Tampa Bay Rowdies forward Maicon Santos, San Antonio Scorpions midfielder Zourab Tsiskaridze, and Indy Eleven defender Erick Norales all provided their clubs with a boost on Saturday night, turning in key performances to earn a spot on the North American Soccer League (NASL) Team of the Week.
GK: Steward Ceus (Atlanta Silverbacks) – Coming back from a knee injury to make his NASL debut on Saturday, Ceus put in a Man-of-the-Match performance against the New York Cosmos. The Haitian international made seven saves and kept a clean sheet to help the Silverbacks stay unbeaten. The result marked the first time the Silverbacks were able to take any points away from a matchup against the Cosmos in Atlanta.
DEF: Carlos Mendes (New York Cosmos) – The Cosmos posted their third shutout of the season and remained unbeaten against the Atlanta Silverbacks on Saturday. At the heart of the defense was Carlos Mendes, who was vital in keeping the clean sheet. Even with his center-back partner Rovérsio exiting due to injury, Mendes continued to command the back line in a 0-0 draw.
DEF: Erick Norales (Indy Eleven) – When Carolina opted to play through the middle in the final third on Saturday, Indy's Erick Norales was there time and time again to end the attack. Whether it was winning balls in the air or picking off passes played along the wet surface, the Honduran international was up to the task during a strong 90-minute shift against the RailHawks in a 1-1 draw.
DEF: Blake Wagner (Carolina RailHawks) – After conceding an early goal and being forced to use two substitutions due to injuries in the first half, the RailHawks had their backs against the wall in rainy conditions against Indy Eleven. Late in the match, after a fine cross from Tiyi Shipalane, Blake Wagner took an adept touch before firing a shot into the top corner to tie the game and clinch an unlikely road point for Carolina. Wagner was a constant threat down the left flank and thoroughly deserved his goal.
MID: Marlon Freitas (Fort Lauderdale Strikers) – Marlon Freitas' first NASL goal couldn't have been prettier. The Brazilian's curling effort from distance flew into the top corner for the Strikers' second goal in a 3-1 win over Ottawa Fury FC. Freitas, a promising young prospect on loan from Fluminense, has started the season very well and was rewarded with a goal in his fourth appearance in the Strikers' midfield.
MID: Martin Núñez (Tampa Bay Rowdies) – In his first start of the season, Martin Núñez found the back of the net, giving head coach Thomas Rongen a good reason to keep the Uruguayan veteran in the lineup. With the Rowdies trailing by a goal, Núñez struck a ball from outside the 18-yard box and found the back of the net to even the score in the Coastal Cup clash against Jacksonville Armada FC. The Rowdies would go on to find a late winner to top the Armada FC, 3-2.
MID: Marcos Senna (New York Cosmos) – With a history of scoring goals – more specifically game-winners - against Atlanta, Marcos Senna again put on a vibrant display. The Spanish international tested Atlanta goalkeeper Steward Ceus on a number of occasions and was a constant threat from his midfield position.
MID: Zourab Tsiskaridze (San Antonio Scorpions) – Playing in front of a sellout crowd on the road in Minnesota, Zourab Tsiskaridze quickly quieted the 9,233 in attendance. The Georgian veteran saw United goalkeeper Sammy Ndjock off his line, and rifled a 65-yard shot into the back of the net with the accuracy of a true marksmen. Perhaps the wildest part is that Tsiskaridze has scored a similar goal before, finding the net from inside his own half while playing in Sweden several years ago.
FWD: Pablo Campos (Minnesota United) – After suffering an injury in 2014, Pablo Campos needed to get back to his scoring ways. Entering the match against the San Antonio Scorpions, Campos' last goal came on November 2, 2013. Against his former team, that goalless period was erased. The beneficiary of some great individual effort and cross by Miguel Ibarra on the flanks, the Brazilian forward scored on a powerful header in the first half of a 2-2 draw.
FWD: José Angulo (Fort Lauderdale Strikers) – After narrowly missing out on his first goal in Week 3 against FC Edmonton, José Angulo finally found the net last Saturday, scoring twice against the league's other Canadian team, Ottawa Fury FC. Angulo was instrumental in the Strikers' 3-1 win, scoring his first NASL goal just before halftime and following that up with his second just before the final whistle.
FWD: Maicon Santos (Tampa Bay Rowdies) – In his second appearance for the Rowdies, Brazilian veteran Maicon Santos sure left his mark on the match. He opened the scoring from the penalty spot, and then with the scored tied at 2-2, the 31-year-old forward nodded home the game-winning goal in a thrilling comeback victory. Santos took home NASL Player of the Week honors for his performance.


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Gate of Heavenly Peace
This is one of the most important features of what was formerly known as the Imperial City. A portrait of General Mao, Chinese communist hero, now stands mounted above the central door via which the Chinese emperor in ancient times would enter through. This gate is especially famous since it is the site where in 1949 Mao declared China to be the People's Republic of China. The columns are beautifu...
Milad Tower
Only a short metro ride north of the city is the Milad tower which features a 435m radio and satellite antenna, a viewing deck, a revolving restaurant and a sky dome. It is the tallest concrete tower in Iran and has an octagonal base, symbolic of Persian architecture....
Dong Nhan Temple
Dong Nhan Temple is a beautiful temple dedicated to two sisters who were victorious over the Dong Han invaders. It is well known for the Dong Nhan Festivalduring which it takes on a colorful character, where a procession takes place from the temple to the Hong River. There are beautiful statues that line the temple walls and its intricate architecture is fascinating. Address: Dong Nhan Ward, ...
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Archive for the 'Art' Category
[From website of Museo Nacional Centro de Arte Reina Sofía]
I wrote two months ago about the opening at the Seattle Art Museum of the exhibition Miró: The Experience of Seeing. This past Wednesday, we were fortunate to see the exhibition again as part of a small tour group led by Catharina Manchanda, SAM's curator of modern and contemporary art.
Let me repeat from my earlier post the exhibition description, provided jointly by Catharina and Chiyo Ishikawa, SAM's curator of European painting:
This exhibition, drawn entirely from the collection of the Museo Nacional Centro de Arte Reina Sofía, Madrid, offers a fresh assessment of the late period in Miró's work—a body of work that audiences in the United States have not had the opportunity to fully appreciate. The exhibition brings together over 50 paintings, drawings and sculptures made in the period between 1963 and 1983 that testify to the artist's ingenuity and inventiveness to the very end of his life. Bold and colorful paintings employing his personal visual language alternate with near-abstract compositions. Although Miró had experimented with sculpture in earlier periods, it is only in the late years that painting and sculpture stand in direct dialogue with each other—a principal feature of this exhibition.
The paintings and sculptures in the exhibition plumb the process of making art, part of Miró's concern since his earliest works. In his quest to transcend easel painting, Miró expanded pictorial space across vast canvas fields, using an increasingly simplified language to turn accidental or fortuitous motifs into calligraphic signs. In his sculpture, the inspiration of found objects is more overt, linking the work to his Surrealist explorations of the 1920s as well as the sculptural inventions of his contemporary, Pablo Picasso. Miró also employs many of the same forms and signs in his sculpture, as in his paintings, creating a synergy between the two bodies of work. His work during these mature years represents a personal language where painting and sculpture are equally valued.
Catharina is a superb guide, as we learned two Decembers ago when she led us through the exhibition Elles: Women Artists From the Centre Pompidou Paris. She gave us a much better appreciation of both Miró's art and exhibition's themes than we obtained on our visit opening night. I won't try to pass any of that on in this post. Instead, I'll highlight one aspect.
About halfway through the tour, Catharina brought us into a room that features three large paintings with white backgrounds. She turned to a boy, the youngest member of the audience, and asked what he thought one of the paintings was representing, inviting all of us (who didn't know the painting's title) to contemplate this as well. The painting is the one pictured at top.
I knew neither the title nor what the painting depicted, but I was reminded immediately of a famous scene, that of miners climbing the Chilkoot Trail to Chilkoot Pass in order to reach the gold fields during the Klondike Gold Rush in 1898.
An excellent place to learn more about the gold rush is the Klondike Gold Rush National Historical Park, which has a branch right here in the Pioneer Square neighborhood of Seattle. You can follow the miners' route yourself:
The Chilkoot Trail is one of two main routes to the Klondike that originate in this area. Long before the gold rush, the trail was established by Tlingit people as a trade route into the interior of Canada. Fish, seal oil and seaweed were traded with the First Nations peoples for moose and caribou hides, plant materials and other goods unavailable on the coast.
The most challenging way to follow in the footsteps of the stampeders and natives is by hiking the 33-mile-long Chilkoot Trail, accessible only on foot. It is a difficult hike and usually takes three to five days. The trail begins at the Taiya River bridge near the Dyea townsite and travels over the Chilkoot Pass to Lake Bennett.
But I stray. Here's what the climb looked like:
What do you think? Is there a resemblance? Could Miró have been painting the climb to Chilkoot Pass?
Apparently not. Miró gave the painting the title Oiseau dans l'espace, or Bird in Space. Nonetheless, I had fun imagining that the two scenes might be connected.
Categories: Art, Museums
Miró at SAM
Woman, Bird and Star (Homage to Picasso), February 15, 1966/April 3-8, 1973, Joan Miró
The latest exhibition at the Seattle Art Museum—Miró: The Experience of Seeing—has just opened. It is organized jointly by the Seattle Art Museum and Madrid's Museo Nacional Centro de Arte Reina Sofía.
