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Make a photograph of something shiny or glossy, but not transparent. Emphasize the effect of the surface. #ds423
The Carlisle Thundering Herd football team, lost Friday's home conference game against State College by a score of 35-0. The team seemed out of sync and didn't play well at all. Key running backs were hurt and didn't play, so that hindered the running game a lot. The "next man up" didn't show up to play in some key positions. Missed blocks by the OL didn't help either. The team needs some JUICE! If you've got JUICE, you're USEFUL. If you don't have JUICE, you're USELESS.
In its inaugural year, NCAI’s Native Graduate Health Fellowship is a part of NCAI’s commitment to equipping the next generation of Native leaders. The Fellowship aims to address the stark disparities in Native health by building a pipeline of Native health professionals who are prepared to lead in formulating and promoting health policies and practices that address the unique needs of American Indians and Alaska Natives.
Expanding our future leaders’ knowledge of tribal sovereignty and tribal public policy is a crucial objective of the fellowship. To fulfill this goal, the Fellow, the two finalists, and a top tier of applicants are convening this summer at the Embassy of Tribal Nations in Washington, D.C., for a workshop on tribal sovereignty and Native health policy. Throughout the week, students are meeting with NCAI staff, tribal leaders, representatives from other Native organizations, and key policymakers to learn about Native health policy and recent innovations in Native health.
SPLA-UN signed agreement, renewed child protection their commitment. This Action Plan signed on March 12, 2012 by the Ministry of Defence, UNMISS, UNICEF and Special Representative of the Secretary-General (SRSG) for Children and Armed Conflict, Redhika Coomaraswamy. “This is an important day for South Sudan, not only does this Action Plan ensure the government’s commitment that SPLAN will have no children within its ranks but all armed groups who have accepted amnesty with government, must release their children,” said SRSG. “Future generations of children ca spend their childhood with books and barracks,” she stressed during signing ceremony.
7 March 2015
Press Release – ItsOurFuture.org.nz
The lead-up to Saturdays protests against the TPPA shows the commitment of people across the country to send a message that the government cant ignore, said ItsOurFuture spokesperson Edward Miller.Nationwide day of action against TPPA: “Ignore us at your peril” government warned
“The lead-up to Saturday’s protests against the TPPA shows the commitment of people across the country to send a message that the government can’t ignore”, said ItsOurFuture spokesperson Edward Miller.
A video shows young activists publicising Saturday’s nationwide protests with footage from Auckland, Wellington, Dunedin, Christchurch, and Nelson.
Action in the 22 centres starts at 10am in Raglan and many of the larger centre marches begin at 1pm, including Auckland, Wellington and Christchurch.
“People have been incredibly creative”, Miller said. “In Christchurch a giant plain-packaged cigarette packet will be marching in the crowd, while Auckland will be led by an enormous Trojan Horse, locked in a tug-of-war between major commercial interests and activist communities.”
“Around the country everyday kiwis will be photographed for a virtual campaign with signs saying ‘I am a ___________ and I say #TPPANoDeal.’ Already this campaign has been very popular.”
“Trade minister Tim Groser needs to recognise that people don’t buy the ‘trust me’ line. They want to be listened to when they say they don’t want the TPPA. And they deserve to be listened to.”
- Ends
Arrival Walk to GET YOUR KNEE OFF OUR NECKS Commitment March Rally on the National Mall along Lincoln Memorial Reflecting Pool North Walkway, NW, Washington DC on Friday morning, 28 August 2020 by Elvert Barnes Photography
Visit Commitment March website at nationalactionnetwork.net/commitment-march-on-washington-dc/
Elvert Barnes 57th Anniversary of 1963 March on Washington COMMITMENT MARCH docu-project at elvertbarnes.com/57MOW2020
“Life is a chance to commit, and commitment means to go through it, to complete it. It is an experience.”
-Yogi Bhajan
Passover 2016
John and I loved having all of you again for our traditional Family Passover. We had members from Washington, DC, New York City, The Cape, Marblehead and Portland. That’s commitment .David, thank you for being a terrificl leader. You had just the right touch in remembering our precious Lenore. And you made the seder service fresh and interesting. Susan and I decided to do something different this year. Had our meal catered with full service so we could spend more time being with one another. That part was heavenly; next year the food will be better. No fish course and back to racks of lamb.Thank you, Susan, for the Angel Pies, and Matt for the gateau. And thank you, Jessica, for our spirits. Let’s do that again next year.
