need for policies that enable the growth of renewable energy capacities like incentives for installing photovoltaic (PV) panels on the rooftop of houses. With one-kilowatt peak capacity (kWp) panels on each house, Davao City could easily generate some 100 MW to 200 MW of electricity. 'That's already the minimum because one rooftop can accommodate up to 10 kWp PV panels,' he said.
Solar panels are the 'most mature' renewable energy technology commercially available that can be optimized at present, said Nelson Enano, director of Addu's Center for Renewable Energy and Appropriate Technologies and chair of the Ateneo-led research and development consortium Mindanao Renewable Energy R and D Center (MREC).
'If we could require all municipal halls, all government agencies to have solar PVs integrated into their energy systems, then it would definitely have a much bigger reduction on our dependence on fossil-based electricity,' he said. 'They have rooftops, right?'
MREC has initially mapped out the potential energies that can be harvested in Mindanao, namely, the ocean, tidal and waves in Tawi-Tawi and Surigao provinces; solar in all areas; and wind in Camiguin and offshore on its western seaboard.
'Solar leads all the other energy potentials because of Mindanao's place near the equator,' Enano said.
The Agus 6 power plant harnesses the waters of Maria Cristina Falls in Iligan City. (Photo by RICHEL V.UMEL / uirer Miindanao)
Power supplied to the grid is traditionally categorized as base, intermediate, and peaking loads. Base load is meant to satisfy the minimum energy demand and is often provided by large power plants that can assure constant and reliable production.
A peaking load comes in during the short duration when demand spikes and reaches its highest point within a given day; it is halted when demand recedes. An intermediate load transitions from base to peak.
But the regreening of the grid would require a change of paradigm, Enano said, where variable renewable energy sources like solar and wind are integrated as 'must-run generators' that will be supported with readily dispatchable capacities to compensate for the fluctuation in production, hence avoiding energy shortfalls.
To provide ramping up capacity for the grid, hydroelectric generation capacities such as the one harnessing the Maria Cristina Falls in Iligan City can be converted into pumped storage hydropower (PSH) facilities that, according to the US Department of Energy, 'store and generate electricity by moving water between two reservoirs at different elevations.'
In a PSH facility, water is used many times over as it is pumped from the lower to the upper reservoir when there are more capacities producing electricity. When other capacities are not available, water is released to the lower reservoir, turning the power turbines.
Making things happen
Alberto Dalusung III, energy transition advisor of the Institute for Climate and Sustainable Cities (ICSC), said that the report, Towards an Affordable and Reliable Grid with Energy Transition (Target), showed that while wind and solar capacities have variable energy production, these were predictable and could be integrated into the grid without causing problems.'If we are biased toward renewable energy, we can find ways to make things happen,' Enano said.
Already, the aim of saving on power costs among businesses, communities, and households is driving the growth of the renewables market in the region.
The rising cost of electricity prompts more people to turn to solar energy, said Cecille Rosalita, sales executive of Greenergy Development Corp., a renewable energy company based in Cagayan de Oro City. In Davao del Sur, people are paying as much as P15 per kWh of electricity, so it pays to invest in solar panels, which redounds to a 20 to 30 percent savings on electricity, she said.
In the remote community of Salaysay in Davao City's Marilog district, on-grid solar panels installed through a grant from the Department of Science and Technology allowed villagers to save as much as 46.66 percent on their electricity bills each month, village chief Roberto Itdang said.
The village used to pay P3,000 monthly for electricity, but this had been reduced to about P1,600 after the PV panels were installed. The barangay hall uses the electricity from the grid during the day and turns on the solar battery at night to light the gym where young villagers play.
The gym, which is adjacent to the barangay hall, also serves as an evacuation area during times of emergencies. It was there where people sought refuge when they fled their homes in 2018, during intense fighting between government forces and communist rebels on the outskirts of the village. It's also where they seek refuge during typhoons.
'The solar panels don't easily get blown away during typhoons or strong winds,' Enano said. 'In fact, they're designed that way. They strengthen the roof. They're also considered a climate adaptation instrument,' he added.

redpajama_set_name: RedPajamaCommonCrawl


text:
Woman killed in Westport crash; man arrested
By Brian Fraga/Herald News
Brian Fraga/Herald News SOURCE: Brian Fraga/Herald News
A woman is dead, and a man is under arrest after a fatal two-car accident Friday evening on Route 6 in Westport.Police did not immediately release the names of the suspect, who is described as a 63-year-old man, or the victim, whom Westport police Detective Jeffrey Majewski said is a woman in her 70s, the Herald News reported.The victim was ejected from her car after her vehicle was struck from behind by the suspect's vehicle on Route 6 westbound, Majewski said.Witnesses said that the suspect was driving recklessly and a high rate of speed, and the victim's vehicle appeared to be slowing down and preparing to turn, Majewski said.The impact propelled the victim's silver-colored vehicle 100 feet down the westbound lanes of Route 6 before it flipped over and came to a rest off to the side of the roadMajewski said police suspect that the operator was driving under the influence of alcohol."Our suspicion is that it's drunken driving," Majewski said.Police arrested the man, charging him with several offenses that include motor vehicle homicide and reckless operation of a motor vehicle, Majewski said.Westport officers and Massachusetts State Police troopers were still at the scene as of 9:30 p.m. Tow trucks arrived shortly after to remove both vehicles.Police blocked off a little more than a half-mile stretch of the highway and redirected traffic.
WESTPORT, Mass. —
A woman is dead, and a man is under arrest after a fatal two-car accident Friday evening on Route 6 in Westport.
Police did not immediately release the names of the suspect, who is described as a 63-year-old man, or the victim, whom Westport police Detective Jeffrey Majewski said is a woman in her 70s, the Herald News reported.
The victim was ejected from her car after her vehicle was struck from behind by the suspect's vehicle on Route 6 westbound, Majewski said.
Witnesses said that the suspect was driving recklessly and a high rate of speed, and the victim's vehicle appeared to be slowing down and preparing to turn, Majewski said.
The impact propelled the victim's silver-colored vehicle 100 feet down the westbound lanes of Route 6 before it flipped over and came to a rest off to the side of the road
Majewski said police suspect that the operator was driving under the influence of alcohol.
"Our suspicion is that it's drunken driving," Majewski said.
Police arrested the man, charging him with several offenses that include motor vehicle homicide and reckless operation of a motor vehicle, Majewski said.
Westport officers and Massachusetts State Police troopers were still at the scene as of 9:30 p.m. Tow trucks arrived shortly after to remove both vehicles.
Police blocked off a little more than a half-mile stretch of the highway and redirected traffic.


