Every Mind Matters: The Many Dimensions of Mental Illness

The Hill brings together lawmakers, mental health experts, and advocates to discuss these questions and more and explore why prioritizing mental health is intrinsically linked to good health overall.

The United States is facing an unprecedented mental health crisis as two in five American adults reported experiencing symptoms of anxiety and depression in 2021. Fortunately, the country has witnessed a positive sea change in recognizing the importance of mental health and self-care in recent years, but significant work still remains to create a system that recognizes the nuances and needs of those with mental illness.

 

Schizophrenia, major depressive disorder, generalized anxiety disease, and post-traumatic stress disorder are just some of the many conditions affecting the 1 in 20 Americans experiencing serious mental illness today. The generalization of these disorders extends beyond everyday vernacular as one-size-fits-all policies, drugs and treatments continue to fail patients. Even when services are available, barriers like cost, cultural bias, and inconvenience often prevent people from accessing the care they need.

How can we break down the stigma associated with mental illness? How can we build a comprehensive care system to support all individuals affected by it?

LOCATION

In person at National Press Club Holeman Lounge, 529 14th St. NW, 13th Floor, Washington, DC 20045 & streaming nationally

 

DATE & TIME

Wednesday, October 18

8:00 AM – 10:00 AM ET

 

Speakers:

 

Daniel Gillison, CEO, National Alliance on Mental Illness (NAMI)

Dr. Joshua A. Gordon, Director, National Institute of Mental Health

Susan Gurley, Executive Director, Anxiety & Depression Association of America

Gabe Howard, “Inside Mental Health” Podcast Host, Author, Speaker

Dafna Michaelson Jenet, Colorado State Senator (CO-21)

Rep. Lisa McClain (R-MI), Co-Chair, Task Force on Mental Health & Substance Use Disorder

Rep. David Trone

THE JOHNSON COLLECTION - A Private Collection for Public Good

 

thejohnsoncollection.org/the-collection/

 

Sharing the art it stewards with communities across the country is The Johnson Collection’s essential purpose and propels our daily work. Much more than a physical place, TJC seeks to be a presence in American art, prioritizing access over location. Since 2013, the collection’s touring exhibitions have been loaned twenty-five times, placed without fee in partner museums with a combined annual attendance of over 1.2 million visitors. In its showcase of over 1,000 objects, TJC’s website functions as a digital museum, available anywhere and anytime.

 

What began as an interest in paintings by Carolina artists in 2002 has grown to encompass over 1,400 objects with provenances that span the centuries and chronicle the cultural evolution of the American South.

 

Today, The Johnson Collection counts iconic masterworks among its holdings, as well as representative pieces by an astonishing depth and breadth of artists, native and visiting, whose lives and legacies form the foundation of Southern art history. From William D. Washington’s The Burial of Latané to Malvin Gray Johnson’s Roll Jordan Roll, the collection embraces the region’s rich history and confronts its complexities, past and present.

 

.The contributions of women artists, ranging from Helen Turner—only the fourth woman elected to full membership in the National Academy of Design in 1921—to Alma Thomas—the first African American woman to have a solo exhibition at a major national museum in 1972—are accorded overdue attention, most notably in TJC's most recent publication and companion exhibition, Central to Their Lives: Southern Women Artists in the Johnson Collection. Landmark works by American artists of African descent such as Benny Andrews, Romare Bearden, Elizabeth Catlett, Aaron Douglas, William H. Johnson, Leo Twiggs, and Hale Woodruff pay homage to their makers' barrier-defying accomplishments. Modern paintings, prints, collages, and sculpture created by internationally renowned artists associated with the experimental arts enclave of Black Mountain College, including Josef Albers, Ruth Asawa, Ilya Bolotowsky, Elaine de Kooning, Robert Motherwell, Kenneth Noland, and Robert Rauschenberg highlight the North Carolina school's geographic proximity to the collection's home.

 

Hailed by The Magazine Antiques as having staged a "quiet art historical revolution" and expanding "the meaning of regional," The Johnson Collection heralds the pivotal role that art of the South plays in the national narrative. To that end, the collection's ambitious publication and exhibition strategies extend far beyond a single city's limit or a territorial divide.

 

Since 2012, TJC has produced four significant scholarly books—thoroughly researched and beautifully illustrated investigations of Southern art time periods, artists, and themes: Romantic Spirits: Nineteenth Century Paintings of the South (2012); From New York to Nebo: The Artistic Journey of Eugene Thomason (2014); Scenic Impressions: Southern Interpretations from the Johnson Collection (2015); and Central to Their Lives: Southern Women Artists in the Johnson Collection (2018). These volumes are accompanied by traveling exhibitions that have been loaned without fee to partner museums with a combined annual attendance of over 1.7 million visitors.

 

Smaller curated presentations rotate at the collection's hometown exhibition space, TJC Gallery. Individual objects are regularly made available for critical exhibitions such as La Biennale di Venezia, Afro-Atlantic Histories, Outliers and American Vanguard Art, Leap Before You Look: Black Mountain College, 1933-1957, Alma W. Thomas: Everything is Beautiful, Riffs and Relations: African American Artists and the European Modernist Tradition, and Bold, Cautious, True: Walt Whitman and American Art of the Civil War Era and featured in important publications and catalogues, including The New Encyclopedia of Southern Culture: Art & Architecture, and The Civil War and American Art.

 

In 2016, the state of South Carolina honored The Johnson Collection with the Governor’s Award for the Arts, its highest arts distinction. The commendation paid tribute to the Johnson family's enduring contributions: "Equally dedicated to arts advancement and arts accessibility, the Johnsons generously share their vision, energy, passion and resources to benefit the arts in South Carolina."

 

"Who can say what ignites a passion? Was it those three red roses frozen in blue? An awakened connection to one's geographical roots? Perhaps the familiarity of the road to Nebo? The nucleus of what was to become our collection was formed by such seemingly unrelated catalysts. Looking back, it was always the sense of place that drew George and me to beautiful pictures—pictures that capture not only the glorious landscape of the South, but that also enliven its unique culture and dynamic history." ~Susu Johnson, Chief Executive Officer

Adam Whitney - (American, born 1982)

 

EMU Rhyton - 2021

 

aw-metalsmith.com/adam-whitney

 

It is always the complexity of an object that attracts and inspires me, and the complexity of an object that I want to achieve in its final form.

 

Achievement in metalsmithing happens, if at all, at a glacial pace. Around 2017, after some time teaching in Malaysia and returning to my family home in Vermont, I began to prioritize my studio practice, moving energetically away from production and collaboration work, challenging myself to reach the highest level I could in my techniques: raising, chasing, and repoussé. With this intention, I organized a lifestyle that freed up my time to work in my studio and take advantage of residencies. In this new mode, I started making the first two in what would become a five-piece series of Sea Monster Stirrup Cups. It was at this point that I began to commit to myself as an artist.

 

I had become fascinated by the sea monsters drawn by cartographers on 16th and 17th century maps, illustrating the real and imagined properties of what dwelled in the ocean. The stirrup cup, otherwise known as a parting or hunting cup, was served to the hunter or traveler (still on horseback, in his stirrups), and typically made in the shape of an animal to be hunted. The fear of the unknown, taking a risk and departing in a new direction (leaving my production work, focusing on art, and eventually starting my three-year residency at Penland) is embodied in this work. Over the next three years, I created four silver cups. I will eventually complete the final one in gold.

 

What I make and how I make it takes many intensive labor hours of hammering, unwieldy and difficult-to-acquire equipment, space, high material expense, and physical toll. Therefore the objects that I choose to create mean a great deal to me. Manifesting them is a years-long proposition. By the time I am ready to make the final iteration, I know the dance exactly, and know how the material will neither lose or be added to in mass in its crafting. The Stirrup Cups are just one example, and they provide an insight into my studio life, which is populated by both finished volumetric objects and the numbered copper multiples that I have crafted along the way to the final object whose making has been calibrated exactly. Therefore any form I make has to be honest to me, somehow, and each one, in series, is that.

______________________________________________

 

"Mint Museum Uptown houses the internationally renowned Craft + Design collection, as well as outstanding collections of American and contemporary art.

 

Designed by Machado and Silvetti Associates of Boston, the five-story, 145,000-square-foot facility combines inspiring architecture with cutting-edge exhibitions to provide visitors with unparalleled educational and cultural experiences.

 

Located in the heart of Charlotte’s burgeoning city center, Mint Museum Uptown is an integral part of the Levine Center for the Arts, a cultural campus that includes the Bechtler Museum of Modern Art, the Harvey B. Gantt Center for African-American Arts and Culture, the Knight Theater, and the Duke Energy Center. Mint Museum Uptown also features a wide range of visitor amenities, including the 240-seat James B. Duke Auditorium, the Lewis Family Gallery, art studios, a restaurant, and a museum store.

 

www.mintmuseum.org/plan-your-visit/

....

The Mint Museum is the largest visual arts institution in Charlotte and holds the largest public collection of Charlotte-born artist Romare Bearden's work.

 

The American Art collection comprises approximately 900 works created between the late 1700s and circa 1945. It includes portraiture of the Federal era, 19th century landscapes, and paintings from the group known as "The Eight" (Robert Henri, George Luks, William Glackens, John Sloan, Everett Shinn, Maurice Prendergast, Ernest Lawson, and Arthur Bowen Davies). Additional highlights in this area include works by John Singleton Copley, Gilbert Stuart, Thomas Sully, and Hudson River School painters Thomas Cole and Sanford Gifford.