Here is the description of it by Chiyo Ishikawa and Catharina Manchanda, SAM's curators of European painting and of modern and contemporary art:
We went to the opening celebration on Tuesday evening. Normally we arrive at these events just in time for the program of talks, then eat and see the art in one order or the other. This time we made it a point to arrive early so that we could see not just the Miró but also another show that would close today: Robert Davidson: Abstract Impulse.
Here's the description of the Davidson show by Barbara Brotherton, the curator of Native American Art:
In partnership with the National Museum of the American Indian, NY, SAM is proud to organize the first major U.S. exhibition of the Haida artist, Robert Davidson.
Robert Davidson has been a pivotal figure in the Northwest Coast Native art renaissance since 1969, when he erected the first totem pole in his ancestral Massett village since the 1880s. For over 40 years he has mastered Haida art traditions by studying the great works of his great-grandfather Charles Edenshaw and others. More recently, Davidson has interjected his own interpretation of the old forms with forays into abstraction, explored in boldly minimalistic easel paintings, graphic works and sculpture, where images are pared to essential lines, elemental shapes and strong colors.
The exhibition will feature 45 paintings, sculptures and prints created since 2005, as well as key images from earlier in his career that show Davidson's evolution toward an elemental language of form.
We're sure glad we didn't miss the show, but we wish we would have been able to make a return visit. You can get a sense of it by looking at the photos accompanying John Seed's artist interview in the Huffington Post. Here's one:
Bird In The Air, Acrylic on canvas, 40″ x 60″
There is Light In Darkness, Acrylic on canvas, 30″ x 60″
On leaving the exhibition, we headed up a floor to get a preview of the Miró. We figured seeing some of the works ahead of time might make for more informed listening during the program. We were enjoying our viewing when we ran into someone I know who hinted that we might find the program less informative than usual. he would turn out to be correct.
With program time drawing near, we headed back down with him and caught the tail end of the pre-program reception, at which locally based Spanish guitarist Andre Feriante performed while people mingled and drank. We stopped only briefly before heading into the auditorium.
SAM director Kim Rorschach opened with the usual greetings and thank yous, then brought up João Fernandes, the Deputy Director and Chief Curator at the Museo Nacional Centro de Arte Reina Sofía, who gave us some background on the show. Carmen Fernández Aparicio, the Chief Curator of Sculpture at the museum and featured speaker, followed.
Ms Aparicio told us in perfectly clear English that she was sorry she couldn't make her remarks in English, then switched to Spanish, with two women at microphones on the side taking turns translating. This got off to a slow start, first because we couldn't hear Ms Aparicio (not that it mattered if we wanted the English only), then because the translators couldn't hear her, and at some points later because the translators appeared to struggle in search of the most effective way to convey her thoughts. The result was that her ideas didn't come through all that well, and no one seemed unhappy when the remarks came to an end. Kim came back up to release us.
Back in the main entry, a Spanish-themed buffet was provided by SAM's usual caterer, the in-building restaurant Taste. It was a good one. A platter of cured meats and cheeses, a dish of grilled, bite-sized potato chunks, a tray of raw vegetables, flatbread, some green dipping sauce, a vegetarian paella, and chicken breast slices with an orange sauce. In addition to the usual passed drinks—red and white wine, water—there were glasses of Sangria. And for entertainment we had music by New Age Flamenco. There was also a flamenco dance performance, but we were eating with our vision blocked through most of it, moving up to see it only as it ended. The program card indicates that this was offered by Deseo Carmin and Marisela Fleites.
After listening to a couple of post-meal songs, we decided to head home. The Miró exhibition deserves a much closer look, which we will give when we return for a curator tour. I'll say more about the exhibition then.
9 From L.A.
Circle Blue, De Wain Valentine, 1970, 70″x5.5″
[Melissa Davis, in Seattle Times]
Yesterday Gail and I went to the latest show at the Wright Exhibition Space*, 9 from L.A., sponsored jointly by Virginia Wright, the Seattle Art Museum, and the Getty Conservation Institute. It will run into April. I highly recommend going.
*I have explained in previous posts on the Wright Exhibition Space—for instance, this one—that it "is a small gallery that mounts shows from time to time drawn largely, or entirely, from the Virginia and Bagley Wright Collection, the largest collection of contemporary art in the Pacific Northwest. I highly recommend going, whatever the show, because the art is superb, the mix of art is interesting, you often have the space to yourself or nearly to yourself, there's an informative little printed guide, and there's often a docent to introduce you to the show and chat with. The gallery is open Thursdays and Saturday, with free admission."
The email to the mailing list announcing the show offered the following description:
Following the acclaimed Pacific Standard Time initiative that was held in venues across L.A. in 2011, Mrs. Wright has brought together works from her collection, SAM's and loans that include important works by L.A. artists including Larry Bell, Ed Ruscha, Robert Irwin, John McCracken, Peter Alexander, De Wain Valentine and more. Wright was also inspired by a show organized by the Contemporary Arts Council at SAM called 10 from Los Angeles.
A highlight of 9 from L.A. is Gray Column (1975-76), a towering, polyester resin sculpture by Valentine. Gray Column was recently conserved and the first time it was on view to the public was in Pacific Standard Time.
SAM's chief conservator, Nicholas Dorman, worked with Dr. Tom Learner of the GCI to bring Gray Column to Seattle, along with a display, developed by Dr. Learner, that describes how the sculpture was originally made and discusses some of the issues surrounding its conservation.
At twelve feet high and eight feet across, Gray Column is a spectacular embodiment of Valentine's pioneering use of polyester resin for the creation of art– an innovation that would allow him to produce translucent shapes and forms at the scale he wanted. Thicker and opaque at the base, Gray Column gradually tapers to little more than an inch thick at its top almost disappearing into the ceiling.
Virginia Wright offers further background in a short note on the handout available when you enter the space.
When the Getty agreed to install De Wain Valentine's Gray Column in our exhibition space, it seemed right to accompany it with works by other artists of his generation. I remembered a 1966 exhibition at the Seattle Art Museum, commissioned by the Contempoary Art Council and organized by John Coplans, entitled "Ten from Los Angeles." 47 years later, it still sounded like a good title for our current show, which includes many of the same artists featured in the 1966 exhibition.
See also Robert Ayers' review in early November in the Seattle Times, from which the photo at the top is taken. He opens with his own description of the exhibition space.
Sixteen years after it first opened, the Wright Exhibition Space is still on the list of Seattle's best-kept secrets. It is without doubt one of the city's most beautiful places for looking at art, and you could not choose a better time to seek it out. The current exhibition is an excellent example of what the Wright Foundation does sublimely well.
Sitting pretty between the economic pressures of a commercial gallery and the civic or academic obligations of a museum, the foundation allows Virginia Wright to curate according to her very particular passions. The resulting exhibit delights and fascinates in equal measure.
We entered the space, picked up copies of the sheet listing the fourteen works in the show, and began to make our way around. Soon Sylvia, the docent, invited us to join her and another couple as she began her overview. She then took us to see each of the pieces, grouping them by artist and spending a lot of time on Valentine.
The featured work, Gray Column, is one of two matching columns that were commissioned by a company in Illinois for their new building. When the architect lowered the planned ceiling height, the columns were installed rotated ninety degrees, lying on their sides. This was back in the mid-'70s. Eventually the pieces came back to the artist, and then two years ago the Getty built a show around them, From Start to Finish: De Wain Valentine's Gray Column.
Gray Column was one of the largest sculptures De Wain Valentine ever cast with polyester resin―the material with which he worked through the 1960s and 1970s to create his dazzling Circles and Columns. This monumental, free-standing slab, measuring 12 feet high and 8 feet wide, will be displayed to the public for the first time. The exhibition From Start to Finish: De Wain Valentine's "Gray Column" tells the story of how this extraordinary piece was made and features preparatory drawings and maquettes, videos documenting the fabrication process, interviews with the artist, and a discussion of the conservation of this sculpture.
One of the three spaces into which the Wright Exhibition Space is divided contains some of the material from this show, including a polyester resin cast divided into thirds. In the photo of it below that I took, you can perhaps make out that there are three different sections: the left third is unfinished, the middle is partly polished, and the right is fully polished, with viewers invited to touch.
Photos show Valentine and assistants at work, from casting to polishing. Sylvia mentioned that before the Wright show opened, Valentine's wife was busy re-polishing the column. The resin changes over time, raising conservation questions about whether to re-polish or leave as is. Of course, with the artist still alive and in possession of the work, he is free to make that decision.
Here's one of the photos in the exhibition, taken from the Getty website:
De Wain Valentine in front of Gray Column, 1975–76, during the polishing stage.
[Photo courtesy of De Wain Valentine]
And another from the Getty website:
Gray Column, 1975–76, De Wain Valentine. Polyester resin. 140 x 87 1/2 x 9 1/2 in.
Sylvia told us that Valentine's Circle Blue, which is owned by Virginia Wright, sits in front of a window in her condo, looking out over Puget Sound. A third Valentine piece in the show, also owned by Wright, is only 6″ x 11″ and normally sits on a table at her home.
Oh, I just remembered that Sylvia showed us a NYT review of the Getty show, written in September 2011. It's here, and it has a bigger photo of Gray Column:
[Konrad Fiedler for The New York Times]
You can get a sense of how it is reflective below, where it is thick, but translucent higher up.