Little human hearts that are so detailed that you're sure they must've belonged to tiny foetuses. You will see tiny brains, eyes, deformed baby faces, some teeth, hands, and again more miniature babies!
These are the images of the elements that conform the unique art of Singaporean graphic designer Qixuan Lim.
And we can't decide if these images are morbidly cute, bizarre or just plain scary.
There is something fascinating yet unsettling about these baby sculptures.
I think it was this personal fascination fuelled by the hunger to impress someone I really respected that resulted in my first sculptures. I think I just fell in love with sculpting right after that and wanted to do it more.
In addition to the heads of babies, Lim also makes ceramic sculptures of tiny torsos, utensils, hearts, animal skulls, pigs, and forearms—most of them about the size of a thumbnail.
Lim started sculpting five years ago when she was working on an art show during which she was mentored by Pann Lim, a respected figure in Singapore's creative scene.
What are your thoughts on this rather bizarre artwork?


text:
if [[ $TRAVIS_PULL_REQUEST == "false" ]] && [[ $TRAVIS_BRANCH = "master" ]]; then
    openssl aes-256-cbc -pass pass:$ENCRYPTION_PASSWORD -in $GPG_DIR/pubring.gpg.enc -out $GPG_DIR/pubring.gpg -d \
    && openssl aes-256-cbc -pass pass:$ENCRYPTION_PASSWORD -in $GPG_DIR/secring.gpg.enc -out $GPG_DIR/secring.gpg -d \
    && cd samples \
    && mvn clean package \
    && cd ../ \
    && mvn clean package install javadoc:aggregate javadoc:jar source:jar-no-fork deploy --settings settings.xml -DperformRelease=true \
    && rm -rf out \
    && mkdir out \
    && cd out \
    && git init \
    && git config user.name "Travis-CI" \
    && git config user.email "travis@java-app-sdk" \
    && cp -r ../target/site/apidocs/* ./ \
    && git add . \
    && git commit -m "Deployed to Github Pages" \
    && git push --force --quiet "https://${GH_TOKEN}@${GH_REF}" master:gh-pages
    exit $?
else
    mvn clean package javadoc:aggregate javadoc:jar source:jar-no-fork \
    && cd samples \
    && mvn clean package
    exit $?
fi

redpajama_set_name: RedPajamaGithub


Independent press Eyewear Publishing has drawn criticism from the Society of Authors (SoA) over its treatment of poets, including contracts "constituting an unwarranted interference with their civil rights".
Poets have complained about some of the London-based press Eyewear's contracts, seen in full by The Bookseller, demanding its authors not engage with the SoA which it said was "biased against small press publishing and unduly aggressive".
The publisher has been running since 2012 under founder Todd Swift and has published poets such as Pulitzer Prize-winner Paul Muldoon, A K Blakemore and Kimiko Hahn, distributing in the UK and the US.
The contract clauses, seen in a contract from this year, state: "Under no circumstances shall the author refer these matters to 'The Society of Authors' as the publishers consider them biased against small press publishing and unduly aggressive.
Solomon described the clauses as "extraordinary" and unprecedented and revealed that Eyewear poets had contacted the society in the past in need of assistance.
"To prohibit authors from contacting the SoA is to prevent them from taking independent advice from their trade union," she told The Bookseller. "Not only is this unenforceable, it constitutes an unwarranted interference with their civil rights. The termination clause is also extraordinary – the fact that it explicitly mentions the possibility of the publisher sending 'rude emails' that cause 'hurt feelings' speaks for itself.
Swift told The Bookseller the contract clauses were often deleted if a writer objected to them.
"Each contract we have signed since 2012 is bespoke, we try and base on industry standard templates," he said. "They are all discussed with the authors. We are very short on resources and usually if authors object to a clause we delete.
"We are a very small press even if we punch above our weight that basically makes no profit and that has published hundreds of poets without arts funding," he said. He emphasised that he had worked for six years without taking a salary.
Eight writers have contacted The Bookseller to share their experiences of working with the publisher. While many in the poetry community have reported difficult relationships with Eyewear, others have rushed to Swift's defence, suggesting the situation raises "an interesting debate" about independent publishers.
One poet, who also wished not to be named, told The Bookseller: "My experience of Eyewear and Todd Swift has been excellent... Other authors have stated a similar experience, but in private, not public."
Another writer, who wished to remain anonymous, said the "nuts and bolts of the editing, how to improve the text, and the editorial guidance has been extremely high".
"It does open an interesting debate about the viability of indie presses where poetry books are not financially viable." the writer told The Bookseller. Meanwhile Eyewear has detailed at length on its website the need for more people to buy from indie presses and retailers.
However, Swift told The Bookseller the since-deleted tweet had been "misread" and the poetry list would not be suspended.


Having multiple monitors can greatly boost productivity, efficiency and even fun while using your computer. Who doesn't want to be able to view all their important documents on screen when writing a report or read/view multiple websites at the same time? So, should you buy into the multi-monitor mantra? The answer is… maybe.
I'm sure you have seen it before, the wall of screens on someones desk. Be it in a movie or in use in places such as a financial institution, office space or even on the nightly news. It is more and more common to see a desktop PC or even a laptop with two or more screens connected to it. If you have only ever used a single screen, you may wonder why anyone would need it and how anyone could ever actually make good use of it. The truth is, with some training, multi-monitor set-ups become invaluable tools to those who need quick visual access to a large amount of digital data. As your computer desktop is analogous to a physical work space, you can imagine some jobs are just easier to do when you have more space to work in.
More Virtual Desk Space – Increased space to hold windows and documents for reference.
Saved Time – You'll spend less time switching between windows/programs as you can keep application open and waiting for input.
Increased Focus – More of your work can be shown at once so there is less opportunity for you to lose track of what you are working on while switching windows/applications.
Large Screen Gaming – Play PC games? If your machine has a powerful enough graphics card(or two) inside you will be able to change your settings to allow many titles to make use of the extra space. This can create more immersion and even advantage as you can have a larger field of view.
Multitasking – Take multitasking to a new level by using a screen for a specific purpose or task. Keep email/instant messages going in one screen while working on another. Keep notes, lists and running processes(file transfers, downloads etc) available so you can act sooner when they are complete.
Cost – Purchasing a second monitor is usually rather costly at $100+ USD a piece. Also, it is usually best to buy a matching screen to what you already own. This saves the headache of large color output differences and the clash of different designs on your desk.
Space – A second screen means you need a desk at least twice as wide as needed for your single screen. Triple monitors? Better have an entire wall to devote to your workspace.
More Cables – Adding another power and video cable to a mess of cables at your desk may not be something you want. Especially if you have a very clean work space. If you do though, be sure you to have a power strip available with the number of outlets you need as outlets are usually hard enough to find near your desk.
As I stated in the beginning of the article, this is a firm maybe. If you are considering it, you should carefully considered your workload and the pros and cons listed above. Unless you are invested in your technology, you will want to skip out. The cost of purchasing another monitor is a huge barrier to entry and generally you only see benefits if you regularly find yourself rotating through open applications or short on screen space. You will also either need to be tech savvy enough to understand if your PC is capable using multiple monitors or get a local geek to help review/upgrade your machine to enable it.
However with that said, if your workload is borderline it may pay off to take the leap. I have come to find dual screens a necessity for the tasks that I do. Also, as a side note I would like to let you know that it will take a while to get used to the extra space. So don't be surprised if you invest and find yourself only using a single screen most of the time. I find that when introduced to such a drastic change most people will need some time to adjust and find a workflow that works for them with the new set up.
What do you think of using multiple monitors? Have any questions that you wish I would have answered? Please let me know in the comments below!