 

The Art of the Ancient Americas collection includes roughly 2,000 objects from more than 40 cultures, spanning more than 4,500 years. The collection includes body adornments, tools, ceramic vessels, sculpture, textiles, and metal ornaments.

 

There are about 2,230 objects in the Mint's collection of Contemporary Art. These include the Bearden collection and other works on paper, contemporary sculpture, and photography from circa 1945 to the present.

 

The Mint's Decorative Arts collection, considered one of the finest in the country, centers on its holdings in ceramics. Containing more than 12,000 objects from 2000 B.C. to 1950 A.D., the collection includes a wide variety of ancient Chinese ceramics, 18th century European and English wares, American art pottery, and North Carolina pottery. The Mint has the largest and most comprehensive collection of North Carolina pottery in the nation. Its collection of North Carolina pottery comprises some 2,200 objects, dating from the 1700s.

 

The museum's Delhom collection, given to the Mint in 1966, contains 2,000 pieces of historic pottery and porcelain, as well as pre-Columbian pieces that are more than 4,500 years old.

 

Almost 10,000 items of men's, women's, and children's fashions from the early 18th century to present-day haute couture are included in the museum's collection of Historic Costume and Fashionable Dress, which approaches fashion as an art form.

 

en.wikipedia.org/wiki/Mint_Museum

.

 

Hey guys, there's a brand-new fitness app for your gym training. If you've ever looked for an app that really cares about your needs, such as muscle prioritization or frequency of training sessions and more, this is the app you're looking for. Have fun and good progress for … (via Twitter twitter.com/BestProteinPow/status/959476564307120130)

May 10, 2024 Record-breaking expansion of mental health services

Today’s “Flight Path to Wellness: Prioritizing Mental Health in Aviation” panel at Communicating For Safety (CFS) 2024 tackled the critical issue of mental health within the aviation industry. The session was moderated by NATCA Executive Vice President Andrew LeBovidge, who has advocated for improving mental health support for aviation professionals. LeBovidge emphasized the importance of overcoming barriers such as fear, lack of trust, and financial uncertainty that often prevent individuals from seeking the care they need.

 

The panel included Air Line Pilot Association, Int’l (ALPA) Peer Support and Pilot Assistance Chair Travis Ludwig, AMAS Aviation Medical Advisory Service Dr. Kurt McCartney, Allied Pilots Association (APA) Flight Standard First Officer Evan MacPhee, and FAA Federal Air Surgeon Dr. Susan Northrup. They discussed challenges faced by pilots and air traffic controllers, the importance of peer support, and the role of medical professionals in ensuring the well-being of those working in high-stress aviation environments.

 

This panel underscored the necessity of prioritizing mental health within the aviation industry, offering #NATCACFS 2024 attendees practical strategies to support their own well-being and that of their colleagues.

 

#1u #UnionsForAll #Unions #Labor #LaborUnions #UnionStrong #Unionize #Essential #aviation #ATC #NATCAfamily #NATCAStrong #AirTrafficControllers #NATCA #NATCAproud #weguideyouhome #strongertogether #solidarity

THE JOHNSON COLLECTION - A Private Collection for Public Good

 

thejohnsoncollection.org/the-collection/

 

Sharing the art it stewards with communities across the country is The Johnson Collection’s essential purpose and propels our daily work. Much more than a physical place, TJC seeks to be a presence in American art, prioritizing access over location. Since 2013, the collection’s touring exhibitions have been loaned twenty-five times, placed without fee in partner museums with a combined annual attendance of over 1.2 million visitors. In its showcase of over 1,000 objects, TJC’s website functions as a digital museum, available anywhere and anytime.

 

What began as an interest in paintings by Carolina artists in 2002 has grown to encompass over 1,400 objects with provenances that span the centuries and chronicle the cultural evolution of the American South.

 

Today, The Johnson Collection counts iconic masterworks among its holdings, as well as representative pieces by an astonishing depth and breadth of artists, native and visiting, whose lives and legacies form the foundation of Southern art history. From William D. Washington’s The Burial of Latané to Malvin Gray Johnson’s Roll Jordan Roll, the collection embraces the region’s rich history and confronts its complexities, past and present.

 

.The contributions of women artists, ranging from Helen Turner—only the fourth woman elected to full membership in the National Academy of Design in 1921—to Alma Thomas—the first African American woman to have a solo exhibition at a major national museum in 1972—are accorded overdue attention, most notably in TJC's most recent publication and companion exhibition, Central to Their Lives: Southern Women Artists in the Johnson Collection. Landmark works by American artists of African descent such as Benny Andrews, Romare Bearden, Elizabeth Catlett, Aaron Douglas, William H. Johnson, Leo Twiggs, and Hale Woodruff pay homage to their makers' barrier-defying accomplishments. Modern paintings, prints, collages, and sculpture created by internationally renowned artists associated with the experimental arts enclave of Black Mountain College, including Josef Albers, Ruth Asawa, Ilya Bolotowsky, Elaine de Kooning, Robert Motherwell, Kenneth Noland, and Robert Rauschenberg highlight the North Carolina school's geographic proximity to the collection's home.

 

Hailed by The Magazine Antiques as having staged a "quiet art historical revolution" and expanding "the meaning of regional," The Johnson Collection heralds the pivotal role that art of the South plays in the national narrative. To that end, the collection's ambitious publication and exhibition strategies extend far beyond a single city's limit or a territorial divide.

 

Since 2012, TJC has produced four significant scholarly books—thoroughly researched and beautifully illustrated investigations of Southern art time periods, artists, and themes: Romantic Spirits: Nineteenth Century Paintings of the South (2012); From New York to Nebo: The Artistic Journey of Eugene Thomason (2014); Scenic Impressions: Southern Interpretations from the Johnson Collection (2015); and Central to Their Lives: Southern Women Artists in the Johnson Collection (2018). These volumes are accompanied by traveling exhibitions that have been loaned without fee to partner museums with a combined annual attendance of over 1.7 million visitors.

 

Smaller curated presentations rotate at the collection's hometown exhibition space, TJC Gallery. Individual objects are regularly made available for critical exhibitions such as La Biennale di Venezia, Afro-Atlantic Histories, Outliers and American Vanguard Art, Leap Before You Look: Black Mountain College, 1933-1957, Alma W. Thomas: Everything is Beautiful, Riffs and Relations: African American Artists and the European Modernist Tradition, and Bold, Cautious, True: Walt Whitman and American Art of the Civil War Era and featured in important publications and catalogues, including The New Encyclopedia of Southern Culture: Art & Architecture, and The Civil War and American Art.

 

In 2016, the state of South Carolina honored The Johnson Collection with the Governor’s Award for the Arts, its highest arts distinction. The commendation paid tribute to the Johnson family's enduring contributions: "Equally dedicated to arts advancement and arts accessibility, the Johnsons generously share their vision, energy, passion and resources to benefit the arts in South Carolina."

 

"Who can say what ignites a passion? Was it those three red roses frozen in blue? An awakened connection to one's geographical roots? Perhaps the familiarity of the road to Nebo? The nucleus of what was to become our collection was formed by such seemingly unrelated catalysts. Looking back, it was always the sense of place that drew George and me to beautiful pictures—pictures that capture not only the glorious landscape of the South, but that also enliven its unique culture and dynamic history." ~Susu Johnson, Chief Executive Officer

The Community Archiving Workshop prioritized collections centering Native Hawaiian culture and history, as well as prioritizing workshop volunteers with Native Hawaiian or other Indigenous ancestry. We partnered with the Lāna'i Culture & Heritage Center and the Ka Ipu Makani Cultural Heritage Center, with support from the ʻUluʻulu: The Henry Kuʻualoha Giugni Moving Image Archive.

TTHE JOHNSON COLLECTION - A Private Collection for Public Good

 

thejohnsoncollection.org/the-collection/

 

Sharing the art it stewards with communities across the country is The Johnson Collection’s essential purpose and propels our daily work. Much more than a physical place, TJC seeks to be a presence in American art, prioritizing access over location. Since 2013, the collection’s touring exhibitions have been loaned twenty-five times, placed without fee in partner museums with a combined annual attendance of over 1.2 million visitors. In its showcase of over 1,000 objects, TJC’s website functions as a digital museum, available anywhere and anytime.

 

What began as an interest in paintings by Carolina artists in 2002 has grown to encompass over 1,400 objects with provenances that span the centuries and chronicle the cultural evolution of the American South.

 

Today, The Johnson Collection counts iconic masterworks among its holdings, as well as representative pieces by an astonishing depth and breadth of artists, native and visiting, whose lives and legacies form the foundation of Southern art history. From William D. Washington’s The Burial of Latané to Malvin Gray Johnson’s Roll Jordan Roll, the collection embraces the region’s rich history and confronts its complexities, past and present.

 

.The contributions of women artists, ranging from Helen Turner—only the fourth woman elected to full membership in the National Academy of Design in 1921—to Alma Thomas—the first African American woman to have a solo exhibition at a major national museum in 1972—are accorded overdue attention, most notably in TJC's most recent publication and companion exhibition, Central to Their Lives: Southern Women Artists in the Johnson Collection. Landmark works by American artists of African descent such as Benny Andrews, Romare Bearden, Elizabeth Catlett, Aaron Douglas, William H. Johnson, Leo Twiggs, and Hale Woodruff pay homage to their makers' barrier-defying accomplishments. Modern paintings, prints, collages, and sculpture created by internationally renowned artists associated with the experimental arts enclave of Black Mountain College, including Josef Albers, Ruth Asawa, Ilya Bolotowsky, Elaine de Kooning, Robert Motherwell, Kenneth Noland, and Robert Rauschenberg highlight the North Carolina school's geographic proximity to the collection's home.