Where is Reese? Right across the table. Chloe, Drew, Reece and Noah, what cheer you bring to all of us!!Reece, you did a terrific job starting the part of the service about the Four Questions, and also reading your other parts so beautifully. I loved hearing the different generations sharing memories about finding the afikoman and putting on Passover Plays. How could plagues be so much fun?Thanks, Jessica, for choosing such fun afikoman gifts for Reese and Noah.
Post Passover - Caterers had every piece spotless. All I had to do was put it away.
All those dishes! My favorite part is setting up with all the beautiful china and silver from generations past. The napkins belonged to John’s grandmother.
Thank you Matt and Amy for the beautiful flowers. This is how they looked six days later.
Thank you Chuck and Susan for gracing our table with gorgeous flowers for so many years. If possible, these may have been the prettiest of all.
Justin Thomas smashes a drive of the 15th tee at Royal Birkdale during a practice round for the 146th Open Championship with the soon to be Champion Jordan Spieth and rookie superstar Jon Rahm looking on
April 11, 2015. Boston, MA.
Fenway Health Women's Dinner Party 2015.
Fenway Health is proud to present Judith B. Bradford, PhD, Director of the Center for Population Research in LGBT Health and Co-Chair of The Fenway Institute, with the Dr. Susan M. Love Award. Dr. Bradford is being honored for her longstanding commitment and contributions to the health of sexual and gender minorities.
© 2015 Marilyn Humphries
Kay WalkingStick, Born Syracuse, NY 1935
Two Women II, 1973, acrylic on canvas, overall: 42 3⁄8 × 44 1⁄8 in.
How easily can you find the two women of the title? The painting's eye-popping hues and lack of volumetric detail create playful confusion between the figures and the background.
A Cherokee woman, Kay WalkingStick has been a double trailblazer in American art. She describes this painting as a joyful expression of female self-determination and sensuality. Produced amid the women's movement and the sexual revolution of the 1970s, it offers a rejoinder to the long history of male artists depicting the female nude.
“One’s entire personhood is represented in art and I am who I am––a biracial woman. I’m a Cherokee, I was raised in a White culture, and both are in everything I do, whether it’s landscape or figures or abstraction. It is always there because I’m there.”
–– Kay WalkingStick, 2023
Kay WalkingStick is a painter whose unwavering commitment to the medium addresses interrelated themes of Native history, feminism, spirituality, cultural memory, embodiment, and land.
The child of a Scotch-Irish mother and Cherokee Nation father, WalkingStick was raised in a household of working women. While her father was seldom present during her childhood, her white mother raised her to be independent and to take pride in her Cherokee heritage. By 1960, WalkingStick received her BFA from Beaver College (1959), married, moved to New Jersey, and started a family. Although reconciling her roles as mother and artist was challenging, WalkingStick remained committed to her artistic practice. She visited galleries and museums in New York City but wanted to make work that was distinctly her own. In the early 1970s, amid the fervor of the women’s movement and the sexual revolution, WalkingStick created brightly painted hard-edged silhouettes, such as in Two Women II (1973, SAAM), that joyously declared women’s autonomy.
While pursuing her MFA at Pratt Institute (1973–75), WalkingStick turned to dark-hued, deeply textured abstractions grounded in her experiences of grieving the loss of both parents and grappling with her complicated relationship with her father. Around the same time, the rise of the American Indian Movement spurred WalkingStick to confront her heritage as a citizen of the Cherokee Nation, and she developed works based on research into historical Native figures, notably Nimiipuu (Nez Perce Tribe) leader Chief Joseph.
In 1984, WalkingStick began experimenting with a diptych format as the ideal view to unite two kinds of memory: “snapshot” memory, which she saw as the “fleeting” view of the present, and “mythic” memory, embodying the “spiritual, long-term” comprehension of past and future. In works like With Love to Marsden (1995, SAAM), she painted with her bare hands to combine a representational landscape with its abstraction, highlighting the relationship between what can be seen and felt.
WalkingStick began painting specific sites in the United States in the early 2000s, disrupting the dominant tradition of Euro-American landscape painting that historically denied the presence of Native Peoples. She develops the paintings by first drawing and photographing a location, then researching the site’s Native history and art. As exemplified in Orilla Verde at the Rio Grande (2012, SAAM), the result is a monumental vista overlaid with stenciled patterns borrowed from WalkingStick’s research on Ancestral Pueblo pots that originate from around the same area along the Rio Grande, held in the Smithsonian’s NMAI. The multilayered representation reclaims the site as Native land.
In using her work to variously declare Native presence and persistence, WalkingStick consistently realizes her career-long ambition to be “part of bringing Native art into the mainstream.”