Lawrence Phillips presented a poster outlining his journey to lose a substantial amount of weight and keep it off, and the subsequent improvements he experienced in health and quality of life. Raquel Masco's poster details her use of meditation to manage her pain/stiffness and better focus on life and work's daily challenges. Shannan O'Hara-Levi's poster explains how incorporating an integrative approach – including vitamin supplements, dietary restrictions and a walking regimen – into her treatment plan has empowered her and helped her cope with the unpredictability her of arthritis. And in Dr. Brandi Stevens's poster, she shares her experience walking the fine line between being a pediatric rheumatologist and dealing with her own rheumatoid arthritis (RA).
LaTosha Davis, who attended the same session, had a slightly different takeaway: "Within the next few years, rheumatology will have what Dr. Kevin Deane [from the University of Colorado Denver] calls an 'intent to prevent' approach to our diseases." Also discussed in the session was that the patient-physician disconnect leads to poorer outcomes: "Remission to a physician is different than from the point of view of a patient," she adds.
Stay tuned for more highlights from the ACR 2018 Annual Meeting!


text:
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path: "TestCases/chapter15/15.3/15.3.2/15.3.2.1/15.3.2.1-11-6-s.js",

description: "Duplicate combined parameter name allowed in Function constructor called in strict mode if body not strict",

test: function testcase()
{
  "use strict";
  Function('a,a','return a;');
 },

precondition: function prereq() {
  return fnSupportsStrict();
 }

});


text:
Sucharit Sarkar (Calcutá, ) é um professor associado da Universidade da Califórnia em Los Angeles.

Nas Olimpíadas Internacionais de Matemática em 2001 e 2002 recebeu respectivamente a medalha de ouro e prata.

Sarkar obteve um Ph.D. na Universidade de Princeton em 2009, orientado por Zoltán Szabó.

Foi palestrante convidado do Congresso Internacional de Matemáticos no Rio de Janeiro (2018).

Professores da Universidade da Califórnia em Los Angeles
Alunos da Universidade de Princeton
Pessoas vivas

redpajama_set_name: RedPajamaWikipedia


text:
a-ha Will Bring Their 'Hunting High and Low' Tour To South Africa In 2020
by El Broide June 24, 2019
written by El Broide June 24, 2019 700 views
Norwegian popstars a-ha took the global music scene by storm with their impressive debut studio album 'Hunting High And Low' when it was released back in 1985. 'Take On Me' continues to be a timeless classic today and now, 34 years after the release of the album, the group will be touring South Africa next year as part of an international comeback tour.
a-ha will bring their "a-ha play Hunting High And Low live" tour to Cape Town on 14 February 2020 at the Green Point A Track and to Johannesburg on 15 February 2020 at Marks Park, Emmarentia and promise that the tour will be different from anything they have previously undertaken.
Magne Furuholmen, Morten Harket and Pål Waaktaar-Savoy will be performing new and old, familiar and less-familiar songs, as well as the ten songs off their 1985 debut album Hunting High And Low in the running order of the original release. Back in October 2010, a-ha had played the whole of Hunting High And Low just twice, first at Oslo's Konserthus and then at London's Royal Albert Hall. Now, from France to Poland and from Germany to South Africa, audiences will have the unique chance to experience a-ha revisiting their first album while staying faithful to its spirit.
Together, Hunting High And Low's ten songs are more than a debut album. "Take On Me", "Train Of Thought", "Hunting High And Low", "The Blue Sky", "Living A Boy's Adventure Tale", "The Sun Always Shines On T.V.", "And You Tell Me", "Love Is Reason", "Dream Myself Alive" and "Here I Stand And Face The Rain" are ten songs which captured a-ha's heart and soul. And the hearts and souls of fans world-wide too.
"We played the full Hunting High And Low album live once before and that was a great experience," says Pål, looking back on the pair of 2010 concerts and how he, Magne and Morten feel now. "There's not one song on that album that we're not looking forward to playing live. We had done quite a few versions of the songs before recording the actual album and they all contain great bits and cool ideas which will be nice to incorporate into the new show."
"Recording Hunting High And Low was such a defining moment and an exciting time in our career and joint collaboration," stresses Magne. "So revisiting this body of work now – more than 30 years later – feels like inspiration rather than obligation. I just need to dust off the old synths a little…"
"With the song selection and the set in the album's running order, it will turn it into a totally different type of show to anything we have done before," adds Pål , saying a-ha also appreciate the tour will "pull your mind and mood back to when Hunting High And Low was made, which for us was a time when we were living in the same tiny apartment in London and working on the songs 24/7. By when the album was finally released it had been a long and bumpy ride, and we poured all our ambitions into the record as if it would be our one and only shot."
A Track, Green Point
General Access: R595 excl fees
Golden Circle VIP: R895 excl fees
Marks Park, Emmarentia
Tickets on sale 26 June 2019 at www.breakoutevents.co.za
El Broide
El Broide has had a long standing career within the entertainment industry. He has interviewed local and international celebrities such as Bonang Manthba, Gareth Cliff, Oprah, Giuliana Rancic, Jessie J, Buddy Valastro, Kris Jenner, Ryan Seacrest, Kelly Osbourne, and the late Joan Rivers (amongst others). El also owns PR and social media agency The Platinum Club and is obsessed with all things entertainment. From film to theatre to music, El loves it all.
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Data from Kenya Flower Council place Kenya as the world's fourth-largest exporter of cut flowers behind the Netherlands, Colombia and Ecuador, and makes up some 7 per cent of global market share.
Products are exported to 60 countries worldwide; some 59 per cent of domestic production is routed through the Netherlands' flower auction, accounting for about 35 per cent of all flower sales in EU markets, while other key markets in terms of exports include the United Kingdom, Germany, Norway and Australia.
Meanwhile, the fertiliser association said it is ready to supply farmers with the produce they need for this year's long-rain planting season.
"We can only be able to bring the commodity through the specially permitted system under Article 114 of public procurement which can only be permitted by the National Treasury. There are no short-cuts to these unless one wants to land in jail," said Agriculture CS Mwangi Kiunjuri.