 

Hailed by The Magazine Antiques as having staged a "quiet art historical revolution" and expanding "the meaning of regional," The Johnson Collection heralds the pivotal role that art of the South plays in the national narrative. To that end, the collection's ambitious publication and exhibition strategies extend far beyond a single city's limit or a territorial divide.

 

Since 2012, TJC has produced four significant scholarly books—thoroughly researched and beautifully illustrated investigations of Southern art time periods, artists, and themes: Romantic Spirits: Nineteenth Century Paintings of the South (2012); From New York to Nebo: The Artistic Journey of Eugene Thomason (2014); Scenic Impressions: Southern Interpretations from the Johnson Collection (2015); and Central to Their Lives: Southern Women Artists in the Johnson Collection (2018). These volumes are accompanied by traveling exhibitions that have been loaned without fee to partner museums with a combined annual attendance of over 1.7 million visitors.

 

Smaller curated presentations rotate at the collection's hometown exhibition space, TJC Gallery. Individual objects are regularly made available for critical exhibitions such as La Biennale di Venezia, Afro-Atlantic Histories, Outliers and American Vanguard Art, Leap Before You Look: Black Mountain College, 1933-1957, Alma W. Thomas: Everything is Beautiful, Riffs and Relations: African American Artists and the European Modernist Tradition, and Bold, Cautious, True: Walt Whitman and American Art of the Civil War Era and featured in important publications and catalogues, including The New Encyclopedia of Southern Culture: Art & Architecture, and The Civil War and American Art.

 

In 2016, the state of South Carolina honored The Johnson Collection with the Governor’s Award for the Arts, its highest arts distinction. The commendation paid tribute to the Johnson family's enduring contributions: "Equally dedicated to arts advancement and arts accessibility, the Johnsons generously share their vision, energy, passion and resources to benefit the arts in South Carolina."

 

"Who can say what ignites a passion? Was it those three red roses frozen in blue? An awakened connection to one's geographical roots? Perhaps the familiarity of the road to Nebo? The nucleus of what was to become our collection was formed by such seemingly unrelated catalysts. Looking back, it was always the sense of place that drew George and me to beautiful pictures—pictures that capture not only the glorious landscape of the South, but that also enliven its unique culture and dynamic history." ~Susu Johnson, Chief Executive Officer

Design a visual way to prioritize time.

Design a visual way to prioritize time.

Design a visual way to prioritize time.

Design a visual way to prioritize time.

Design a visual way to prioritize time.

Design a visual way to prioritize time.

Design a visual way to prioritize time.

Today’s “Flight Path to Wellness: Prioritizing Mental Health in Aviation” panel at Communicating For Safety (CFS) 2024 tackled the critical issue of mental health within the aviation industry. The session was moderated by NATCA Executive Vice President Andrew LeBovidge, who has advocated for improving mental health support for aviation professionals. LeBovidge emphasized the importance of overcoming barriers such as fear, lack of trust, and financial uncertainty that often prevent individuals from seeking the care they need.

 

The panel included Air Line Pilot Association, Int’l (ALPA) Peer Support and Pilot Assistance Chair Travis Ludwig, AMAS Aviation Medical Advisory Service Dr. Kurt McCartney, Allied Pilots Association (APA) Flight Standard First Officer Evan MacPhee, and FAA Federal Air Surgeon Dr. Susan Northrup. They discussed challenges faced by pilots and air traffic controllers, the importance of peer support, and the role of medical professionals in ensuring the well-being of those working in high-stress aviation environments.

 

This panel underscored the necessity of prioritizing mental health within the aviation industry, offering #NATCACFS 2024 attendees practical strategies to support their own well-being and that of their colleagues.

 

Grieve today, if grief is in your heart.

 

Give yourself permission; you need no one else's but your own.

 

Grieve today, but tomorrow, get up. Get up and start making a plan. I'll give you three things to prioritize immediately, and a fourth to think about, long term:

 

First things first: Take care of your mental health, and take care of your body. Start sleeping better. Start drinking less. Start eating better. Do whatever you can to get your mind and your body right. If you're not sure how, seek support. Now is the time. Encourage your friends and loved ones to do the same.

 

Second: Make no large purchases. Save every dollar you can spare, because an economic collapse is coming. Tariffs will push prices for everything higher. Donald Trump is putting Elon Musk in charge of government "efficiency," and Musk said the American people should expect hardship. Now is not the time to spend any money you don't have to.

 

Third: If you're a woman, stop using period tracker apps. Delete them, immediately. Republicans in red states have already been pushing to mandate tracking menstrual cycles as part of their push to criminalize abortion. Don't foolishly assume an app's data is secure. It's not. Those apps aren't fully open source (if they're open source at all) and you're not using them on an open source platform. That means you can't prove what the underlying code does, how it can be used, and who has access to it. In other words, your data isn't safe. Don't create data that could put your access to healthcare, and thus your health, at risk.

 

Fourth: Consider whether or not you need to relocate. Think long term. Republicans want to start tracking women's menstrual cycles. That cannot be overstated. Women are already dying in red states because they're being denied life saving healthcare due to pregnancy. Red states have already begun to ramp up legalized discrimination against women, gays, Jews... pretty much any minorities. If Project 2025 is implemented, it is absolutely possible, if not predictable, that our country will break apart. Where do you want to be, if that happens? I fear we're at the dawn of an American Nazi movement, though it will be known by a different name. I wouldn't want to be in the south, where that movement is likely to feel the most emboldened.

 

This was not a regular election, and what's coming will not be politics as usual. It won't be politics at all.

 

Get your mind right. Do what you can to get your body right. Save every dollar you can in case of economic collapse. Figure out if where you are is where you need to be.

 

Make no rash decisions, but be clear eyed about what's coming.

 

Make a plan.

THE JOHNSON COLLECTION - A Private Collection for Public Good

 

thejohnsoncollection.org/the-collection/

 

Sharing the art it stewards with communities across the country is The Johnson Collection’s essential purpose and propels our daily work. Much more than a physical place, TJC seeks to be a presence in American art, prioritizing access over location. Since 2013, the collection’s touring exhibitions have been loaned twenty-five times, placed without fee in partner museums with a combined annual attendance of over 1.2 million visitors. In its showcase of over 1,000 objects, TJC’s website functions as a digital museum, available anywhere and anytime.

 

What began as an interest in paintings by Carolina artists in 2002 has grown to encompass over 1,400 objects with provenances that span the centuries and chronicle the cultural evolution of the American South.

 

Today, The Johnson Collection counts iconic masterworks among its holdings, as well as representative pieces by an astonishing depth and breadth of artists, native and visiting, whose lives and legacies form the foundation of Southern art history. From William D. Washington’s The Burial of Latané to Malvin Gray Johnson’s Roll Jordan Roll, the collection embraces the region’s rich history and confronts its complexities, past and present.

 

.The contributions of women artists, ranging from Helen Turner—only the fourth woman elected to full membership in the National Academy of Design in 1921—to Alma Thomas—the first African American woman to have a solo exhibition at a major national museum in 1972—are accorded overdue attention, most notably in TJC's most recent publication and companion exhibition, Central to Their Lives: Southern Women Artists in the Johnson Collection. Landmark works by American artists of African descent such as Benny Andrews, Romare Bearden, Elizabeth Catlett, Aaron Douglas, William H. Johnson, Leo Twiggs, and Hale Woodruff pay homage to their makers' barrier-defying accomplishments. Modern paintings, prints, collages, and sculpture created by internationally renowned artists associated with the experimental arts enclave of Black Mountain College, including Josef Albers, Ruth Asawa, Ilya Bolotowsky, Elaine de Kooning, Robert Motherwell, Kenneth Noland, and Robert Rauschenberg highlight the North Carolina school's geographic proximity to the collection's home.

 

Hailed by The Magazine Antiques as having staged a "quiet art historical revolution" and expanding "the meaning of regional," The Johnson Collection heralds the pivotal role that art of the South plays in the national narrative. To that end, the collection's ambitious publication and exhibition strategies extend far beyond a single city's limit or a territorial divide.

 

Since 2012, TJC has produced four significant scholarly books—thoroughly researched and beautifully illustrated investigations of Southern art time periods, artists, and themes: Romantic Spirits: Nineteenth Century Paintings of the South (2012); From New York to Nebo: The Artistic Journey of Eugene Thomason (2014); Scenic Impressions: Southern Interpretations from the Johnson Collection (2015); and Central to Their Lives: Southern Women Artists in the Johnson Collection (2018). These volumes are accompanied by traveling exhibitions that have been loaned without fee to partner museums with a combined annual attendance of over 1.7 million visitors.

 

Smaller curated presentations rotate at the collection's hometown exhibition space, TJC Gallery. Individual objects are regularly made available for critical exhibitions such as La Biennale di Venezia, Afro-Atlantic Histories, Outliers and American Vanguard Art, Leap Before You Look: Black Mountain College, 1933-1957, Alma W. Thomas: Everything is Beautiful, Riffs and Relations: African American Artists and the European Modernist Tradition, and Bold, Cautious, True: Walt Whitman and American Art of the Civil War Era and featured in important publications and catalogues, including The New Encyclopedia of Southern Culture: Art & Architecture, and The Civil War and American Art.

 

In 2016, the state of South Carolina honored The Johnson Collection with the Governor’s Award for the Arts, its highest arts distinction. The commendation paid tribute to the Johnson family's enduring contributions: "Equally dedicated to arts advancement and arts accessibility, the Johnsons generously share their vision, energy, passion and resources to benefit the arts in South Carolina."

