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Image from page 67 of “The southern planter : devoted to agriculture, horticulture, and the household arts” (1841)

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Image from page 67 of “The southern planter : devoted to agriculture, horticulture, and the household arts” (1841)
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Identifier: southernplante2081860rich
Title: The southern planter : devoted to agriculture, horticulture, and the household arts
Year: 1841 (1840s)
Subjects: Agriculture
Publisher: Richmond, Va. : P.D. Bernard
Contributing Library: Smithsonian Libraries
Digitizing Sponsor: Biodiversity Heritage Library

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per cent, for shorter pf-riods. HORACE L. KENT, Prest. ALEX. DUVAL, Secv. N. AUGUST, Cashier. DIRECTORS:John N. Gordon, Samuel Putney, H. Baldwin, 1 .Davenport, Jr., Charles T. Wortham, Hugh W. Fr_and Wellington Goddin. Jan 1859.—ly R, 0. iiAsms, Ship Chandler, Grocer and Com-mission Merchant, la his large new building, in front of the SteamboaiWh«rf, RocKETTs, RICHMOND, VA.Sept 1859—Ij MITCHELL & TYLER, DEALERS IN GREAT REDUCTION in THE PRICE OF HATS AND BOOTS. From 15 to 20 per cent, savedby buying from J. H. ANTHONY, Columbinn Hotel Building. Moleskin Hats of best quality, ^ ;do. second quality, ; FashionableSilk Hats, 50; Fine Calfskin Sew-ed Boots, 50; Congress GaiterBoots, 25; Fine Calfskin SewedShoes, 25. J. H. ANTHONY has made ar-rangements with one of the best ma-kers in the city of Philadelphia to supply him with ahandsome and snbsianiial Calf-skin Sewed BOOT,which he will sell at the unprecedented low price ofThree Dollars and a half. July 59—ly

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Sontliern Clothing House mCHMOND, VA. The subscriber keeps con-stantly on hand a large and Fash-ionable assortment of Keady-madeClotning,of his own manufacture,of the latest and most approvedStyles. Also a large assortmentof Gentlemens furnishing Goods,such as Handkfs, Cravats, NeckTies, Shirts, Drawers, Gloves andSuspenders, Collars, Umbrellas. In addition to which he keeps alarge and general assortment ofPiece Goods of every Style andQuality, w hich he is prepared to make to measure attlie shortest notice and in the best and most fashiona-ble style. E. B. SPENCE, No. 120, Corner of Main and 13th Sts.July 59—ly

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Image by Dominic Mercier
From the Divine Lorraine Hotel, Philadelphia
Holga 120, shot with Kodak Tmax 400
No photoshop

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Image from page 20 of “Elements of chemistry : including the applications of the science in the arts” (1853)

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Image from page 20 of “Elements of chemistry : including the applications of the science in the arts” (1853)
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Identifier: 60730410R.nlm.nih.gov
Title: Elements of chemistry : including the applications of the science in the arts
Year: 1853 (1850s)
Authors: Graham, Thomas, 1805-1869 Bridges, Robert, 1806-1882
Subjects: Chemical Phenomena
Publisher: Philadelphia : Blanchard and Lea
Contributing Library: U.S. National Library of Medicine
Digitizing Sponsor: Open Knowledge Commons, U.S. National Library of Medicine

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s — that of Breguet. When hot water is suddenly poured upon a thick plate of glass, the upper surfaceis heated and expanded before the heat penetrates to the lower surface of the plate.There is here unequal expansion, as in the slip of copper and platinum. The glasstends to bend, with the hot and expanded surface on the outside of the curve, butis broken from its want of flexibility. The occurrence of such fractures is bestavoided by applying heat to glass vessels in a gradual manner, so as to occasion nogreat inequality of expansion; or by using very thin vessels, through the substanceof which heat is rapidly transmitted. This effect of heat on glass may by a little address be turned to advantage.Watch-glasses are cut out of a thin globe of glass, by conducting a crack in a properdirection, by means of an iron rod, or piece of tobacco pipe, heated to redness.Glass vessels damaged in the laboratory may often be divided in the same manner,and still made available for useful purposes.