Authored by Gabriella Shypula, American Women’s History Initiative Writer and Editor, 2024.
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"Women, queer artists, and artists of color have finally become the protagonists of recent American art history rather than its supporting characters. This is the lesson to be learned from the programming at New York’s Whitney Museum of American Art since it reopened in 2015, and it is now the big takeaway in the nation’s capital, at the Smithsonian American Art Museum, whose contemporary art galleries have reopened after a two-year closure.
During that time, architect Annabelle Selldorf refurbished these galleries, which have the challenge of pushing art history’s limits without going too far. Her interventions in these spaces are fairly inoffensive. Mainly, she’s pared down some of the structural clutter, removing some walls that once broke up a long, marble-floored hallway. To the naked eye, the galleries are only slightly different.
What is contained within, however, has shifted more noticeably—and is likely to influence other museums endeavoring to diversify their galleries. For one thing, I have never encountered a permanent collection hang with more Latinx and Native American artists, who, until very recently, were severely under-represented in US museums. That unto itself is notable.
It is a joy to see, presiding over one tall gallery, three gigantic beaded tunics courtesy of Jeffrey Gibson, a Choctaw artist who will represent the US at the next Venice Biennale. Printed with bombastic patterning and hung on tipi poles, they hang over viewers’ heads and allude to the Ghost Shirts used by members of the Sioux to reach ancestral spirits. One says on it “WITHOUT YOU I’M NOTHING.” That statement can also be seen as a confession on behalf of SAAM’s curators to the artists now included in this rehang: a multiplicity of perspectives is more nourishing than having just one.
Something similar can be seen in Judith F. Baca’s Las Tres Marías (1976). The installation features a drawing of a shy-looking chola on one side and an image of Baca as a tough-as-nails Pachuca on the other. These are both Chicana personae—the former from the ’70s, the latter from the ’40s—and the third component, a long looking glass, sutures the viewer into the piece. It’s no surprise this piece is shaped like a folding mirror, an item used to examine how one may present to the outside world. Baca suggests that a single reflection isn’t enough. To truly understand one’s self, many are needed.
It is hardly as though the Smithsonian American Art Museum’s collection ever lacked diversity. Nam June Paik’s Electronic Superhighway: Continental U.S., Alaska, Hawaii (2002), a video installation featuring a map of the country with each state’s borders containing TV monitors, is a crown jewel of the collection. It has returned once more, where it now faces a 2020 Tiffany Chung piece showing a United States strung with thread. So, too, has Alma Thomas’s magnum opus, Red Azaleas Singing and Dancing Rock and Roll Music (1976), a three-part stunner showing an array of petal-like red swatches drifting across white space.
But the usual heroes of 20th century art history are notably absent. Partly, that is because the Smithsonian American Art Museum doesn’t own notable works by canonical figures like Andy Warhol, Jasper Johns, and Robert Rauschenberg. (For those artists, you’d have to head to the National Gallery of Art.) Yet it is also partly because the curators want to destabilize the accepted lineage of postwar American art, shaking things up a bit and seeing where they land.
There is, of course, the expected Abstract Expressionism gallery, and while works by Willem de Kooning and Clyfford Still are present, those two are made to share space with artists whose contributions are still being properly accounted for. The standouts here are a prismatic painting by Ojibwe artist George Morrison and a piquant hanging orb, formed from knotted steel wire, by Claire Falkenstein.
This being the nation’s capital, there is also an entire space devoted to the Washington Color School. Come for Morris Louis’s 20-foot-long Beta Upsilon (1960), on view for the first time in 30 years, now minus the pencil marks left on its vast white center by a troublemaking visitor a long time ago. Stay for Mary Pinchot Meyer’s Half Light (1964), a painting that features a circle divided into colored quadrants, one of which has two mysterious dots near one edge.
From there, the sense of chronology begins to blur. The Baca piece appears in a gallery that loosely takes stock of feminist art of the 1970s; a clear picture of the movement’s aims fails to emerge because the various artists’ goals appear so disparate. It’s followed by an even vaguer gallery whose stated focus is “Multiculturalism and Art” during the ’70s and ’80s. Beyond the fact that all five artists included are not white, the gallery doesn’t have much of a binding thesis.
This partial view of recent art history leads to gaps, which is both a good thing and a bad thing. It’s a good thing because it offers due recognition for art-historical nonpareils. Audrey Flack is represented by Queen (1976), a Photorealist painting showing a view of a sliced orange, a rose, photographs, a playing card, and trinkets blown up to a towering size. It’s both gaudy and glorious. Hats off to the curators for letting it shine.