 

"Who can say what ignites a passion? Was it those three red roses frozen in blue? An awakened connection to one's geographical roots? Perhaps the familiarity of the road to Nebo? The nucleus of what was to become our collection was formed by such seemingly unrelated catalysts. Looking back, it was always the sense of place that drew George and me to beautiful pictures—pictures that capture not only the glorious landscape of the South, but that also enliven its unique culture and dynamic history." ~Susu Johnson, Chief Executive Officer

HE JOHNSON COLLECTION - A Private Collection for Public Good

 

thejohnsoncollection.org/the-collection/

 

Sharing the art it stewards with communities across the country is The Johnson Collection’s essential purpose and propels our daily work. Much more than a physical place, TJC seeks to be a presence in American art, prioritizing access over location. Since 2013, the collection’s touring exhibitions have been loaned twenty-five times, placed without fee in partner museums with a combined annual attendance of over 1.2 million visitors. In its showcase of over 1,000 objects, TJC’s website functions as a digital museum, available anywhere and anytime.

 

What began as an interest in paintings by Carolina artists in 2002 has grown to encompass over 1,400 objects with provenances that span the centuries and chronicle the cultural evolution of the American South.

 

Today, The Johnson Collection counts iconic masterworks among its holdings, as well as representative pieces by an astonishing depth and breadth of artists, native and visiting, whose lives and legacies form the foundation of Southern art history. From William D. Washington’s The Burial of Latané to Malvin Gray Johnson’s Roll Jordan Roll, the collection embraces the region’s rich history and confronts its complexities, past and present.

 

.The contributions of women artists, ranging from Helen Turner—only the fourth woman elected to full membership in the National Academy of Design in 1921—to Alma Thomas—the first African American woman to have a solo exhibition at a major national museum in 1972—are accorded overdue attention, most notably in TJC's most recent publication and companion exhibition, Central to Their Lives: Southern Women Artists in the Johnson Collection. Landmark works by American artists of African descent such as Benny Andrews, Romare Bearden, Elizabeth Catlett, Aaron Douglas, William H. Johnson, Leo Twiggs, and Hale Woodruff pay homage to their makers' barrier-defying accomplishments. Modern paintings, prints, collages, and sculpture created by internationally renowned artists associated with the experimental arts enclave of Black Mountain College, including Josef Albers, Ruth Asawa, Ilya Bolotowsky, Elaine de Kooning, Robert Motherwell, Kenneth Noland, and Robert Rauschenberg highlight the North Carolina school's geographic proximity to the collection's home.

 

Hailed by The Magazine Antiques as having staged a "quiet art historical revolution" and expanding "the meaning of regional," The Johnson Collection heralds the pivotal role that art of the South plays in the national narrative. To that end, the collection's ambitious publication and exhibition strategies extend far beyond a single city's limit or a territorial divide.

 

Since 2012, TJC has produced four significant scholarly books—thoroughly researched and beautifully illustrated investigations of Southern art time periods, artists, and themes: Romantic Spirits: Nineteenth Century Paintings of the South (2012); From New York to Nebo: The Artistic Journey of Eugene Thomason (2014); Scenic Impressions: Southern Interpretations from the Johnson Collection (2015); and Central to Their Lives: Southern Women Artists in the Johnson Collection (2018). These volumes are accompanied by traveling exhibitions that have been loaned without fee to partner museums with a combined annual attendance of over 1.7 million visitors.

 

Smaller curated presentations rotate at the collection's hometown exhibition space, TJC Gallery. Individual objects are regularly made available for critical exhibitions such as La Biennale di Venezia, Afro-Atlantic Histories, Outliers and American Vanguard Art, Leap Before You Look: Black Mountain College, 1933-1957, Alma W. Thomas: Everything is Beautiful, Riffs and Relations: African American Artists and the European Modernist Tradition, and Bold, Cautious, True: Walt Whitman and American Art of the Civil War Era and featured in important publications and catalogues, including The New Encyclopedia of Southern Culture: Art & Architecture, and The Civil War and American Art.

 

In 2016, the state of South Carolina honored The Johnson Collection with the Governor’s Award for the Arts, its highest arts distinction. The commendation paid tribute to the Johnson family's enduring contributions: "Equally dedicated to arts advancement and arts accessibility, the Johnsons generously share their vision, energy, passion and resources to benefit the arts in South Carolina."

 

"Who can say what ignites a passion? Was it those three red roses frozen in blue? An awakened connection to one's geographical roots? Perhaps the familiarity of the road to Nebo? The nucleus of what was to become our collection was formed by such seemingly unrelated catalysts. Looking back, it was always the sense of place that drew George and me to beautiful pictures—pictures that capture not only the glorious landscape of the South, but that also enliven its unique culture and dynamic history." ~Susu Johnson, Chief Executive Officer

We had less than 12 hours in Singapore, so obviously we prioritized.

Every Mind Matters: The Many Dimensions of Mental Illness

The Hill brings together lawmakers, mental health experts, and advocates to discuss these questions and more and explore why prioritizing mental health is intrinsically linked to good health overall.

The United States is facing an unprecedented mental health crisis as two in five American adults reported experiencing symptoms of anxiety and depression in 2021. Fortunately, the country has witnessed a positive sea change in recognizing the importance of mental health and self-care in recent years, but significant work still remains to create a system that recognizes the nuances and needs of those with mental illness.

 

Schizophrenia, major depressive disorder, generalized anxiety disease, and post-traumatic stress disorder are just some of the many conditions affecting the 1 in 20 Americans experiencing serious mental illness today. The generalization of these disorders extends beyond everyday vernacular as one-size-fits-all policies, drugs and treatments continue to fail patients. Even when services are available, barriers like cost, cultural bias, and inconvenience often prevent people from accessing the care they need.

How can we break down the stigma associated with mental illness? How can we build a comprehensive care system to support all individuals affected by it?

LOCATION

In person at National Press Club Holeman Lounge, 529 14th St. NW, 13th Floor, Washington, DC 20045 & streaming nationally

 

DATE & TIME

Wednesday, October 18

8:00 AM – 10:00 AM ET

 

Speakers:

 

Daniel Gillison, CEO, National Alliance on Mental Illness (NAMI)

Dr. Joshua A. Gordon, Director, National Institute of Mental Health

Susan Gurley, Executive Director, Anxiety & Depression Association of America

Gabe Howard, “Inside Mental Health” Podcast Host, Author, Speaker

Dafna Michaelson Jenet, Colorado State Senator (CO-21)

Rep. Lisa McClain (R-MI), Co-Chair, Task Force on Mental Health & Substance Use Disorder

Rep. David Trone

The Community Archiving Workshop prioritized collections centering Native Hawaiian culture and history, as well as prioritizing workshop volunteers with Native Hawaiian or other Indigenous ancestry. We partnered with the Lāna'i Culture & Heritage Center and the Ka Ipu Makani Cultural Heritage Center, with support from the ʻUluʻulu: The Henry Kuʻualoha Giugni Moving Image Archive.

THE JOHNSON COLLECTION - A Private Collection for Public Good

 

thejohnsoncollection.org/the-collection/

 

Sharing the art it stewards with communities across the country is The Johnson Collection’s essential purpose and propels our daily work. Much more than a physical place, TJC seeks to be a presence in American art, prioritizing access over location. Since 2013, the collection’s touring exhibitions have been loaned twenty-five times, placed without fee in partner museums with a combined annual attendance of over 1.2 million visitors. In its showcase of over 1,000 objects, TJC’s website functions as a digital museum, available anywhere and anytime.

 

What began as an interest in paintings by Carolina artists in 2002 has grown to encompass over 1,400 objects with provenances that span the centuries and chronicle the cultural evolution of the American South.

 

Today, The Johnson Collection counts iconic masterworks among its holdings, as well as representative pieces by an astonishing depth and breadth of artists, native and visiting, whose lives and legacies form the foundation of Southern art history. From William D. Washington’s The Burial of Latané to Malvin Gray Johnson’s Roll Jordan Roll, the collection embraces the region’s rich history and confronts its complexities, past and present.

 

.The contributions of women artists, ranging from Helen Turner—only the fourth woman elected to full membership in the National Academy of Design in 1921—to Alma Thomas—the first African American woman to have a solo exhibition at a major national museum in 1972—are accorded overdue attention, most notably in TJC's most recent publication and companion exhibition, Central to Their Lives: Southern Women Artists in the Johnson Collection. Landmark works by American artists of African descent such as Benny Andrews, Romare Bearden, Elizabeth Catlett, Aaron Douglas, William H. Johnson, Leo Twiggs, and Hale Woodruff pay homage to their makers' barrier-defying accomplishments. Modern paintings, prints, collages, and sculpture created by internationally renowned artists associated with the experimental arts enclave of Black Mountain College, including Josef Albers, Ruth Asawa, Ilya Bolotowsky, Elaine de Kooning, Robert Motherwell, Kenneth Noland, and Robert Rauschenberg highlight the North Carolina school's geographic proximity to the collection's home.

 

Hailed by The Magazine Antiques as having staged a "quiet art historical revolution" and expanding "the meaning of regional," The Johnson Collection heralds the pivotal role that art of the South plays in the national narrative. To that end, the collection's ambitious publication and exhibition strategies extend far beyond a single city's limit or a territorial divide.

