text:
HC asks Thane corporation to seal hospitals not having fire dept's NOC
The Bombay High Court has directed the Thane Municipal Corporation (TMC) in Maharashtra to seal all private hospitals and nursing homes that are operating without a no-objection certificate (NOC) from the fire department.
A bench of Chief Justice Pradeep Nandrajog and Justice N M Jamdar said if the several notices served by the TMC and the Fire Department to hospitals, asking them to follow fire safety norms, did not work, it was better to shut down such healthcare facilities. The bench was hearing a public interest litigation filed by RTI activist Sapan Shrivastav.
The plea claimed a survey by the Thane Fire Department earlier this year revealed that more than 50 per cent of private hospitals and nursing homes in Thane were ill-equipped to deal with fire incidents. An affidavit filed by TMC's counsel Arvind Aswani stated that although the civic body's health department renewed registration of over 380 hospitals last year, only 181 hospitals were issued an NOC from the Fire Department.
Currently, applications seeking NOCs had been filed by around 129 nursing homes and hospitals, while the remaining 70 did not have it and continued to operate in violation of the fire safety norms, the affidavit read. Following the fire at ESIC hospital in Mumbai in December last year in which 11 people were killed, the Thane fire brigade had initiated a safety audit at all private hospitals in the city. The Fire Department was supposed to make a list of hospitals in its jurisdiction and inspect them. The court said that since the TMC already has records of all hospitals and nursing homes violating the fire safety norms, it must initiate action
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text:
+"Avery, Milton, 1885-1965"
1,420 documents - page 1 of 71
Oral history interview with Wallace Putnam
Putnam, Wallace, 1899-1989 Search this
Berman, Avis Search this
Mark Rothko and His Times Oral History Project Search this
Avery, Milton, 1885-1965 Search this
Rothko, Mark, 1903-1970 Search this
36 Pages (Transcript)
1982 Aug. 13-20
An interview of Wallace Putnam conducted 1982 Aug. 13-20, by Avis Berman, for the Archives of American Art's Mark Rothko and His Times oral history project.
Putnam recalls his youth and art training in Boston, Mass., his move to Hartford, Conn., and friendship with Milton Avery, whom he met when they both worked filing policies at Traveler's Insurance Co. He talks about his and Avery's early careers in New York and his first acquaintance with Mark Rothko. He remembers Rothko's early concerns as an artist, his interest in music, and visits to his studio and home (including catsitting for the Rothko's for three weeks).
Wallace Putnam (1899-1989) was a painter, writer, lithographer, and draftsman from Yorktown Heights, N.Y.
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 4 digital wav files. Duration is 2 hr., 57 min.
This interview was conducted as part of the Archives of American Art's Mark Rothko and his Times oral history project, with funding provided by the Mark Rothko Foundation.
Others interviewed on the project (by various interviewers) include: Sonia Allen, Sally Avery, Ben-Zion, Bernard Braddon, Ernest Briggs, Rhys Caparn, Elaine de Kooning, Herbert Ferber, Esther Gottlieb, Juliette Hays, Sidney Janis, Buffie Johnson, Jacob Kainen, Louis Kaufman, Jack Kufeld, Katharine Kuh, Stanley Kunitz, Joseph Liss, Dorothy Miller, Betty Parsons, Rebecca Reis, Maurice Roth, Sidney Schectman, Aaron Siskind, Joseph Solman, Hedda Sterne, Jack Tworkov, Esteban Vicente and Ed Weinstein. Each has been cataloged separately.
Transcript available on the Archives of American Art website.
Abstract expressionism Search this
Painters -- New York (State) -- New York -- Interviews Search this
Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.
AAA.putnam82
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ead_collection:sova-aaa-putnam82
Marchal Landgren Papers
Landgren, Marchal E. Search this
American Abstract Artists Search this
Art Students League (New York, N.Y.) Search this
Artists Equity Association Search this
Contemporary Arts (Gallery) Search this
Joseph Mitchell Gallery Search this
Municipal Art Committee (New York, N.Y.) Search this
Old Print Shop (New York, N.Y.) Search this
University of Maryland at College Park Search this
Washington, D.C.. Public Library Search this
Abbott, Berenice, 1898-1991 Search this
Albers, Josef Search this
Beaton, Cecil Walter Hardy, Sir, 1904- Search this
Constant, George Search this
Cox, George Collins, 1851-1902 Search this
De Laittre, Eleanor, 1911-1998 Search this
Fitch, Clyde, 1865-1909 Search this
Force, Juliana, 1876-1948 Search this
Fruhauf, Aline, 1909-1978 Search this
Gallatin, A. E. (Albert Eugene), 1881-1952 Search this
Geist, Sidney Search this
Gershwin, George, 1898-1937 Search this
Glackens, Ira, 1907-1990 Search this
Greene, Balcomb, 1904-1990 Search this
Harari, Hananiah, 1912-2000 Search this
Higgins, Eugene, 1874-1958 Search this
Holtzman, Harry Search this
Hunt, William Morris, 1824-1879 Search this
Janauschek, Francesca Romana Magdalena, 1830-1904 Search this
Kane, John, 1860-1934 Search this
Kipling, Rudyard, 1865-1936 Search this
Laufman, Sidney, 1891- Search this
Logasa, Charles, 1883-1936 Search this
Mitchell, Donald Grant, 1822-1908 Search this
Newman, Robert Loftin, 1827-1912 Search this
Orr, Elliot, 1904-1997 Search this
Portinari, Cândido, 1903-1962 Search this
Ryder, Albert Pinkham, 1847-1917 Search this
Saint-Gaudens, Augustus, 1848-1907 Search this
Sprinchorn, Carl, 1887-1971 Search this
1881-circa 1982
The papers of Washington, D.C. art historian, librarian, author, educator, and art consultant Marchal Landgren measure 15.3 linear feet and date from 1881 to circa 1982, with the bulk of the material dating from 1930 to 1975. Included are biographical materials, correspondence, writings and notes, professional and organization files, research projects' files, scattered personal business records, printed materials, two clippings scrapbooks, photographical materials, and scattered artwork.
Biographical material includes address cards, an appointment book, curriculum vitaes, genealogical materials, and military records. Correspondence is with artists, clients, colleagues, museums, and universities, and is predominantly professional in nature. Correspondents include Albert E. Gallatin, George Gershwin, Ira Glackens, Sidney Laufman, Elliot Orr, Candido Portinari, and Carl Sprinchorn, among others.
Writings include miscellaneous published and unpublished writings and drafts by Marchal Landgren primarily those not associated with his major research projects. These include various articles written for magazines and journals, manuscript drafts, research notes, and notebooks. There is also a file of writings by others that includes the John Mitchell Gallery Notes.
Professional and organizational files document Landgren's positions and work for educational institutions and arts organizations, including the American Abstract Artists Group, Art Students League of New York, Association of Artists Equity of Washington D. C., Contemporary Arts, D. C. Public Library, Library Journal, New York City Municipal Art Committee, Old Print Shop, Inc., and the University of Maryland, among others. These files also contain correspondence, perhaps the most notable found in the file on the American Abstract Artists Group which includes letters from Josef Albers, Eleanor de Laittre, Sidney Geist, Balcomb Greene, Hananiah Harari, and Harry Holtzman.
Well over one-half of the collection consists of files for Landgren's ongoing research projects on numerous artists and photographers, Latin American art, as well as his bibliographic reference projects. The bulk of the files cover his research, writing, and curatorial work on Robert Loftin Newman. Files are also found for Berenice Abbott, Milton Avery, George Constant, George Collins Cox, Aline Fruhauf, Eugene Higgins, William Morris Hunt, John Kane, Charles Logasa, Elliot Orr, and Albert Pinkham Ryder, among many others.
Personal business records include personal and general expense documentation and scattered exhibition price lists. Printed materials include clippings, exhibition catalogs, and miscellaneous published articles and essays. There are two scrapbooks of clippings.
There are photographs, slides, and negatives of images of Landgren, other artists and notable figures in the art world, and of artwork. Of note is a portrait photograph of Juliana Force by Cecil Beaton, one photograph by Berenice Abbott, "Barclay Street Ferry", and 14 taken by George C. Cox of Rudyard Kipling, Clyde Fitch, Augustus Saint-Gaudens, Madame Fanny Janauschek, Donald G. Mitchell, and others.
The papers also include scattered artwork, including holiday cards illustrated by artists, and sketches and drawings by other artists.
This collection is arranged as 10 series.
Series 1: Biographical Materials, circa 1890-circa 1981 (0.2 linear feet; Box 1)
Series 2: Correspondence, circa 1930-circa 1982 (0.6 linear feet; Box 1)
Series 3: Writings and Notes, circa 1932-circa 1982 (1.2 linear feet; Boxes 1-3)
Series 4: Professional and Organizational Files, circa 1910-circa 1977 (3.4 linear feet; Boxes 3-6)
Series 5: Research Projects' Files, 1881-circa 1982 (6.9 linear feet; Boxes 6-13, 15)
Series 6: Personal Business Records, circa 1934-circa 1982 (0.4 linear feet; Box 13)
Series 7: Printed Material, circa 1927-circa 1981 (1.0 linear feet; Boxes 13-14)
Series 8: Scrapbooks, circa 1931-circa 1979 (0.2 linear feet; Boxes 14-15)
Series 9: Photographic Materials, circa 1930s-circa 1978 (0.2 linear feet; Boxes 14-15)
Series 10: Artwork, circa 1930s-circa 1940s (0.2 linear feet; Boxes 14-15)
Marchal E. Landgren (1907-1983) was an art historian, librarian, educator, author, and art consultant, active in New York and Washington, D. C.
As associate director and board member of Contemporary Arts, Inc. in New York, Landgren established a program for providing artists with their first solo exhibition in New York, including those of John Kane and Mark Tobey. In 1932, he directed the exhibition schedule at the New School for Social Research; and in 1935, Landgren served as the director of art activities for the New York City Municipal Art Committee where he facilitated many exhibitions over the course of five years, including Recent Paintings by Boris Aronson at Babcock Galleries in 1938.
Working as a freelance art consultant, researcher, and author, Landgren organized numerous exhibitions between 1932 and 1950 of the work of Milton Avery, George C. Cox, Elliot Orr, Robert Loftin Newman, and Albert Pinkham Ryder. He also edited several arts publications, including the Old Print Shop Portfolio, John Mitchell Gallery Notes, and arts manuscripts for Oxford University Press.
In 1939, Landgren was selected by the New York World's Fair Commision to prepare historical notes on Latin American art for the exhibition catalogs of the Latin American art exhibition. After the Fair, he continued his research on this topic and wrote several articles, as well as lecturing on Latin American painting at the Art Students League of New York, the Newark Art Club, and the National Education Association at the Boston Museum.
After serving in the U. S. Army Air Force during World War II, Landgren moved to Washington, D. C. in 1950 and began work as the arts division readers' advisor for the D. C. Public Library. For seventeen years, he built up the library's general collection of art books and created extensive files of art exhibition catalogs.
