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I'm not usually a great fan of panels. Often folks talk over each other or someone ends up monopolizing them to grandstand. So you don't get a chance to hear the milder - more cerebral folks.
This one was pretty orderly with only minimal grandstanding. But I have to say my preference is with the single speakers.
Making the choice between interactive projectors and interactive flat panels can be a daunting task. Here is everything one needs to know to make the right choice. More details please visit medium.com/@mediascene99/flat-panels-vs-interactive-white...
The magnetic train markers are moved around by the dispatcher. The markers are labeled with train numbers. Pointed markers travel in one direction. Train G055 is sitting in the siding at Inglewood waiting for G304 to go by.
Timber Creek High School student Mackenzie Betteridge and teacher Phil Tillery speak about the crime scene game they made for the high school's forensic class to use. The panel spoke during the fall 2013 symposium "Simulation: Evolutionary Past, Boundless Future."
December 3, 2015. I was pushed a little out of my comfort zone in this session on agile learning design, But not too far out; I've had experience, especially recently, and I kept it light. Pictured is Jasmina Nikolic, another member of the panel, in full flight talking about the duck-rabbit.
Our friends Larry and Shermane are docents at the Palatki Heritage Site just NW of Sedona. For someone who is fascinated with cliff dwellings and rock art, it was a thrill to have our own tour guides through this amazing location. We were fortunate to see the Bear Alcove and Roasting Pit rock art panels in addition to the ruins and the Grotto panel. These are just a few of the shots I took at Palatki.
Palatki Heritage Site is administered by the Forest Service. The site has ruins and 3 areas of rock art that are in exceptional condition and that you can view with a docent. The cliff dwelling and Grotto pictograph panel are staffed daily for visitation. The Bear Alcove and Roasting Pit rock art areas are only open to the public when there are sufficient docents available.
For our annual spring fling, we chose Sedona, Arizona. We spent 7 days hiking trails around Sedona and a day hiking the Grand Canyon's South Rim. The highlight of our trip was spending 4 days on the trails with Larry and Shermane who we met last year at The Citadel Ruin on Cedar Mesa. They graciously opened their home to us and showed us Sedona area sites that the average tourist would never know about.
Wake Forest University School of Business held a faculty panel discussion for the new MA students as part of their orientation process 7/8/16
In heel Europa worden citizens’ panels georganiseerd in aanloop naar de Europese verkiezingen in mei. Wat vind jij dat er op de agenda moet als het gaat om jouw data? Biedt de digitalisering nieuwe mogelijkheden of zie je vooral de keerzijden?
Meer informatie over dit event vind je hier: waag.org/nl/event/citizens-panel-amsterdam
The Northwest Roof Tile and Metal FF100 (Snap-Lock Panel) offers a sleek 1" rib profile design, without compromising performance. Offered in a variety of widths including 12", 16" and 17". This panel is the perfect solution for residental and light commercial roof applications. With its integrated clip system, it eliminates the need for costly clips and saves on labor. This is the most economical panel available today. Available in striated, smooth or offset ribs. UL60
2012 Course for Sustainability
„Living laboratories: Resilience and sustainability of municipalities“
December 5, 2012
Panel discussion: the Subsidiarity of Precaution.
Protection from the federal and national level for local communities.
What are the actions that are best organized and done at the country and international level, (and which if taken/done properly, would take off this burden from the local level, freeing resources to be used for the next priority)?
In principle, theoretically speaking, what would be the types of action/help the local level should rightly expect?
De facto, is there such help available and what it is?
Dr Zoltan Illes, State Min for Env, HU.
Ramona Trovato, Associate Assistant Administrator, US EPA.
Nicholas Hanley, Head of Unit International Relations and Enlargement, DG ENVI, EC.
Chair: Stefania Romano, Ministry for the Environment, Land and Sea, Italy.
Candidatos por la Circunscripciòn No. 1, explican sus propuestasn legislativas. en un encuentro organizado por UNAPEC para sus estudiantes, profesores, personal administrativo y pùblica en general.
All images in this album are renderings.
Select renderings show customs items which would need to be individually quoted by project.
Finish Disclaimer:
No details on finishes can be provided. Finishes on computer screens can appear different than in person. Dealers should order samples through the Dealer Resource Center (DRC) to determine what works best for their needs.
The panel is installed and the temp sensors are registering correctly. I'll figure out the Volt meter issue eventually. It's not really necessary. I just thought it looked cool in the original instructions.
2015 Woodstock Film Festival Women in Film and Media PANEL:
Enough, Already! Changing the Status of
Women in Film and Television with Amy Hobby, Rose McGowan, Leah Meyerhoff, Rachel Watanabe-Batton, and moderator Alexis Alexanian. Photo by Anjali Bermain
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after the screening, the cast members, writers, and producer(s) participated in a panel. everyone was fantastic!