Although De Wain Valentine's work is at the exhibition's heart, the other artists' works are wonderful complements. The Valentine column and circle are balanced by a 12-foot-high Robert Irwin pillar that has a profile something like two wedges and an eight-foot rectangular solid of stainless steel by John McCracken. Another McCracken piece is below.
John McCracken, Untitled, 1964, 60″ x 60″
The different paint textures gave me a sense that I was looking through the triangle into the sky, as if looking out from within a James Turrell skyspace.
One last example, the one contemporary piece, a painting that is exactly the same size as McCracken's:
Peter Alexander, Big Pink Square, 2012, 60″ x 60″
You have until April 25th. And remember, they're open only Thursdays and Saturdays, 10 am to 2 pm. Go if you can.
Kingdoms of the Sun and the Moon, 2
Litter, 750-1375, Peruvian, Lambayeque, North Coast, wood, gold, silver, cinnabar, sulphurous copper, ammonia, shells, turquoise, feathers
[Photo: Joaquín Rubio]
It's been two months since I wrote about the then-new exhibition Peru: Kingdoms of the Sun and the Moon at the Seattle Art Museum. With its close three weeks away, we returned on Thursday morning for a tour with SAM's curator of Native American art, Barbara Brotherton. Before I say a few words about that, let me quote again from the exhibition website:
Discover the mysteries of Machu Picchu, treasures from royal tombs and archeological wonders from one of the cradles of civilization in Peru: Kingdoms of the Sun and the Moon. More than 3,000 years of artistic history reveal a land of rich complexity and startling beauty.
This unusually wide-ranging exhibition covers archeology, ancient rituals, royal ceremonies, conquest and colonization, the formation of the republic and the emergence of a new national identity. Experience the unfolding of culture through the creative achievements of Peru, from gold funerary masks to modern folk art.
The Seattle Art Museum is proud to be the only U.S. venue presenting this spectacular exhibition of more than 300 works, including national treasures never before seen outside of Peru.
And let me quote also from my first post on the exhibition, recounting our experience on opening night:
We made an unfortunate error, relying on habit to pass from the opening room to a second one in a clockwise direction, not realizing that this time the natural route was counter-clockwise. The nineteenth- and twentieth-century paintings were evidence something was amiss, but maybe objects were grouped by medium, not chronologically. Plus, the exhibition showpiece—the forehead ornament—was in a neighboring space. So maybe there wasn't a strict chronological order.
Off we went, room to room, evidence mounting that we were walking backwards. I should note that we weren't alone in this choice, the people moving in both directions adding to the confusion. Well, no matter. We saw many extraordinary objects. And we can go counter-clockwise on our next visit.
This time we did go counter-clockwise. Not that there was any chance of erring, since we were following Barbara's lead.
Thanks both to viewing in chronological order and to Barbara's comments, we were able to appreciate everything much better, and to realize just how fabulous a show this is. One passes through rooms of objects from the Mochica culture of 100-800, then the Lambayeque culture of about 750 to 1375 and Huari culture of 700-1200, leading to the Inca objects of the fifteenth century and then, suddenly, the arrival of the Spanish conquistadors in the early 1500s. As one leaves the Inca room to enter the first room of art and artifacts influenced by Spain and Catholicism, one experiences in some small way the dramatic shock of that time.
Barbara opened our eyes to the ways that the locals, through their art, adopted Catholicism yet grafted onto it their own native culture. One memorable example is a painting depicting Mary in a triangular gown from neck to feet that gives her the shape of a mountain, realizing her as both Jesus's mother and traditional earth goddess.
There's still time to see the show. And still time for a tour. I recommend both.
Four weekends ago, we headed down to San Francisco for the wedding of our friends' daughter Hannah. Years back, I had occasion to be in the Bay Area frequently, whether in San Francisco itself, Berkeley, Santa Cruz, the Peninsula. There was always some reason, from conferences to friend and family visits to stays at the Mathematical Sciences Research Institute. Yet somehow a dozen years had elapsed since our last time there.
That was a memorable trip. The centerpiece was a game at the then-new Giants baseball stadium. It was the weekend that straddled June and July in 2001. Barry Bonds was on his way to a record 73 home runs. Friday night we watched the end of the game on TV as he ran into the wall and injured himself. He would not be playing Saturday. Darn. This rookie phenom from the Cardinals was playing though. Pujols. Albert Pujols. And Bonds came in after all to pinch hit in the 9th inning. All in all, a great game. Except for the sun. We forgot sunscreen and I got pretty well burned.
But we weren't there just for baseball. We headed to Golden Gate Park on Sunday. Alas, I had missed the news that the de Young Museum had closed at the beginning of the year and would remain closed for years to come.
In 1989 the de Young suffered significant structural damage as a result of the Loma Prieta earthquake. The Fine Arts Museums' board of trustees completed a project that braced the museum as a temporary measure until a long-term solution could be implemented. For the next several years, the board actively sought solutions to the de Young's structural jeopardy and solicited feedback from throughout the community, conducting numerous visitor surveys and public workshops.
With extensive public input, the board initiated a process to plan and build a privately financed institution as a philanthropic gift to the city, in the tradition of M. H. de Young. An open architectural selection process took place from 1998 to 1999. The board endorsed a museum concept plan in October 1999, and a successful multimillion-dollar fundraising campaign was initiated under the leadership of board president Diane B. Wilsey.
The resulting design by the Swiss architectural firm Herzog & de Meuron weaves the museum into the natural environment of the park. It also provides open and light-filled spaces that facilitate and enhance the art-viewing experience. Historic elements from the former de Young, such as the sphinxes, the original palm trees, and the Pool of Enchantment, have been retained or reconstructed at the new museum. The former de Young Museum structure closed to the public on December 31, 2000. The new de Young opened on October 15, 2005.
Twelve years later, seeing the de Young was my top priority. Whatever else we did in our free time before the wedding events, we would see the de Young. And so we did.
Gail and I decided to focus on their permanent collection of American paintings, along with some of the American decorative art interspersed through the galleries.
The de Young's American Art Department is home to one of the finest survey collections of American paintings in the United States. Strengthened by the acquisition of the Rockefeller Collection of American Art, the de Young's holdings include more than 1000 paintings ranging from 1670 to the present day.
While essentially chronological, the installation of American art at the de Young juxtaposes works from different cultures and time periods to emphasize the historical connections between works in the collection, and includes galleries devoted to art in the following areas: Native American and Spanish Colonial; Anglo-Colonial; Federal and Neoclassical; Victorian genre and realism; trompe l'oeil still life; the Hudson River School, Barbizon and Tonalism; Impressionism and the Ashcan School; Arts and Crafts; Modernism; Social Realism and American Scene; Surrealism and Abstraction; Beat, Pop and Figurative; and contemporary. Also featured are important California collections with national significance, including examples of Spanish colonial, Arts and Crafts, Bay Area Figurative, and Assemblage art.
Joel and Jessica took off in their own direction, joining us for lunch in the de Young Café before splitting up again.
Here are a few highlights, courtesy of my iPhone.
First, a painting by Joshua Johnson, the earliest known African-American artist, a freed slave in Baltimore. The image is that of the daughter of a wealthy Baltimore merchant. (This and other descriptions are from the signage in the museum.)
Letitia Grace McCurdy, ca. 1800-1802, Joshua Johnson
This next one is blurry. Sorry. It's by Horace Pippin, another African-American artist, whose grandmother saw John Brown being led to his hanging in 1859. Pippin emphasizes Brown as a Christ-like martyr, with the jury and prosecutor/persecutor recalling the twelve apostles and Judas.
The Trial of John Brown, 1942, Horace Pippin
Next, one of several John Frederick Peto paintings that need to be seen in person for a proper sense of texture.
The Cup We All Race 4, ca. 1900, John Frederick Peto
Near the Peto is this nearly contemporaneous painting by John Haberle.
The Slate: Memoranda, ca. 1895, John Haberle
Here's a wonderful Sargent.
La verre de porto (A Dinner Table at Night), 1884, John Singer Sargent
How about this wonderful Stickley sideboard? I could find a spot for it in our house.
Leopold and John George Stickley, sideboard, 1910
I can't properly capture this Grant Wood, inspired by Wood's childhood memories of the annual threshing ritual on his family's Iowa farm. The accompanying sign suggests that the bisected farmhouse recalls early Renaissance paintings, especially those depicting the Last Supper. Wood thereby endows the farmers with the dignity of biblical disciples partaking of a sacred meal.
Dinner for Threshers, Grant Wood, 1934
Here's a detail.
I'll end with a painting by William Zorach, who became a friend of my parents late in his life. I remember his visits to our house.
Provincetown Madonna, ca. 1916, William Zorach
After viewing the art, we met up and walked to the elevator to go up the tower that contains museum offices and, at its top, a public observation floor. The shot I took of the tower as we left is at the start of this post. Here is the view north toward Marin County.
We left so much unexplored. There's always next time, which I hope isn't another dozen years away.
Categories: Art, Museums, Travel
Kingdoms of the Sun and the Moon
[Photo: Daniel Giannoni]
A new exhibition, Peru: Kingdoms of the Sun and the Moon, opened this week at the Seattle Art Museum. A description from the website:
And also this:
Discover Peru, land of hidden treasures, home to the first city in the Americas, a country of beauty and mystery. Travel back 3,000 years through the pottery, textiles, and stunning gold work of cultures that developed in isolation before the Inca ever built Machu Picchu. Trace the incorporation of indigenous motifs into European-style paintings and religious objects during colonization, and watch a new national identity emerge after independence.