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There's a lot to learn when you're getting started with life insurance. When you're ready, Herman Dominguez in Laredo, TX is here to help.


text:
Edward C. White
EDWARD C. WHITE, JR., CFA, Managing Director, has covered
semiconductor equipment and other electronics companies for the
past 23 years. Prior to joining Lehman Brothers in 1990, he
managed his own merger and acquisitions consulting firm. Mr.
White also spent five years with E.F. Hutton, and three years at
L.F. Rothschild, Unterberg Towbin. He was ranked among the top
semiconductor equipment analysts by Institutional Investor
magazine in 1995, 1996, 1998, 2000 and 2001, and among the top
electronics analysts in 1986. He was named a Home Run Hitter by
Institutional Investor in 1995 and 1996. In 2001, Mr. White
ranked Number Two in The Wall Street Journal Best on the Street
poll and Number Three in the Reuters survey. He holds a BA in
Economics from Princeton University and an MS in quantitative
analysis from New York University's Stern School of Business.
Related Interviews:
Semiconductor Equipment Industry: Edward White Jr. - Lehman Brothers
Roundtable Forum: Semiconductor Capital Equipment
Semiconductor Capital Equipment: Edward White Jr. - Lehman Brothers
Semiconductor Equipment: Edward White Jr. - Lehman Brothers
Roundtable Forum: Semiconductor Equipment


Are you looking for doctors in Minneapolis for yourself or a loved one? You've come to the right place. Through just three easy steps, you can access a list of the top doctors in Minneapolis with detailed information on each of them. All of this is available to you for free from Castle Connolly.
Having the doctor's name and contact information isn't enough to know for sure that they are the right doctor for your needs. Therefore, included in the profiles is helpful information about the doctor such as education, training and special expertise.
This is a free initial search that will give you access to 20-25% of the total 56,000+ list, nationwide. To access the full list of doctors near Minneapolis and the rest of Minnesota, sign up as a Premium Member now.
Finding the right doctor is important because this is the person who will be responsible for your health. They will be examining, diagnosing, and treating you and any potential health conditions. You deserve to know all you can about who is treating you, which is why you can access the doctor's disciplinary and behavioral background.
Are you ready to have a list of doctors in Minneapolis that you can choose your doctor from? You're almost there. Search with Castle Connolly now.


text:
WTA Tournament of Champions – tenisowy turniej kobiet kategorii WTA International Series rozgrywany corocznie na zakończenie sezonu, najczęściej w listopadzie w latach 2009–2014. Awans do niego uzyskiwało osiem najwyżej sklasyfikowanych w rankingu tenisistek, które wygrały turniej rangi WTA International Series (oprócz zawodniczek, które zakwalifikują się do WTA Tour Championships).

Zawody odbyły się pierwszy raz w 2009 roku na indonezyjskiej wyspie Bali. Wówczas w turnieju wystartowało 12 zawodniczek podzielonych na 4 grupy po trzy zawodniczki. Zwyciężczynie grup dostały się do półfinałów.

W latach 2010–2011 rozgrywane były także mecze o trzecie miejsce. Grały w nich zawodniczki, które przegrały w półfinałach.

W 2011 roku drugie z rzędu zwycięstwo odniosła Serbka Ana Ivanović. Był to pierwszy przypadek w historii turnieju, że tenisistka wygrywała turniej dwa lata z rzędu.

W latach 2012–2014 turniej odbywał się w Sofii. W 2015 roku zawody zastąpiono turniejem WTA Elite Trophy.

Historia nazw turnieju

Obiekty

Mecze finałowe

gra pojedyncza

Linki zewnętrzne
 Oficjalna strona turnieju (wersja archiwalna)

!


text:
package org.openpipeline.server.pages;

import java.util.Iterator;

import org.openpipeline.pipeline.connector.linkqueue.LinkQueue;
import org.openpipeline.pipeline.connector.linkqueue.LinkQueueFactory;
import org.openpipeline.util.FastStringBuffer;

public class LinkQueuePage {

	private GenericConnectorPage currPage;

	public void processPage(GenericConnectorPage currPage) {
		this.currPage = currPage;
	}

	public String getLinkQueueDropdown() {

		FastStringBuffer options = new FastStringBuffer();
		FastStringBuffer values = new FastStringBuffer();

		options.append("None");
		// don't add anything to values

		Iterator it = LinkQueueFactory.getLinkQueues();
		while (it.hasNext()) {
			LinkQueue lq = (LinkQueue) it.next();
			String name = lq.getName();
			//String desc = lq.getDescription(); // commas in the description cause problems

			options.append(",");
			options.append(name);
			values.append(",");
			values.append(name);
		}

		return currPage.selectField("linkqueue-name", options.toString(), values.toString());
	}