Resurrection Story with Patrons - 2017
Kara Walker - born 1969
In Resurrection Story with Patrons, Kara Walker reimagines a genre of Medieval and Renaissance altarpieces in which a central panel is flanked on either side by portraits of the work’s commissioners, who were often powerful and influential patrons of the arts. Unlike their historical predecessors, the couple in Walker’s three-part composition appear to be African American and are visually similar to the black residents of the antebellum South that populate the artist’s large-scale installations, films, and other works on paper. Here, the central image is also unusual: as opposed to the traditional gathering of saints or a biblical scene, it depicts the raising of a colossal statue of a naked black woman by the sea. The triptych’s title, Resurrection Story with Patrons, further confounds the narrative: Is the figure here one that has fallen and is being resurrected in front of our eyes, or is it being newly erected, only to require resurrection in the future? Ultimately, the many ambiguities and contradictions inherent in this work convey the complex lived reality and cultural representation of African Americans today, “alternating between captor and redeemer,” as Walker has said in her own words.
Resurrection Story with Patrons expands on Kara Walker’s celebrated repertoire of cut-paper silhouettes of the antebellum South with a narrative triptych, a pictorial format common to the Christian altarpiece tradition. Though best known for her uncompromising depictions of the horrors of slavery in the United States, here Walker presents a message of hope and redemption, albeit within an ambiguous and contradictory narrative that poses as many questions as it answers. The central panel depicts a seaside scene in which several small, silhouetted figures use ropes to raise an excavated colossal statue of a naked Black woman. In the side panels, a male and a female figure wearing 18th-century attire appear in reverse silhouette, signifying patrons who would typically appear in a traditional altarpiece commission. Walker unifies the scenes with slanting timbers that traverse the triptych and may reference the carried cross, the wrecked frames of a ship, and architectural beams. With references to Christian iconography and martyrdom, Walker encourages reflection on the relevance of memorials and monuments, particularly those honoring the Confederacy, and how such objects shape experience and contribute to the persistence of racism in the United States.
collections.artsmia.org/art/128393/resurrection-story-wit...
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With Passion and Purpose
Gifts from the Collection of Larry D. and Brenda A. Thompson
June 7 - October 5, 2025
Locations East Building, Mezzanine — Gallery 214
See standout works by Black artists from the past century, newly gifted to the Nation.
For over four decades, Larry D. and Brenda A. Thompson have championed the work of Black artists. They have supported exhibitions and scholarship as they built a remarkable collection that spans 100 years of Black creativity in America.
This exhibition celebrates the recent and promised gifts of 175 works from the Thompsons to the National Gallery—the largest group of objects by Black artists to enter our collection at one time. Explore more than 60 paintings, sculpture, drawings, and prints organized in sections around themes of music and abstraction, figuration and portraiture, civil rights and social politics, as well as landscape and transcultural connections and influences.
Works range from a captivating portrait by Beauford Delaney and lyrical abstractions by Mildred Thompson to a towering allegorical woodcut by Alison Saar and an intricate sculpture of found objects by vanessa german. Enjoy works by renowned artists—Jacob Lawrence, Archibald Motley, and Kara Walker—and discover artists you may not yet know, such as Camille Billops, Vivian Browne, Moe Brooker, and Alonzo Davis.
www.nga.gov/exhibitions/passion-and-purpose
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"In April of this year, the National Gallery of Art in Washington, DC announced that it received a substantial gift of more than one hundred seventy artworks by Black American artists from art collectors Larry D. and Brenda A. Thompson. “The breadth of artistic achievement across media and styles in this transformative gift enriches the story of American art that we can share with our visitors,” Kaywin Feldman, director of the National Gallery of Art, stated in the press release. The National Gallery of Art collection includes one hundred sixty thousand artworks that span the history of Western art from the Middle Ages to the contemporary moment, but although the collection covers a huge period of time, its holdings are not as diverse as the people who live and work in the Western world. The Thompsons’ gift is the largest gift of Black art the museum has ever received, and because Western art is so heavily Eurocentric, the Thompsons’ gift is, indeed, “transformative”—and vital.
The exhibition With Passion and Purpose: Gifts from the Collection of Larry D. and Brenda A. Thompson, on view at the museum until October 5, features sixty paintings and sculptures from the collection. The donation spans one hundred years and features works by well-known artists, including Jacob Lawrence and Kara Walker, and more obscure artists like Moe Booker and Alonzo Davis. The collection is diverse in style, subject matter, and genre, featuring representational portraits to abstract paintings.