In 1967, he took a position as a bibliographic consultant for the fine arts department at the University of Maryland. He became director of the University's art gallery and of the art department museum training program. During his tenure at the University of Maryland, Landgren conducted graduate seminars in art history, edited and published exhibition catalogs, and organized exhibitions, including The Late Landscapes of William Morris Hunt in 1976.
Landgren was a visiting scholar at the Smithsonian Institution's National Collection of Fine Arts and curated an exhibition of paintings by Robert Loftin Newman held there from 1973 to 1974 and at the Tennessee Fine Arts Center in 1974.
Marchal Landgren authored two books: Years of Art: The Story of the Art Students League of New York (Robert M. McBride and Company, 1940), and Robert Loftin Newman (Smithsonian Institution Press, 1974). He was a regular reviewer of art books for the Library Journal from 1958 to 1972, and contributed reviews to Trend, Magazine of Art, and other journals. He was awarded a research grant by the American Council of Learned Societies in 1963 for his study of George C. Cox and did a great deal of research in American art and American art institutions for an unfinished manuscript. He also worked on a bibliography of art literature which he never completed.
The Marchal Landgren papers were donated by Landgren in 1974, and by the Landgren estate via David Huddle in 1983.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Librarians -- Washington (D.C.) Search this
Educators -- Washington (D.C.) Search this
Authors -- Washington (D.C.) Search this
Art historians -- Washington (D.C.) Search this
Art consultants -- Washington (D.C.) Search this
Art, Modern -- 20th century -- United States Search this
Marchal Landgren papers, 1881-circa 1982, bulk 1930-1975. Archives of American Art, Smithsonian Institution.
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund.
AAA.landmarc
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Oral history interview with Katharine Kuh
Kuh, Katharine Search this
Art Institute of Chicago Search this
Black Mountain College (Black Mountain, N.C.) Search this
First National Bank of Chicago -- Art collections Search this
Katharine Kuh Gallery (Chicago, Ill.) Search this
Vassar College Search this
Adams, Ansel, 1902-1984 Search this
Albright, Ivan, 1897-1983 Search this
Archipenko, Alexander, 1887-1964 Search this
Arensberg, Louise S. (Louise Stevenson), 1879-1953 Search this
Arensberg, Walter, 1878-1954 Search this
Barr, Alfred H., Jr., 1902-1981 Search this
Berenson, Bernard, 1865-1959 Search this
Davis, Stuart, 1892-1964 Search this
De Kooning, Willem, 1904-1997 Search this
Duchamp, Marcel, 1887-1968 Search this
Ernst, Max, 1891-1976 Search this
Hofmann, Hans, 1880-1966 Search this
Kepes, Gyorgy, 1906-2001 Search this
Klee, Paul, 1879-1940 Search this
Léger, Fernand, 1881-1955 Search this
Mies van der Rohe, Ludwig, 1886-1969 Search this
Moholy-Nagy, László, 1895-1946 Search this
Mérida, Carlos, 1891-1984 Search this
Newman, Barnett, 1905-1970 Search this
Noguchi, Isamu, 1904-1988 Search this
Paepcke, Walter Paul, 1896-1960 Search this
Porter, Eliot, 1901-1990 Search this
Ray, Man, 1890-1976 Search this
Rich, Daniel Catton, 1904-1976 Search this
Smith, David, 1906-1965 Search this
Stamos, Theodoros, 1922-1997 Search this
Stieglitz, Alfred, 1864-1946 Search this
Still, Clyfford, 1904-1980 Search this
Tamayo, Rufino, 1899- Search this
Tobey, Mark Search this
Tworkov, Jack Search this
Weston, Edward, 1886-1958 Search this
313 Pages (Transcript)
1982 Mar. 18-1983 Mar. 24
An interview of Katharine Kuh conducted 1982 Mar. 18-1983 Mar. 24, by Avis Berman, for the Archives of American Art's Mark Rothko and His Times oral history project.
Kuh speaks of her invalid childhood in Chicago, the development of her interest in art, classes in art history at Vassar College, and her career as curator of modern art at the Art Institute of Chicago. She recalls in particular the "Sanity in Art" movement against modern art in Chicago. Kuh describes her relationship with Mark Rothko and Rothko's relationships with Mark Tobey, Clyfford Still, Kate Rothko, Theodoros Stamos, Milton Avery, Stanley Kunitz, and Hans Hofmann.
Kuh discusses her parents, the family silk business, travelling in Europe as a child, life in Chicago, the effects of polio and other illnesses on her interests, and her student years at Vassar College. She remembers visiting Bernard Berenson in Italy with her family and again with Daniel Catton Rich, with whom she worked very closely at the Art Institute of Chicago. She speaks of the Katharine Kuh Gallery, which she started in the mid-1930s and its place in the vanguard of the Chicago art scene.
Kuh remembers the effects of the stock market crash on her personal situation, her marriage to businessman George Kuh, distaste for life in the suburbs, and her divorce. She discusses the Katharine Kuh Gallery and the actions taken against her business by members of the reactionary "Sanity in Art" movement (including a very funny anecdote concerning Carlos Merida). She speaks of the classes in modern art that she taught at her gallery and of some of the artists she exhibited there, including the photographers Ansel Adams, Alfred Stieglitz, and Edward Weston.
Kuh remembers the McCarthy era and the political conservatism in Chicago, including her testimony on behalf of Bill Zimmerman, Acting Commissioner of Indian Affairs. She criticizes blockbuster exhibitions and the changes in the role of a museum curator. She reminisces about building the collection at the Art Institute of Chicago and the art education program she ran there, and recalls Stuart Davis, Laszlo Moholy-Nagy, Gyorgy Kepes, and Ivan Albright.
Kuh remembers Laszlo Moholy-Nagy, Ludwig Mies van der Rohe, and Marcel Duchamp, as well as the collectors Walter Paepcke and Walter and Louise Arensberg (whose collection she surveyed in their home for an exhibition at the Art Institute of Chicago).
Kuh focuses on her memories of Mark Rothko, recalling when they met, their friendship, his manner of working, his feelings about his work, and his worries towards the end of his life. She talks about Clyfford Still, Barnett Newman, and Mark Tobey. Some parts of this tape repeat what she said earlier.
Kuh continues discussing Rothko, particularly his Houston chapel murals and the retrospective exhibition at MOMA in 1961. She remembers visiting Rothko's studio and describes his working methods. She relates Rothko's views on other artists, including Milton Avery, Clyfford Still, Turner, Robert Motherwell, and Adolf Gottlieb; parts repeat things said before. Kuh also discusses Rothko's wife and daughter.
Kuh recounts building the collection at the Art Institute of Chicago and speaks of the museum staff, trustees, and donors. She remembers Alfred Barr at MOMA.
Kuh continues speaking about the Art Institute of Chicago, describing the circumstances of her resignation and subsequent move to New York. She talks of knowing Peggy Guggenheim, Max Ernst, and Fernand Leger.
Kuh describes her work as a consultant to college museums and her writings. She discusses the field of art criticism and her career as art editor at Saturday Review. She recalls Clyfford Still's retrospective exhibition at the Metropolitan Museum of Art and his death.
Kuh describes her work as a collector for the First National Bank of Chicago.
Kuh recounts more about her work at Saturday Review and her resignation. She goes into great detail about her travels in Alaska and British Columbia surveying Northwest Indian art for a government report. She speaks again about the McCarthy era.
Kuh speaks again about the Katharine Kuh Gallery and the artists she exhibited there, including Josef Albers (and his Black Mountain College), Alexander Archipenko, Stuart Davis, Paul Klee, Alexander Calder, and Man Ray.
Kuh continues her discussion of artists she exhibited at the Katharine Kuh Gallery, including Mark Tobey, Paul Klee, and Isamu Noguchi.
Kuh continues talking about artists she exhibited at the Katharine Kuh Gallery, including David Smith, Ansel Adams, Edward Weston, Eliot Porter, Rufino Tamayo, and Jack Tworkov.
Katharine Kuh (1904-1994) was an art consultant, curator, and critic from Chicago and New York City.
Originally recorded on 16 sound cassettes. Reformatted in 2010 as 31 digital wav files. Duration is 21 hrs., 52 min.
Others interviewed on the project (by various interviewers) include: Sonia Allen, Sally Avery, Ben-Zion, Bernard Braddon, Ernest Briggs, Rhys Caparn, Elaine de Kooning, Herbert Ferber, Esther Gottlieb, Juliette Hays, Sidney Janis, Buffie Johnson, Jacob Kainen, Louis Kaufman, Jack Kufeld, Stanley Kunitz, Joseph Liss, Dorothy Miller, Betty Parsons, Wallace Putnam, Rebecca Reis, Maurice Roth, Sidney Schectman, Aaron Siskind, Joseph Solman, Hedda Sterne, Jack Tworkov, Esteban Vicente and Ed Weinstein. Each has been cataloged separately.
Transcript: Patrons must use microfilm copy.
Authorization to quote or reproduce for the purposes of publication requires written permission from Avis Berman. Contact Reference Services for more information.
Art critics -- Illinois -- Chicago Search this
Art museum curators -- New York (State) -- New York Search this
Art museum curators -- Illinois -- Chicago Search this
AAA.kuh82
https://n2t.net/ark:/65665/mw941cbbacd-01e0-402c-828e-c3909d220c9b
ead_collection:sova-aaa-kuh82
George Constant papers
Audubon Artists (New York, N.Y.) Search this
Brooklyn Museum Search this
Carnegie Institute Search this
Dayton Art Institute Search this
Federation of Modern Painters and Sculptors Search this
Ferargil Galleries Search this
Heckscher Museum Search this
Lyman Allyn Art Museum Search this
Metropolitan Museum of Art (New York, N.Y.) Search this
Museum of Modern Art (New York, N.Y.) Search this
Parrish Art Museum Search this
Spanish Refugee Aid (Organization) Search this
Whitney Museum of American Art Search this
Avery, Sally Search this
Burliuk, David, 1882-1967 Search this
Caparn, Rhys, 1909-1997 Search this
Carnell, Julia Shaw Patterson, 1863-1944 Search this
Davidson, Morris, 1898-1979 Search this
Eaton, Charles Warren, 1857-1937 Search this
Gecan, Vilko, 1894-1973 Search this
Kanaga, Consuelo, 1894- Search this
Neuberger, Roy R. Search this
Pach, Walter, 1883-1958 Search this
Perret, Nell, 1916- Search this
Preston, Georgette Search this
The papers of modernist painter and printmaker George Constant measure 4.6 linear feet and date from 1912-2007, with the bulk of the material dating from 1932-1978. They consist of biographical material, inventories of artwork, audio interviews and recorded statements on art, personal and business related correspondence, holiday cards, printed material, an exhibition related video recording, and photographs of Constant, his family and friends, and his work.
The papers of modernist painter and printmaker George Constant measure 4.6 linear feet and date from 1912-2007, with the bulk of the material dating from 1932-1978. They consist of biographical material, inventories of artwork, audio interviews and recorded statements on art, personal and business related correspondence, holiday cards, printed material, an exhibition related video recording, and photographs of Constant, his family and friends, and his work. A small portion of the correspondence and printed materials are written in Greek.
Biographical material includes artist statements written and recorded by Constant, two audio interview recordings discussing his philosophies on art and his work, inventories of artwork, personal property deeds and legal correspondence, and other miscellaneous material.