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36 EXPANSION OF LIQUIDS. Both cast iron and glass are peculiarly liable to accidents from unequal expansion,when in the state of flat plates. Plate glass, indeed, can never be heated withoutrisk of its breaking. The flat iron plates placed across chimneys as dampers, arealso very apt to split when they become hot, and much inconvenience has oftenbeen experienced in manufactories from this cause. A slight curvature in their formhas been found to protect them most effectually. Expansion of liquids. — In liquids the expansive force of heat is little resistedby cohesive attraction, and is much more considerable than in solids. This fact isstrikingly exhibited by filling the bulb and part of the stem of a common thermo-meter tube with a liquid, and applying heat to it. The liquid is seen immediatelyto mount in the tube. The first law, in the case of liquids, is that some expand much more considerablyby heat than others. Thus, on being heated to the same extent, namely, from thefreezing t

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Image from page 110 of “A practical treatise on the manufacture of colors for painting : comprising the origin, definition, and classification of colors; the treatment of the raw materials … etc.” (1874)
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Identifier: practicaltreatis00riff
Title: A practical treatise on the manufacture of colors for painting : comprising the origin, definition, and classification of colors; the treatment of the raw materials … etc.
Year: 1874 (1870s)
Authors: Riffault des Hêtres, Jean René Denis, 1754?-1826 Vergnaud, A. D. (Armand Denis), 1791-1885 Toussaint, G. Alvar Malepeyre, F. (François), 1794-1877
Subjects: Paint
Publisher: Philadelphia : H. C. Baird
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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filled with the litharge, then beginsthe introduction of the fumes of vinegar distilled inan ordinary still, and of carbonic acid kept in a gasholder in an adjoining room. Before removing thecovers of the trays, the stopcocks in the pipes throughwhich the vinegar vapors and the carbonic acid j^assare turned oflP. By these means, when the propertemperature has been maintained, the oxid^ of lead istransformed into carbonate. Another method of manufacturing white lead,proposed by the same inventor, consists of a series oflarge stoneware jars a (Fig. 9), in which are suspended,by woollen or cotton cords, several sponges whichdo not touch the sides of the jars.By capillary attraction, a solution Fig. 9. of neutral acetate of lead held inX keeps the sponges wet. Thesalts of lead are transformed intocarbonates by a current of carbonicacid which passes through the jars.The sponges are then removed,and washed in pure water. Aftersettling, the clear liquors are de-canted for a future operation.

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Arts Listings, Jan. 28

Arts Listings, Jan. 28
FIRST SUNDAY TRIANGLE BLUES SOCIETY: The First Sunday Triangle Blues Society Open Jam will be from 7-10 p.m. the first Sunday of the month at The Blue Note Grill, 4125 Durham-Chapel Hill Blvd. triangleblues.com. REEL ISRAEL: Kehillah Synagogue will …
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Speed is defining quality in USD recruits
Based on geography, the class of 24 are from 10 states, led by Florida and Iowa with five each. USD has three from Illinois, three …. ROMONTAY HILL: Hill was named team MVP and earned honorable mention all-state honors at Richards after registering …
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Poetry, dancing, and more at arts festival

Army Photography Contest – 2007 – FMWRC – Arts and Crafts – Bridge Into Fog
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Army Photography Contest – 2007 – FMWRC – Arts and Crafts – Bridge Into Fog

Photo By: SPC Lasha Harden

To learn more about the annual U.S. Army Photography Competition, visit us online at www.armymwr.com

U.S. Army Arts and Crafts History
After World War I the reductions to the Army left the United States with a small force. The War Department faced monumental challenges in preparing for World War II. One of those challenges was soldier morale. Recreational activities for off duty time would be important. The arts and crafts program informally evolved to augment the needs of the War Department.
On January 9, 1941, the Secretary of War, Henry L. Stimson, appointed Frederick H. Osborn, a prominent U.S. businessman and philanthropist, Chairman of the War Department Committee on Education, Recreation and Community Service.
In 1940 and 1941, the United States involvement in World War II was more of sympathy and anticipation than of action. However, many different types of institutions were looking for ways to help the war effort. The Museum of Modern Art in New York was one of these institutions. In April, 1941, the Museum announced a poster competition, “Posters for National Defense.” The directors stated “The Museum feels that in a time of national emergency the artists of a country are as important an asset as men skilled in other fields, and that the nation’s first-rate talent should be utilized by the government for its official design work… Discussions have been held with officials of the Army and the Treasury who have expressed remarkable enthusiasm…”
In May 1941, the Museum exhibited “Britain at War”, a show selected by Sir Kenneth Clark, director of the National Gallery in London. The “Prize-Winning Defense Posters” were exhibited in July through September concurrently with “Britain at War.” The enormous overnight growth of the military force meant mobilization type construction at every camp. Construction was fast; facilities were not fancy; rather drab and depressing.
In 1941, the Fort Custer Army Illustrators, while on strenuous war games maneuvers in Tennessee, documented the exercise The Bulletin of the Museum of Modern Art, Vol. 9, No. 3 (Feb. 1942), described their work. “Results were astonishingly good; they showed serious devotion …to the purpose of depicting the Army scene with unvarnished realism and a remarkable ability to capture this scene from the soldier’s viewpoint. Civilian amateur and professional artists had been transformed into soldier-artists. Reality and straightforward documentation had supplanted (replaced) the old romantic glorification and false dramatization of war and the slick suavity (charm) of commercial drawing.”