Each work has a place in history, and together, they provide an expansive view of the deep and complex artistic heritage of Peru.
As is our custom, we went to the opening celebration, which took place Tuesday night. All four of the usual components were available: a program in the auditorium, food and drink, entertainment, and the exhibition itself. We arrived shortly before the 6:30 start time for the program. After grabbing drinks (water for me, white wine for Gail, no red wine allowed in the auditorium), we took our seats.
The program began at 6:45 with remarks by the board president, Winnie Stratton. She was followed by museum director Kim Rorschach, who played the essential role of listing all the sponsors. Then came Harold Forsyth, the Peruvian ambassador to the US, who offered a high-level speech about the significance of the show, the role of Peru, and US-Peru relations, the details of which completely escape me now. Luis Jaime Castillo Butters followed. He is currently a government official, the Vice Minister of Cultural Patrimony and Cultural Industries, but also an archaeologist and scholar. Thus, he could talk knowledgeably about the significance of the exhibition itself, which he did, rather than operating at the platitudinous level.
The exhibition was organized by the Montreal Museum of Fine Arts, whose director, Nathalie Bondil, spoke next. She was the star of the show, a charming, light-hearted Frenchwoman who quickly confessed her lack of expertise and ordered her Curator of Pre-Columbian Art (and exhibition organizer) Victor Pimentel to join her onstage. They proceeded to work through a series of slides of exhibition objects, with Nathalie giving some of the background then, on occasion, dragging Victor by the sleeve to the microphone to pinch hit.
At 7:50, we were released to see the objects for ourselves. Not having eaten dinner, we decided to join the long line in the lobby for food. The line moved fast, and soon we were at the buffet table, prepared by in-house restaurant Taste. A spicy potato dish, a spinach pastry of some sort, a bean dish, and steak skewers, all excellent. While we ate, we listened to a local Andean folk music group, Hanumanta, with the Sonia Porras Dance Company performing.
With such good food and festive atmosphere, it was easy to forget why we were at the museum. But there was the exhibition to see, and so we did. We made an unfortunate error, relying on habit to pass from the opening room to a second one in a clockwise direction, not realizing that this time the natural route was counter-clockwise. The nineteenth- and twentieth-century paintings were evidence something was amiss, but maybe objects were grouped by medium, not chronologically. Plus, the exhibition showpiece—the forehead ornament featured at the top of the post—was in a neighboring space. (Forehead ornament with feline head and octopus tentacles ending in catfish heads, 100-800, Peruvian, Mochica, North Coast, possibly La Mina, gold, chrysocolla, shells, 11 1/4 x 16 5/16 x 1 3/4 in., Museo de la Nación, Lima.) So maybe there wasn't a strict chronological order.
What did we see? I'll offer some examples from the website. You can go there to see and read more. (Click "Art".)
First we have a feathered hanging from 700-1200: Peruvian, Huari, South Coast, possibly Rio Grande Valley, cotton, feathers, 25 7/8 × 85 1/16 in., The Montreal Museum of Fine Arts. It is "one of 90 identical works found in the 1940s in a burial cache on Peru's south coast. The Inca also made offerings at this site, suggesting it was a sacred place in the landscape over a long period of time."
[Photo: Montreal Museum of Fine Arts, Denis Farley]
Perhaps my biggest surprise was finding a wall of photos by Irving Penn.
In December 1948, after completing a photo shoot for Vogue in Lima, the fashion photographer, Irving Penn (1917–2009), did not immediately return to New York with his colleagues, but went to Cuzco, where he stayed for several days. He rented a local photographer's studio.
"By incredible providence, there in the center of town was a daylight studio! A Victorian leftover, one broad wall of light to the north, a stone floor, a painted cloth backdrop—a dream come true. I hired the use of the studio for the next three days, sending the proprietor away to spend Christmas with his family, and set myself up as town photographer. When subjects arrived to be photographed they found me instead of him. Instead of them paying me, I paid them for posing, a very confusing affair."
Here is one of the photos, "Cuzco: Three Sitting Men in Masks."
[The Irving Penn Foundation, New York]
Going back in time, here's the back of a litter, dated from 750-1375: Peruvian, Lambayeque, North Coast, wood, gold, silver, cinnabar, sulphurous copper, ammonia, shells, turquoise, feathers, 22 13/16 × 44 7/8 × 1 15/16 in., Museos "Oro del Perú" – "Armas del Mundo".
While they lived, the rulers of ancient Peru traveled on litters, or platforms carried by servants. In death, their mummified bodies were also placed on litters, and carried to their tombs in great ceremonial parades. This remarkable backrest from a Lambayeque litter is inlaid with gold, silver, turquoise, cinnabar, shells, and feathers. The carving is an image of a funerary procession and features an audience of ancestors who await the leader in the afterlife.
Next, an altarpiece from around 1970 by Joaquín López Antay, Peruvian, 1897-1981: Painted wood, polychrome paste, 36 7/16 × 46 7/16 × 5 1/2 in., Colección Museo de Arte de Lima.
Retablos are small three-dimensional altars featuring tiny figures arranged in scenes, usually telling an important religious story. The first retablos were placed behind the altars of Catholic churches in Spain, and carried by soldiers worshipping far from home during the Crusades against non-Christians in the Near East, Northern Africa and Eastern Europe during the 11th, 12th and 13th centuries.
In Peru, they were used to proselytize the native peoples during the colonial period. Peruvian folk artists then adopted the form to tell their own stories. While this retablo shows scenes from Catholic teachings on the top tiers, the lower tiers depict daily life in south-central Peru: the harvest of the prickly pear cactus, a celebration with music and dancing.
There's an article in ARTnews from last March about the Montreal exhibition that has some excellent photos. I will close with one depicting an Inca noblewoman: Gran Nusta Mama Occollo, Cuzco, Peru, early 1800s, oil on canvas mounted on board, Denver Art Museum.
The exhibition closes January 5. If you can, see it.
Better Out Than In
The British street artist Banksy has taken up residence in New York City this month, producing a new work daily. You can follow the works of the Better Out Than In residency at the associated website, if you haven't already been doing so.
The work depicted in the video above, Sirens of the Lambs, is part of his October 11 project, Meatpacking District. Two days later, in Central Park, he "set up a stall in the park selling 100% authentic original signed Banksy canvases. For $60 each." The accompanying video captured highlights of the day.
I recommend spending some time at the website. While there, you'll find it helpful to click on the audio guides.


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Bringing Labo to Elementary Schools
via Engadget
Nintendo's Labo kits for the handheld Switch platform have always had a STEM foundation, which is why the company's latest announcement makes complete sense. Nintendo is partnering with the Institute of Play to introduce Labo kits into elementary school classrooms around the country.
Labo kits allow users to become amateur inventors. The Variety Kit, which Nintendo will provide to classrooms along with a Switch, will allow students to create a fishing rod, piano, RC car and more. "We are always on the lookout for new tools and technologies that combine the best of learning with the spirit of play, and in Nintendo Labo we found an inspiring and innovative approach in both areas," said Arana Shapiro, Co-Executive Director of the Institute of Play, in a release. "Teachers in the pilot program are already seeing the natural fit for Nintendo Labo in the classroom, and now we can bring that dynamic to schools across the country."
The program is currently in the pilot stage that's being tested in New York schools. The Institute of Play is taking advantage of the pilot to develop a teacher's guide for the Labo that will allow any elementary school classroom to use a Labo and Switch for STEM/STEAM learning. Once the pilot is complete, the program will expand to about 100 schools across the US. To be considered for the wider program, schools can apply at the Institute of Play's website.
Filed under: gaming —
Tags: Labo, nintendo, STEAM, switch, The Institute of Play — by Zay
Comments Off on Bringing Labo to Elementary Schools
"I think there's something strangely musical about noise"


Pesto is one of my favourite pasta sauces. However, it is a very fatty dressing since it is made with oil and often with cheese too. But making a low-fat and much healthier version is totally possible and it tastes just as good or even better. For this recipe we are substituting the oil for hemp seeds, which are rich in the so called healthy fat and the cheese for nutritional yeast, which will give this pesto a light cheesy flavour. This hemp seeds pesto is savory, creamy, rich in flavor and will satisfy those cravings that us, pesto addicts, get once in while (or… more often that we would like to admit 🙈).
The best part of this recipe is that it takes less than 5 minutes to prepare. Just blend all the ingredients together and you are done. You can add this hemp seed pesto to your favourite pasta (hello spaguetti 👋🏻) or to brown rice for a delicious and nutritious pesto risotto. Oh, that actually sounds pretty awesome.
Add all the ingredients to you blender and blend until smooth.
Add the sauce to a pan with some cooked pasta and heat it up for a few minutes.
Enough for 3 big pasta servings or for 4 smaller ones.
Reduce or skip the soy sauce and the salt for a low-sodium version.
Eres alucinante! Me encanta tu página y tu personalidad 🙂 sigue así Sonia. Solo se puede estar orgullosa de ser tu amiga!