Correspondence is predominantly in the form of business and personal letters, postcards, and holiday cards received from family and friends. These include correspondence from Constant's daughter, Georgette Preston, and extended family members. Other frequent personal correspondents include Milton and Sally Avery, Lewis Balamuth, Margaret Brunning, David Burliuk, Nathaniel Burwash, Rhys Caparn, Julia Shaw Patterson Carnell, Phillip Cavanaugh, Morris Davidson, Charles Eaton, Vilko Gecan, Marchal Landgren, Roy Neuberger, Walter Pach, Nell Perret, Constantine Pougialis, Wallace Putnam and Consuelo Kanaga, Hi Simons, and Helen Slosberg. Business related correspondents include Audubon Artists, Art Institute of Chicago, Brooklyn Museum, Carnegie Institute, Dayton Art Institute, Federation of Modern Painters and Sculptors, Ferargil Galleries, Guild Hall, Heckscher Museum, Lyman Allyn Museum, Metropolitan Museum, Museum of Modern Art, Spanish Refugee Appeal, and the Whitney Museum. Other business correspondence related to Constant's work with the WPA are also included in the series.
Printed material includes books and booklets on American and Greek art, including a limited print edition of George Constant by George Constant, clippings and articles reviewing Constant's work, exhibition announcements and catalogs of Constant's shows, periodicals profiling his artwork, and dance and theater related programs that Constant consulted on.
Photographs include black and white prints of Constant and his family and friends in St. Louis, Missouri, Dayton, Ohio, and in and around his studio in Shinnecock Hills, New York. The collection also includes photo stills from his 1965 exhibition at the Parrish Art Museum and a comprehensive set of black and white prints, a handful of color prints, and several color slide sheets of Constant's artwork from the 1920s to 1978.
The collection is arranged into 4 series:
Series 1: Biographical Material, 1923-2007 (Box 1; 17 folders)
Series 2: Correspondence, 1930-1979 (Box 1-2; 1.4 linear feet)
Series 3: Printed Material, 1927-2005 (Box 2-3; 2 linear feet)
Series 4: Photographic Material, 1912-1978 (Box 4-6; 1 linear foot)
Biographical/Historical note:
Greek American George Zachary Constant (1892-1978) worked from his studios in Shinnecock Hills, and New York City, New York as a painter and printmaker. A founder and lifelong member of the Federation of Modern Painters and Sculptors, Constant worked for the Work Projects Administration (WPA) during the Depression and early years of World War II, and exhibited regularly at major galleries and museums from the 1920s to 1970s.
Born in Arahova, Greece, Constant was raised by his two uncles after the death of his parents in 1896. In school and at the monestary one of his uncles led, Constant showed an early interest in classical Greek aesthetics. At the age of eighteen, he immigrated to the United States and continued his art studies at Washington University before transferring to the Art Institute of Chicago. From 1918 to 1922, Constant taught at the Dayton Art Institute and continued to produce and exhibit his work locally. In 1922, he moved to New York, joined the Society of Independent Painters, and became close friends with Society founder and art critic Walter Pach. During the 1920s, his etchings were shown at the Valentine and Downtown Galleries, and at the New Art Circle of J.B. Neumann, where he presented his first one man gallery show in 1929.
From the 1930s to 1940s, Constant produced prints, watercolors, and oil paintings for the WPA, many of which were purchased by museums and public institutions, including the Metropolitan Museum of Art and the Philadelphia Museum. During this same period, Constant exhibited his work at the Boyer Gallery in the late 1930s, and at the Ferargil Gallery from the 1940s to early 1950s. In the decade between 1955 and 1965, Constant also worked on color and set design for seventeen dance productions created by the choreographer Alwin Nikolais. In the last two decades of his career, Constant produced works from his studio in Shinnecock Hills, New York and continued to exhibit at numerous galleries, including Grace Borgenicht Gallery, Guild Hall, Mari Galleries, Tirca Karlis Gallery, and Artium Gallery.
The papers of George Constant were donated by the artist in 1969 and 1978. Additional materials were donated in 2001 and 2007 by his daughter Georgette Preston.
Use of original papers requires an appointment.
Painters -- New York (State) -- New York Search this
Art -- Philosophy Search this
Printmakers -- New York (State) -- New York Search this
George Constant papers, 1912-2007, bulk 1932-1978. Archives of American Art, Smithsonian Institution.
Funding for the processing of this collection was provided by the Terra Foundation for American Art
AAA.consgeor
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Oral history interview with Jack Kufeld
Kufeld, Jack, 1907-1990 Search this
Design Laboratory (New York, N.Y.) Search this
Gallery Secession (New York, N.Y.) Search this
Godsoe, Robert Search this
Gottlieb, Adolph, 1903-1974 Search this
Gross, Chaim, 1904-1991 Search this
Harris, Louis, 1902-1970 Search this
Jaffe, Vladimir Search this
Neumann, J. B. (Jsrael Ber) Search this
Pereira, I. Rice (Irene Rice), 1902-1971 Search this
Rothko, Edith Search this
Weber, Max, 1881-1961 Search this
Yavno, Max Search this
1981 Oct. 5
An interview of Jack Kufeld conducted 1981 Oct. 5, by Avis Berman, for the Archives of American Art's Mark Rothko and His Times oral history project.
Kufeld discusses his acquaintance with Mark Rothko and the artists of The Ten. He speaks briefly about Gallery Secession and its owner, Robert Godsoe, and the Gallery's role in the formation of The Ten. Kufeld and Rothko lived together for a short time after Rothko's separation from his first wife, Edith. Kufeld remembers Edith, with whom he remained friends for many years even though he stopped associating with painters when he abruptly stopped painting in the late 1930s. He talks about the Design Laboratory, where he was a teacher. Kufeld recalls Robert Godsoe, Milton Avery, Max Yavno, J.B. Neumann, Adolf Gottlieb, Lou Harris, Max Weber, I. Rice Pereira, Chaim Gross, Vladimir Jaffe, and many others.
Jack Kufeld (1907-1990) was a painter from New York, N.Y. Member of the painters' group The Ten which included Mark Rothko, Ilya Bolotowsky, Joseph Solman, Adolph Gottlieb and others.
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 4 digital wav files. Duration is 1 hrs., 44 min.
Others interviewed on the project (by various interviewers) include: Sonia Allen, Sally Avery, Ben-Zion, Bernard Braddon, Ernest Briggs, Rhys Caparn, Elaine de Kooning, Herbert Ferber, Esther Gottlieb, Juliette Hays, Sidney Janis, Buffie Johnson, Jacob Kainen, Louis Kaufman, Katharine Kuh, Stanley Kunitz, Joseph Liss, Dorothy Miller, Betty Parsons, Wallace Putnam, Rebecca Reis, Maurice Roth, Sidney Schectman, Aaron Siskind, Joseph Solman, Hedda Sterne, Jack Tworkov, Esteban Vicente and Ed Weinstein. Each has been cataloged separately.
Transcript is available on the Archives of American Art's website.
Philadelphia Ten (Group of artists) Search this
Painters -- New York (State) -- Interviews Search this
Funding for the interview was provided by the Mark Rothko Foundation.
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ead_collection:sova-aaa-kufeld81
Oral history interview with Esteban Vicente
Vicente, Esteban, 1903-2001 Search this
Sandler, Irving, 1925- Search this
Dalí, Salvador, 1904-1989 Search this
De Kooning, Elaine Search this
Frankenthaler, Helen, 1928-2011 Search this
Kline, Franz, 1910-1962 Search this
Marca-Relli, Conrad, 1913-2000 Search this
Mitchell, Joan, 1926-1992 Search this
Pollock, Jackson, 1912-1956 Search this
Resnick, Milton, 1917-2004 Search this
Spain -- History -- Civil War, 1936-1939
Interview of Esteban Vicente conducted 1968 August 26, by Irving Sandler, for the Archives of American Art. Vicente speaks of the gallery activity of the 1940s and 1950s; The Club and the exhibition on 9th Street arranged by many of those artists; remembering Mark Rothko as a casual acquaintance and the society of artists living in the Hamptons; coming to the United States, acting as vice-consul in Philadelphia for the Loyalist camp during the Spanish Civil War; and his own work and his feelings about the work of his contemporaries. He recalls Bill de Kooning, Franz Kline, John Ferrin, Marca-Relli, Milton Resnick, Joan Mitchell, Helen Frankenthaler, Walter Pach, Elaine de Kooning, Milton Avery, Jackson Pollock, Salvador Dali, and many others.
Esteban Vicente (1903-2001) was a painter in New York, New York. and Bridgehampton, New York.
This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
AAA.vicent68
https://n2t.net/ark:/65665/mw952b2e3c6-c451-4016-946d-a24f43883c09
ead_collection:sova-aaa-vicent68
1951 Improvisations / Artists Equity masquerade ball / Hotel Astor May / spring fantasia [book of lithographs]
Soyer, Raphael, 1899-1987 Search this
Sternberg, Harry, 1904-2001 Search this
Feininger, T. Lux Search this
Shahn, Ben, 1898-1969 Search this
Advertiser:
Maidenform, Inc. Search this
Astor Hotel (New York, N.Y.) Search this
Series Creator:
Warshaw, Isadore, 1900-1969 Search this
1 Item (Ink on paper, approx 10 x 8 in.)
An artist's book with a spiral plastic binding, composed of original lithographs, most of them serving as advertisements. Participating artists include Milton Avery, T. Lux Feininger, Chaim Gross, Hans Hofmann, Reginald Marsh, Ben Shahn, Raphael Soyer, and Max Weber. Of special interest are a Maidenform brassiere ad by Harry Sternberg; a nude female figure with a 19th century camera for Pagano photographs and illustrations, and the Danby Furniture Co. by Helen Ratkai; etc.
AC0060-0000375-01.tif - AC0060-0000375-59.tif (AC Scan Nos.)
In Box 1, Folder 49, Hotels series.
From the acknowledgment page: "This is Volume II of IMPROVISATIONS. IMPROVISATIONS was first conceived in 1950 from an idea by Julio de Diego as a medium for advertisers in sympathy with the ideals of Artists Equity Association. As in IMPROVISATIONS 1950, the member-artists who illustrated this journal were selected by the advertisers and were given complete freedom of expression. Each page was designed by the artist directly on the litho plate, thus making this a collection of original lithographs."
Series Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
Series Rights:
Masquerades Search this
Artists' books Search this
Nude in art Search this
Cameras Search this
Lithographs -- 1950-1960
Series Citation:
Warshaw Collection of Business Americana Subject Categories: Hotels, Archives Center, National Museum of American History, Smithsonian Institution
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Warshaw Collection of Business Americana Subject Categories: Hotels
Warshaw Collection of Business Americana Subject Categories: Hotels / 1: American Hotels / Astor, Hotel, New York, New York
https://n2t.net/ark:/65665/ep8c547e442-151b-4d41-ab85-fd723021d60f
ead_component:sova-nmah-ac-0060-s01-01-hotels-ref542
Milton Avery papers, 1926-1982, bulk 1950-1982
Rothko, Mark Search this
Eilshemius, Louis M. (Louis Michel) Search this
Duthuit, Georges Search this
Putnam, Wallace Search this
Milton Avery papers, 1926-1982, bulk 1950-1982. Archives of American Art, Smithsonian Institution.
Painting, Abstract Search this
AAA_collcode_avermilt
Charles Rand Penney papers
Penney, Charles Rand, 1923-2010 Search this
Charles Rand Penney Collection Search this
Arp, Jean, 1887-1966 Search this
Audubon, John James, 1785-1851 Search this
Bertoia, Harry Search this
Burchfield, Charles Ephraim, 1893-1967 Search this
Calder, Alexander, 1898-1976 Search this
Evergood, Philip, 1901-1973 Search this
Ganso, Emil, 1895-1941 Search this
Goodnough, Robert, 1917- Search this