 

Since 2012, TJC has produced four significant scholarly books—thoroughly researched and beautifully illustrated investigations of Southern art time periods, artists, and themes: Romantic Spirits: Nineteenth Century Paintings of the South (2012); From New York to Nebo: The Artistic Journey of Eugene Thomason (2014); Scenic Impressions: Southern Interpretations from the Johnson Collection (2015); and Central to Their Lives: Southern Women Artists in the Johnson Collection (2018). These volumes are accompanied by traveling exhibitions that have been loaned without fee to partner museums with a combined annual attendance of over 1.7 million visitors.

 

Smaller curated presentations rotate at the collection's hometown exhibition space, TJC Gallery. Individual objects are regularly made available for critical exhibitions such as La Biennale di Venezia, Afro-Atlantic Histories, Outliers and American Vanguard Art, Leap Before You Look: Black Mountain College, 1933-1957, Alma W. Thomas: Everything is Beautiful, Riffs and Relations: African American Artists and the European Modernist Tradition, and Bold, Cautious, True: Walt Whitman and American Art of the Civil War Era and featured in important publications and catalogues, including The New Encyclopedia of Southern Culture: Art & Architecture, and The Civil War and American Art.

 

In 2016, the state of South Carolina honored The Johnson Collection with the Governor’s Award for the Arts, its highest arts distinction. The commendation paid tribute to the Johnson family's enduring contributions: "Equally dedicated to arts advancement and arts accessibility, the Johnsons generously share their vision, energy, passion and resources to benefit the arts in South Carolina."

 

"Who can say what ignites a passion? Was it those three red roses frozen in blue? An awakened connection to one's geographical roots? Perhaps the familiarity of the road to Nebo? The nucleus of what was to become our collection was formed by such seemingly unrelated catalysts. Looking back, it was always the sense of place that drew George and me to beautiful pictures—pictures that capture not only the glorious landscape of the South, but that also enliven its unique culture and dynamic history." ~Susu Johnson, Chief Executive Officer

The Community Archiving Workshop prioritized collections centering Native Hawaiian culture and history, as well as prioritizing workshop volunteers with Native Hawaiian or other Indigenous ancestry. We partnered with the Lāna'i Culture & Heritage Center and the Ka Ipu Makani Cultural Heritage Center, with support from the ʻUluʻulu: The Henry Kuʻualoha Giugni Moving Image Archive.

 

www.fujischelevator.com/office-building-elevators.html

FUJISCH Office Building Elevators redefine vertical transportation in the corporate world. These elevators prioritize efficiency, security, and intelligent design to meet the demands of modern office environments. With advanced features, smooth operation, and stylish aesthetics, FUJISCH Office Building Elevators enhance employee mobility and contribute to a productive and professional work environment.

 

Benefits of FUJISCH Office Building Elevators

FUJISCH Office Building Elevators offer a host of advantages that elevate vertical transportation within office premises. Through their innovative technology and reliable performance, these elevators ensure efficient and seamless movement between floors, reducing wait times and increasing productivity. With a strong emphasis on safety, they are equipped with advanced features that prioritize passenger well-being and provide peace of mind. The sleek and contemporary design of FUJISCH Office Building Elevators adds a touch of sophistication to the office environment, enhancing its visual appeal. Furthermore, their high capacity and intelligent traffic management systems optimize traffic flow, minimizing congestion and ensuring smooth operations. By delivering efficiency, safety, and aesthetic appeal, these elevators significantly enhance the overall office experience.

 

Safety Standards and Features of Office Building Elevators

When it comes to the safety standards and features of office building elevators, there are several key aspects to consider:

 

Emergency Communication: Office building elevators should be equipped with reliable communication systems, such as intercoms or emergency phones, to enable passengers to communicate with building security or emergency services in case of any issues.

 

Fire Safety: Elevators should be designed with fire-resistant materials and have appropriate fire safety features, such as smoke detectors, fire-rated doors, and automatic recall systems to return the elevator to a designated floor during emergencies.

 

Overload Protection: Elevators should be equipped with overload sensors that prevent the elevator from operating if it exceeds its weight capacity, ensuring passenger safety and preventing damage to the elevator.

 

Door Safety: Elevators should have sensors that detect obstructions in the door opening, preventing the doors from closing and ensuring the safety of passengers entering or exiting the elevator.

 

Emergency Power Backup: In the event of a power outage, elevators should have backup power systems, such as generators or battery backups, to safely transport passengers to the nearest floor and allow them to exit the elevator.

 

Smooth and Stable Operation: Elevators should be designed and maintained to provide smooth and stable rides, minimizing vibrations and ensuring passenger comfort and safety.

 

Compliance with Codes and Standards: Office building elevators should meet local, national, and international safety codes and standards, such as those set by the American Society of Mechanical Engineers (ASME) and the International Organization for Standardization (ISO).

 

By prioritizing these safety standards and incorporating advanced safety features, office building elevators can provide a secure and reliable transportation solution for occupants and visitors alike.

Today’s “Flight Path to Wellness: Prioritizing Mental Health in Aviation” panel at Communicating For Safety (CFS) 2024 tackled the critical issue of mental health within the aviation industry. The session was moderated by NATCA Executive Vice President Andrew LeBovidge, who has advocated for improving mental health support for aviation professionals. LeBovidge emphasized the importance of overcoming barriers such as fear, lack of trust, and financial uncertainty that often prevent individuals from seeking the care they need.

 

The panel included Air Line Pilot Association, Int’l (ALPA) Peer Support and Pilot Assistance Chair Travis Ludwig, AMAS Aviation Medical Advisory Service Dr. Kurt McCartney, Allied Pilots Association (APA) Flight Standard First Officer Evan MacPhee, and FAA Federal Air Surgeon Dr. Susan Northrup. They discussed challenges faced by pilots and air traffic controllers, the importance of peer support, and the role of medical professionals in ensuring the well-being of those working in high-stress aviation environments.

 

This panel underscored the necessity of prioritizing mental health within the aviation industry, offering #NATCACFS 2024 attendees practical strategies to support their own well-being and that of their colleagues.

 

THE JOHNSON COLLECTION - A Private Collection for Public Good

 

thejohnsoncollection.org/the-collection/

 

Sharing the art it stewards with communities across the country is The Johnson Collection’s essential purpose and propels our daily work. Much more than a physical place, TJC seeks to be a presence in American art, prioritizing access over location. Since 2013, the collection’s touring exhibitions have been loaned twenty-five times, placed without fee in partner museums with a combined annual attendance of over 1.2 million visitors. In its showcase of over 1,000 objects, TJC’s website functions as a digital museum, available anywhere and anytime.

 

What began as an interest in paintings by Carolina artists in 2002 has grown to encompass over 1,400 objects with provenances that span the centuries and chronicle the cultural evolution of the American South.

 

Today, The Johnson Collection counts iconic masterworks among its holdings, as well as representative pieces by an astonishing depth and breadth of artists, native and visiting, whose lives and legacies form the foundation of Southern art history. From William D. Washington’s The Burial of Latané to Malvin Gray Johnson’s Roll Jordan Roll, the collection embraces the region’s rich history and confronts its complexities, past and present.

 

.The contributions of women artists, ranging from Helen Turner—only the fourth woman elected to full membership in the National Academy of Design in 1921—to Alma Thomas—the first African American woman to have a solo exhibition at a major national museum in 1972—are accorded overdue attention, most notably in TJC's most recent publication and companion exhibition, Central to Their Lives: Southern Women Artists in the Johnson Collection. Landmark works by American artists of African descent such as Benny Andrews, Romare Bearden, Elizabeth Catlett, Aaron Douglas, William H. Johnson, Leo Twiggs, and Hale Woodruff pay homage to their makers' barrier-defying accomplishments. Modern paintings, prints, collages, and sculpture created by internationally renowned artists associated with the experimental arts enclave of Black Mountain College, including Josef Albers, Ruth Asawa, Ilya Bolotowsky, Elaine de Kooning, Robert Motherwell, Kenneth Noland, and Robert Rauschenberg highlight the North Carolina school's geographic proximity to the collection's home.

 

Hailed by The Magazine Antiques as having staged a "quiet art historical revolution" and expanding "the meaning of regional," The Johnson Collection heralds the pivotal role that art of the South plays in the national narrative. To that end, the collection's ambitious publication and exhibition strategies extend far beyond a single city's limit or a territorial divide.

 

Since 2012, TJC has produced four significant scholarly books—thoroughly researched and beautifully illustrated investigations of Southern art time periods, artists, and themes: Romantic Spirits: Nineteenth Century Paintings of the South (2012); From New York to Nebo: The Artistic Journey of Eugene Thomason (2014); Scenic Impressions: Southern Interpretations from the Johnson Collection (2015); and Central to Their Lives: Southern Women Artists in the Johnson Collection (2018). These volumes are accompanied by traveling exhibitions that have been loaned without fee to partner museums with a combined annual attendance of over 1.7 million visitors.

 

Smaller curated presentations rotate at the collection's hometown exhibition space, TJC Gallery. Individual objects are regularly made available for critical exhibitions such as La Biennale di Venezia, Afro-Atlantic Histories, Outliers and American Vanguard Art, Leap Before You Look: Black Mountain College, 1933-1957, Alma W. Thomas: Everything is Beautiful, Riffs and Relations: African American Artists and the European Modernist Tradition, and Bold, Cautious, True: Walt Whitman and American Art of the Civil War Era and featured in important publications and catalogues, including The New Encyclopedia of Southern Culture: Art & Architecture, and The Civil War and American Art.