The four galleries that make up With Passion and Purpose are curated by Kanitra Fletcher, associate curator of African American and Afro-Diasporic Art; Shelley Langdale, curator and head of the department of modern prints and drawings; Claudia Watts, research assistant; and Emily Wehby, curatorial assistant, all of the National Gallery of Art. Vibrant abstract works greet the viewer upon arrival, setting up for a dynamic exhibition of varied artistic styles and subjects. While many artworks express narratives about Black America, not all of them take on such an arduous task; others celebrate beauty and joy. Artworks like Mento, 1968 by Mavis Pusey and Untitled, 1971 by Daniel LaRue Johnson exude the transformative nature of the post-civil rights moment they were created in. Other artworks like Sweeping Beauty, 1997 by Alison Saar and New York Rail, 1993 by Radcliffe Bailey illustrate Black life by expressing narratives that speak to harsh historical realities.
Sweeping Beauty, a woodcut on Okawara Natural Paper, depicts the figure of a pregnant nude woman positioned upside down, rendered in yellow pigment against a red and black background. The play on the classic children’s story Sleeping Beauty is evident, but Saar subverts the stereotypical female figure who is required to be chaste and dainty. The bold colors defy misogynist desires for women to be demure. For Black women, being modest was not always a choice, as from the time African women stepped onto American soil in the 1600s, they were relegated to chattel, and poked, prodded, and examined as such. Saar’s artwork of the nude figure might be also reckoning with the reality that Black women for so long were domestics made to clean and sweep. In these roles, Black women were not respected for their full humanity, and they were often forced to succumb to unwanted advances from their enslavers and bosses. Saar’s artwork is layered: her depiction of a fertility goddess highlights the notion that Black women birthed a workforce, and the figure’s hair sweeping the floor alludes to domestic servitude.
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With Passion and Purpose: Black Collectors Complicate Western Art Culture
on artessay
Shantay Robinson
Alison Saar
Sweeping Beauty,1997
3-color woodcut on Okawara Natural Paper
overall: 193.04 × 83.82 cm (76 × 33 in.)
National Gallery of Art, Promised Gift of Larry D. and Brenda A. Thompson
© Alison Saar. Courtesy of L.A. Louver, Venice, CA
In April of this year, the National Gallery of Art in Washington, DC announced that it received a substantial gift of more than one hundred seventy artworks by Black American artists from art collectors Larry D. and Brenda A. Thompson. “The breadth of artistic achievement across media and styles in this transformative gift enriches the story of American art that we can share with our visitors,” Kaywin Feldman, director of the National Gallery of Art, stated in the press release. The National Gallery of Art collection includes one hundred sixty thousand artworks that span the history of Western art from the Middle Ages to the contemporary moment, but although the collection covers a huge period of time, its holdings are not as diverse as the people who live and work in the Western world. The Thompsons’ gift is the largest gift of Black art the museum has ever received, and because Western art is so heavily Eurocentric, the Thompsons’ gift is, indeed, “transformative”—and vital.
The exhibition With Passion and Purpose: Gifts from the Collection of Larry D. and Brenda A. Thompson, on view at the museum until October 5, features sixty paintings and sculptures from the collection. The donation spans one hundred years and features works by well-known artists, including Jacob Lawrence and Kara Walker, and more obscure artists like Moe Booker and Alonzo Davis. The collection is diverse in style, subject matter, and genre, featuring representational portraits to abstract paintings.
The four galleries that make up With Passion and Purpose are curated by Kanitra Fletcher, associate curator of African American and Afro-Diasporic Art; Shelley Langdale, curator and head of the department of modern prints and drawings; Claudia Watts, research assistant; and Emily Wehby, curatorial assistant, all of the National Gallery of Art. Vibrant abstract works greet the viewer upon arrival, setting up for a dynamic exhibition of varied artistic styles and subjects. While many artworks express narratives about Black America, not all of them take on such an arduous task; others celebrate beauty and joy. Artworks like Mento, 1968 by Mavis Pusey and Untitled, 1971 by Daniel LaRue Johnson exude the transformative nature of the post-civil rights moment they were created in. Other artworks like Sweeping Beauty, 1997 by Alison Saar and New York Rail, 1993 by Radcliffe Bailey illustrate Black life by expressing narratives that speak to harsh historical realities.