Grooms, Red Search this
Hopper, Edward, 1882-1967 Search this
Marin, John, 1870-1953 Search this
Miró, Joan, 1893- Search this
Moore, Henry, 1898-1986 Search this
Nevelson, Louise, 1899-1988 Search this
Pepper, Beverly Search this
Segal, George, 1924-2000 Search this
Steinberg, Saul Search this
Wilke, Ulfert, 1907-1987 Search this
The papers of art collector Charles Rand Penney measure 23.1 linear feet and date from 1923 to 1994 with the bulk of the collection dating from 1945 to 1994. The majority of the collection consists of Penney's art collection files, which include printed materials, correspondence, notes, and photographic materials. Also found within the papers are catalogs from exhibitions that featured artwork from Penney's collection.
The papers of art collector Charles Rand Penney measure 23.1 linear feet and date from 1923 to 1994 with the bulk of the collection dating from 1945 to 1994. The collection consists primarily of Penney's art collection files which include printed materials, correspondence, notes, and photographic materials. Also found within the papers are catalogs from exhibitions that featured artwork from Penney's collection.
Artists of significance represented in Penney's art collection files include Jean Arp, John James Audubon, Milton Avery, Harry Beroia, Alexander Calder, Stuart Davis, Philip Evergood, Emil Ganso, Robert Goodnough, Red Grooms, Edward Hopper, John Marin, Reginald Marsh, Joan Miro, Henry Moore, Louise Nevelson, Isamu Noguchi, Beverly Pepper, George Segal, John Sloan, Theodoros Stamos, Saul Steinberg, and Ulfert Wilke, among many others. Also included are files for artists that participated in theToronto 20 portfolio project in 1965. The files do not include Penney's files relating to Charles Burchfield, Wester New York state artists, or objects from the Arts and Craft movement.
A few notable exhibition catalogs found in the series of catalogs of the Charles Rand Penney art collection are Charles Burchfield: The Charles Rand Penney Collection, The Graphic Art of Emil Ganso, Drawings from the Collection of Charles Rand Penney, Quilts Coverlets Hooked Rugs from the Collection of Charles Rand Penney, The Charles Rand Penney Collection: Twentieth Century Art, and An American Visionary: Watercolors and Drawings of Charles E. Burchfield.
The collection is arranged as 2 series.
Series 1: Art Collection Files, 1923-1994 (Box 1-23, OV 24; 22.7 linear feet)
Series 2: Catalogs of the Charles Rand Penney Art Collection, 1966-1991 (Box 23, 0.2 linear feet)
Charles Rand Penney (1923-2010) was an art collector from Buffalo, New York. He was well known for his collection of art by Western New York artists, but also collected art from Europe, Africa, Oceania, and other regions of the United States. His travels contributed to the eclectic mix of paintings, drawings, sculptures, hooked rugs, quilts, and tribal art found within his art collection.
Penney cited receiving the watercolor Warrior in 1933 from Western New York artist Bob Blair as the beginning of his life as an art collector. Years later, Penney served in World War II, attended law school, and began practicing law in the 1950s. His collections grew quickly during the late 1950s through 1970s. Penney collected over 100,000 works of art during his lifetime, much of it guided by dealers James and Merle Goodman.
In 1963, Penney began donating artwork to the Memorial Art Gallery in Rochester, New York. In total, approximately 400 works of art were donated to the gallery including Big Diamond by David Smith and Beverly Pepper's Vertical Ventaglio (1967-1968). Penney also donated over 1000 works of art to the Burchfield Art Center in Buffalo, New York.
Also found at the Archives of American Art is an oral history interview with Charles Rand Penney conducted by Robert F. Brown on August 14-16, 1981. Additional files relating to the Charles Rand Penney Foundation (1963-1976) are located at the Memorial Art Gallery of the University of Rochester in Rochester, N.Y. Files relating to Western New York state artists, Charles Burchfield, and American Arts and Crafts are located at the Burchfield-Penney Center at Buffalo State College, Buffalo, New York.
The collection was donated in 1993-1994 by Charles Rand Penney.
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.
Charles Rand Penney Papers, 1923-1994, bulk 1945-1994. Archives of American Art, Smithsonian Institution.
AAA.pennchar
https://n2t.net/ark:/65665/mw972c049ec-5929-47d4-a5d2-e8041e6394e0
ead_collection:sova-aaa-pennchar
Gloria Ross papers
Ross, Gloria F. Search this
Atelier Raymond Picaud Search this
Denver Art Museum Search this
Dovecot Studios Search this
Pace Editions (Firm) Search this
Pinton Atelier Search this
Temple Emanu-El (Bayonne, N.J.) Search this
Bearden, Romare, 1911-1988 Search this
Motherwell, Robert Search this
Noland, Kenneth, 1924- Search this
The papers of New York tapestry éditeur Gloria Ross measure 14.5 linear feet and date from circa 1924-1998. The bulk of the papers consist of project files that document her collaborations with artists to make tapestries of their paintings and collages. Also found are scattered biographical material, professional correspondence, exhibition files, professional activity files, personal business records, printed material, photographs, and artwork.
Biographical material includes resumes and career summaries, as well as an interview of Ross on one videocassette, and a few Frankenthaler family documents. Correspondence is with artists, weavers, workshops, publications, and galleries and is of a professional nature.
Project files document Ross's collaborations with prominent artists such as Helen Frankenthaler, Robert Motherwell, Romare Bearden, Louise Nevelson, Milton Avery, Stuart Davis, and others. Project files may include correspondence, contracts, invoices, notes, photographs, yarn samples, and a few maquettes and cartoons. Also of note are extensive files regarding her collaborations with Navajo weavers to create tapestries based on geometric paintings by Kenneth Noland. Other project files include a commissioned tapestry for Temple Emanu-El in New York.
Exhibition files document various solo and group exhibitions of Gloria Ross tapestries and includes one videocassette from a 1978 exhibition. Records of her professional activities include her participation in symposia, lectures, and public events. Files may include correspondence, draft lectures, programs, and event publicity. Two short documentaries found on two videocassettes were produced for the Denver Art Museum. Personal business records document Ross's business relationships with weaving workshops and art galleries, most notably Atelier Raymond Picaud, Pinton atelier, Edinburgh Tapestry Company (Dovecot Studios), and Pace Editions, the major sales agent of Gloria Ross tapestries.
Printed material consists of catalogs, announcements, press releases, and other publications regarding exhibitions of Gloria Ross tapestries and Navajo tapestries. Photographs depict Ross, the Frankenthaler family, Ross's tapestries, weaving studios, and Navajo weavers. Artwork includes one painting by Paul Jenkins and unidentified textile and yarn samples.
This collection is arranged as 9 series.
Series 1: Biographical Material, circa 1926-1998 (5 folders; Box 1)
Series 2: Correspondence, 1965-1998 (0.7 linear feet; Box 1)
Series 3: Project Files, 1960-1998 (7.3 linear feet; Boxes 1-7, 14-15, 17-19, OVs 20, 22-24, Artifact)
Series 4: Exhibition Files, 1967-1994 (0.8 linear feet; Boxes 7-8, 17)
Series 5: Professional Activities, 1955-1997 (0.7 linear feet; Box 8)
Series 6: Personal Business Records, 1964-1998 (1.8 linear feet; Boxes 8-10, OV 21)
Series 7: Printed Material, 1970s-1990s (0.8 linear feet; Boxes 10-11, 14)
Series 8: Photographs, circa 1924-1990s (1.1 linear feet; Boxes 11, 16)
Series 9: Artwork, circa 1970s-1990s (1.1 linear feet; Boxes 11-14, 17, 19)
Gloria F. Ross (1923-1998) was a tapestry éditeur in New York, New York.
Ross was born Gloria Frankenthaler in New York in 1923. She graduated from Mount Holyoke College in 1943 and married Alfred Ross. They had three children: Alfred, Beverly, and Clifford. In 1954, Gloria Ross made her first needlepoint work from a design by her sister, abstract painter Helen Frankenthaler, and by the mid-1960s, she was exhibiting her tapestries and hooked rugs in New York. She established Gloria F. Ross Studio in 1966 and began regularly collaborating with artists such as Robert Motherwell, Louise Nevelson, Jack Youngerman, and Jean Dubuffet to make their works into tapestries. She created business partnerships with weaving workshops in Scotland and France to produce the works. In 1973 she had her first exhibition at Pace Editions, Inc., beginning a long relationship with the gallery as her main sales agent.
In 1979, Ross first traveled to the Navajo Nation to find weavers for a collaborative project with artist Kenneth Noland. She continued to visit the Southwest at least once a year until 1994, and she donated her collection of Navajo rugs and other textiles to the Denver Art Museum. Throughout the 1980s Ross traveled extensively for projects, exhibitions, and symposia. Her final commissioned project, completed in 1997, was a tapestry designed by artist Mark Podwol for Temple Emanu-El in New York. That same year she established the Gloria F. Ross Center for Tapestry Studies in Tucson, Arizona.
Donated in 2013 by the Gloria Ross estate via Michael I. Katz, executor, with assistance from the Gloria F. Ross Tapestry Program, University of Arizona, via Ann Lane Hedlund, director.
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Tapestry -- Design Search this
Tapestry -- Production control Search this
Tapestry -- Technique Search this
Designers -- New York (State) -- New York Search this
Navajo weavers Search this
Gloria Ross papers, circa 1924-1998. Archives of American Art, Smithsonian Institution.
AAA.rossglor
https://n2t.net/ark:/65665/mw98a5d5eb6-9a0b-441f-82c9-8f6b53b795ee
ead_collection:sova-aaa-rossglor
Robert Laurent papers
Laurent, Robert, 1890-1970 Search this
Barnes, Albert C. (Albert Coombs), 1872-1951 Search this
Bellows, George, 1882-1925 Search this
Bluemner, Oscar, 1867-1938 Search this
Careas, Jean Search this
Courtois, Gustave, 1852-1923 Search this
Dasburg, Andrew, 1887-1979 Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928 Search this
Field, Hamilton Easter Search this
Fiene, Ernest, 1894- Search this
Goodrich, Lloyd, 1897-1987 Search this
Halpert, Edith Gregor, 1900-1970 Search this
Hart, George Overbury, 1868-1933 Search this
Hassam, Childe, 1859-1935 Search this
Hope, Henry R. (Henry Radford), 1905- Search this
Kuhn, Walt, 1877-1949 Search this
Kuniyoshi, Yasuo, 1889-1953 Search this
Lachaise, Gaston, 1882-1935 Search this
Laurent, John, 1921- Search this
Lipchitz, Jacques, 1891-1973 Search this
McBride, Henry, 1867-1962 Search this
McFee, William Search this
Nadelman, Elie, 1882-1946 Search this
Pascin, Jules, 1885-1930 Search this
Prendergast, Maurice Brazil, 1858-1924 Search this
Rattner, Abraham Search this
Speicher, Eugene Edward, 1883-1962 Search this
Stella, Joseph, 1877-1946 Search this
Sterne, Maurice, 1878-1957 Search this
Strater, Henry, 1896- Search this
Zorach, William, 1887-1966 Search this
3.7 Linear feet ((on 8 microfilmed reels + 1 photograph not microfilmed))
Correspondence; manuscripts and writings; lists of works of art; photographs; biographical material; gallery and foundry files; notes and speeches; financial material; scrapbook; guest book; magazines; exhibition catalogs; clippings; and printed material.