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Penske Racing Ford EcoBoost 300 Race Preview
Courtesy of Autostock
Ford EcoBoost 300
Miami-Homestead Speedway
Friday - Practice 10:00am ET FoxSports1
- Final Practice	3:00pm ET ESPN2
Saturday - Qualifying 1:00pm ET FoxSports2
- Ford EcoBoost 300	4:30pm ET ESPN
Saturday - Ford EcoBoost 300	4:00pm ET MRN & SiriusXM
No. 12 Alliance Truck Parts Ford Mustang
Driver: Sam Hornish Jr.
No. 22 Hertz Ford Mustang
Driver: Joey Logano
No. 48 Discount Tire Ford Mustang
Driver: Brad Keselowski
THE NEWS & NOTES
No. 12 Alliance Truck Parts Ford
•	SOUTHBOUND AND DOWN: Trailing the series standings by just eight points, Sam Hornish Jr. and the No. 12 Alliance Truck Parts team enter this weekend's race with a must win mentality.
•	FINEST SEASON: Entering the season finale with a shot at the championship, Hornish is finishing up his best-ever season of NASCAR competition. He has notched one victory, three poles, 16 top-five and 24 top-10 finishes.
•	FORD CHAMPIONSHIP WEEKEND: With Ford the entitlement sponsor for this weekend, Hornish will be doing his part to represent the storied brand. Hornish will be giving gathered media pace car rides around Homestead-Miami Speedway on Thursday. He will also make appearances on a Ford Racing online video stream, a special broadcast on SiriusXM NASCAR channel 90 and the Ford Racing midway display.
•	THREE TIMES THE FUN: The veteran driver has starts in INDYCAR, NASCAR Sprint Cup and • NASCAR Nationwide Series at the famed south Florida speedway. His best Nationwide Series finish came last year with a fourth-place effort. He owns three INDYCAR victories at the 1.5-mile track.
• FLORIDA HOMEGROWN: Two members of the Alliance Truck Parts team are from Florida. Spotter Tab Boyd hails from Pensacola and Jackman Aaron Walker is from Mims.
No. 22 Hertz Ford
•	LOGANO RETURNS TO THE SEAT: Joey Logano will return to the seat of the No. 22 Hertz Ford Mustang this weekend, marking his 15th NASCAR Nationwide Series start of the season. Despite just 15 starts (the fewest of his NNS career), Logano had earned three wins, eight top-fives and 11 top-10 finishes, along with one pole.
•	CRUNCH TIME FOR 22 TEAM: Logano will try and guide the No. 22 Penske Racing team to their first NASCAR Nationwide Series Owner's Championship - and the first for Roger Penske - this weekend. The team enters the weekend just four points ahead of the No. 54 Joe Gibbs Racing team in a battle that will likely come down to the final lap. Penske has won the Driver's and Owner's title in the Sprint Cup Series (2012), as well as the Driver's title in the Nationwide Series (2010).
•	PAST OWNER'S CHAMPION: This will not be the first time Logano will be battling for a NASCAR Nationwide Series Owner's Championship. Logano has already been part of two other Owner's Championships. In 2008, his first year in the Nationwide Series, Logano shared a ride with Kyle Busch, Tony Stewart and Denny Hamlin and won the Owner's Championship. In 2012, Logano again won the Owner's title, sharing a ride with Hamlin, Mark Martin, Michael McDowell, Ryan Truex and Drew Herring.
•	HERTZ TRACK RECORD A GOOD ONE: This weekend's race will mark the seventh time The Hertz Corporation, one of the world's leading car rental and transportation companies, will adorn the side of the No. 22 Ford Mustang in 2013. The Hertz Ford Mustang has made it to Victory Lane in five of the six starts this year. Joey Logano took the Hertz Mustang to victory at both Dover races and Chicagoland, while Brad Keselowski won with Hertz at both Watkins Glen and Richmond.
No. 48 Discount Tire Ford
•	FIRST TIME IN THE 48: This weekend will be Brad Keselowski's first race in the No. 48 Ford Mustang, which has competed twice already in 2013 with Joey Logano piloting it at Watkins Glen International in August and Ryan Blaney handling the duties last weekend at Phoenix International Raceway.
•	NUMBERS NEVER LIE: One only needs to look at the stats to see how impressive Keselowski has been in limited action in the NASCAR Nationwide Series in 2013: six wins in 15 starts with only two finishes outside the top two in his last 10 starts.
•	26 AND COUNTING: Keselowski's win at Watkins Glen International in August gave him 26-career NASCAR Nationwide Series (NNS) victories, which places him by himself in eighth place on the all-time list.
•	FORMER WINNER: In 2011, Keselowski picked up his 17th NNS victory at Homestead-Miami Speedway (HMS) by leading a total of 66 laps.
•	HOMESTEAD STATS: Keselowski has finished inside the top-three in three of his last four NNS starts at HMS, including a third-place finish that wrapped up his 2010 NNS championship.
THE Q & A
SAM HORNISH JR, NO. 12 ALLIANCE TRUCK PARTS FORD
HOW DO YOU FEEL HEADING INTO THIS WEEKEND?
"The last race of the season tends to bring a lot of different feelings. Obviously, the championship picture plays a big part in how I am feeling. On top of that, while the season is long, it's what I love doing so it's a mixed feeling. Then of course we aren't sure what next season looks like yet so that is an additional element that factors in on my thoughts. All-in-all, this has been the best season I've had in NASCAR and I am proud of what we've accomplished. I am grateful to all the guys at the shop, the race team and pit crew; they've given me their best all year long. It's been fun."
DO YOU THINK YOU CAN WIN THIS TITLE?
"Things will have to go our way to make this happen, but I have faith in this team and in myself. We have been at or near the front of the standings all year long. That is the caliber of this team and that is the type of effort that we will put into the race this weekend. We have worked hard and we are close to our goal. We are going to give it our all and see how it plays out."
JOEY LOGANO, NO. 22 HERTZ FORD
IS THE GOAL THIS WEEKEND WINNING THE RACE OR WINNING THE OWNER'S TITLE?
"Well the goal is always to go out there and win the race. And if we win the race, we will win the Owner's Championship. That is a very important thing for us this weekend. But we know we have to run well, we have to run up front and we have to win the race. There are only four points between us and the 54 car, so we need to be on top of our game. If they win the race, we need to finish second and lead the most laps. That's how close this is. But I'm looking forward to the challenge. It's going to be me and Kyle (Busch) battling it out once again. Seems like we have been battling with each other for wins or championships since I started racing. It's going to be a lot of fun."
HOW IMPORTANT IS WINNING THE OWNER'S TITLE?
"You know I've heard a lot of people talking about how the Owner's title isn't as important and that it doesn't mean the same. Well it does. It's really important. It's important to the guys on the team, the guys that travel, the sponsors that sponsor the cars and all of the guys that work on these cars back at the shop. It's the team that scored the most points all year long, regardless of the driver. This one team has been better than all other teams. In other sports, you recognize both the best team and the best individual performer. That is what the Owner's title and the Driver's title does. Drivers get a lot of credit, but racing is a team sport. So the Owner's title is important to all of us as Penske Racing."
BRAD KESELOWSKI, NO. 48 DISCOUNT TIRE FORD
WHY DID YOUR SCHEDULE CHANGE THIS WEEKEND?
"This is a very important weekend for Penske Racing and Roger (Penske) asked me to drive a third car. I was happy to do whatever was needed for the good of the team. I love racing at Homestead. We have a lot of good memories from racing there with the 2010 Nationwide championship and last year's Cup championship celebrations. Hopefully we'll be celebrating a couple more championships on Saturday evening."
HOW IMPORTANT IS IT TO HAVE PLAYED SUCH A BIG PART IN GETTING PENSKE RACING ON THE VERGE OF THE OWNER'S TITLE?
"This is about Roger. It is about getting him something that he hasn't done. I take a lot of pride in that. When I came to drive for him he didn't have any NASCAR championships and that was not a point lost on me. Together I guess you could say we have won three if you count the Sprint Cup owners, drivers and Nationwide drivers. I think it is somewhat an incomplete feeling to not have that Nationwide owner's title - at least it is for me. It has been rewarding so far, and it isn't over, but if we were to win it that would be very rewarding for me personally to be a part of providing that for Roger."


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My Bible study group just finished a study by Tim Keller examining what we can learn from Joseph, Daniel, and Esther about living in a pluralistic, or pagan, society. Let me point out that that is what we are living in now, so this was a very instructive study. Things have changed rapidly in the past few years.
Joseph lived in Egypt, where he was first a slave and then a gifted administrator working directly for Pharaoh. Joseph took an Egyptian wife but did not join the culture; he gave his sons Hebrew names. When he had been pressed to give in to the culture's ungodly ways by Potiphar's wife, he did not waffle but fled.
Daniel also served pagan kings as an able administrator, also supplying his gifts for the good of the nation he lived in. Like Joseph, he was pressed to compromise in his faith by those who wanted to stop him from his daily habits of prayer. But he did not give in, though refusal would have cost him his life had not God intervened.
Esther found herself drafted into the pagan king's harem, a place she surely did not want to be. But she did her best to use her gifts in her position, like Joseph and Daniel. Like them, she found herself raised to a place of power. In her story it is not Esther at first but her uncle Mordecai who comes under fire for his faith. Mordecai refuses to back down from his daily habits of prayer, like Daniel. You may recall that this results in an edict from the king setting a date for exterminating the Jewish people in all the known world, the Persian empire. Then Esther is called to step forward and risk her life for her people.