 

In 2016, the state of South Carolina honored The Johnson Collection with the Governor’s Award for the Arts, its highest arts distinction. The commendation paid tribute to the Johnson family's enduring contributions: "Equally dedicated to arts advancement and arts accessibility, the Johnsons generously share their vision, energy, passion and resources to benefit the arts in South Carolina."

 

"Who can say what ignites a passion? Was it those three red roses frozen in blue? An awakened connection to one's geographical roots? Perhaps the familiarity of the road to Nebo? The nucleus of what was to become our collection was formed by such seemingly unrelated catalysts. Looking back, it was always the sense of place that drew George and me to beautiful pictures—pictures that capture not only the glorious landscape of the South, but that also enliven its unique culture and dynamic history." ~Susu Johnson, Chief Executive Officer

Roofing fire ratings are crucial for understanding your building's safety and compliance. These ratings classify roofing materials based on their fire resistance capabilities, helping to prevent the spread of fire and protect the structure in case of a blaze. By familiarizing yourself with roofing fire ratings, you can decide which materials best suit your building requirements and local regulations. Additionally, knowing these ratings allows you to prioritize fire safety during roofing renovations or new constructions, reducing potential risks and ensuring the longevity of your roofing system.

 

Importance of Considering Fire Ratings in Your Roofing Materials Selection

 

Considering fire ratings in your roofing materials selection is crucial for ensuring safety and compliance with building regulations. Fire ratings indicate how well a material can resist fire or contribute to its spread, making them essential for protecting your property and occupants. Choosing materials with appropriate fire ratings can mitigate fire hazards and lower insurance premiums. Additionally, understanding fire ratings helps you select roofing materials suitable for your local climate and building type, ensuring long-term durability and peace of mind. Ultimately, prioritizing fire ratings in roofing material selection enhances safety and resilience against fire incidents.

 

Factors Affecting Roof Fire Rating

 

The fire rating of a roof is determined by several factors that can impact the classification of roofing materials. These factors include the type and quality of the roofing material, the presence of fire-resistant coatings, the underlying material's thickness, and the roof's design and construction. Additionally, the slope of the roof and the proximity of neighboring structures can also affect the fire rating. Specific elements such as ignition resistance, flame spread, smoke development, and heat release are considered when determining a roof's fire rating. Homeowners must understand these factors and elements before choosing roofing materials for their home renovation, as fire-resistant roofs with higher fire ratings offer increased safety and protection against potential fire hazards. By considering these factors, including the use of fire-resistant roofing materials, roofing contractors ensure the safety and security of their homes.

 

Material Composition

 

The material composition of roofing products varies, with different options offering unique properties and advantages. One common material used in roofing systems is asphalt shingles, composed of a fiberglass mat or an organic felt soaked in asphalt and covered with granules. Asphalt shingles are affordable, durable, and available in various colors and styles. Another option is metal roofing made from aluminum, copper, or steel. Metal roofs are known for longevity, as they resist fire, rot, insects, and mildew. They are also energy-efficient and can be recycled at the end of their lifespan. Clay and concrete tiles are another popular choice, typically composed of natural materials that make them highly resistant to fire, wind, and impact. These tiles are known for their durability and can withstand extreme weather conditions. Lastly, there are wood shakes and shingles, which are typically made from cedar or redwood. Wood roofing offers a natural and rustic look, with the added benefit of being a renewable material. However, they may require more maintenance and are less fire-resistant than other options.

 

Roof repairs are often necessary to maintain the integrity of a roofing system. Different roofing manufacturers offer products tailored to various climates and environmental conditions. Rubber products are sometimes used in roofing systems for flexibility and weather resistance. However, it is essential to be cautious of using combustible materials in roofing, as they can pose a fire hazard. Applying retardant chemicals can help reduce the fire risk by slowing the spread of flames. Additionally, roofing materials should be tested for resistance to intermittent flame exposure to ensure safety and compliance with fire safety standards.

 

Installation Methods

 

When it comes to roofing fire ratings, understanding the various installation methods is crucial. The three primary installation methods are direct, network, and remote. In direct installation, the roofing materials are applied directly to the roof deck, which offers excellent fire resistance. On the other hand, network installation involves interlinking multiple layers of roofing materials to achieve a higher fire rating. This method typically requires additional steps, such as applying a base sheet followed by a top sheet. Lastly, remote installation creates a gap between the roofing materials and the roof deck, protecting against fire. It involves installing a layer of rigid insulation or a separate support system before placing the roofing materials. Understanding the steps and procedures involved in each method and any prerequisites or considerations empowers homeowners to make informed decisions about their roofing fire ratings before undertaking a home renovation project.

 

Proper installation instructions ensure roofing materials perform as expected, particularly concerning fire ratings. Special installation techniques may sometimes be required to meet specific fire safety standards. Regular roof inspection is crucial to maintaining the integrity and safety of the roof structure over time. Roof design plays a significant role in determining the overall fire resistance of the roofing system. The roof surface must be adequately prepared and maintained to ensure optimal performance. Different roof types, such as flat or sloped roofs, may require unique approaches to installation and maintenance to meet fire safety requirements.

 

Building Codes and Regulations

 

Building codes and regulations are crucial in ensuring the safety and protection of buildings and their occupants. These codes and regulations cover many aspects, including fire safety. When it comes to roofing, understanding roofing fire ratings is essential for homeowners, contractors, and architects alike. This knowledge helps make informed choices during home renovations and ensures that the roofing materials comply with the local building codes and regulations. By familiarizing themselves with roofing fire ratings, individuals can assess the fire resistance of different roofing materials, understand their performance during a fire, and make informed decisions to enhance the fire safety of their homes.

 

Additionally, knowing roofing fire ratings enables individuals to comply with insurance requirements and qualify for discounts, as some insurance companies offer lower rates for homes with fire-resistant roofing systems. Assembly fire rating is critical, as it assesses the overall fire resistance of the entire roofing assembly, not just the individual components. Untreated wood shakes, for instance, have a lower fire rating than other materials and may need to meet building code requirements in certain areas. Complex roofs with intricate designs and multiple levels may present additional challenges in achieving optimal fire resistance and require special attention to ensure compliance with fire safety standards.

 

Underwriters Laboratories (UL) Certification

 

The Underwriters Laboratories (UL) certification process is essential to understanding roofing fire ratings. To obtain UL certification, companies must adhere to specific evaluation procedures and standards set by UL. This involves testing roofing materials to assess their fire resistance and performance. The documentation requirements for UL certification include providing detailed information about the product's construction, ingredients, and manufacturing processes. Additionally, testing procedures involve subjecting roofing materials to different heat and flame exposure levels to determine their fire rating. The associated costs and timeframes for acquiring UL certification can vary depending on the complexity of the product and the number of tests required. However, obtaining UL certification is crucial for ensuring the safety and reliability of roofing materials when undergoing a home renovation project.

 

Role of UL in Testing and Certifying Roofing Materials

 

UL (Underwriters Laboratories) is crucial in testing and certifying roofing materials, specifically for fire classification. UL conducts various tests to evaluate the fire performance of roofing components and determine their fire ratings. These tests assess flame spread, heat release, burning brand, and ember generation. The performance of specific roof components, such as the underlayment, shingles, and roof deck, also plays a significant role in achieving fire ratings. By testing and certifying roofing materials, UL ensures they meet the necessary safety standards and help homeowners make informed decisions regarding their home renovation projects. Understanding the role of UL in testing and certifying roofing materials is essential for individuals interested in improving the fire safety of their homes and protecting their properties from potential fire hazards.

 

How to Verify if a Roofing Material has UL Certification

 

Specific steps can be followed to verify certification for particular steps. First, it is essential to understand that UL certification ensures that the roofing material has undergone testing and meets specific fire resistance standards. One should locate the UL label or listing number on the roofing material to check for UL certification. This label or number is usually found on the packaging or product itself. Once the UL label or listing number is found, it can be verified on the UL website. Users can confirm whether the roofing material has obtained UL certification for fire resistance by entering the label or listing number on the UL website. This verification process ensures that the roofing material chosen for a home renovation project meets the required safety standards and provides fire protection.

 

Types of Fire-Rated Roofing Materials

 

When it comes to home renovations, one crucial aspect that homeowners should consider is the fire resistance of their roofing materials. Understanding the different types of fire-rated roofing materials is essential to ensure the safety and protection of your home and loved ones. By gaining insights into these materials, you will be better equipped to make informed decisions when selecting the most suitable roofing option for your home. Whether you are in an area prone to wildfires or want to enhance the fire resistance of your property, learning about the different fire-rated roofing materials will undoubtedly prove beneficial. So, let's dive into the world of fire-rated roofing and discover the solutions that can provide peace of mind and protection.

 

Metal Roofs

 

Metal roofs offer numerous benefits and features, making them an attractive option for homeowners. Firstly, they are highly fire resistant, providing added safety and protection to homes. They can withstand intense and gas flames, making them safer than other materials. Additionally, metal roofs have an exceptionally long lifespan, often 50 years or more, saving homeowners money on replacement costs in the long run. Choosing a metal roofing system that has passed the Class A tests for fire resistance is crucial to ensure maximum safety and compliance with building codes.

 

While metal roofs may offer fewer color and style options than standard roofing materials like asphalt shingles, various choices are still available to suit different aesthetic preferences. Homeowners can select from a range of colors and styles, such as standing seam or corrugated metal, to enhance the appearance of their homes.