Sweeping Beauty, a woodcut on Okawara Natural Paper, depicts the figure of a pregnant nude woman positioned upside down, rendered in yellow pigment against a red and black background. The play on the classic children’s story Sleeping Beauty is evident, but Saar subverts the stereotypical female figure who is required to be chaste and dainty. The bold colors defy misogynist desires for women to be demure. For Black women, being modest was not always a choice, as from the time African women stepped onto American soil in the 1600s, they were relegated to chattel, and poked, prodded, and examined as such. Saar’s artwork of the nude figure might be also reckoning with the reality that Black women for so long were domestics made to clean and sweep. In these roles, Black women were not respected for their full humanity, and they were often forced to succumb to unwanted advances from their enslavers and bosses. Saar’s artwork is layered: her depiction of a fertility goddess highlights the notion that Black women birthed a workforce, and the figure’s hair sweeping the floor alludes to domestic servitude.
Radcliffe Bailey
NY Rail (Transportation), 1993
cut-and-pasted offset printed paper and painted paper, acrylic paint, and blue crayon on wove paper
sheet: 45.8 x 58.9 cm (18 1/16 x 23 3/16 in.)
National Gallery of Art, Gift of Larry D. and Brenda A. Thompson
2023.145.14
Radcliffe Bailey, who passed away in 2023 and is known for telling Black American narratives through his artwork, is represented here by the six separate paintings that make up his NY Rail. Like Jacob Lawrence’s Migration Series, this artwork depicts the migration of Black people from the south and the Caribbean to parts of the United States. For NY Rail (Transportation), Bailey uses an archival photograph of Black people boarding a train, overlayed with a grid of colorful acrylic paint and a depiction of tree limbs with leaves. In NY Rail (Boats Arriving), he paints three and a half row boats, with the word “Mississippi,” “Jamaica,” and “Cuba” written on the sides of them, telling where and how Black people migrated. The background is in coordination with the other paintings in the series, as they incorporate the orange, blue, yellow, and green painted horizontal stripes depicting water and the landscape. In other artworks, NY Rail (Bird of Death) and NY Rail (Death of Infant), the artist illustrates the unfortunate trials faced during the migration. Though optimism drove the migrants, they still faced challenges that led to death in Northern cities, from mob violence to unhealthy environments in ghettos.
Without the stewardship of Black art collectors from the beginning of the early twentieth century when Black art burgeoned due to the New Negro Movement, commonly known as the Harlem Renaissance, the preservation of Black art would not have happened, and the art would be lost. During the early twentieth century, instead of exhibiting in downtown New York museums and galleries, Black artists exhibited their work in libraries, churches, and private homes. In 1921, the 135th Street Branch of the New York Public Library in Harlem held its first exhibition by African American artists. The library became a focal point for the Harlem Renaissance. Today, the library is known as the Schomburg Center for Research in Black Culture, after Arturo Alfonso Schomburg, who was fundamental to the movement and in 1926 contributed his collection of more than four thousand books to the library for $10,000 furnished by the Carnegie Corporation. Black American artists were excluded from the art establishment largely until the mid to late twentieth century when postmodern conceptual art started to become popular. Because of this exclusion, museum collections around the country lack art that represents historical Black narratives. But today, museums are beginning to acquire art that fills the historical gaps in their collections through the generosity of collectors like the Thompsons, University of Georgia emeritus trustees, who have been collecting art since 1980. In 2011, they donated one hundred artworks to the Georgia Museum of Art, and in 2008, they gifted thirty nine artworks to the David C. Driskell Center at the University of Maryland, College Park. Collectors Walter O. and Linda Evans, who hold one of the largest collections of Black art, gifted the Telfair Museums thirty artworks; Seteria and Najee Dorsey, founders of Black Art in America, gifted the Columbus Museum fifteen artworks; and Constance E. Clayton, an educator and civic leader who collected Black art over fifty years, gifted the Pennsylvania Academy of Fine Art more than seventy artworks.
Without Black art collectors, so much of the artwork by Black artists would be forgotten. With the loss of the physical art, the impalpable sensibilities of Black life throughout varied stages of history would not be preserved. Black collectors have cared for their collections and also contributed to the dissemination of the art and ideas through gifts to institutions that benefit from the inclusion of Black history. These Black collectors who steward Black art are making judgments on what should be preserved in a field that is dominated by western culture’s Eurocentric gaze. And though Black collectors have gifted historically Black institutions, including Clark Atlanta University, Hampton Unviersity, and Howard University, with artworks throughout African American art’s history, it is notable that the Thompsons are Black collectors making a profound contribution to one of the most highly regarded collections in the United States—the National Gallery of Art.
Shantay Robinson, educator and art writer, lives in Northern Virginia. Her work has appeared regularly in ARTnews, Smithsonian Magazine, Black Art in America, and other notable publications where she primarily writes about Black Art. She holds a PhD in Writing and Rhetoric from George Mason University."
hopkinsreview.com/features/with-passion-and-purpose-shant...