What do we learn for our own lives? We too can be working for the good of our society, shoulder to shoulder with nonbelievers. (Note that retreating into a Christian ghetto does not follow the examples of Joseph, Daniel, and Esther.) And we too must practice our faith, sooner or later finding that line we will refuse to cross.
The Wall Street Journal on Aug. 17 ran an interview with Russell Moore, a Southern Baptist leader, on just this topic. Perhaps we should consider what Moore said. The interviewer asked this question: In these changing times, how can Christians be most effective in speaking to the culture?
We are no longer the moral majority, Moore says, but the prophetic minority. We need to adjust our thinking and our actions in the political square accordingly.
Moore urges evangelicals not to retreat, but to engage their culture on key issues rooted in the Christian faith. For him, the issues that form the line he will not cross are protecting the unborn, protecting marriage, and holding the line on religious liberty. For religious liberty, he particularly urges evangelicals to fight in court the ObamaCare requirement that religious employers pay for contraception, morning-after abortion, and sterilization.
"We are not going to go away or back down," the article quoted Moore as saying.
Moore's not my leader, you may say. Christendom is splintered, and our actual head is Jesus Christ, so each of us must discern where Jesus is leading us. But it might be instructive to listen to leaders the Lord has raised up in his church, like Moore and Pope Francis (who, like his predecessors, decries abortion and supports the sanctity of marriage). These men are taking their cue from Joseph, Daniel, and Esther, who also refused to back down when their cultures threatened their religious practice.


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TRAINING STANDARDS PROCESS DIRECTORY INFO LEARN MORE
Council on Social Work Education - Commission on Accreditation
Notice of Accreditation Actions
Accrediting agencies recognized by the Council for Higher Education Accreditation are required to notify the public of the basis for final accreditation decisions. The Commission on Accreditation (COA) meets this requirement by publishing a notice of accreditation actions on its website after each Commission meeting. COA meetings take place three times a year, in February, June, and October.
The Commission on Accreditation (COA) took the following actions at its June 2019 meeting regarding the social work programs sponsored by the institutions listed below. Actions taken below are listed by decision category. Standards referenced in this report can be reviewed in our 2008 Educational Policy and Accreditation Standards and 2015 Educational Policy and Accreditation Standards.
Grant Candidacy Status
The COA finds that the program is in compliance with Benchmark I and grants the program Candidacy status. The decision letter instructs the program to prepare Benchmark II in preparation for its Commissioner Visit II.
Aultman College (OH)
Southwestern Assemblies of God University (TX)
Northeastern State University (OK)
Defer a Decision on Granting Candidacy Status
The COA decides to defer a decision when the program's documentation is insufficient to make a decision. A deferral is for one meeting only. Before the next commission meeting the program is expected to submit the documentation or clarification necessary for the COA to make a decision.
Idaho State University (ID), based on Admissions
Northcentral University (CA), based on Specialized Practice; Admissions; and Faculty
Grant a Second Year of Candidacy
The COA finds that the program is in compliance with Benchmark II and grants the program a second year in Candidacy. The decision letter instructs the program to prepare its Initial Accreditation Self-Study in preparation for its Commissioner Visit III.
Grove City College (PA)
Gwynedd Mercy University (PA)
Louisiana State University (LA)
Anna Maria College (MA)
Jacksonville State University (AL)
Saginaw Valley State University (MI)
University of North Florida (FL)
University of North Texas & Texas Women's University Collaborative (TX)
Utah Valley University (UT)
Defer a Decision on Second Year of Candidacy
Methodist College (IL), based on Field Education; Admissions; Advisement, Retention, and Termination; Faculty; and Assessment
Carlow University (PA), based on Specialized Practice; Advisement, Retention, and Termination; Student Participation; and Assessment
College of Saint Rose (NY), based on Generalist Practice and Resources
Louisiana College (LA), based on Faculty and Resources
Grant Initial Accreditation for 4 Years
The COA finds the program in compliance with all accreditation standards and educational policy and grants accreditation for 4 years.
College of Saint Elizabeth (NJ)
Jarvis Christian College (TX)
Purdue University Northwest (IN)
Tennessee Wesleyan University (TN)
Indiana Wesleyan University (IN)
Seattle University (WA)
University of Indianapolis (IN)
Grant Initial Accreditation for 4 Years with a Progress Report
The COA finds the program in compliance with all educational policy and accreditation standards, but identifies one or more areas of concern that must be addressed in a progress report that the COA will review. The COA's letter identifies specific areas of concern for the progress report that will be due within one year.
Fort Valley State University (GA), based on Assessment
Saint Joseph's College (ME), based on Assessment
University of New England (ME), based on Assessment
Defer a Decision on Initial Accreditation
Universidad Interamericana de Puerto Rico, Recinto Aguadilla (PR), based on Field Education; Diversity; and Assessment
Reaffirm Accreditation for 8 Years
The COA finds the program in compliance with all educational policy and accreditation standards and the program was granted continued accreditation for 8 years.
Ashland University (OH)
Belmont University (TN)
East Stroudsburg University of Pennsylvania (PA)
Fort Hays State University (KS)
Heritage University (WA)
Iona College (NY)
Meredith College (NC)
Miles College (AL)
Millersville University of Pennsylvania (PA)
Northern Arizona University, Flagstaff (AZ)
Saint Mary's College (IN)
Southwest Baptist University (MO)
University at Albany, State University of New York (NY)
University of Alabama (AL)
University of Maine (ME)
University of Tennessee at Martin (TN)
Virginia Commonwealth University (VA)
California State University, East Bay (CA)
East Tennessee State University (TN)
Kean University (NJ)
Texas Christian University (TX)
Washington University in St. Louis (MO)
Reaffirm Accreditation for 8 Years with a Progress Report
The COA finds the program in compliance with all educational policy and accreditation standards, but identifies one or more areas of concern that must be addressed in a progress report. The program was granted continued accreditation for 8 years, with a progress report to be submitted within 1 year.
Buena Vista University (IA), based on Administrative Structure
Defiance College (OH), based on Field Education; Advisement, Retention, and Termination; and Assessment
East Tennessee State University (TN), based on Assessment
Elizabeth City State University (NC), based on Assessment
Fayetteville State University (NC), based on Faculty
Oral Roberts University (OK), based on Field Education; Advisement, Retention, and Termination; Administrative Structure; and Assessment
Salem State University (MA), based on Advisement, Retention, and Termination; Faculty; Administrative Structure; and Resources
Savannah State University (GA), based on Administrative Structure
Salem State University (MA), based on Faculty; Administrative Structure; and Resources
Savannah State University (GA), based on Faculty and Administrative Structure
Universidad Ana G. Mendez – Carolina Campus (PR), based on Specialist Practice; Field Education; Admissions; Faculty; Administrative Structure; Resources; and Assessment
Order a Modified Site Visit
The COA believes that a program may be out of compliance with one or more educational policy or accreditation standards and ordered a modified site visit to collect more information. A site visitor is sent, at the program's expense, to review specific compliance issues. This program is reviewed at the next COA meeting after the site visit.
University of Sioux Falls (SD), based on Diversity; Advisement, Retention, and Termination; and Assessment
Defer a Decision on Reaffirmation of Accreditation to the Next Meeting and Request Clarifying Information
Lincoln University (MO), based on Mission and Goals; Generalist Education; Advisement, Retention, and Termination; and Assessment
University of Texas of the Permian Basin (TX), based on Field Education; Advisement, Retention, and Termination; Student Engagement; Faculty; and Administrative Structure
Portland State University (OR), based on Mission and Goals; Generalist Practice; Faculty; and Resources
Accept First Progress Report
All areas of concern were addressed in the progress report, and no further action by the program is required.
Alabama State University (AL)
George Fox University (OR)
George Mason University (VA)
Saint Francis University (PA)
Shippensburg University (PA)
Simmons University (MA)
Winston Salem State University (NC)
Nyack College (NY)
University of Kansas (KS)
Receive First Progress Report and Request a Second Progress Report
The COA finds that one or more of the concerns in the first progress report are still areas of concern and requests a second progress report to be submitted within 1 year. The COA' s letter identifies specific areas of concern and a due date for the progress report. If the second progress report is not accepted, the program is automatically placed on conditional accreditation.
Judson College (AL), based on Field Education
George Mason University (VA), based on Administrative Structure
Accept Second Progress Report
Central State University (OH)
Columbia College (SC)
Mississippi Valley State University (MS)
Siena Heights University (MI)
Western Illinois University (IL)
California State University, Long Beach (CA)
University of South Dakota (SD)
Restore Accredited Status
A program on Conditional Accredited Status submitted a restoration report to have full accreditation restored. The COA review of the program's restoration report finds that the program has taken corrective action and is in compliance with all standards.
Talladega College (AL)
University of Toledo (OH)
Place on Conditional Accredited Status
The COA finds the program out of compliance with one or more educational policy and/or accreditation standard and places it on conditional accredited status if it believes that noncompliance issues can be resolved by the program within 1 year. The COA's letter identifies specific areas of noncompliance. Conditional status is an adverse decision, and programs may request reconsideration. If the program accepts the COA's decision, it submits a restoration report. Programs remain accredited while on Conditional Accredited Status.