}


text:
大井書店
OLD & RARE BOOKS IN MEDICINE & SCIENCE
野口 英世
野口英世他 「全身麻痺症例における脳の梅毒トレポネーマの実験」
J.E.M.誌第17巻掲載 1913年 ニューヨーク刊
Noguchi, Hideyo & Moore, J.W.: A Demonstration of Treponema Pallidum in the Brain in Cases of General Paralysis.
In: The Journal of Experimental Medicine. Vol. 17. pp.232-238. New York, 1913.
野口英世他 「急性灰白髄炎の疫学に対するカとハエの関係」
Noguchi, Hideyo & Rokusaburo Kudo: The Relation of Mosquitoes and Flies to the Epidemiology of Acute Polimyelitis.
In: The Journal of Experimental Medicine. Vol. 26. pp.49-57. New York, 1917.
野口英世 別刷コレクション 35点
Noguchi Hideyo offprint collection. (35 copies)
Flexner, Simon & Noguchi, Hideyo: The Constitution of Snake Venom and Snake Sera. From The University of Pennsylvania Medical Bulletin, November, 1902. pp.1-52. ¥24,840
Noguchi, Hideyo: A Homohemolytic System for the Serum Diagnosis of Syphilis. Reprinted from The Journal of Experimental Medicine, Vol.XXVIII, No.1, June 1, 1918. pp.43-67. ¥24,840
Noguchi, Hideyo: A Study of the Protective Action of Snake Venom upon Blood Corpuscles. From The Journal of Experimental Medicine, Vol.VII, No.2, April 25, 1905. pp.1-32. ¥24,840
Noguchi, Hideyo: Die quantitative Seite der Serodiagnostik der Syphilis, mit Bemerkungen über den Globulin- und natürlichen Antihammel-Ambozeptorgehalt syphilitischer Sera, sowie über die angebliche Gefahr von Auftreten des Neisser-Sachsschen Phänomens beim Verwenden des antimenschlichen Ambozeptors. Neunter Band. Sechsets Heft. 1911. Ausgegeben am 10. Juni 1911. pp.715-748. ¥24,840
Noguchi, Hideyo: Etiology of Oroya Fever. III. The Behavior of Bartonella Bacilliformis in Macacus Rhesus. Reprinted from The Journal of Experimental Medicine, Vol.XLIV, No.5, November 1, 1926. pp.697-713. ¥24,840
Noguchi, Hideyo: Etiology of Oroya Fever. IV. The Effect of Inoculation of Anthropoid Apes with Bartonella Bacilliformis. Reprinted from The Journal of Experimental Medicine, Vol.XLIV, No.5, November 1, 1926. pp.715-728. ¥24,840
Noguchi, Hideyo: Etiology of Oroya Fever. V. The Experimental Transmission of Bartonella Bacilliformis by Ticks (Dermacentor Andersoni). Reprinted from The Journalof Experimental Medicine, Vol.XLIV, No.5, November 1, 1926. pp.729-734. ¥24,840
Noguchi, Hideyo: Etiology of Oroya Fever. VI. Pathological Changes Observed in Animals Expeirimentally Infected with Bartonella Bacilliformis. Reprinted from The Journalof Experimental Medicine, Vol.XLV, No.3, March 1, 1927. pp.437-454. ¥24,840
Noguchi, Hideyo: Etiology of Oroya Fever. VII. The Response of the Skin of Macacus Rhesus and Anthropoid Apes to Inoculation with Bartonella Bacilliformis. Reprinted from The Journal of Experimental Medicine, Vol.XLV, No.3, March 1, 1927. pp.455-463. ¥24,840
Noguchi, Hideyo: Etiology of Oroya Fever. VIII. The Experiments on Cross-Immunity between Oroya Fever and Verruga Peruana. Reprinted from The Journal of Experimental Medicine, Vol.XLV, No.5, May 1, 1927. pp.781-786. ¥24,840
Noguchi, Hideyo: Etiology of Oroya Fever. IX. Bacterium Peruvianum, N. Sp., A Secondary Invader of the Lesions of Verruga Peruana. Reprinted from The Journal of Experimental Medicine, Vol.XLVII, No.1, January 1, 1928. pp.165-170. ¥24,840
Noguchi, Hideyo: Etiology of Oroya Fever. X. Comparative Studies of Different Strains of Bartonella Bacilliformis, with Special Reference to the Relationship between the Clinical Types of Carrion's Disease and the Virulence of the Infecting Organism. Reprinted from The Journalof Experimental Medicine, Vol.XLVII, No.2, February 1, 1928. pp.219-234. ¥24,840
Noguchi, Hideyo: Etiology of Oroya Fever. XI. Comparison of Bartonella Bacilliformis and Bartonella Muris. Cultivation of Bacterium Murium, N. Sp. Reprinted from The Journalof Experimental Medicine, Vol.XLVII, No.2, February 1, 1928. pp.235-743. ¥24,840
Noguchi, Hideyo: Etiology of Oroya Fever. XII. Influence of Malarial Infection (Plasmodium Inui?), Splenectomy, or Both, upon Experimental Carrion's Disease in Monkeys. Reprinted from The Journal of Experimental Medicine, Vol.XLVII, No.5, May 1, 1928. pp.821-827. ¥24,840
Noguchi, Hideyo: Etiology of Oroya Fever. XIII. Chemotherapy in Experimental Bartonella Bacilliformis Infection. Reprinted from The Journal of Experimental Medicine, Vol.XLVIII, No.5, November 1, 1928. pp.619-625. ¥24,840
Noguchi, Hideyo, et al.: Experimental Studies of Yellow Fever in Northern Brazil. Monographs of the Rockefeller Institute for Medical Research. No. 20. August 9, 1924. pp.1-36. 5 plates. ¥24,840
Noguchi, Hideyo: Immunity Studies of Rocky Mountain Spotted Fever. I. Usefulness of Immune Serum in Suppressing an Impending Infection. Reprinted from The Journal of Experimantal Medicine, Vol.XXXVII, No.3, March 1, 1923. pp.383-394. ¥24,840
Noguchi, Hideyo: Immunity Studies of Rocky Mountain Spotted Fever. II. Prophylactic Inoculation in Animals. Reprinted from The Journal of Experimantal Medicine, Vol.XXXVIII, No.5, November 1, 1923. pp.605-626. ¥24,840
Noguchi, Hideyo & Kligler, I.J.: Immunology of the Peruvian Strains of Leptospira Icteroides. Reprinted from The Journal of Experimental Medicine, Vol.XXXIII, No.2, February 1, 1921. pp.253-260. ¥24,840
Noguchi, Hideyo: Influence of Temperature upon the Velocity of the Complement Fixation Reaction in Syphilis. Reprinted from TheJournal of Experimental Medicine, Vol.XXVIII, No.3, September 1, 1918. pp.297-303. ¥16,200
Noguchi, Hideyo: Prophylaxis and Serum Therapy of Yellow Fever. Reprinted from The Journal of the American Medical Association, Vol.77, July 16, 1921. pp.181-185. ¥24,840
Noguchi, Hideyo: The Action of Snake Venom upon Cold-Blooded Animals. Washington, U.S.A. Published by the Carnegie Institution, June, 1904. pp.1-16. ¥24,840
Noguchi, Hideyo & Bronfenbrenner, J.: The Comparative Merits of Various Complements and Amboceptors in the Serum Diagnosis of Syphilis. Reprinted from The Journal of Experimental Medicine, Vol.XIII, No.1, 1911. pp.78-91. ¥24,840
Noguchi, Hideyo: The Etiology of Verruga Peruana. Reprinted from The Journal of Experimental Medicine, Vol.XLV, No.1, January 1, 1927. pp.175-189. ¥24,840
Noguchi, Hideyo & Bronfenbrenner, J.: The Interference of Inactive Serum and Egg-White in the Phenomenon of Complement Fixation. Reprinted from The Journal of Experimental Medicine, Vol.XIII, No.1, 1911. pp.92-97. ¥24,840
Noguchi, Hideyo: The Photodynamic Action of Eosin and Erythrosin upon Snake Venom. From The Journal of Experimantal Medicine, Vol.VIII, No.2, March 26, 1906. pp.252-267. ¥24,840
Noguchi, Hideyo: The Thermostabile Anticomplementary Constituents of the Blood. From The Journal of Experimantal Medicine, Vol.VIII, No.6, December 21, 1906. pp.726-749. ¥24,840
Noguchi, Hideyo: Über die chemische Inaktivierung und Regeneration der Komplemente. Sonderabdruck aus VI. Band, 2./3. Heft. Eingegangen am 9. August 1907. pp.172-184. ¥24,840
Flexner, Simon: An Aspect of Modern Pathology. From The American Journal of the Medical Sciences, August, 1903. pp. 1-15. ¥8,640
Flexner, Simon: The Biological Basis of Specific Therapy. Reprinted from The Boston Medical and Surgical Journal, Vol.CLXV, No.19, November 9, 1911. pp.709-714. ¥8,640
Flexner, Simon: The Etiology of Syphilis. From The Medical News, 1905. pp. 1-28. ¥8,640
Flexner, Simon: The Local Specific Treatment of Infections, with Especial Reference to Epidemic Meningitis. Reprinted from The Edinburgh Medical Journal, May, 1912. pp.3-16. ¥8,640
Flexner, Simon: The Pathology of Lymphotoxic and Myelotoxic Intoxication. From The University of Pennsylvania Medical Bulletin, November, 1902. pp.1-23. ¥8,640
Flexner, Simon: Thrombi Composed of Agglutinated Red Blood Corpuscles. Preliminary Communication. From The University of Pennsylvania Medical Bulletin, November, 1902. pp.1-7. ¥8,640
Mitchell, John K.; Flexner, Simon; Edsall, D.L.: A Brief Report of the Clinical, Physiological and Chemical Study of Three Cases of Family Periodic Paralysis. Reprinted from Brain, Part XCVII, Spring Number, 1902. pp.3-15. ¥8,640
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The UN's Human Rights Council, meeting in Geneva, is expected to ratify draft principles which recognises the scale of persecution suffered by 65 million 'untouchables' or 'Dalits' who carry out the most menial and degrading work.
Many of them work as lavatory and sewer cleaners and in remote villages as "night-soil carriers".
They are considered unclean by many higher-caste 'Brahmins' who regard their presence, and sometimes even their shadow as 'polluting'.
Many Dalits have been badly beaten or killed for 'polluting' Brahmin wells by drinking from them.
The UN draft, which has been opposed by India, pledges to work for the "effective elimination of discrimination based on work and descent".
The Indian government had lobbied heavily for the Human Rights Council to remove the word 'caste' from a draft earlier this year.
India's opposition was undermined however by Nepal, the former Hindu Kingdom, which has supported the move. Its foreign minister Jeet Bahadur Darjee Gautam said Nepal welcomes UN and international support for its attempts to tackle caste discrimination.
The UN has now called on India to follow Nepal's example, but New Delhi remains opposed to international interference on the issue.