“In August of last year, Fort Custer Army Illustrators held an exhibition, the first of its kind in the new Army, at the Camp Service Club. Soldiers who saw the exhibition, many of whom had never been inside an art gallery, enjoyed it thoroughly. Civilian visitors, too, came and admired. The work of the group showed them a new aspect of the Army; there were many phases of Army life they had never seen or heard of before. Newspapers made much of it and, most important, the Army approved. Army officials saw that it was not only authentic material, but that here was a source of enlivenment (vitalization) to the Army and a vivid medium for conveying the Army’s purposes and processes to civilians and soldiers.”
Brigadier General Frederick H. Osborn and War Department leaders were concerned because few soldiers were using the off duty recreation areas that were available. Army commanders recognized that efficiency is directly correlated with morale, and that morale is largely determined from the manner in which an individual spends his own free time. Army morale enhancement through positive off duty recreation programs is critical in combat staging areas.
To encourage soldier use of programs, the facilities drab and uninviting environment had to be improved. A program utilizing talented artists and craftsmen to decorate day rooms, mess halls, recreation halls and other places of general assembly was established by the Facilities Section of Special Services. The purpose was to provide an environment that would reflect the military tradition, accomplishments and the high standard of army life. The fact that this work was to be done by the men themselves had the added benefit of contributing to the esprit de corps (teamwork, or group spirit) of the unit.
The plan was first tested in October of 1941, at Camp Davis, North Carolina. A studio workshop was set up and a group of soldier artists were placed on special duty to design and decorate the facilities. Additionally, evening recreation art classes were scheduled three times a week. A second test was established at Fort Belvoir, Virginia a month later. The success of these programs lead to more installations requesting the program.
After Pearl Harbor was bombed, the Museum of Modern Art appointed Mr. James Soby, to the position of Director of the Armed Service Program on January 15, 1942. The subsequent program became a combination of occupational therapy, exhibitions and morale-sustaining activities.
Through the efforts of Mr. Soby, the museum program included; a display of Fort Custer Army Illustrators work from February through April 5, 1942. The museum also included the work of soldier-photographers in this exhibit. On May 6, 1942, Mr. Soby opened an art sale of works donated by museum members. The sale was to raise funds for the Soldier Art Program of Special Services Division. The bulk of these proceeds were to be used to provide facilities and materials for soldier artists in Army camps throughout the country.
Members of the Museum had responded with paintings, sculptures, watercolors, gouaches, drawings, etchings and lithographs. Hundreds of works were received, including oils by Winslow Homer, Orozco, John Kane, Speicher, Eilshemius, de Chirico; watercolors by Burchfield and Dufy; drawings by Augustus John, Forain and Berman, and prints by Cezanne, Lautrec, Matisse and Bellows. The War Department plan using soldier-artists to decorate and improve buildings and grounds worked. Many artists who had been drafted into the Army volunteered to paint murals in waiting rooms and clubs, to decorate dayrooms, and to landscape grounds. For each artist at work there were a thousand troops who watched. These bystanders clamored to participate, and classes in drawing, painting, sculpture and photography were offered. Larger working space and more instructors were required to meet the growing demand. Civilian art instructors and local communities helped to meet this cultural need, by providing volunteer instruction and facilities.
Some proceeds from the Modern Museum of Art sale were used to print 25,000 booklets called “Interior Design and Soldier Art.” The booklet showed examples of soldier-artist murals that decorated places of general assembly. It was a guide to organizing, planning and executing the soldier-artist program. The balance of the art sale proceeds were used to purchase the initial arts and crafts furnishings for 350 Army installations in the USA.
In November, 1942, General Somervell directed that a group of artists be selected and dispatched to active theaters to paint war scenes with the stipulation that soldier artists would not paint in lieu of military duties.
Aileen Osborn Webb, sister of Brigadier General Frederick H. Osborn, launched the American Crafts Council in 1943. She was an early champion of the Army program.
While soldiers were participating in fixed facilities in the USA, many troops were being shipped overseas to Europe and the Pacific (1942-1945). They had long periods of idleness and waiting in staging areas. At that time the wounded were lying in hospitals, both on land and in ships at sea. The War Department and Red Cross responded by purchasing kits of arts and crafts tools and supplies to distribute to “these restless personnel.” A variety of small “Handicraft Kits” were distributed free of charge. Leathercraft, celluloid etching, knotting and braiding, metal tooling, drawing and clay modeling are examples of the types of kits sent.
In January, 1944, the Interior Design Soldier Artist program was more appropriately named the “Arts and Crafts Section” of Special Services. The mission was “to fulfill the natural human desire to create, provide opportunities for self-expression, serve old skills and develop new ones, and assist the entire recreation program through construction work, publicity, and decoration.”