 

Clay Roof Tiles

 

Clay roof tiles have a long history of use, especially in warm climates and large cities where the risk of fire spread is a significant concern. These tiles possess properties that make them highly resistant to fire and heat, earning them a Class A fire rating. However, specific challenges and considerations should be considered when installing clay tiles. One of the main factors is the need for proper installation to ensure Class A fire protection maintenance. More installation procedures can be needed to maintain the fire resistance of the tiles. Therefore, hiring experienced professionals who are well-versed in the correct installation techniques is crucial.

 

Fiberglass Asphalt Composition Shingles

 

Fiberglass asphalt composition shingles are a popular roofing material due to their numerous features and benefits. These shingles are made from a combination of fiberglass and asphalt, which gives them exceptional durability and longevity. One of their key advantages is their fire protection capabilities, as they have a high fire rating that helps prevent the spread of flames. This makes them a good choice for areas prone to wildfire exposure. Additionally, fiberglass asphalt composition shingles are affordable compared to other roofing options, making them cost-effective for homeowners on a budget.

 

Glass fiber composition shingles are another variant, offering similar fire resistance and durability benefits. Although they require periodic maintenance, such as cleaning and inspections, they are relatively easy to maintain. However, these shingles may experience wear and tear over time and eventually need replacement.

 

Learn more about roofing fire ratings and the services we offer at Sky Roofing Construction & Remodeling: skyroofingconstructiontx.com/roofing-fire-ratings/

 

Design a visual way to prioritize time.

Design a visual way to prioritize time.

THE JOHNSON COLLECTION - A Private Collection for Public Good

 

thejohnsoncollection.org/the-collection/

 

Sharing the art it stewards with communities across the country is The Johnson Collection’s essential purpose and propels our daily work. Much more than a physical place, TJC seeks to be a presence in American art, prioritizing access over location. Since 2013, the collection’s touring exhibitions have been loaned twenty-five times, placed without fee in partner museums with a combined annual attendance of over 1.2 million visitors. In its showcase of over 1,000 objects, TJC’s website functions as a digital museum, available anywhere and anytime.

 

What began as an interest in paintings by Carolina artists in 2002 has grown to encompass over 1,400 objects with provenances that span the centuries and chronicle the cultural evolution of the American South.

 

Today, The Johnson Collection counts iconic masterworks among its holdings, as well as representative pieces by an astonishing depth and breadth of artists, native and visiting, whose lives and legacies form the foundation of Southern art history. From William D. Washington’s The Burial of Latané to Malvin Gray Johnson’s Roll Jordan Roll, the collection embraces the region’s rich history and confronts its complexities, past and present.

 

.The contributions of women artists, ranging from Helen Turner—only the fourth woman elected to full membership in the National Academy of Design in 1921—to Alma Thomas—the first African American woman to have a solo exhibition at a major national museum in 1972—are accorded overdue attention, most notably in TJC's most recent publication and companion exhibition, Central to Their Lives: Southern Women Artists in the Johnson Collection. Landmark works by American artists of African descent such as Benny Andrews, Romare Bearden, Elizabeth Catlett, Aaron Douglas, William H. Johnson, Leo Twiggs, and Hale Woodruff pay homage to their makers' barrier-defying accomplishments. Modern paintings, prints, collages, and sculpture created by internationally renowned artists associated with the experimental arts enclave of Black Mountain College, including Josef Albers, Ruth Asawa, Ilya Bolotowsky, Elaine de Kooning, Robert Motherwell, Kenneth Noland, and Robert Rauschenberg highlight the North Carolina school's geographic proximity to the collection's home.

 

Hailed by The Magazine Antiques as having staged a "quiet art historical revolution" and expanding "the meaning of regional," The Johnson Collection heralds the pivotal role that art of the South plays in the national narrative. To that end, the collection's ambitious publication and exhibition strategies extend far beyond a single city's limit or a territorial divide.

 

Since 2012, TJC has produced four significant scholarly books—thoroughly researched and beautifully illustrated investigations of Southern art time periods, artists, and themes: Romantic Spirits: Nineteenth Century Paintings of the South (2012); From New York to Nebo: The Artistic Journey of Eugene Thomason (2014); Scenic Impressions: Southern Interpretations from the Johnson Collection (2015); and Central to Their Lives: Southern Women Artists in the Johnson Collection (2018). These volumes are accompanied by traveling exhibitions that have been loaned without fee to partner museums with a combined annual attendance of over 1.7 million visitors.

 

Smaller curated presentations rotate at the collection's hometown exhibition space, TJC Gallery. Individual objects are regularly made available for critical exhibitions such as La Biennale di Venezia, Afro-Atlantic Histories, Outliers and American Vanguard Art, Leap Before You Look: Black Mountain College, 1933-1957, Alma W. Thomas: Everything is Beautiful, Riffs and Relations: African American Artists and the European Modernist Tradition, and Bold, Cautious, True: Walt Whitman and American Art of the Civil War Era and featured in important publications and catalogues, including The New Encyclopedia of Southern Culture: Art & Architecture, and The Civil War and American Art.

 

In 2016, the state of South Carolina honored The Johnson Collection with the Governor’s Award for the Arts, its highest arts distinction. The commendation paid tribute to the Johnson family's enduring contributions: "Equally dedicated to arts advancement and arts accessibility, the Johnsons generously share their vision, energy, passion and resources to benefit the arts in South Carolina."

 

"Who can say what ignites a passion? Was it those three red roses frozen in blue? An awakened connection to one's geographical roots? Perhaps the familiarity of the road to Nebo? The nucleus of what was to become our collection was formed by such seemingly unrelated catalysts. Looking back, it was always the sense of place that drew George and me to beautiful pictures—pictures that capture not only the glorious landscape of the South, but that also enliven its unique culture and dynamic history." ~Susu Johnson, Chief Executive Officer

Identifying and prioritizing team impediments.

 

Max, Harry, 2024. Managing Priorities: How to Create Better Plans and Make Smarter Decisions

New York: Rosenfeld

rosenfeldmedia.com/books/managing-priorities/

At Solar Water Heaters, we prioritize our customer's satisfaction and offer reliable and efficient services. Our team of experts will guide you through the selection process, installation, and maintenance of your solar water heater, ensuring that it is tailored to your needs. Our solar water heaters are designed to provide hot water all year round while minimizing your carbon footprint.

 

Our Products Include:

 

● Non- Pressurized Solar Water Heater

● Pressurized Solar Water Heater

● 150 Litre Solar Water Heater

● 200 Litre Solar Water Heater

● 300 Litre Solar Water Heater

 

Our solar water heaters are made of high-quality materials and come in various sizes to fit your needs. Invest in an eco-friendly, cost-effective solution for your hot water needs today with Solar Water Heaters! For more information, visit our solarwaterheaters.co.ke/ website.

I had no plans to watch the Deftones concert, since I had to prioritize more important things. I got a Gold ticket for free though (right after the VIP section), so I went. As much as I wanted to shoot the concert, as apparent in this photo, I was too far from the stage to get good-enough shots.

 

No regrets here. My view wasn't all that bad, and as much as I should be jealous as to how much interaction the band had with the VIP audience, I did get in with the only expense being going to and from the venue.

 

Also, I did listen to the Deftones voraciously before I got into photography. Oh, and would I even dare to slam at the pit (during the last few songs) with a DSLR in tow?

 

Shot with an LG Optimus One phone, with the Vignette Android app.

If you need more evidence on why leaders should prioritize climate, look no further than this year’s hurricane season— currently tied for the most active hurricane season in the Atlantic with 28 named storms. We experienced a similar season in 2005, with 27 named storms and one unnamed storm.

 

This year, storms have also formed much earlier in the season than previous years. Zeta developed on October 24th, beating out 2005’s Zeta which formed on December 30, 2005. It’s been a similar story for the 23 other named storms this season.

 

2020 also saw 3 storms in a single day, which tied a record. 2020 also broke the record for most named storms in the month of September. And 2020 also saw 11 US landfalls— breaking the previous record of 9 set back in 1916.

 

Record-breaking weather has been a trend over the last few years, and scientists believe that human-caused climate change is a contributing factor. The science of climate change is no longer a debate. Climate change is HERE, and we need our leaders to believe the experts. Vote for science on November 3.| Illustration by @jentannerdesign

 

By: Maiya, www.instagram.com/maiyamay_/

THE JOHNSON COLLECTION - A Private Collection for Public Good

 

thejohnsoncollection.org/the-collection/

 

Sharing the art it stewards with communities across the country is The Johnson Collection’s essential purpose and propels our daily work. Much more than a physical place, TJC seeks to be a presence in American art, prioritizing access over location. Since 2013, the collection’s touring exhibitions have been loaned twenty-five times, placed without fee in partner museums with a combined annual attendance of over 1.2 million visitors. In its showcase of over 1,000 objects, TJC’s website functions as a digital museum, available anywhere and anytime.

 

What began as an interest in paintings by Carolina artists in 2002 has grown to encompass over 1,400 objects with provenances that span the centuries and chronicle the cultural evolution of the American South.

 

Today, The Johnson Collection counts iconic masterworks among its holdings, as well as representative pieces by an astonishing depth and breadth of artists, native and visiting, whose lives and legacies form the foundation of Southern art history. From William D. Washington’s The Burial of Latané to Malvin Gray Johnson’s Roll Jordan Roll, the collection embraces the region’s rich history and confronts its complexities, past and present.