text:
Parish Summary: Blickling
This Parish Summary is an overview of the large amount of information held for the parish, and only selected examples of sites and finds in each period are given. It has been beyond the scope of the project to carry out detailed research into the historical background, documents, maps or other sources, but we hope that the Parish Summaries will encourage users to refer to the detailed records, and to consult the bibliographical sources referred to below. Feedback and any corrections are welcomed by email to heritage@norfolk.gov.uk
Blickling, from the Old English meaning the 'homestead of Blicla's people', in the northeast of the county, is dominated by Blickling Hall, now owned by the National Trust, which attracts thousands of visitors every year.
There is some evidence for early settlement in the parish, several Neolithic axeheads (NHER 7382, 7383, 14556) and some pottery (NHER 6714) have been found, as well as a Bronze Age mace head (NHER 5115). A Bronze Age barrow is preserved within woodland in the park (NHER 28673), and two ring ditches are visible as cropmarks on aerial photographs in the south of the parish (NHER 12784, 12785). Two Roman coins (NHER 7384, 33094) and a solitary fragment of Roman pottery (NHER 31651) have been found in the parish. Two rectilinear enclosures are visible as cropmarks, and may date to the Roman period (NHER 12981, 36072).
The only evidence of Saxon occupation in the parish is a Middle Saxon coin (NHER 33094), which was found by metal detecting in the south of the parish. Despite the lack of material evidence from the Saxon period, Blickling seems to have been a fairly substantial and wealthy settlement, and was a royal manor before being given to the Bishop of Thetford after 1066. Lots of small outlying settlements were associated with the manor of Blickling in the Domesday survey, including Oulton and Hevingham, suggesting that Blickling was a manor of some importance.
Blickling retained its association with the Bishopric until well into the medieval period. The site of the episcopal manor (NHER 6714) is in the north of the parish. Community excavations have revealed the foundations of medieval buildings and fishponds, as well as medieval pottery, tile and building materials. The site is also visible as earthworks running down towards the river.
Blickling Hall , an important Jacobean mansion.<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" />
© NTPL/Leo Mason.
During the late 14th century the manor came into the hands of Sir Nicolas Dagworth who built a large, moated hall on the site of the present Blickling Hall (NHER 5115). The manor passed through several families, including Sir Thomas Erpingham, who fought at the Battle of Agincourt with Henry V, and the Boleyn family. Anne Boleyn, whose marriage to Henry VIII sparked the crisis of the Reformation, is reputed to have been born at Blickling and to have spent much of her early life here, a claim made by several different houses owned by the Boleyn family. Several memorials to the Boleyn family, and to Sir Nicolas Dagworth are in St Andrew's Church (NHER 7412), which stands next to the Hall. The church itself is mainly of 14th century date, with some earlier work.
Tower House, Blickling. (©NCC)
In 1605 the manor was acquired by Sir Henry Hobart, who built the present house. Blickling Hall is one of the most impressive Jacobean mansions in the country, and is one of Norfolk's most famous landmarks. Designed by Robert Lyminge, the architect of Hatfield House, between 1618 and 1629, on the site of the medieval hall. Although the Hall was altered in the 18th century, much of the Jacobean interior and layout survives, such as the plaster ceilings and the long gallery, which look out over the formal gardens.
Originally there were two medieval deer parks in the parish, one associated with the Bishop's palace, and one with the secular manorial site, where the present Blickling Hall is built. An earthwork bank (NHER 17743) may represent the boundary of one of these deer parks. The park around the hall was gradually extended, taking in the medieval 'Great Wood' in the 17th century (NHER 17744), before expanding rapidly in the 18th century to its present size. The 18th century landscape park (NHER 30433) around the Hall includes an ornamental lake, a large viewing mount, a prospect tower (NHER 5116), and a pyramidal mausoleum (NHER 7407).
During World War One, the normally tranquil surroundings of the Hall were used as an airfield (NHER 13615), but its exact location is unknown. The Royal Air Force used the grounds of the Hall as a barracks during World War Two, and the foundations of several buildings (NHER 36311, 36312) were discovered during a community excavation in 2001.
The landscape and archaeology of Blickling is focused on the magnificent Jacobean Hall, and although the evidence for earlier occupation in the parish is somewhat lacking, this may be because systematic fieldwalking and metal detecting has not been carried out on a large scale, and the early archaeology of the parish is still waiting to be discovered.
Sarah Spooner (NLA), 13 September 2005.
Brown, P. (ed.), 1984. Domesday Book: Norfolk (Chichester, Phillimore)
Mills, A.D., 1998. Dictionary of English Place-Names (Oxford, Oxford University Press)
Pevsner, N. and Wilson, B., 1997. Norfolk 1: Norwich and North East (London, Penguin)
Rye, J., 1991. A Popular Guide to Norfolk Place-names (Dereham, Larks Press)