The National Army Art Contest was planned for the late fall of 1944. In June of 1945, the National Gallery of Art in Washington D.C., for the first time in its history opened its facilities for the exhibition of the soldier art and photography submitted to this contest. The “Infantry Journal, Inc.” printed a small paperback booklet containing 215 photographs of pictures exhibited in the National Gallery of Art.
In August of 1944, the Museum of Modern Art, Armed Forces Program, organized an art center for veterans. Abby Rockefeller, in particular, had a strong interest in this project. Soldiers were invited to sketch, paint, or model under the guidance of skilled artists and craftsmen. Victor d’Amico, who was in charge of the Museum’s Education Department, was quoted in Russell Lynes book, Good Old Modern: An Intimate Portrait of the Museum of Modern Art. “I asked one fellow why he had taken up art and he said, Well, I just came back from destroying everything. I made up my mind that if I ever got out of the Army and out of the war I was never going to destroy another thing in my life, and I decided that art was the thing that I would do.” Another man said to d’Amico, “Art is like a good night’s sleep. You come away refreshed and at peace.”
In late October, 1944, an Arts and Crafts Branch of Special Services Division, Headquarters, European Theater of Operations was established. A versatile program of handcrafts flourished among the Army occupation troops.
The increased interest in crafts, rather than fine arts, at this time lead to a new name for the program: The “Handicrafts Branch.”
In 1945, the War Department published a new manual, “Soldier Handicrafts”, to help implement this new emphasis. The manual contained instructions for setting up crafts facilities, selecting as well as improvising tools and equipment, and basic information on a variety of arts and crafts.
As the Army moved from a combat to a peacetime role, the majority of crafts shops in the United States were equipped with woodworking power machinery for construction of furnishings and objects for personal living. Based on this new trend, in 1946 the program was again renamed, this time as “Manual Arts.”
At the same time, overseas programs were now employing local artists and craftsmen to operate the crafts facilities and instruct in a variety of arts and crafts. These highly skilled, indigenous instructors helped to stimulate the soldiers’ interest in the respective native cultures and artifacts. Thousands of troops overseas were encouraged to record their experiences on film. These photographs provided an invaluable means of communication between troops and their families back home.
When the war ended, the Navy had a firm of architects and draftsmen on contract to design ships. Since there was no longer a need for more ships, they were given a new assignment: To develop a series of instructional guides for arts and crafts. These were called “Hobby Manuals.” The Army was impressed with the quality of the Navy manuals and had them reprinted and adopted for use by Army troops. By 1948, the arts and crafts practiced throughout the Army were so varied and diverse that the program was renamed “Hobby Shops.” The first “Interservice Photography Contest” was held in 1948. Each service is eligible to send two years of their winning entries forward for the bi-annual interservice contest. In 1949, the first All Army Crafts Contest was also held. Once again, it was clear that the program title, “Hobby Shops” was misleading and overlapped into other forms of recreation.
In January, 1951, the program was designated as “The Army Crafts Program.” The program was recognized as an essential Army recreation activity along with sports, libraries, service clubs, soldier shows and soldier music. In the official statement of mission, professional leadership was emphasized to insure a balanced, progressive schedule of arts and crafts would be conducted in well-equipped, attractive facilities on all Army installations.
The program was now defined in terms of a “Basic Seven Program” which included: drawing and painting; ceramics and sculpture; metal work; leathercrafts; model building; photography and woodworking. These programs were to be conducted regularly in facilities known as the “multiple-type crafts shop.” For functional reasons, these facilities were divided into three separate technical areas for woodworking, photography and the arts and crafts.
During the Korean Conflict, the Army Crafts program utilized the personnel and shops in Japan to train soldiers to instruct crafts in Korea.
The mid-1950s saw more soldiers with cars and the need to repair their vehicles was recognized at Fort Carson, Colorado, by the craft director. Soldiers familiar with crafts shops knew that they had tools and so automotive crafts were established. By 1958, the Engineers published an Official Design Guide on Crafts Shops and Auto Crafts Shops. In 1959, the first All Army Art Contest was held. Once more, the Army Crafts Program responded to the needs of soldiers.
In the 1960’s, the war in Vietnam was a new challenge for the Army Crafts Program. The program had three levels of support; fixed facilities, mobile trailers designed as portable photo labs, and once again a “Kit Program.” The kit program originated at Headquarters, Department of Army, and it proved to be very popular with soldiers.
Tom Turner, today a well-known studio potter, was a soldier at Ft. Jackson, South Carolina in the 1960s. In the December 1990 / January 1991 “American Crafts” magazine, Turner, who had been a graduate student in art school when he was drafted, said the program was “a godsend.”
The Army Artist Program was re-initiated in cooperation with the Office of Military History to document the war in Vietnam. Soldier-artists were identified and teams were formed to draw and paint the events of this combat. Exhibitions of these soldier-artist works were produced and toured throughout the USA.
In 1970, the original name of the program, “Arts and Crafts”, was restored. In 1971, the “Arts and Crafts/Skills Development Program” was established for budget presentations and construction projects.