REEL N68-2: Letters from George Bellows, Bernard Berenson, Elliott Daingerfield, Arthur B. Davies, Roger Fry, John Marin, Joseph Pennell, Man Ray, John Sloan, Max Weber, J. Alden Weir, and others. Two highly detailed letters from Maurice Sterne in 1913 describe that artist's life in Bali. Also included are signatures of American artists from a guest book, and a 1966 catalog of the Hamilton Easter Field Art Foundation Collection.
REEL N68-3 Letters from Childe Hassam, Walt Kuhn, Yasuo Kuniyoshi, Gaston Lachaise, Elie Nadelman, David Smith, Alfred Stieglitz, William Zorach, Oscar Bluemner, Albert C. Barnes, Andrew Dasburg, Ernest Fiene, Pop Hart, Robert Henri, Joseph Stella, Maurice Sterne, and others. Also included are manuscripts, lists of works of art, and photographs of Laurent with Hamiltion Easter Field, Bernard Kariol and others.
REEL 2: Personal data sheet, exhibition catalogs and magazines containing articles by or about Laurent, ca. 1920-1965.
REEL 497: John Laurent's collection of 34 letters, 1902-1960, to Robert Laurent and Hamiltion Easter Field. The 6 letters to Field are from Bernhard Berenson, George Bellows, Maurice Prendergast, Pop Hart, Gustov Courtois, and John Carpenter. The 28 letters to Robert Laurent are from Albert P. Ryder, Gaston Lachaise, Raphael Soyer, Walt Kuhn, Robert Henri, Alfred Stieglitz, Arthur B. Davies, Milton Avery, Alexander Calder, Henry McBride, William McFee, Jules Pascin, Jean Careas, and two unidentified artists.
REEL 2063: Photographs, ca. 1930-1962, of Laurent, his studio, exhibitions, and works of art.
REELS 2065-2067: Biographical material; correspondence from Maurice Sterne, Yasuo Kuniyoshi, Edith Halpert, Henry Hope, Henry Strater, Lloyd Goodrich, David Smith, Walt Kuhn, William Zorach, Ernest Fiene, and Samuel Wood Gaylor; gallery and foundry files; notes, writings, and speeches; financial material; lists of works of art; blueprints; exhibition and printed material, clippings, and a scrapbook; photos of source material and works of art owned by Laurent; and material concerning Hamilton Easter Field, Laurent's teacher and friend, including correspondence, guest book signatures, financial and legal papers and Field Foundation material.
REEL 2155: Photographs of Laurent's works of art with catalog sheets listing the title, date, medium, size, ownership, and exhibition information for each work, ca. 1920-1967. Also included are photographs of Laurent in his studio and with others, including Gaston Lachaise and David Smith; a photo of Chaim Gross; and photos of the Ogunquit Museum in Maine.
UNMICROFILMED: A black and white photograph of the Field Foundation Dinner Auction-Dinner-Dance, Ogunquit, Maine. Depicted are Lloyd Goodrich, Yasuo Kuniyoshi, William Zorach, Robert Laurent, Emil Ganso and others.
Painter, sculptor, teacher, etcher, and writer; Brooklyn, New York & Ogunquit, Maine. Laurent studied under Hamilton Easter Field, and both were from Brooklyn, N.Y. and were involved in the summer art colony in Oguniquit, Maine.
Material on reels N68-2-N68-3 was lent for microfilming 1968 by Robert Laurent; he donated material on reel 2 1966; material on reel 497 was lent for microfilming 1973 by John Laurent, son of Robert Laurent; material on reels 2063, 2065-2067 was donated 1978 by John Laurent; He donated additional material on reel 2155 and not filmed with his brother Paul in 1981.
Etchers Search this
Painters Search this
Sculptors Search this
Painting, Modern -- 20th century Search this
Sculpture, Modern -- 20th century Search this
Etching, Modern -- 20th century Search this
AAA.laurrobe
https://n2t.net/ark:/65665/mw96ee96a38-5fa2-4e34-805b-8a013225135a
ead_collection:sova-aaa-laurrobe
Milton Avery papers
Duthuit, Georges, 1891- Search this
Eilshemius, Louis M. (Louis Michel), 1864-1941 Search this
Hartley, Marsden, 1877-1943 Search this
The papers of abstract painter Milton Avery measure 2.8 linear feet and date from 1926 to 1982, with the bulk of the collection dating from 1950 to 1982. Almost the entire collection consists of records of the Milton Avery Trust (2.4 linear feet) maintained by Avery's wife Sally, who served as a trustee. Milton Avery's business and personal correspondence (five folders) contains letters from friends and fellow artists, including a few from George Duthuit, Louis Eilshemius, Marsden Hartley, Wallace Putnam, and Mark Rothko. Also found are scattered writings about Avery, price lists, estate records, exhibition announcements and catalogs, and news clippings.
The papers of abstract painter Milton Avery measure 2.8 linear feet and date from 1926 to 1982, with the bulk of the collection dating from 1950 to 1982. Almost the entire collection consists of business files maintained by Milton Avery's wife Sally as a trustee for the Milton Avery Trust (2.4 linear feet). Milton Avery's business and personal correspondence (five folders) contains letters from friends and fellow artists, including a few from George Duthuit, Louis Eilshemius, Marsden Hartley, Wallace Putnam, and Mark Rothko. Also found are scattered writings about Avery, price lists, estate records, exhibition announcements and catalogs, and news clippings.
Series 1: Biographical Material, 1964, 1975 (Box 1; 1 folder)
Series 2: Correspondence, 1935-1981 (Box 1; 10 folders)
Series 3: Subject Files, 1950-1981 (Box 1-4; 2.4 linear feet)
Series 4: Writings, circa 1951-1979 (Box 4; 5 folders)
Series 5: Financial & Legal Records, 1943-1982 (Box 4; 6 folders)
Series 6: Printed Material, 1926, 1962-1977 (Box 4; 4 folders)
Series 7: Photographs, circa 1970 (Box 4; 1 folder)
Milton Avery (1885-1965) was born in Altmar, New York and grew up in Hartford, Connecticut. Around 1905 he began attending the Connecticut League of Art Students in Hartford where he studied life drawing while also working full-time as a factory worker and file clerk. In 1915 he had his first public exhibition and, in 1918, transferred to the School of Art Society in Hartford. In 1924 he met Sally Michel (1905-2003), a student at the Art Students League in New York, and moved to New York City to be closer to her. They married one year later. Around this time Avery also altered his year of birth to 1893, perhaps due to the age difference between him and Sally. After their marriage Sally worked as an illustrator so that Avery could paint full time.
During the early 1920s, Avery's works were traditional figurative and genre subjects, influenced by American Impressionism. By the mid 1920s, with his move to New York, Avery began to simplify his forms and use broader expanses of flat color. Although his paintings became increasingly abstract, he never fully abandoned representational subject matter, painting figure groups, still lifes, landscapes, and seascapes. By the mid-1940s, Avery's work was characterized by a reduction of elements and elimination of detail, filled with an emphasis on arbitrary color.
Avery exhibited in a group show at The Opportunity Gallery in 1928 which also featured Mark Rothko and the two became close friends. He became friends with many other artists including Adolph Gottlieb, Barnett Newman, and Marsden Hartley. Avery's color work was an important influence on many younger artists, particularly Mark Rothko, Adolph Gottlieb, Barnett Newman, Helen Frankenthaler, and other Color Field painters. The Phillips Collection in Washington, D.C. was the first museum to purchase one of his paintings in 1929 and to give him his first solo museum exhibition in 1944.
In 1949 Milton Avery suffered a major heart attack and began making monotypes during his recovery. He returned to painting despite periods of ill-health, and his reputation grew rapidly over the next ten years, culminating in a retrospective at the Whitney Museum of American Art in New York in 1960. He also exhibited along with his wife Sally Avery and their daughter, March Avery Cavanaugh (born in 1932), both of whom were also painters. Avery died in 1965 and left behind an oeuvre of paintings that numbers in the thousands. His wife Sally managed his estate and the sale of his works to many major museums, and served as a trustee for the Milton Avery Trust until her death in 2003.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming on reels N68-95, N68-115, N69-63, and 2535 including six scrapbooks, a sketchbook, Christmas cards, exhibition catalogs, and photographs. Loaned materials were returned to the lender and are not described in the collection container inventory.
The Milton Avery papers were donated in 1968, 1969, and 1982 by his widow Sally Avery, including a few letters previously loaned for microfilming.
The collection has been digitized and is available online via the Archives of American Art's website.
Milton Avery papers, 1926-1982. Archives of American Art, Smithsonian Institution.
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art
AAA.avermilt
https://n2t.net/ark:/65665/mw962db9fe5-4a80-451f-a614-95e126345f06
ead_collection:sova-aaa-avermilt
Michael Berger Gallery
Milton Avery papers / Series 3: Subject Files
https://n2t.net/ark:/65665/mw9deca2551-ae3f-437b-a136-e89735d3ca15
ead_component:sova-aaa-avermilt-ref100
https://n2t.net/ark:/65665/mw9a0e475c2-8d2a-45d7-bfc9-818678d029ab
Mid-American Arts Alliance
https://n2t.net/ark:/65665/mw935cbac08-e0dd-490f-8601-0b5bf5b23ef5
Minnesota Museum of Art
https://n2t.net/ark:/65665/mw9741ca589-6c14-42d4-b6c9-b35b03f4a0a1
M. Knodler & Co.
https://n2t.net/ark:/65665/mw93b3d6773-43f4-4b8d-a1dc-5775e207866d
Mobile Art Gallery
https://n2t.net/ark:/65665/mw9bbbb1079-8887-4b14-948c-8f8d714599b3
https://n2t.net/ark:/65665/mw908ac722e-4684-4c6c-95cb-245d3cde7052
https://n2t.net/ark:/65665/mw9d1634d86-1521-4bc5-932c-be0a016f7d3e
Include Term Exclude Term Images (218)
Include Term Exclude Term Electronic resource (12)
Include Term Exclude Term Paintings (1,047)
Include Term Exclude Term Archival materials (248)
Include Term Exclude Term Exhibitions (events) (81)
Include Term Exclude Term Still lifes (46)
Include Term Exclude Term Interviews (18)
Include Term Exclude Term Pages (15)
Include Term Exclude Term Scrapbooks (7)
Include Term Exclude Term Landscapes (569)
Include Term Exclude Term Figure group (185)
Include Term Exclude Term Architecture (177)
Include Term Exclude Term Animals (152)
Include Term Exclude Term Figure female (151)
Include Term Exclude Term Coasts (134)
Include Term Exclude Term Recreation (127)
Include Term Exclude Term Art (107)
Include Term Exclude Term Beaches (103)
Include Term Exclude Term Women (102)
Include Term Exclude Term Occupations (95)
Include Term Exclude Term Avery, Milton (1,418)
Include Term Exclude Term Rothko, Mark (22)
Include Term Exclude Term Grace Borgenicht Gallery (21)
Include Term Exclude Term Avery, Milton, Mrs. (Sally Michel) (19)
Include Term Exclude Term Avery, March (15)
Include Term Exclude Term Rosenblum, Walter (14)
Include Term Exclude Term Gottlieb, Adolph (13)
Include Term Exclude Term Hartley, Marsden (10)
Include Term Exclude Term Gross, Chaim (8)
Include Term Exclude Term Mark Rothko and His Times Oral History Project (8)
Include Term Exclude Term Mexicans (16)
Include Term Exclude Term Russians (2)
Include Term Exclude Term Mexico (24)
Include Term Exclude Term Canada (13)
Include Term Exclude Term New York (11)
Include Term Exclude Term Vermont (10)
Include Term Exclude Term Gloucester (5)
Include Term Exclude Term California (3)
Include Term Exclude Term Central Park (New York, N.Y.) (3)
Include Term Exclude Term Art Inventories Catalog, Smithsonian American Art Museum (1,046)
Include Term Exclude Term Archives of American Art (246)
Include Term Exclude Term Photograph Study Collection, Smithsonian American Art Museum (17)
Include Term Exclude Term Elephants (1)
Include Term Exclude Term Proboscidea (1)
Include Term Exclude Term Elephantidae (1)