text:
Pam Young
Head Registrar – Documentation & Systems
Pam leads the Collections Management Team which is responsible for collections data at the V&A and manages the Collections Management System and DAMS. Pam trained as an archaeologist and worked on excavations in the UK and France before moving into the museum sector with a focus on collections management.
Pam has worked in university, local authority, military and national museums in the UK for over 20 years, where her experience includes managing collections documentation and digitisation projects, consultancy work with the Middle East, procuring a cloud-based documentation and DAMS solution for an international consultancy project, and managing the acquisitions and disposals processes at the V&A. Her interests include the history of collecting, the collecting and management of digital museum objects, and ways of increasing public access to collections both digitally and physically.


text:
Huerfano County
Spanish Peaks
Located on the eastern slope of the Spanish Peaks and Sangre de Cristo Mountains, Huerfano County receives little precipitation and is covered by dry grasslands.
Huerfano County is a crossroads of southern Colorado known for coal production in the late nineteenth and early twentieth centuries.
Huerfano County, named for the Spanish word for "orphan," covers 1,750 square miles in south central Colorado, east of the Sangre de Cristo Mountains and south of the Wet Mountain Valley. The southern part of Huerfano County is part of the Raton Basin, a geological formation that has produced large amounts of coal. Originally, Huerfano County stretched from the Kansas border to the Sangre de Cristos, but over time portions of the county were carved off to form several other counties. The county is now bordered by Pueblo County to the northeast, Las Animas County to the southeast, Costilla and Alamosa Counties to the southwest, Saguache County to the west, and Custer County to the north.
As of 2015, Huerfano County had a population of 6,492. Most of the its residents live in the county seat of Walsenburg, but smaller populations can be found in Badito, Calumet, Cuchara, Gardner, Farista, and La Veta. Short grasses and shrubs cover much of the county lowlands, with piñon, pine, oak, and juniper growing in the mountainous regions. Huerfano's mild mountain passes, notably La Veta and Sangre de Cristo Passes, have made it an important transportation corridor throughout history.
From the seventeenth century through the early nineteenth, the Huerfano County area served as a crossroads for different groups vying for control of the American West. In the seventeenth century, Jicarilla Apache people frequented what would become the plains of Huerfano County, while the Utes regularly passed through its western mountains. These nomadic people made seasonal treks over the area's mountain passes, following game into and out of the San Luis Valley and across multiple elevation ranges. During the eighteenth century, the Utes, Apache, and Comanche all vied for control of south central Colorado.
The Spanish began exploring northward from New Mexico in the sixteenth and seventeenth centuries, but did not at first attempt to settle the isolated region. In 1779 New Mexican governor Juan Bautista de Anza led a 600-man force into the Raton Basin and over Sangre de Cristo Pass in pursuit of the Comanche leader Cuerno Verde.
In 1806–7 the American explorer Zebulon Pike explored the southern portion of the Louisiana Purchase on behalf of the US government, passed through what is now southern Huerfano County on his way to the San Luis Valley. In the summer of 1820 Major Stephen H. Long explored the area, returning east with tales of easy travel over the southern plains to New Mexico. In the 1820s, the mountain branch of the Santa Fé Trail passed through Huerfano County, and both American and French fur trappers frequented the area in the 1820s and 1830s.
First Spain and later Mexico attempted to settle what would become northern New Mexico and southern Colorado by issuing large land grants. Many Hispano families settled in southern Colorado, raising sheep and farming; their legacy and continued presence are reflected in the local place names, landscape, and culture. Following the American Civil War, several treaties relegated Native Americans to reservations, which made the west seem safer for settlement. White Americans began to settle the Raton Basin and Huerfano County in the late 1860s, many raising cattle on public lands. The Homestead Act of 1862 attracted easterners to the region, increasing local settlement.
County Development
Huerfano County was established in 1861 as one of the original seventeen counties of the Colorado Territory. In 1862 Colonel John M. Francisco and French Henry Daigre completed Francisco Fort in the Cuchara Valley. The adobe fort and adjoining plaza were meant to protect the men from Native Americans as well as attract other settlers and traders by serving as a trade center. The men began farming and selling local lots, inadvertently choosing the site of the future town of La Veta in the process. The town acquired a post office in 1871 and continued to grow as families moved in from New Mexico and the eastern United States to set up homesteads in the fertile valley.
In the early 1860s, Hispano shepherds from the San Luis Valley founded la Plaza de los Leones. The plaza would later become the site of the city of Walsenburg, named for Henrich Anton Frederick Walsen, who settled there in 1870. By 1865, Huerfano County had a population of 371 settlers—almost all Hispano—whose houses often resembled the stucco and adobe domiciles of northern New Mexico. Although they were the most numerous, Huerfano County Hispanos soon faced disenfranchisement. By 1900, American-owned cattle and sheep companies had bought up most of the local range land, eclipsing traditional land ownership and use.
In 1870 the Denver & Rio Grande (D&RG) and Atchison, Topeka, & Santa Fe (AT&SF) Railroads reached Trinidad, to the south of Huerfano County. The D&RG soon extended through Huerfano County and on to the San Luis Valley over La Veta Pass, and later extended east to La Junta. The Colorado and Southern Railroad (C&S) followed suit. These railways facilitated shipping and the continued growth of local agricultural and mining communities. The county seat was moved from the former trade center of Badito to Walsenburg in 1872.