After the Vietnam demobilization, a new emphasis was placed on service to families and children of soldiers. To meet this new challenge in an environment of funding constraints the arts and crafts program began charging fees for classes. More part-time personnel were used to teach formal classes. Additionally, a need for more technical-vocational skills training for military personnel was met by close coordination with Army Education Programs. Army arts and crafts directors worked with soldiers during “Project Transition” to develop soldier skills for new careers in the public sector.
The main challenge in the 1980s and 90s was, and is, to become “self-sustaining.” Directors have been forced to find more ways to generate increased revenue to help defray the loss of appropriated funds and to cover the non-appropriated funds expenses of the program. Programs have added and increased emphasis on services such as, picture framing, gallery sales, engraving and trophy sales, etc… New programs such as multi-media computer graphics appeal to customers of the 1990’s.
The Gulf War presented the Army with some familiar challenges such as personnel off duty time in staging areas. Department of Army volunteer civilian recreation specialists were sent to Saudi Arabia in January, 1991, to organize recreation programs. Arts and crafts supplies were sent to the theater. An Army Humor Cartoon Contest was conducted for the soldiers in the Gulf, and arts and crafts programs were set up to meet soldier interests.
The increased operations tempo of the ‘90’s Army has once again placed emphasis on meeting the “recreation needs of deployed soldiers.” Arts and crafts activities and a variety of programs are assets commanders must have to meet the deployment challenges of these very different scenarios.
The Army arts and crafts program, no matter what it has been titled, has made some unique contributions for the military and our society in general. Army arts and crafts does not fit the narrow definition of drawing and painting or making ceramics, but the much larger sense of arts and crafts. It is painting and drawing. It also encompasses:
* all forms of design. (fabric, clothes, household appliances, dishes, vases, houses, automobiles, landscapes, computers, copy machines, desks, industrial machines, weapon systems, air crafts, roads, etc…)
* applied technology (photography, graphics, woodworking, sculpture, metal smithing, weaving and textiles, sewing, advertising, enameling, stained glass, pottery, charts, graphs, visual aides and even formats for correspondence…)
* a way of making learning fun, practical and meaningful (through the process of designing and making an object the creator must decide which materials and techniques to use, thereby engaging in creative problem solving and discovery) skills taught have military applications.
* a way to acquire quality items and save money by doing-it-yourself (making furniture, gifts, repairing things …).
* a way to pursue college credit, through on post classes.
* a universal and non-verbal language (a picture is worth a thousand words).
* food for the human psyche, an element of morale that allows for individual expression (freedom).
* the celebration of human spirit and excellence (our highest form of public recognition is through a dedicated monument).
* physical and mental therapy (motor skill development, stress reduction, etc…).
* an activity that promotes self-reliance and self-esteem.
* the record of mankind, and in this case, of the Army.
What would the world be like today if this generally unknown program had not existed? To quantitatively state the overall impact of this program on the world is impossible. Millions of soldier citizens have been directly and indirectly exposed to arts and crafts because this program existed. One activity, photography can provide a clue to its impact. Soldiers encouraged to take pictures, beginning with WW II, have shared those images with family and friends. Classes in “How to Use a Camera” to “How to Develop Film and Print Pictures” were instrumental in soldiers seeing the results of using quality equipment. A good camera and lens could make a big difference in the quality of the print. They bought the top of the line equipment. When they were discharged from the Army or home on leave this new equipment was showed to the family and friends. Without this encouragement and exposure to photography many would not have recorded their personal experiences or known the difference quality equipment could make. Families and friends would not have had the opportunity to “see” the environment their soldier was living in without these photos. Germany, Italy, Korea, Japan, Panama, etc… were far away places that most had not visited.
As the twenty first century approaches, the predictions for an arts renaissance by Megatrends 2000 seem realistic based on the Army Arts and Crafts Program practical experience. In the April ‘95 issue of “American Demographics” magazine, an article titled “Generation X” fully supports that this is indeed the case today. Television and computers have greatly contributed to “Generation X” being more interested in the visual arts and crafts.
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Poetry, dancing, and more at arts festival
They have performed at Penn's Landing and the Discovery Museum in Cherry Hill. In addition, there will be eight musicians playing a variety of musical styles in the bandstand. Ceramics, greeting cards, and other handmade crafts will be available. The …
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Gavin Thomas: Geologist and 'legend' of Australian mining
The chairman of Kingsgate, Ross Smyth-Kirk, said Thomas' contribution to the industry and in particular to Kingsgate, which he joined in 2004, was extraordinary in both dedication and discovery. Thomas took Kingsgate from a single mine operation at …
Read more on Sydney Morning Herald