redpajama_set_name: RedPajamaCommonCrawl


text:
Dave McEwen is an English former professional footballer who played for Tottenham Hotspur and Queens Park Rangers in the English Premier League.

Career
Signed from Dulwich Hamlet in March 2000, he initially shone in the Spurs reserves before appearing as an unused substitute against Wimbledon on 22 April. He then replaced Steffen Iversen for the final 20 minutes against Derby County in the following match. In January 2001 he made his final three substitute appearances against Everton, Southampton and West Ham United, replacing Willem Korsten, Les Ferdinand and Serhii Rebrov respectively.

His period at Spurs was unsuccessful, and he was eventually was replaced as a preferred reserve forward by Andy Booth. He left for Queens Park Rangers in August 2001.

References

1977 births
Living people
Footballers from the London Borough of Hackney
English footballers
Association football forwards
Crawley Town F.C. players
Tottenham Hotspur F.C. players
Queens Park Rangers F.C. players
Hertford Town F.C. players
Premier League players

redpajama_set_name: RedPajamaWikipedia


Romney and Perry argue over just who has created the most jobs. Obama is out telling the nation that Congress should just "pass it now", in reference to a $400 billion spending (oops, jobs) bill. Still largely overlooked by all, is the very basic concept that government does not and never has, created jobs. Jobs result only from the successful operation of a business. This brings forward two very important points which all potential voters should consider.
1. If jobs result from successful business, what is the measure of whether a business is successful? Those actively involved in daily business endeavors, like you or me, would immediately state that a business is successful when it generates a profit (i.e. makes money). A profitable business maintains employment and leads to further employment through expansion. If we are accurate, why then does every action of government attempt to limit, control, or exploit the profits of American business? Tax rates, regulation, and interference work in opposition to the success of American business. Simply stated, If I cannot profit from my business, I will not hire. If I cannot profit, I will not expand my business. If I cannot profit, why should I work at all?
2. If our other "conservative" candidates truly understand this principle, why do they continue to tout their own record of job creation? Do these candidates sincerely believe that they, as chief executive of a state or as a member of Congress, actually created jobs? If so, they share the mindset of the current administration which they claim to oppose. If not, then they are playing upon the ignorance of many voters. A true conservative record will reflect an individual who held government at bay. A great leader will place the credit of job creation where it should be and will not foster ignorance for the sake of election.
America is a poor credit risk.
Today, the credit rating agency, S&P, lowered the U.S. credit outlook to "negative". The agency identifies the reason as uncertainty as to whether meaningful debt reduction will ever occur. Not surprisingly, the Obama administration is downplaying the announcement, saying that it "underestimates the ability of America's leaders to come together to address the difficult fiscal challenges facing the nation." If it were not so serious, this statement would almost be funny. When was the last time your government inspired confidence? When was the last time you felt our nation was in capable hands? If you can't remember, it is time for fundamental change.
To all of those who would like to focus the discussion away from social issues, I offer this reminder. As long as the Federal government is involved, social issues are economic issues. Our current deficit and debt are at least partially the result of social programs. Outside of national defense, border, or trade policies, identify one government program that does not at its core address social or domestic issues. Do not be mislead, bringing social programs into the upcoming budget debate is entirely appropriate and absolutely necessary. If the Federal government spends one dime on a social issue, the American people should have the opportunity to determine whether they support that program. Social Security, health care, Planned Parenthood, or any other pet program cannot be exempt from scrutiny. It is our "Great Society" which has brought us to this point in our history.
What must get done? What cannot be allowed to end? What bills have to be paid? These are questions that might very well be asked in any household across the U.S. As families attempt to budget their lives, they first establish priorities. Food, shelter, electricity, and fuel likely top the list. No matter the circumstances, these things must take priority. While this seems a fairly simple and reasonable approach, Washington seems to have never considered such. While our borders are a joke, we fund Harry Reid's cowboy poets. While Americans are without jobs, we fund the EPA's efforts to curtail business. While American soldiers defend our freedom, we fund needle exchanges for drug addicts. It is evident that it will require our voice to explain the budget process to Washington. Start with what has to happen and work your way down. When you run out of money you are done, no matter how noble the program or how many votes it might garner.
The National Cherry Blossom Festival is in jeopardy. The Smithsonian, the National Zoo, Yosemite and Yellowstone National Park will all be forced to close their doors if the government shuts down. The media is parading a host of disappointed tourists before the camera. While fascinating to witness, where is the outrage over Washington spending this nation into oblivion. What good are all of our National Parks if we bankrupt our nation. What difference will it make that we had the best of intentions as we stand before the ruins of America. Friends do not be distracted by the horror stories. We may yet prevent the greater horror.
1. The Democrats controlled both houses and failed to even prepare a budget all.
2. These extremists are average American citizens, not some special interest group.
3. It has never before been considered extreme to live within our means.
4. The American people are not stupid.
Collective bargaining within the public sector is not a battle between employee and employer. That may have been true of past struggles in the private sector. Today we witness a contest to determine who will be the last man standing. Unions may very well bankrupt the state, but they will have what they believe to be theirs. Of what value is an agreement with a bankrupt employer? Perhaps it does not matter if you are the last man standing.


Leib Oehmig, a native of Anderson who led the construction and management of Glen Raven's Anderson Plant, has ascended to the role of president and CEO of the multinational textile manufacturer. Oehmig replaces the family-owned company's longtime CEO, Allen Gant, who has retired but will continue as chairman.
Oehmig joined Glen Raven in 1989. His tenure at Anderson led to his promotion as president of Glen Raven Custom Fabrics, LLC, the makers of Sunbrella, a position he held until he was named president and COO of Glen Raven, Inc.


text:
Q: Testing React Components with asynchronous methods I have a component which behaves like the following.

*

*Render, showing the 'Loading'.

*Fetch some data.

*Once that's loaded, populate the state.

*Rerender, showing that the data loaded.

The code is like this:
import React from 'react';

class IpAddress extends React.Component {
  state = {
    ipAddress: null
  };

  constructor(props) {
    super(props);

    this.fetchData();
  }

  fetchData() {
    return fetch(`https://jsonip.com`)
      .then((response) => response.json())
      .then((json) => {
        this.setState({ ipAddress: json.ip });
      });
  }

  render() {
    if (!this.state.ipAddress) return
Loading...
;

    return
Pretty fly IP address you have there.

  }
}

export default IpAddress;

This works fine. The Jest test is a struggle though. Using jest-fetch-mock works well.
import React from 'react';
import ReactDOM from 'react-dom';
import { mount } from 'enzyme';

import IpAddress from './IpAddress';

it ('updates the text when an ip address has loaded', async () => {
  fetch.mockResponse('{ "ip": "some-ip" }');

  const address = mount(<IpAddress />);
  await address.instance().fetchData();

  address.update();

  expect(address.text()).toEqual("Pretty fly IP address you have there.");
});

It's a bit sad that I have to call await address.instance().fetchData(), just to make sure that the update has happened. Without this, the promise from fetch or the async nature of setState (I'm not sure which) don't run until after my expect; the text is left as "Loading".
Is this the sane way to test code like this? Would you write this code completely differently?
My problem has since escalated. I'm using a high order component, which means I can no longer do .instance() and use the methods on it - I'm not sure how to get back to my unwrapped IpAddress. Using IpAddress.wrappedComponent doesn't give me back the original IpAddress, like I expected.
This fails with the following error message, which I unfortunately don't understand.
Invariant Violation: Element type is invalid: expected a string (for built-in components) or a class/function (for composite components) but got: undefined. You likely forgot to export your component from the file it's defined in, or you might have mixed up default and named imports.

Check the render method of `WrapperComponent`.

A: I must admit haven't used really jest-fetch-mock before, but from the docs and my little experiments, it looks like it replaces the global fetch with a mocked version. Notice how in this example isn't awaiting any promises: https://github.com/jefflau/jest-fetch-mock#simple-mock-and-assert. It's merely checking that fetch was called with the right arguments. So therefore I think you can remove the async/await and assert there is a call to jsonip.com.
What I think is tripping you up is actually the React lifecycle. Essentially it boils down to where you put the fetch call. The React team discourages you from putting "side-effects" (like fetch) in the constructor. Here's the official React docs description: https://reactjs.org/docs/react-component.html#constructor. Unfortunately I've not really found good documentation on why. I believe it's because React may call the constructor at odd times during the lifecycle. I think it is also the reason that you're having to manually call the fetchData function in your test.
The best practice for putting side-effects is in componentDidMount. Here's an ok explaination of why: https://daveceddia.com/where-fetch-data-componentwillmount-vs-componentdidmount/ (although it's worth noting that componentWillMount is now deprecated in React 16.2). componentDidMount is called exactly once, only after the component is rendered into the DOM.
It's also worth noting that this is all going to change soon with upcoming versions of React. This blog post/conference video goes into a lot more details: https://reactjs.org/blog/2018/03/01/sneak-peek-beyond-react-16.html
This approach means it will render initially in the loading state, but once the request has resolved you can trigger a re-render by setting state. Because you're using mount from Enzyme in your test, this will call all of the necessary lifecycle methods, including componentDidMount and so you should see the mocked fetch being called.
As for the higher order component, there's a trick that I sometimes use that is maybe not the best practice, but I think is a pretty useful hack. ES6 modules have a single default export, as well as as many "regular" exports as you like. I leverage this to export the component multiple times.
The React convention is to use the default export when importing components (i.e. import MyComponent from './my-component'). This means you can still export other things from the file.
My trick is to export default the HOC-wrapped component, so that you can use it in your source files as you would with any other component, but also export the unwrapped component as a "regular" component. That would look something like:
export class MyComponent extends React.Component {
  ...
}

export default myHOCFunction()(MyComponent)

Then you can import the wrapped component with:
import MyComponent from './my-component'

And the unwrapped component (i.e. for use in tests) with:
import { MyComponent } from './my-component'

It's not the most explicit pattern in the world, but it is quite ergonomic imo. If you wanted explicitness, you could do something like:
export const WrappedMyComponent = myHOCFunction()(MyComponent)
export const UnwrappedMyComponent = MyComponent

A: You could use react-testing-library's waitForElement to avoid having to explicitly await on your fetch call and simplify things a little:
import React from "react";
import IpAddress from "./IpAddress";
import { render, cleanup, waitForElement } from "react-testing-library";

// So we can use `toHaveTextContent` in our expectations.
import "jest-dom/extend-expect";

describe("IpAddress", () => {
  beforeEach(() => {
    fetch.resetMocks();
  });

  afterEach(cleanup);

  it("updates the text when an IP address has loaded", async () => {
    fetch.mockResponseOnce(JSON.stringify({ ip: "1.2.3.4" }));

    const { getByTestId } = render(<IpAddress />);

    // If you add data-testid="ip" to your
 in the component.
    const ipNode = await waitForElement(() => getByTestId("ip"));

    expect(ipNode).toHaveTextContent("Pretty fly IP address you have there.");
  });
});

This will automatically wait for your element to appear and fail if it doesn't appear by some timeout. You still have to await but hopefully this is a little closer to what you originally wanted.

redpajama_set_name: RedPajamaStackExchange


text:
KONGSBERG signs new Revolving Credit Facility
Kongsberg Gruppen ASA (KONGSBERG) has signed a new NOK 1,500 million revolving credit facility with a syndicate of five banks
The facility has a tenor of five years, plus two one-year extension options. The new facility is for general corporate purposes, and replaces the NOK 1,000 million revolving credit facility with maturity in June 2015, which KONGSBERG has had since 2007. The facility is undrawn.
"We are very pleased with the strong trust given to KONGSBERG from our core banks", says Hans-Jørgen Wibstad, Chief Financial Officer of KONGSBERG "This is an important milestone for KONGSBERG, and the terms of the facility reflects the strong trust and long term relationship that has been established".
DNB Bank ASA acts as coordinator and facility agent for the facility. Bookrunners and Mandated lead arrangers are Danske Bank A/S, DNB Markets, a part of DNB Bank ASA, J.P. Morgan Limited, Merchant Banking, Nordea Bank Norge ASA and Skandinaviska Enskilda Banken AB.
For further information, please contact: Per Olaf Stampe, Corporate Treasurer, Phone: +47 920 60 017


text:
mkdir -p bin
gcc -O2 -std=c99 -o bin/image-nuggets-c image-nuggets.c image-nuggets-util.c