Beginning in 1875, small-scale mining in Huerfano County yielded minor amounts of gold, silver, copper, and lead; in light of these modest prospects, large-scale mineral mining did not take hold. However, during the 1880s, the rise of effective smelting processes and railway shipping sparked a greater demand for coal, which was plentiful at the base of the mountains in Huerfano County. Over the following decade, Walsenburg would come to be known as "The City Built on Coal."
Commercial coal mining began near Walsenburg in 1881 at the Walsen Mine, with larger mines starting up around Trinidad. These mines supplied coal to Colorado Fuel & Iron (CF&I) smelters in Pueblo. By 1890, the area around Walsenburg and Trinidad became the most important coal-producing region in Colorado, attracting thousands of foreign workers who formed ethnic communities in the nearby towns. Italians, Serbs, Slavs, and Latinos were all represented in the early mining towns, which supported no fewer than fifty mines at the high point of the county's mining boom.
The mines of southern Colorado played an important part in the story of early twentieth-century labor struggles. The late nineteenth century saw the rise of railroad, steel, and oil tycoons who amassed huge amounts of money at the expense of their workers. Many miners felt exploited due to harsh and dangerous working conditions and company credit systems that limited their social mobility. Throughout the Rocky Mountain West, miners began protesting these conditions by joining unions and organizing strikes. Mine owners responded in various ways, from hiring strikebreakers to enlisting security forces to intimidating, deporting, or using violence against workers. In Walsenburg, two strikes in 1893 and 1903–4 failed to produce results for the miners. Tensions escalated until 1914, when National Guard soldiers killed nearly twenty men, women, and children in the nearby Ludlow Massacre, the climax of the Colorado Coalfield War.
The construction of highways in the 1930s further connected the coal mines of Huerfano County to national markets. US Highways 85 and 160 proved to be vital transportation routes throughout the century. The county continued to produce lucrative amounts of coal, but as with of the rest of the nation, the Great Depression took a toll on the local economy. Many mines closed, company towns were abandoned, and farms dried up during the Depression and Dust Bowl of the 1930s.
Though coal mining remained the dominant economic activity in Raton Basin from the 1920s to the 1940s, the drop in demand for coal after World War II—related to rising demand for oil—led to a shift back to agriculture in Huerfano County. Locals increasingly raised cattle and sheep and cultivated alfalfa, wheat, and other crops, using center-pivot irrigation systems and increasingly automated agricultural processes. The economy of Huerfano County has never recovered from the coal bust; Walsenburg's population dropped from 6,000 in 1945 to 2,900 in 2014.
Although Huerfano County still struggles economically, local government and business leaders have attempted to capitalize on the county's scenic open space. Additionally, Huerfano County's exceptionally windy conditions have attracted alternative-energy developers; the Huerfano River Wind Farm ten miles north of Walsenburg is Colorado's largest producer of wind power.
The rugged, wild, and beautiful mountains of southern Colorado have attracted outdoor tourists for generations, but the outdoor recreation industry has grown exponentially in recent years. Huerfano County offers a plethora of public lands for outdoor recreational use, including San Isabel National Forest, Lathrop State Park, nine Huerfano County State Trust Lands, and three protected wilderness areas. In 2008 the National Park Service Rivers, Trails & Conservation Assistance Program began extending trails in several existing state park and US Forest Service trails in the area. Outdoor tourists and locals alike enjoy fishing, hunting, hiking, mountain biking, backpacking, camping, snowshoeing, and snowmobiling in the Huerfano wilderness. Tourism now plays an important role in the modern local economy.
Huerfano County's historic resources also attract the attention of tourists. The town of La Veta hosts several historic structures, including the 1862 Francisco Plaza, the 1877 La Veta Pass Narrow Gauge Railroad Depot, and the 1889 La Veta Masonic Hall. Walsenburg, too, holds historic structures such as the Montoya Ranch, 1904 Huerfano County Courthouse & Jail, the 1917 Art Deco-style Fox Theater, and the 1920 Huerfano County High School.
Additionally, the Rio Grande Scenic Railroad's La Veta Pass Route reopened for seasonal public use in 2006, following the same path from Alamosa to La Veta used by freight lines during the region's mining boom. The local mountain town of Gardner draws more summer travelers by hosting the Sonic Bloom and Hippie Days music events.
Huerfano County also remains an important transportation corridor. US Interstate 25 and 160 and State Highways 10 and 69 offer the small, isolated towns of southern Colorado a sense of connectivity and community. Over 4 million vehicles drive through Walsenburg each year. Overall, Huerfano County remains a collection of quiet, quaint mountain towns whose architecture and population reflect a local history of Hispano settlement, rural agriculture, and western cycles of boom and bust.
Carl Abbott, Stephen J. Leonard, and Thomas J. Noel, Colorado: A History of the Centennial State, 4th ed. (Boulder: University Press of Colorado, 2005).
Charles W. Henderson, "Mining in Colorado: A History of Discovery, Development, and Production," USGS (Washington, DC: Government Printing Office, March 22, 1926).
History Colorado, Huerfano County, n.d.
Robert A. Murray, "A History of the Raton Basin: Las Animas, Huerfano, and Custer: Three Colorado Counties on a Cultural Frontier," Bureau of Land Management, (Denver: Colorado State Office, 1978).
SLV Museum Association, Francisco Fort Museum, updated 2015.
Steeped in History: Walsenburg's Early Years, City of Walsenburg, n.d.
US Census Bureau, Huerfano County Quick Facts, updated 2015.
Colorado Geological Survey: Huerfano County
Huerfano County Government
Huerfano County Historical Society
Huerfano County Trails Master Plan 2011
Rio Grande Scenic Railroad La Veta Pass Route
Wet Mountain Valley
sangre de cristo mountains
la veta pass
huerfano county history
juan bautista de anza
Alamosa County
Beckwith Ranch
Coal Mining in Colorado
Costilla County
El Corazon de Trinidad National Historic District
Francisco Plaza
Kennicott Cabin
Raton Pass
Rio Grande County
Saguache County
Sangre de Cristo Land Grant
Santa Fé Trail
Spring Creek Fire
William Bent