Troy University (AL), based on Faculty and Assessment
Long Island University Post and Long Island University Brooklyn Collaborative (NY), based on Admissions; Faculty; Administrative Structure; and Resources
Issue a Letter of Instructions to the Site Visitor
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Home > English > Biology of the bee family > Reproduction and development of bees
Reproduction and development of bees
Growth and development of the bee family under favorable conditions of the environment (plenty of food, proper temperature, etc.) is provided by all three forms of individuals: the uterus, working bees and drones, but their role in this is not the same.
Uterus is the only fully developed female in the family. Its function is to postpone the eggs formed in its genital organs, from which all three groups of bee family can develop.
Working bees are also females, but their genitals are not fully developed, why they can not mate with drones and lay off fertilized eggs. However, working bees are perfectly adapted to perform other works necessary for the life of the family: brood rearing, nectar feeding and processing it into honey, collecting pollen, isolating wax and building, combs, nesting, etc.
Without taking a direct part in laying eggs, working bees are the nurse of the whole brood, the queens and drones and through the gland produced by the protein food (milk) affect the heredity (nature) of the next generations of the bee family.
Drones are males. Their role is in the fertilization of young queens.
Reproductive organs.
Breeding organs are well developed in the uterus and drone.
In the uterus, they fill a significant part of the abdomen and consist of two white, fairly large pear-shaped ovaries lying on the sides of the abdomen in the anterior half; in the fetal uterus, the ovaries reach a length of 7.5 mm, and in diameter – 4.5 mm. To the top, each ovary is thinned; The ovaries closely adjoin their curved vertices. Two egg tubes (one from each ovary), called paired oviducts, leave from the ovaries. These oviducts are connected to one common excretory duct – an unpaired oviduct. The lower extended part of this oviduct is called the vagina. Near the beginning of the general
excretory duct, not far from the junction of paired oviducts, is a small vial adjacent to the upper wall of the vagina, the size of a pinhead, the so-called spermatheca,
The walls of the spermatheca are devoid of muscle. fly two writhing glands. These glands open into the duct of the spermatheca. The duct of the spermathecal can expand or be closed.
The spermathecal is used to preserve male sex cells-spermatozoa (seminal threads) obtained by the uterus when mating with the drones. In the unfertilized uterus, the spermatheca is filled with a transparent liquid, while in the fertilized one it is filled with millions of seminal threads, the purpose of which is to fertilize the eggs.
Ovaries consist of many egg tubules, which in both ovaries are from 200 to 360 or more, on average 300 pieces.
Eggs are produced in the egg tubes, and at the top each tube contains only the rudiments of eggs, which, as they mature, pass below; ripened eggs enter the paired oviduct, and thence into the unpaired or common excretory duct. The vagina opens outward under the sting.
In a worker's bee, each ovary is most often composed of 4, but sometimes from a larger number to 20 poorly developed egg tubes and the spermatheca in its infancy.
Genital organs of the drone consist of two seminal glands, the so-called testes, having the form of beans and consisting of numerous – up to two hundred – convoluted seminiferous tubules. They produce sex cells.
Fig. 19. Sexual organs of the uterus and worker bee: Left – the genital organs of the uterus: 1 – ovaries; 2 – paired oviducts; 3 – unpaired oviduct; 4-seminal receptacle; 5 – gland of the spermatheca; the genital organs of the working bee (from above) and the bee-work (from below) on the right: ovaries – ovaries; "I-paired oviducts, cm-spermatheca.
From each testicle departs one strongly curved tubule. These ducts end in significant extensions, the so-called seminal bladder, in which mature spermatozoa floating in the seminal fluid accumulate.
Seminal blisters open into the adnexal or mucous glands that produce a thick mucous fluid that is capable of quickly "congealing" when in contact with air. These glands are connected to one common long excretory duct, called the unpaired seed duct. Then this duct expands into a bean-shaped bladder ("bulb"), followed by a copulatory stump organ.
From the testes, the mature seed passes into the seminal blisters. From here, at the moment of pairing, the drones with the uterus move further and enter through the unpaired seed duct and the bean-shaped bladder. Following the seed, mucus enters there.
The sexual organ of the drone is arranged so that at the moment of mating, it is turned out by the inner side outward until the bean-shaped bubble and thus the bean-shaped bubble and its contents are pushed into the genitals of the uterus. Horny appendages of the copulatory organ do not enter the vagina of the uterus, but tightly close it, which is also facilitated by solidifying mucus. Thus, the seminal fluid can not flow out, but passes into the oviducts, where from 6-8 hours it is sucked into the spermatheca.
Fig. 20. Genital organs of the drone.
The twisted sexual organ of the drones breaks off when mating, and the drone dies.
If you press on the abdomen of a sexually mature drone, the sexual organ instantly turns out and is pushed out. The same happens when mating with the uterus.
If the air-bearing bags of the drone are densely filled with air, then it is easy to press these bags and abdominal muscles onto the genital organ, causing the latter to protrude and turn out. But in view of the fact that the drone only during flight can fill his air bags so tightly that the necessary pressure is exerted on the sexual organs, the fertilization of the uterus can occur only on the fly, hence outside the hive.
This is confirmed by experiments: a young uterus with circumcised or damaged wings remains barren.
Recently, scientists of the Institute of Apiculture found that the young womb mates not with a single drones, but with several – two, four, and in some cases even with a large number. At the same time, she can make several marriages from the hive, but can be covered in succession by several drones and for one flight. Since after each pairing a part of the genitalia of the drone or, as they say, the "trail" remains in the vagina of the uterus, each subsequent drone first releases the uterus from the trail left by the precursor drone, and then mates itself.
The uterus during the marital flight, lasting 15-20 minutes, mates until the seeds (seminal fluid) are paired with oviducts, and returns to the hive with a "train" of the last mating drones.
2-3 days after fertilization the uterus begins to lay fertilized eggs.
Fertilization of the egg.
The egg has two shells, protecting it from damage. Outside the egg there is a fairly dense shell, and under it lies a very thin film, the so-called vitelline membrane. The upper dense shell on its entire surface is perforated with tubules. At one end of the egg there is a very small opening, which serves to penetrate the seed of the seed into the egg. The egg cell (egg) consists mainly of building material (yolk) for the body of the future larva.
Fig. 21. Egg of the uterus (enlarged 35 times) and sperm of drone (increased 250 times). 1 – the appearance of the egg. II-egg in the section: 1 – egg shell; 2-yolk shell; 3 – the core; 4-zheltok; 5-hole, through which the sperm penetrates into the egg, the drone; b – protoplasm. 3 – spermatozoon: d – the head; x – tail, or flagellum.
In the seminal fluid of the drone, under a strong increase, one can see individual seed threads, or spermatozoa. The seed thread is the germ cell. One end of it is somewhat thickened, there is a core in it. This part is usually called the head of the seed thread. Spermatozoa have the ability to move.
For the fertilization of the egg, it is necessary that the seed thread penetrate into the egg through the above hole.
Eggs are fertilized when laying. It is believed that as soon as the egg enters the oviduct, the muscular apparatus surrounding the canal emerging from the receiver sucks in a part of the seminal fluid from the spermatheca.
The process of egg fertilization occurs in general so. Seed threads move to the opening of the egg and one of them enters the inside of the egg. Once in the egg, the sperm head begins to swell more and more and changes its shape. In it grows the central part – the core. Hour through 1-2 instead of the head of the seed thread, we find a male core, the same as the female one in the egg. Both nuclei gradually converge and after a few minutes merge.
After the fusion of the nucleus of the egg with the nucleus of the spermatozoon, the nucleation begins and the formation of new cells begins, from which the embryo is then formed.
Not all eggs are fertilized. From the fertilized eggs, females develop – working bees or uterus, and from unfertilized eggs – males, that is drones.
Unfertilized eggs have only maternal heredity. That is why, from the uterus, for example, of our local "breed", fertilized by the yellow drones of the Italian "breed" of bees, her daughters – worker bees and queens – will be half-breeds, and her sons (drones) will be of the same local breed ", as the uterus.
The eggs laid by the mat are long and slightly curved corpuscles of white color. They reach 1.5 mm in length and about 0.5 mm in thickness.
The uterus lowers the egg, surrounded by mucus, to the bottom of the honeycomb cell. It sticks to the bottom of the cell with its lower end and remains in a standing, almost vertical position for the entire first day. On the second day the egg bends considerably; by the end of the third day it lies sideways, and then the larva emerges from it.
Development of working queens and drones of bees.
Bees develop the so-called complete transformation in their development, which consists in the following. Uterus lays eggs, from which larvae subsequently emerge. Then the larva turns into a pupa. Pupa does not eat. In the body of the pupa, all the organs are reconstructed, namely: the previous organs of the larval stage are fragmented into their constituent parts-cells and living matter of the non-cellular structure; new adult organs of an adult insect are created from this Material. Thus the pupa turns into a bee. Eggs of the larva and pupae are called brood. In this case, eggs and larvae before they are sealed are called open brood and larvae after sealing and pupae by a printed brood.
Fig. 22. Development of the bee (on days): A: 1-9 – open brood; from-11-printed brood 4-10-larva; 11 – pupa.
The larvae that have just emerged from the eggs are very small, milky white in color. They need careful care of the bees.
There are no air sacs in larvae, instead of them there are only large tracheal trunks.
The body of the larva consists of a head and 13 segments, of which the first three segments from the head are the chest and the rest are the abdomen.
External appendages absent. Only around the oral opening are observed oral parts in the form of 6 short outgrowths.
The eye has no larva; Instead of them there are only small protuberances.