Join the Conversation
The footpath does feature a steep hill up and down, as well as a stream crossing and some potentially tricky footing. If conditions are right, participants will pass numerous blooming mountain …. Presented by Della and Alan Wells of the Rockland …
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Japanese Maples Festival Blooms at Gibbs Gardens Introducing a Celebration of Japanese Arts, Culture in a Garden Setting

Ball Ground, GA (PRWEB) October 09, 2013

The festival, featuring music, arts and events in a garden setting, will introduce another new and unique tradition on Saturday and Sunday, Oct. 26 & 27 and Nov. 2 & 3: a celebration of Japanese arts, culture and traditions set against the singular splendor of the largest Japanese Gardens in the nation.

This festival will be presented with the support of several Japanese American organizations that provide art, dance, and a wide range of demonstrationsas a way to introduce Japanese culture to the metro Atlanta community. The Japanese Consulate will participate in the festival on Oct. 26 & 27. The Japan-America Society of Georgia will participate in the festival on Nov. 2 & 3.

Largest Japanese Gardens in US:

From the Torii Gate entrance to the Zigzag Bridge, Tsukiyama, the hill and pond stroll garden, the Japanese Gardens flow seamlessly across 40 acres with seven spring-fed ponds, islands, bridges, massive boulders and authentic hand-carved Japanese lanterns.

Imagine viewing the Japanese Green Tea Ceremony, the art of kimono dressing and classic Japanese dancing against the backdrop of 2,000 Japanese maples in brilliant fall shades of gold, yellow, orange and flame red. Picture ikebana and origami demonstrations set on a vast stretch of green lawn draped by hundreds of bright red Burning Bush.

Gibbs Gardens invites visitors to see the beauty of Japanese calligraphy and the patient art of bonsai in a garden surrounded by thousands of vibrant yellow Sweetshrub. Thrill to the exacting skills of shinkendo, kyudo and other martial arts set against a backdrop of red-leafed Sourwood, Sassafras and Dogwood. Dont miss this opportunity to experience Japanese arts and traditions in a spectacular garden setting.

16 garden venues:

The 300-acre Gibbs estate garden in Cherokee County includes 220 acres of breathtaking gardens set in mature rolling woodlands dotted with ponds, springs, streams and waterfalls. Visitors to Gibbs Gardens are amazed by the diversity and breadth of its 16 artistically designed garden venues and four feature gardens:

Bolour Associates Selects Arts District Architectural Firm to Design Live-Work Complex at South Santa Fe Ave.

Los Angeles, CA (PRWEB) December 19, 2013

Bolour Associates, Inc. (Bolour), a leading Los Angeles-based real estate company, together with Crescent Capital Partners (CCT-AMP) announced today that Shimoda Design Group, an award-winning Arts District architectural firm, has been selected to design a live-work development at 695 South Santa Fe Ave. The 100,000 sq. ft. parcel will have up to 240 joint live-work quarters and up to 20,000 sq. ft. of restaurant and creative office space. The developers submitted their entitlement application to the City of Los Angeles today.

As a local Arts District resident and business owner, Im delighted to be working with the developers on creating an environment that is conducive to creative collaboration, said Joey Shimoda, AIA, Architect and Founder of Shimoda Design Group. The project is developed around a concept of courtyards. It features a podium courtyard that includes a 25,000 sq. ft. central park with open space area, world-class gym, and outdoor pool and sauna, while the street-level commercial courtyard will include up to 15,000 sq. ft. of commercial, retail, and restaurant uses along with 10,000 sq. ft. of outdoor seating. The property recreates the live work condition that has made the Arts District such a desirable location. Buildings are more than mere foundations, theyre the building blocks of our social connectivity, said Mark Bolour, CEO and Principal of Bolour Associates and project co-developer. Joey and his team have captured the essence of this in their design concept.