 

.The contributions of women artists, ranging from Helen Turner—only the fourth woman elected to full membership in the National Academy of Design in 1921—to Alma Thomas—the first African American woman to have a solo exhibition at a major national museum in 1972—are accorded overdue attention, most notably in TJC's most recent publication and companion exhibition, Central to Their Lives: Southern Women Artists in the Johnson Collection. Landmark works by American artists of African descent such as Benny Andrews, Romare Bearden, Elizabeth Catlett, Aaron Douglas, William H. Johnson, Leo Twiggs, and Hale Woodruff pay homage to their makers' barrier-defying accomplishments. Modern paintings, prints, collages, and sculpture created by internationally renowned artists associated with the experimental arts enclave of Black Mountain College, including Josef Albers, Ruth Asawa, Ilya Bolotowsky, Elaine de Kooning, Robert Motherwell, Kenneth Noland, and Robert Rauschenberg highlight the North Carolina school's geographic proximity to the collection's home.

 

Hailed by The Magazine Antiques as having staged a "quiet art historical revolution" and expanding "the meaning of regional," The Johnson Collection heralds the pivotal role that art of the South plays in the national narrative. To that end, the collection's ambitious publication and exhibition strategies extend far beyond a single city's limit or a territorial divide.

 

Since 2012, TJC has produced four significant scholarly books—thoroughly researched and beautifully illustrated investigations of Southern art time periods, artists, and themes: Romantic Spirits: Nineteenth Century Paintings of the South (2012); From New York to Nebo: The Artistic Journey of Eugene Thomason (2014); Scenic Impressions: Southern Interpretations from the Johnson Collection (2015); and Central to Their Lives: Southern Women Artists in the Johnson Collection (2018). These volumes are accompanied by traveling exhibitions that have been loaned without fee to partner museums with a combined annual attendance of over 1.7 million visitors.

 

Smaller curated presentations rotate at the collection's hometown exhibition space, TJC Gallery. Individual objects are regularly made available for critical exhibitions such as La Biennale di Venezia, Afro-Atlantic Histories, Outliers and American Vanguard Art, Leap Before You Look: Black Mountain College, 1933-1957, Alma W. Thomas: Everything is Beautiful, Riffs and Relations: African American Artists and the European Modernist Tradition, and Bold, Cautious, True: Walt Whitman and American Art of the Civil War Era and featured in important publications and catalogues, including The New Encyclopedia of Southern Culture: Art & Architecture, and The Civil War and American Art.

 

In 2016, the state of South Carolina honored The Johnson Collection with the Governor’s Award for the Arts, its highest arts distinction. The commendation paid tribute to the Johnson family's enduring contributions: "Equally dedicated to arts advancement and arts accessibility, the Johnsons generously share their vision, energy, passion and resources to benefit the arts in South Carolina."

 

"Who can say what ignites a passion? Was it those three red roses frozen in blue? An awakened connection to one's geographical roots? Perhaps the familiarity of the road to Nebo? The nucleus of what was to become our collection was formed by such seemingly unrelated catalysts. Looking back, it was always the sense of place that drew George and me to beautiful pictures—pictures that capture not only the glorious landscape of the South, but that also enliven its unique culture and dynamic history." ~Susu Johnson, Chief Executive Officer

May 10, 2024 Record-breaking expansion of mental health services

Guys Fix It Mag 👍 Repairs & DIY Magazine This post was originally published on this site If you have an automobile at home, then you know how crucial garage doors are. Garage doors or overhead doors belong to the topmost prioritized parts of a garage. We all know that without garage doors, a lot of things could go wrong. There could be burglary and theft happening, and other instances that could endanger you and your properties. However, not everyday garage doors are working smoothly. The time will come that you will need garage door repairs or overhead door repairs. You can call our garage door repair company here in Pittsburgh, and together we will solve your problem. And we are about to let you know the most common garage door problems you might be experiencing for more effective communication between us. Unmaintained Garage Door Like everything else, a garage door, when correctly cleaned, used, and maintained every day, it can last up to half a decade or so. There is indeed a need for you to check your garage door for defects at least thrice a month. When you have a schedule to follow when you will clean your garage doors or overhead doors, it is necessary. However, this can be uncertain. There will be times that you might miss examining your door, leading to problems on the inside and outside of your entries. You are going to need a garage door repair or overhead door repair. An unmaintained garage door will be worn out and stop functioning well. Its paint will fade, it will create loud, undesirable noises, or it may never open again. Unnecessary Noises On The Garage Door A worn roller, loose hardware, or any parts that need lubrication, which stopped functioning well, can cause a noisy garage door. This noise is a problem for anyone who wants a peaceful morning and without a distraction during bedtime. It can be considered as a garage door emergency, knowing how frustrating this could be. It’s also possible that the hinges need to be replaced. Or the bearing of

                                           

fixitmag.com/most-common-garage-door-repairs/

 

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The Community Archiving Workshop prioritized collections centering Native Hawaiian culture and history, as well as prioritizing workshop volunteers with Native Hawaiian or other Indigenous ancestry. We partnered with the Lāna'i Culture & Heritage Center and the Ka Ipu Makani Cultural Heritage Center, with support from the ʻUluʻulu: The Henry Kuʻualoha Giugni Moving Image Archive.

The Community Archiving Workshop prioritized collections centering Native Hawaiian culture and history, as well as prioritizing workshop volunteers with Native Hawaiian or other Indigenous ancestry. We partnered with the Lāna'i Culture & Heritage Center and the Ka Ipu Makani Cultural Heritage Center, with support from the ʻUluʻulu: The Henry Kuʻualoha Giugni Moving Image Archive.

Photo Credit: Gerardo Romo / NYC Council Media Unit

THE JOHNSON COLLECTION - A Private Collection for Public Good

 

thejohnsoncollection.org/the-collection/

 

Sharing the art it stewards with communities across the country is The Johnson Collection’s essential purpose and propels our daily work. Much more than a physical place, TJC seeks to be a presence in American art, prioritizing access over location. Since 2013, the collection’s touring exhibitions have been loaned twenty-five times, placed without fee in partner museums with a combined annual attendance of over 1.2 million visitors. In its showcase of over 1,000 objects, TJC’s website functions as a digital museum, available anywhere and anytime.

 

What began as an interest in paintings by Carolina artists in 2002 has grown to encompass over 1,400 objects with provenances that span the centuries and chronicle the cultural evolution of the American South.

 

Today, The Johnson Collection counts iconic masterworks among its holdings, as well as representative pieces by an astonishing depth and breadth of artists, native and visiting, whose lives and legacies form the foundation of Southern art history. From William D. Washington’s The Burial of Latané to Malvin Gray Johnson’s Roll Jordan Roll, the collection embraces the region’s rich history and confronts its complexities, past and present.

 

.The contributions of women artists, ranging from Helen Turner—only the fourth woman elected to full membership in the National Academy of Design in 1921—to Alma Thomas—the first African American woman to have a solo exhibition at a major national museum in 1972—are accorded overdue attention, most notably in TJC's most recent publication and companion exhibition, Central to Their Lives: Southern Women Artists in the Johnson Collection. Landmark works by American artists of African descent such as Benny Andrews, Romare Bearden, Elizabeth Catlett, Aaron Douglas, William H. Johnson, Leo Twiggs, and Hale Woodruff pay homage to their makers' barrier-defying accomplishments. Modern paintings, prints, collages, and sculpture created by internationally renowned artists associated with the experimental arts enclave of Black Mountain College, including Josef Albers, Ruth Asawa, Ilya Bolotowsky, Elaine de Kooning, Robert Motherwell, Kenneth Noland, and Robert Rauschenberg highlight the North Carolina school's geographic proximity to the collection's home.

 

Hailed by The Magazine Antiques as having staged a "quiet art historical revolution" and expanding "the meaning of regional," The Johnson Collection heralds the pivotal role that art of the South plays in the national narrative. To that end, the collection's ambitious publication and exhibition strategies extend far beyond a single city's limit or a territorial divide.

 

Since 2012, TJC has produced four significant scholarly books—thoroughly researched and beautifully illustrated investigations of Southern art time periods, artists, and themes: Romantic Spirits: Nineteenth Century Paintings of the South (2012); From New York to Nebo: The Artistic Journey of Eugene Thomason (2014); Scenic Impressions: Southern Interpretations from the Johnson Collection (2015); and Central to Their Lives: Southern Women Artists in the Johnson Collection (2018). These volumes are accompanied by traveling exhibitions that have been loaned without fee to partner museums with a combined annual attendance of over 1.7 million visitors.

 

Smaller curated presentations rotate at the collection's hometown exhibition space, TJC Gallery. Individual objects are regularly made available for critical exhibitions such as La Biennale di Venezia, Afro-Atlantic Histories, Outliers and American Vanguard Art, Leap Before You Look: Black Mountain College, 1933-1957, Alma W. Thomas: Everything is Beautiful, Riffs and Relations: African American Artists and the European Modernist Tradition, and Bold, Cautious, True: Walt Whitman and American Art of the Civil War Era and featured in important publications and catalogues, including The New Encyclopedia of Southern Culture: Art & Architecture, and The Civil War and American Art.

 

In 2016, the state of South Carolina honored The Johnson Collection with the Governor’s Award for the Arts, its highest arts distinction. The commendation paid tribute to the Johnson family's enduring contributions: "Equally dedicated to arts advancement and arts accessibility, the Johnsons generously share their vision, energy, passion and resources to benefit the arts in South Carolina."

 

"Who can say what ignites a passion? Was it those three red roses frozen in blue? An awakened connection to one's geographical roots? Perhaps the familiarity of the road to Nebo? The nucleus of what was to become our collection was formed by such seemingly unrelated catalysts. Looking back, it was always the sense of place that drew George and me to beautiful pictures—pictures that capture not only the glorious landscape of the South, but that also enliven its unique culture and dynamic history." ~Susu Johnson, Chief Executive Officer