On the sides of the larva, one can observe 10 respiratory holes called spiracles, or stigmata, which are branched throughout the body by breathing tubes (trachea).
All internal organs of the larva are clearly visible in Figure 23. The intestinal canal occupies most of the internal cavity. It consists of the anterior, middle and posterior intestines. Of these, the anterior and posterior are comparatively short and thin, and the middle is large, it occupies almost the entire internal cavity.
Above the intestine, the heart passes through the whole body in the form of a long thin tube lying under the skin of the back.
Fig. 23. Structure of the larva of the bee. Larva in longitudinal section (scheme):
1 – anterior gut; 2- medium bowel; 3- posterior gut;
4 – spinning iron; , 5 – heart; 6 – the nervous system; 7- Mal –
Piegive vessels; 8-ovary.
Between the heart and the middle intestine lie the paired parts of the genital organs.
The nervous system consists of 2 head and 11 abdominal knots and stretches under the intestine along the ventral side. The fatty body is up to 65% of the weight of the larva.
On the border between the middle and the back of the intestines, the urinary canals called the Malpighian vessels flow into the intestine.
The larva has two more spinning glands in the form of thin long vessels. They open on the lower lip and serve to curl the cocoon after the bees seal the larva in the cell.
All free places between the organs are colorless blood and fatty body.
The structure of the intestine of the larva has the feature that the junction of the middle and posterior intestines is closed by a thin septum, and therefore the contents of the midgut can not penetrate into the posterior. Because of this, all intestines, leftovers of food, perceived by the larva for 5-6 days of her life, are deposited in the midgut. They accumulate so much that this bowel is greatly inflated.
Only at the end of the larval life, shortly before the transition to the stage of the pupa, a thin septum between the middle and the hindgut bursts under the pressure of the garbage collected in the intestine, and the whole mass is pushed into the hindgut.
Feeding the brood. The process of embryo development in the egg at normal temperature (34-35 њ) lasts approximately 72 hours. When the temperature of the nest is lowered, the development slows down somewhat (sometimes reaching 80 hours), and at a slight increase accelerates (contracting to 68 hours).
By the end of the third day, the bees are poured food – milk – under the egg, lying on the bottom of the honeycomb cell, as a result of which its shell bursts and the formed small larva appears to be floating in the stern. If, for some reason, bees are not placed in a cell with an egg of liquid food (milk), the larval exit may be delayed for two days until the feed is given. This circumstance is sometimes used in the transport or transfer of eggs laid by breeding queens. With such transportation take measures to ensure that the air around the honeycomb with eggs was sufficiently wet, otherwise the eggs can dry. For this, the honeycomb is wrapped in a damp towel or in paper, which from time to time must be moistened.
Larvae are abundantly supplied with food. In the first days, the weight of the feed is 3-4 times the weight of the larvae, which lie, bent in a semicircle at the bottom of the cells, and slowly moving around in a circle, eagerly eat food.
Bee and drone larvae at an early age receive a different feed than in the later. Particularly different in composition is the feed given to the uterine larvae.
Although the uterus and worker bees are derived from identical fertilized eggs, their larvae, fed by unequal food, develop in different ways, resulting in either a fully developed female (uterus) or a not fully sexually developed female, that is, a working bee. This particularly vividly confirms the teaching of Michurin biology about the influence of the environment on the formation of the organism.
The newly hatched larvae are fed with so-called milk.
This milk is very nutritious, since it consists of protein compounds, fat and carbohydrates, and also contains vitamins and minerals and has no indigestible substances. According to the research, milk contains: protein 30.62%, sugar 15.05%, fat 15.22%, as well as other substances, so it is a fully-fledged food.
Bee larvae feed on milk only during the first three days. From the end of the third or from the beginning of the fourth day, the bees-nurses feed them with coarser food, the so-called gruel, which consists mainly of flower pollen (or pergus), honey and milk. The midgut of the larvae begins to shine through the color that the pergus has eaten.
Trout larvae are fed with milk a little longer, since often on the fourth day there are no pollen in their intestines.
As for the uterine larvae, they are fed throughout the entire larval life only with milk, that is, the most nutritious and digestible protein food, which makes the uterus develop rapidly.
Royal larvae are given so much food that they do not eat it completely. After the exit of the uterus, the remainder of the feed can be found in the mother liquor.
Larvae of bees and queens in the first 24 hours after leaving the egg have basically the same structure. On the second day, the genital organs of the larva of the worker's bee seem to stop in their development. That's why the queens should be removed from the larvae of the youngest age.
By changing the food, you can get not only dwarf or very large queens and working bees, but also transitional forms, that is, creatures in which the signs of the uterus and the worker's bee are combined. As an exception, one can observe the development of a bee in a drone cell, and a drone in a uterine or bee. The development of the drone in the uterine cell does not reach the end, since it usually dies in the stage of the larva or pupa. The sealed mattock with the drone differs from the uterus containing its abnormal length and constriction in the middle like a cocoon of a silkworm.
Molting larvae and printing cells. Thanks to nutritious and abundant food, the larvae grow rapidly. From small, hardly appreciable they in some days turn to thick, hardly containing in the cells. The larvae lie in a cell, curled in an annular manner, and touching the sides of the cell with their backs. Most quickly they grow on the third and fourth day. For 6 days the larva increases in weight 1300 times. With such rapid growth, the larva fades four times in a short period of its existence. Discarded by the larva, the peel remains at the bottom of the cell.
At the end of the fifth day, the larva of the working bee becomes so large that it no longer fits on the bottom of the cell. On the sixth day fills the entire cell and begins to stretch along the cell, head outward. At this time, the bees are sealed with a lid, which is made not with a single wax, but with an admixture of perga, so that the lid is porous and lets in air.
In the sealed cell, the larva straightens, attaches to its cap the filaments of its semi-cocoon. With these threads, the larva is used in the same way that many insects do it before pupation. The threads needed for this purpose are produced in so-called spinning glands that open on the lower lip.
The larva of a silky spider web fills the sheath, the walls and the bottom of the cell, forming a cocoon. In the formation of the cocoon, part of the larval skin also plays a part.
Pupa and turning into a bee. After the ordering, the so-called pre-pupal stage follows; Inside the body of the larva, very complex changes occur: most of the former organs seem to dissolve, and instead of them new organs of a different structure are created. This state is called turning into a pupa. Finally, the larva fades. This is the 5th molt, or molting on a chrysalis. The discarded skin is the inner lining of the cell and, together with the cocoon, separates the chrysalis from the excrement discarded by the larva.
After the moult, the pupa is reminiscent of a swaddled bee.
Pupa is at first soft and has a white color, and then begins to gradually darken. The skin hardens and becomes covered with hairs. Finally the pupa ripens completely. Then she drops her skin. This is the last molt, that is molting on the bee, after which the young bee is fully formed. "Shirt" pupa remains lying in the depth of the cell.
The uterine larva curls the cocoon under the lid and not completely from the sides. The bottom is left without a cloth cloth.
In the event that bees destroy the maturing queens, they always gnaw the mother on the side where the cocoon is gone.
Approximately one day before the working bee or uterus leaves, bees gnaw wax from the lid and expose the cocoon. This facilitates the output of the bee and the uterus. The uterus and drones gnaw the lid on the edge in such a way that it usually disappears in the form of a mug. Working bee gnaws through the middle of the lid.
The uterus is vigorous and quite strong, and the workers and drones are much weaker.
The time required for the development of the uterus, bees and drone. For the transformation of the uterus from the testicle into an adult insect, an average of 16 days is required, namely: the larva is born from the egg after 3 days; in unsealed form, the larva remains for 5 days and in sealed form until the cell leaves the mature uterus – 8 days. The better the larvae of queens are raised, the faster their development and the better quality they are. Under very good conditions, the development of the uterus can last only 14 days.
It is generally believed that 20 to 21 days are required for the withdrawal of the bee, namely: the larva is born from the egg after 3 days; in unsealed form, the larva is about 6 days and in sealed form until the young bee leaves the cell about 11-12 days, and only -20 – 21 days.
It takes about 24 days to remove the drone, namely: the larva is born from the egg after 3 days; in unsealed form, the larva remains about 7 days and in sealed form until the exit of the drone from cell 14, only 24 days.
The average period of transformation of the uterus, worker bee and drone
Terms of transformation (in days)
Periods of development
Working bees
The larva is born from the egg through an unsealed larva
In sealed form:
Total.
The hatched bee is in the form of an adult. Its weight is approximately 100 g, body length 13-14 mm. In the future, it does not increase in size and in most of its organs there is no noticeable change.
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Q: Patch Orchestration Application (POA) does not install updates in gMSA security cluster I have standalone cluster 6.5.664.9590 on Windows Server 2019 with gMSA security.
Successfully deployed Patch Orchestration Application (POA) v1.4.1.
In GPO set "Notify to download updates".
POA successfully find and download updates, but does not install updates.
The Node Agent NTService does not creates repair tasks for installing updates on the nodes.
Get-ServiceFabricRepairTask empty.
Every ~3 minutes the following line logged in System log:

The Windows Modules Installer service entered the running state.

and after a few seconds, it shows:

The Windows Modules Installer service entered the stopped state.

Link on issue: https://github.com/microsoft/Service-Fabric-POA/issues/34

A: Add below section in your clustermanifest.
"ClientIdentities": [
{
"Identity": "NT AUTHORITY\SYSTEM",
"IsAdmin": true
}
]

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