Our design inspiration is premised on the elegant aesthetic of industrial buildings and complements the lifestyle of the creative people who live and work here, said Mr. Shimoda. We value the significant contributions the creative community has made over the decades and recognize that the project should capture the spirit of creativity and collaboration that the Arts District represents for Los Angeles, commented Mr. Bolour. Appreciating its industrial roots, the projects materiality features board formed concrete and corrugated metal blocks, giving it a sense of permanence, while its application adapts to the current and future demands of the community.

Previously referred to as AMP Lofts from the prior tenant American Moving Parts, local resident and Creative Director, Mathew Foster has been engaged to help name the project and lead its brand stewardship. Our community is changing quickly, and Im very excited to be a part of and working on a project thats creating something new and long-lasting in a neighborhood with so much history, said Mr. Foster.

Live-work properties are communities that embody the changing patterns of employment and the digital knowledge economy. Its about the experience of working collaboratively and promoting a culture of social creativity, said Mishel Michael, Principal of CCT-AMP. We believe our project responds effectively to the emerging live-work economy. Adding to this Mr. Bolour said: The project strives to achieve a sustainable work-life balance for community members and will serve as a conduit to energize the talents of its residents.

Bolour and CCT-AMP acquired the property this past June and serve as the projects co-developers.

About Bolour Associates

Bolour Associates is a privately-held real estate investment, development, and finance company. With 35 years of industry expertise, the firm has a longstanding track record of creating value for clients and urban communities. Our associates embrace changing real estate environments and employ a creative approach to generating sustainable growth. Our commitment to the highest standards of integrity is the hallmark of our business. Headquartered in Los Angeles, Bolour is a leader in the Southern California commercial real estate market and southwest regions of the United States. http://www.BolourAssociates.com


Crescent Capital Partners is a value-add real estate investment and development firm, founded in 1994. Led by Mishel Michael, Principal, the company has developed retail, hospitality, and multi-family assets in Houston, Denver, Las Vegas, and Southern California.

About 695 South Santa Fe Ave.

Located at the expanding southern end of LAs burgeoning Arts District, the project is a modern lifestyle live-work property. The neighborhood is known for its industrial warehouses, artists, and is home to pioneering cafes, restaurants, and retailers. The 100,000 sq. ft. parcel will have up to 240 joint live-work quarters and up to 20,000 sq. ft. of restaurant and creative office space, with views of downtown Los Angeles and the San Gabriel Mountains.

Related History Of South Street Press Releases

Cleveland Arts listings for Oct. 4-10: Annual Autumn Art Walk this weekend in

Lauren Hill
facts of society hill
Image by PeterTea
Lauryn Hill Biography
Source: www.lauryn-hill.com/history.html
BORN: May 26, 1975
"Hey, it’s my album! Who else can tell my story better than me?" says Lauryn Hill, chanteuse, rapper, songwriter, actress, activist and mother. She’s talking about The Miseducation of Lauryn Hill (RuffHouse/Columbia), her solo debut album and one of the most hotly-anticipated records of 1998.

Produced by Lauryn herself, The Miseducation of Lauryn Hill is a deeply personal album, running the gamut from affairs of the heart to socio-political issues, set against a sonic backdrop displaying the remarkable talent of this young native of South Orange, New Jersey. The title, according to Hill, shouldn’t be taken too literally. The doe-eyed 23-year old, who completed her freshman year at Columbia University, explains: "… the concept of ‘Miseducation" is not really miseducation at all. To me, it’s more or less switching the terminology… it’s really about the things that you’ve learned outside of school, outside of what society deems appropriate and mandatory. I have a lot of respect for academia… But there was a lot that I had to learn * life lessons * that wasn’t part of any scholastic curriculum. It’s really our passage into adulthood when we leave that place of idealism and naivete."

Lauryn’s eagerly-anticipated solo opus has been a long time coming. Critics, who were first privy to Hill’s mellifluous, sometimes gritty alto on the Fugees’ 1993 debut, Blunted on Reality, suggested she break free of the constraints of the group and go solo. The critics obviously missed the point. Undaunted, Hill stuck to her principles, which included fierce loyalty to the group, and went on to co-write, co-produce and serve as featured performer on the Fugees’ sophomore offering, The Score. The rest, so the adage goes, is history. The album went on to rack up sales of over 17 million units, making the Fugees the biggest-selling rap group of all time.