redpajama_set_name: RedPajamaGithub


I've never had a great relationship with my hair. Up until the age of 13, I had long, blonde wavy locks that I should've left well alone, being a bored teenager wanting to experiment I reached for a bottle of Sun-In, and that was the beginning of the end of having 'good hair'. It went from bad to worse. Black roots while trying to grow out said Sun-in, a perm in which they chopped off all my hair first, so it wasn't the long curls I'd been dreaming of, but a short ball of frizz. That was enough to teach me to leave well alone, so I got into a hair style rut, having a mid length style that I never quite knew what to do with, not bad but not great, and that was how it was for years.
Until I met Tom. Tom Smith is Colour Director at Billi Currie and the man that has made me love my hair again. I turned up at Billi Currie around 2 1/2 years ago with blonde/yellow mid length hair, in a not so great condition. I had plenty of Hair Inspo to show him, and he told me what I didn't want to hear… It's going to take time & patience (of which I have none!) Tom's passion for hair, in particular, colour, shines through when you're in his chair and he filled me with confidence when talking about what we were going to do to get back on track. The three main things we wanted to achieve; Improve the condition, Take away the yellow and create a more icy blonde, a hair cut that was cooler and easier for me to style day to day. I can happily say we've finally got there with all 3! The cut was the first issue to be rectified, I'm getting more confident and going shorter every time, but I've finally found a style I'm happy with that's easy to manage. The colour took a little time, due to the damage of my hair we had to take it slow, I now maintain the colour he created for me and the time between appointments is getting longer and longer as it works so well with my natural colour when it grows through. The condition took a little longer, but thanks to Tom's knowledge of products, in particular, Olaplex (Billi Currie was one of the first UK salons to pick up on this wonder product) we got there in the end!
Find a colourist you trust- and stick with them! Great hair colour can take time and its a journey you take together. A good colourist will not only provide you with a great colour in the salon, but also with all the information you need to maintain it at home; follow our advice – we want you to have fabulous hair as much as you do!
Be kind to your hair! Minimise the use of heat styling tools and be certain to balance any blowdrying or straightening with the use of Olaplex and the best quality heat protectors and re-conditioners you can afford! It takes time but its totally worth it! No matter how good your cut or colour is, if the condition is wrecked, your hair will never look good!
Blonde will always fade yellow… eventually! The undertone of everyone's hair is red, orange or yellow; depending on how light or dark it is. We can slow down the exposure of yellow tones by using violet toning shampoos or my preference; which is the 'Evo Fabuloso Pro' system. Unlike toning shampoos or conditioners you can buy off the shelf, this system is totally bespoke for you. We can literally add pigments, that perfectly match your blonde shade, into a conditioner that you use at home to top your colour up as you go – meaning an end to colour fading! Em has two, one to keep her blonde cool and clean, and another to add a hint of pink when she chooses. We can actually do this for any shade, whether its fiery copper or a cool natural brunette or even an 'on trend' silver of lavender.
Tom's passion for products is another reason he was able to transform my hair; he's an ambassador for Olaplex & Evo Fabuloso. Without me using the right products at home in between appointments he would've been fighting a losing battle.
Olaplex– I slather this on my hair at least once a week. On holiday I wash my hair in the evening and instead of spending time blowdrying (and causing more damage) I slick back with Olaplex and leave on overnight.
EVO the Therapist Calming Shampoo– Meets the needs of Dry, Frizzy, Colour Treated Hair.
EVO Fabuloso Colour Intensifying Conditioner for Platinum Blondes– A colour enhancing Conditioner that works to achieve a clean blonde tone on colour treated blondes. Nourishes, Maintains and Extends the colour life of colour treated hair.
EVO Mane Prescription Protein Treatment– Restores hair back to health, this intensive treatment works to rebuild strength and leave your hair in optimum condition.
EVO Icon Welder Hot Tool Shaper– Spay on before heat styling for much needed protection.
EVO Salty Dog Beach Cocktail Spray– Creates a beautiful beach-inspired wave. the lightweight, salty formula adds texture and fullness, perfect to create laidback styles.
I try to achieve a messy wave, whenever I've been to a hairdresser and asked them for this I end up looking like an 80's bridesmaid so I thought it was about time I learnt! Wands don't work for me, it may be my length or type of hair, but I don't like the look a wand creates. I've finally learnt how to use tongs, and it has changed my life, the ones that work for me are Babyliss PRO 38mm.
Once my hair is fully dry I clip into sections and tong, starting from underneath. Always away from the face and always going the same way, you'll realise pretty quick if you tong the wrong way as it creates a different type of curl. Once i've tonged all the sections I use finishing spray to hold. I don't like hairspray or anything that's too heavy, Oribe Texturizing Spray works well for me.


text:
package com.ubive.ui;

import java.io.File;
import java.io.IOException;
import java.lang.reflect.Method;

import android.content.Intent;
import android.content.res.Configuration;
import android.graphics.Bitmap;
import android.net.Uri;
import android.os.AsyncTask;
import android.os.Bundle;
import android.os.Environment;
import android.provider.MediaStore;
import android.text.TextUtils;
import android.util.DisplayMetrics;
import android.view.KeyEvent;
import android.view.View;
import android.view.View.OnClickListener;
import android.widget.Button;
import android.widget.ImageButton;
import android.widget.ImageView;
import android.widget.LinearLayout;
import android.widget.RelativeLayout;
import android.widget.TextView;

import com.nostra13.universalimageloader.core.assist.SimpleImageLoadingListener;
import com.ubive.BaseMyFarmActivity;
import com.ubive.Global;
import com.ubive.R;
import com.ubive.biz.FarmBiz;
import com.ubive.entity.FarmDetail;
import com.ubive.entity.Photo;
import com.ubive.service.LocationService;
import com.ubive.ui.callback.TakePhoto;
import com.ubive.ui.option.DisplayOption;
import com.ubive.util.BitmapUtils;
import com.ubive.util.ContextUtil;
import com.ubive.util.StreamUtil;

public class SetFarmActivity extends BaseMyFarmActivity implements OnClickListener {
	protected static final String TAG = "SettingFarm";

	private ImageButton ibFunction;

	public String cropHeadPath = null;
	private ImageView iv;
	private TextView tvName;
	private TextView tvSlogin;
	private TextView tvRealtime;
	private TextView tvTypical;
	private TextView tvWebsite;
	private TextView tvShop;
	private TextView tvTel;
	private TextView tvAdd;
	private TextView tvDesc;

	private LinearLayout llHead;
	private RelativeLayout llName;
	private RelativeLayout llDesc;
	private RelativeLayout llSlogin;
	private RelativeLayout llReal;
	private RelativeLayout llTypical;
	private RelativeLayout llTel;
	private RelativeLayout llAdd;
	private RelativeLayout llWeb;
	private RelativeLayout llShop;

	private Button btBrose;

	private FarmBiz farmBiz;
	private FarmDetail farmDetail;
	private File photoFile;
	private Uri uri;

	@Override
	public void setUpView() {
		tvTitle = (TextView) findViewById(R.id.tv_model_title);
		btRet = (Button) findViewById(R.id.bt_ret);
		ibFunction = (ImageButton) findViewById(R.id.ib_sure);

		tvTitle.setText(R.string.set_farn);
		iv = (ImageView) findViewById(R.id.iv_fram_head);
		tvName = (TextView) findViewById(R.id.tv_item_fram_name);
		tvSlogin = (TextView) findViewById(R.id.tv_item_farm_slogin);
		tvRealtime = (TextView) findViewById(R.id.tv_farm_realtime);
		tvTypical = (TextView) findViewById(R.id.tv_farm_typical);
		tvWebsite = (TextView) findViewById(R.id.tv_farm_website);
		tvShop = (TextView) findViewById(R.id.tv_farm_onlineshop);
		tvTel = (TextView) findViewById(R.id.tv_farm_contact);
		tvAdd = (TextView) findViewById(R.id.tv_farm_add);
		tvDesc = (TextView) findViewById(R.id.tv_item_fram_desc);

		llHead = (LinearLayout) findViewById(R.id.ll_setfarm_head);
		llName = (RelativeLayout) findViewById(R.id.ll_setfarm_name);
		llDesc = (RelativeLayout) findViewById(R.id.ll_setfarm_desc);
		llSlogin = (RelativeLayout) findViewById(R.id.ll_setfarm_slogin);
		llReal = (RelativeLayout) findViewById(R.id.ll_setfarm_realtime);
		llTypical = (RelativeLayout) findViewById(R.id.ll_setfarm_typical);
		llTel = (RelativeLayout) findViewById(R.id.ll_setfarm_tel);
		llAdd = (RelativeLayout) findViewById(R.id.ll_setfarm_add);
		llWeb = (RelativeLayout) findViewById(R.id.ll_setfarm_website);
		llShop = (RelativeLayout) findViewById(R.id.ll_setfarm_shop);
		btBrose = (Button) findViewById(R.id.bt_brose_farm);

		farmBiz = new FarmBiz(this);
		photoFile = ContextUtil.getCacheFile(this,Global.FILE_UPLOAD_LOCATION_NAME);
		uri = Uri.fromFile(photoFile);
	}

	private void fillTextView(TextView tv,String string) {
		if(!TextUtils.isEmpty(string)){
			tv.setText(string);
		}
	}

	@Override
	public void addListener() {
		btRet.setOnClickListener(this);
		ibFunction.setOnClickListener(this);
		btBrose.setOnClickListener(this);
		llHead.setOnClickListener(this);
		iv.setOnClickListener(this);
		llDesc.setOnClickListener(this);
		llName.setOnClickListener(this);
		llReal.setOnClickListener(this);
		llShop.setOnClickListener(this);
		llSlogin.setOnClickListener(this);
		llTel.setOnClickListener(this);
		llAdd.setOnClickListener(this);
		llTypical.setOnClickListener(this);
		llWeb.setOnClickListener(this);
	}

	@Override
	public void fillData() {
		farmDetail = getFarmDetail();
		setImage(farmDetail.avatarurl);

		fillTextView(tvName,farmDetail.name);
		fillTextView(tvSlogin,farmDetail.slogin);
		fillTextView(tvShop,farmDetail.onlineshop);
		fillTextView(tvWebsite,farmDetail.website);
		fillTextView(tvTel,farmDetail.tel);
		fillTextView(tvAdd,farmDetail.address);
		fillTextView(tvDesc,farmDetail.description);

		int realCount = farmDetail.realPhotos.size()>8?8:farmDetail.realPhotos.size();
		int typicalCount = farmDetail.typicalPhotos.size();
		setPhotoCount(tvRealtime,realCount);
		setPhotoCount(tvTypical,typicalCount);
	}
	public void setPhotoCount(TextView tv,int count){
		tv.setText("¹²"+count+"ÕÅ");
	}
	@Override
	protected void onCreate(Bundle savedInstanceState) {
		setContentView(R.layout.setting_farm_info);
		super.onCreate(savedInstanceState);
	}