With fellow cohorts, Prakazrel "Pras" Michel and Wyclef Jean, Lauryn also garnered two 1996 Grammy awards: Best Rap Album for The Score and Best R&B Performance By A Duo Or Group With Vocal for Lauryn’s poignant cover of the Roberta Flack classic "Killing Me Softly." That single became the hip-hop anthem of 1996 and firmly insuring the Fugees’ success in the upper echelons of pop music’s colorful history.

The young woman — who Public Enemy’s Chuck D admiringly describes as "sunlight" and a "Bob Marley (of the) 21st Century," has documented her glorious, multi-faceted life on record. The Miseducation of Lauryn Hill — like its author/protagonist — is confrontational, strong, forthright, and intelligent, while retaining a delicate, sensitive balance. This young auteur steps fearlessly into the musical arena, dealing with subjects that are close to her heart. At times, her humor is wry and candid and her pain and anger startling, but she is never bitter. She has been galvanized by her life experiences.

"I’m close to all of them," she says, almost maternally, about her songs. "Every time I got hurt, every time I was disappointed, every time I learned, I just wrote a song," she explains, "but the song that touches me the most is the one about my son." "Joy of My World is in Zion" is for those "…who may have thought I was all that, but here is some of the pain I was going through. Here’s my human side… It was very strange to me how this became an issue * this decision of mine. But what began as something dark became the brightest and most important thing to me."

The Miseducation of Lauryn Hill forays into hip-hop territory with cuts like "Doo Wop" and the Jamaican-tinged grooves of "Lost Ones." Throughout the album, Hill’s delicious vocals engage and captivate. Musically, she brings a warmth and sensitivity to the sound of The Miseducation of Lauryn Hill and displays her wide knowledge of the workings of the studio as producer on this stunning debut. She is undaunted by the fact that this area of recording is considered mainly male territory. "Men have a hard time taking direction from women, but when you pay somebody, you pay them to get it right, " she says. "I think that women will be called ‘bitches’ and ‘hard to work with’ if they ask for and get what they want. So I don’t pay attention to that at all. Music is so important to me and how I come across in music is so important. I’m a perfectionist. If I have to do it a hundred times, I’ll do it a hundred times!"

And though men’s attitudes towards women in the industry riles her, she forges ahead. The Miseducation of Lauryn Hill is evidence of her self-assured attitude as a well-rounded artist and studio technician. Her skills as a prolific songwriter have led to her writing songs for various artists. She wrote and produced "On That Day" for gospel artist CeCe Winans, and, in addition to writing the smash hit title cut for Aretha Franklin’s current album, A Rose is Still a Rose, Lauryn also directed song’s accompanying video. She has proven herself to be a versatile performer and producer.

Her immense talent transcends gender-specific constraints. "Men like it when you sing to them. But step out and try and control things and there are doubts. This is a very sexist industry," she opines. "They’ll never throw the genius title to a sister. They’ll just call her ‘diva’ and think it’s a compliment. It’s like our flair and vanity are put before our musical and intellectual contributions."

Having spent her much of her formative years in the nation’s spotlight, first as an actress (she appeared in a recurring role in "As the World Turns" and was featured in "Sister Act II: Back In the Habit") and now as a multi-platinum artist who still finds time for charitable causes (she is the founder of non-profit organization, The Refugee Camp Youth Project, whose manifesto is based on giving back to the community and improving the quality of life for inner-city children), Lauryn Hill has very much come into her own and The Miseducation of Lauryn Hill is the musical proof. As Lauryn Hill, the hip-hop groundbreaking genius, puts it, "I want my music to touch real people. I’m still trying to figure myself out, like most people…. because I’m still living and learning…"

Cleveland Arts listings for Oct. 4-10: Annual Autumn Art Walk this weekend in
Exhibit: "Harold E. Edgerton, Seeking Facts," works by Massachusetts Institute of Technology professor, who pioneered flash photography techniques. Through Sunday …. Mayfield and Murrary Hill roads, Cleveland. … Hudson Library and Historical Society.
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Balmoral Arts & Entertainment Eyes Cannes Film Festival

London, United Kingdom (PRWEB) April 30, 2013

Balmoral Companies operate as multiple trading facilities in the British Virgin Islands (BVI) and United Arab Emirates (UAE) teaming with accredited investors Worldwide. This year, Balmoral has two divisions, Renewable Energy and the newly acquired Arts & Entertainment division, with partnerships around the globe, celebrating 25 years of growth and innovation.

In preparation for Cannes, Balmoral and sister company Cinewerx Ltd. London, have organized a motion picture fund in conjunction with the debut of Balmoral Arts & Entertainment to finance several Pictures. Rodney Kincaid, CEO of Balmoral, reported signing a Memorandum of Understanding (MOU) for