	@Override
	public void onClick(View v) {
		Intent intent = null;
		switch (v.getId()) {
		case R.id.bt_ret://·µ»Ø
			back();
			break;
		case R.id.ib_sure://·µ»Ø
			intent = new Intent(this, SetFarmFunctionDialog.class);
			startActivityForResult(intent, 10000);
			break;
		case R.id.bt_brose_farm://·µ»Ø
			goFarmDetail();
			break;
		case R.id.ll_setfarm_head:
			if(!Environment.getExternalStorageState().
					equals(Environment.MEDIA_MOUNTED)){//ÅжÏsd¿¨ÊDz»ÊÇ´æÔÚ
				showToast(R.string.point_sd_exit);
			}else{
				showTakePhoto();
			}
			break;
		case R.id.tv_pop_takephoto://ÅÄÕÕ
			pw.dismiss();
			intent = new Intent(MediaStore.ACTION_IMAGE_CAPTURE);// action
			intent.putExtra(MediaStore.EXTRA_OUTPUT, uri);
			startActivityForResult(intent,Global.PHOTO_CAMERA);
			break;
		case R.id.tv_pop_album:
			pw.dismiss();
			intent = new Intent(Intent.ACTION_GET_CONTENT, null);
			intent.setDataAndType(MediaStore.Images.Media.EXTERNAL_CONTENT_URI,Global.IMAGE_UNSPECIFIED);
			startActivityForResult(intent, Global.PHOTO_ALBUM);
			break;
		case R.id.ll_setfarm_name:
			goSet(farmDetail.name,Global.WAY_UPDATE_NAME,getResources().getInteger(R.integer.text_limit_farm_name));
			break;
		case R.id.ll_setfarm_desc:
			goSet(farmDetail.description,Global.WAY_UPDATE_DESCRIPTION,200);
			break;
		case R.id.ll_setfarm_slogin:
			goSet(farmDetail.slogin,Global.WAY_UPDATE_SLOGIN,getResources().getInteger(R.integer.text_limit_farm_slogin));
			break;
		case R.id.ll_setfarm_realtime://ÕâÀïÉèÖñê¼Ç  µ«ÊÇÔÚsetUpviewµÄʱºò¾ÍÒª°ÑÕâ¸öɾÁË
			Intent intentService = new Intent(this, LocationService.class);
			startService(intentService);
			sp.edit().putBoolean("updateTypic", false).commit();
			intent = new Intent(this, UploadPhotoActivity.class);
			goToNext(intent,null);
			break;
		case R.id.ll_setfarm_typical:
			sp.edit().putBoolean("updateTypic", true).commit();
			intent = new Intent(this, UploadPhotoActivity.class);
			goToNext(intent,null);
			break;
		case R.id.ll_setfarm_tel:
			goSet(farmDetail.tel,Global.WAY_UPDATE_TEL,30);
			break;
		case R.id.ll_setfarm_add:
			intent = new Intent(this,SetFarmAddressActivity.class);
			startActivityForResult(intent, 1);
			overridePendingTransition(R.anim.slide_right_in, R.anim.slide_left_out);
			break;
		case R.id.ll_setfarm_website:
			goSet(farmDetail.website,Global.WAY_UPDATE_WEBSITE,40);
			break;
		case R.id.ll_setfarm_shop:
			goSet(farmDetail.onlineshop,Global.WAY_UPDATE_ONLINESHOP,40);
			break;
		case R.id.iv_fram_head:
			String url = farmDetail.avatarurl;
			if(TextUtils.isEmpty(url)){
				return;
			}
			intent = new Intent(this, SimplePhotoActivity.class);
			intent.putExtra("flag", Global.WAY_SIMGLE_FARM_HEAD);
			putPhoto(new Photo(url));
			startActivityForResult(intent, 1);
			overridePendingTransition(R.anim.slide_right_in,
					R.anim.slide_left_out);
			break;
		default:
			break;
		}
	}

	private void back() {
		setResult(Global.RET);
		goBackFinish();
	}
	public void showTakePhoto(){
		showPopupWindowByDialog(R.string.title_take_farm_head, R.string.take_ptoto, R.string.take_ptoto_from_album,new TakePhoto() {
			@Override
			public void addListener() {
				tvFirst.setOnClickListener(SetFarmActivity.this);
				tvSecond.setOnClickListener(SetFarmActivity.this);
			}
		},true);
	}

	private void goSet(String content,int way,int limitNumber) {
		Intent intent = new Intent(this,SetEachFarmInfoActivity.class);
		intent.putExtra("content", content);
		intent.putExtra("way", way);
		intent.putExtra("limitNumber", limitNumber);
		startActivityForResult(intent, way);
		overridePendingTransition(R.anim.slide_right_in, R.anim.slide_left_out);
	}
	@Override
	protected void onActivityResult(int requestCode, int resultCode, Intent data) {
		if(resultCode==Global.PHOTO_NULL||resultCode==Global.RET||resultCode==Global.RET+100){
			removePhoto();
			return;
		}
		if(resultCode==Global.WAY_UPDATE_ADDRESS){
			FarmDetail detail = getFarmDetail();
			this.farmDetail = detail;
			tvAdd.setText(detail.address);
			return;
		}
		if(resultCode == Global.WAY_UPDATE_COUPON){
			int countCoupon = 0;
			if(data!=null){
				countCoupon = data.getIntExtra("countCoupon", 0);
			}
			farmDetail.couponCount = countCoupon;
			putFarmDetail(farmDetail);
			return;
		}

		switch (resultCode) {
		case Global.RET:
			break;
		case Global.SUCCESS://ÐèÒª¸úÐÂÊý¾Ý
			fillData();
			break;
		case Global.WAY_UPDATE_REALTIME_PHOTO://ÐèÒª¶ÔÕÕƬµÄÊ÷ľ½øÐиüÐÂ
			farmDetail = getFarmDetail();
			int realCount = farmDetail.realPhotos.size()>8?8:farmDetail.realPhotos.size();
			setPhotoCount(tvRealtime,realCount);
			break;
		case Global.WAY_UPDATE_TYPIC_PHOTO://ÐèÒª¶ÔÕÕƬµÄÊ÷ľ½øÐиüÐÂ
			farmDetail = getFarmDetail();
			int typicalCount = farmDetail.typicalPhotos.size();
			setPhotoCount(tvTypical,typicalCount);
			break;
		case Global.Category.SET_FARM_BROSE_WEB:
			String urlWeb = Global.Url.URL_UBIVE_FARM+ "?uu=" + farmDetail.uu;
			Uri websiteUri = Uri.parse(urlWeb);
			Intent intent = new Intent(Intent.ACTION_VIEW, websiteUri);
			startActivity(intent);
			overridePendingTransition(R.anim.slide_right_in, R.anim.slide_left_out);
			break;
		case Global.Category.SET_FARM_COUPON:
//			goNext(this, CouponManagerActivity.class, null);
//			sp.edit().putInt("uu", getFarmDetail().uu).commit();
			intent = new Intent(this,CouponManagerActivity.class);
			sp.edit().putInt("uu", getFarmDetail().uu).commit();
			goToNext(intent, null);
			break;
		default:
			break;
		}
		switch (requestCode) {
		case Global.PHOTO_NULL:
			break;
		case Global.PHOTO_CAMERA://ÅÄÕÕ
			ContextUtil.cropHead(this, uri, uri);
			break;
		case Global.PHOTO_ALBUM:// ¶ÁÈ¡Ïà²áËõ·ÅͼƬ
			if(data==null){//´Ëʱ´ÓÏà²á¶ÁÈ¡µ½µÄÊÇÒ»¸öÎļþµÄÒýÓà  ËùÒÔÒªÅжÏÒÔÏÂ
				return;
			}
			ContextUtil.cropHead(this, data.getData(), uri);
			break;
		case Global.PHOTO_RESULT:// ´¦Àí½á¹û
			if(data==null){
				return;
			}
			Bundle extras = data.getExtras();
			if (extras != null) {
				Bitmap photo = extras.getParcelable("data");
				try {
					StreamUtil.save(photo, photoFile,40);
				} catch (IOException e) {
					e.printStackTrace();
				}finally{
					BitmapUtils.recycle(photo);
				}
				upLoadPhoto(photoFile);
			}
			break;
		case Global.WAY_UPDATE_NAME:
			dealResult(data,"name",tvName);
			String value = data.getExtras().getString("result");
			farmDetail.name = value;
			break;
		case Global.WAY_UPDATE_SLOGIN:
			dealResult(data,"slogin",tvSlogin);
			String valueSlogin = data.getExtras().getString("result");
			farmDetail.slogin = valueSlogin;
			break;
		case Global.WAY_UPDATE_DESCRIPTION:
			dealResult(data,"description",tvDesc);
			break;
		case Global.WAY_UPDATE_TEL:
			dealResult(data,"tel",tvTel);
			break;

		case Global.WAY_UPDATE_ONLINESHOP:
			dealResult(data,"onlineshop",tvShop);
			break;
		case Global.WAY_UPDATE_WEBSITE:
			dealResult(data,"website",tvWebsite);
			break;
		default:
			break;
		}
		super.onActivityResult(requestCode, resultCode, data);
	}

	private void goFarmDetail() {
		Intent intent = new Intent(this,FarmDetailActivity.class);
		startActivity(intent);
		overridePendingTransition(R.anim.slide_right_in, R.anim.slide_left_out);
	}

	private void dealResult(Intent data, String property,TextView tv){
		//»ñµÃ´ÓÉèÖÃÊý¾ÝÒ³Ãæ·µ»ØµÄÊý¾Ý ¾ÍÊÇÏÖÔÚÒª½øÐÐÊôÐÔÊäÈëµÄ¾ßÌåÖµ
		String value = data.getExtras().getString("result");
		tv.setText(value);
		//ÀûÓÃsetter¸øfarm½øÐи³Öµ²Ù×÷
		if(farmDetail==null)return;
		setter(farmDetail,property, value, String.class);
		putFarmDetail(farmDetail);
	}

	public static void setter(Object obj,String att,Object value,Class<?> type){
		try{
			Method m1 = obj.getClass().getMethod("set"+initMethodName(att),type);
			m1.invoke(obj,value);
		}catch(Exception e){
			e.printStackTrace();
		}
	}

	public static String initMethodName(String name){
		return name.substring(0,1).toUpperCase()+name.substring(1);
	}

	@Override
	protected void onDestroy() {
		sp.edit().remove("uu").commit();
		removePhoto();
		super.onDestroy();
	}

	private void upLoadPhoto(final File file){
		new AsyncTask<File, Void, String>() {

			@Override
			protected void onPreExecute() {
				super.onPreExecute();
				showLoading(R.string.loading_upload_head);
			}

			@Override
			protected void onPostExecute(String result) {
				super.onPostExecute(result);
				hiderLoading();
				if(photoFile.exists()){
					photoFile.delete();
				}
				if(result==null){
					showToast(R.string.problem_upload_head_fail);
					return;
				}
				setImage(result);
				farmDetail.avatarurl = result;
			}

			@Override
			protected String doInBackground(File... params) {
				try {
					return farmBiz.updateFarmUniquePhoto(Global.UPDATE_PHOTO_AVARATURL, farmDetail.uu, photoFile);
				} catch (Exception e) {
					e.printStackTrace();
					return null;
				}
			}
		}.execute(file);
	}

	/**
	 * »ñµÃÊÖ»úÆÁÄ»µÄ¿í¶È
	 * @return
	 */
	public int getWidth(){
		DisplayMetrics dm = new DisplayMetrics();
		getWindowManager().getDefaultDisplay().getMetrics(dm);
		return dm.widthPixels;
	}

	@Override
	protected void onStop() {
		super.onStop();
	}
	/**
	 * ÆÁ±Î·µ»Ø¼ü ·µ»Øʱ ÒªÖØмÓÔØͼƬ
	 */
	@Override
	public boolean onKeyDown(int keyCode, KeyEvent event) {
		if (keyCode == KeyEvent.KEYCODE_BACK) {
			back();
			return true;
		}
		return false;
	}
	private void setImage(String url){
		imageLoader.displayImage(
				url,
				iv,
				DisplayOption.getPicOption(R.drawable.default_farm_head,R.drawable.default_farm_head,R.drawable.load_image_failed,Global.PIC_ROUNDPIXELS),
				new SimpleImageLoadingListener());
	}
	@Override
	public void onConfigurationChanged(Configuration config) {
		super.onConfigurationChanged(config);
	}
}


text:
<?php

namespace MainlyCode\Xmpp;

use MainlyCode\TestCase;

class ConnectionTest extends TestCase
{
    /**
     * @test
     */
    public function it_gets_properties()
    {
        $jabberId   = new JabberId('42_1337@chat.hipchat.com/bot');
        $connection = new Connection($jabberId, 'leetbot', '1337b0t', 'chat.hipchat.com', 5222);

        $this->assertSame($jabberId, $connection->getJabberId());
        $this->assertEquals('leetbot', $connection->getNickname());
        $this->assertEquals('1337b0t', $connection->getPassword());
        $this->assertEquals('chat.hipchat.com', $connection->getHost());
    }

    /**
     * @test
     */
    public function it_returns_socket_uri()
    {
        $connection = new Connection(
            new JabberId('42_1337@chat.hipchat.com/bot'),
            'leetbot',
            '1337b0t',
            'chat.hipchat.com',
            5222
        );

        $this->assertEquals('tcp://chat.hipchat.com:5222', $connection->getRemoteSocket());
    }
}