Then there are two totem-like sculptures by the late Truman Lowe, a member of the Ho-Chunk Nation, that are allowed to command a tall space of their own. They feature sticks of peeled willow that zigzag through boxy lumber structures, and they refuse to enjoin themselves to any artistic trend. Later on, there are three deliciously odd paintings by Howard Finster, of Talking Heads album cover fame. One shows Jesus descended to a mountain range strewn with people and cars who scale the peaks. Try cramming that into the confines of an accepted art movement.
That’s just three lesser-knowns who make an impact—there are many others on hand, from Ching Ho Cheng to Ken Ohara. And yet, herein lies this hang’s big problem: its gaping omissions in between them all, which are likely to be visible not just to the literati of the art world but to the general public, too.
Despite the focus of these new galleries being the 1940s to now, Pop, Minimalism, Conceptualism, and their resultant offshoots are skipped over entirely as the curators rush through the postwar era in order to get closer to the present. The Paik installation aside, there is almost no video art in this hang (although there is a newly formed space for moving-image work where a Carrie Mae Weems installation can be found), and no digital art or performance documentation at all, which is a shame, given that the museum owns important works by the likes of Cory Arcangel and Ana Mendieta, respectively. The AIDS crisis of the 1980s and ’90s and its devastating impact on the art world isn’t mentioned a single time in the wall text for these new galleries, and queer art more broadly is a blind spot.
Protest art periodically makes the cut, but any invocation of racism, misogyny, colonialism, and the like is typically abstracted or aestheticized. That all makes a work like Frank Romero’s Death of Rubén Salazar (1986) stand out. The painting depicts the 1970 killing of a Los Angeles Times reporter in a café during an unrelated incident amid a Chicano-led protest against the high number of Latino deaths in the Vietnam War. With its vibrant explosions of tear gas (Salazar was killed when a tear gas canister shot by the LA Sheriff Department struck his head) and its intense brushwork, it is as direct as can be—a history painting for our times. So, too, in a much different way, is Consuelo Jimenez Underwood’s Run, Jane, Run! (2004), a piece that ports over the “Immigrant Crossing” sign, first installed near the US-Mexico border in Southern California in the 1990s, and remakes it as a yellow tapestry that is threaded with barbed wire.
In general, this presentation could use more art like Romero and Jimenez Underwood’s. Yet the curators at least cop to the fact they’re seeking to hold handsome craftmanship and ugly historical events in tension, and the methods on display are productive in that regard.
By way of example, there’s Firelei Báez 2022 painting Untitled (Première Carte Pour L’Introduction A L’Histoire De Monde), which features a spray of red-orange paint blooming across a page from an 18th-century atlas documenting Europe’s colonies. One could say Báez’s blast of color recalls the bloodshed of manifest destiny, but that seems like an unfair interpretation for a work that provides so much visual pleasure. Rather than re-presenting the violence of a bygone era, Báez beautifies it. The result allows history to begin anew—on Báez’s own terms."
www.artnews.com/art-news/reviews/smithsonian-american-art...
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ORLANDO, Fla. – Scores of Soldiers, veterans, friends and family members from the 143d Sustainment Command (Expeditionary) honored three Soldiers for their 79 years of combined service to their country during a retirement ceremony conducted May 21, 2017, in Orlando Fla.
Organized by Headquarters & Headquarters Company, 143d ESC, the ceremony recognized the service, sacrifice, achievements and accolades of Maj. Douglas C. Williams, Sgt. 1st Class Edward Campbell and Sgt. Walter J. Jawors. All three retirees concluded their respective military careers with leadership roles in HHC, 143d ESC.
During the ceremony, Col. Donald B. Absher, deputy commander, 143d ESC, pinned the Meritorious Service Medal on each retiree. Absher also presented plaques to Williams’ and Campbell’s wives in honor of their courage, commitment and compassion as military spouses.
Each retiree presented roses to their loved ones before taking the podium to give a final farewell to their comrades.The ceremony concluded with an American flag presentation and the playing of the Army song.
Photo by Sgt. John L. Carkeet IV, 143d ESC
HF Super Dairy & Bakery wishes you a very #HappyNavratri. As we all know that the world is facing pandemic COVID-19, It's time for us to face COVID -19 and come out victorious from the face of it. Let's celebrate Navratri by caring for ourselves & for others by staying at home!
Day 7 commitment!
#navratri #hometime #familytime #celebrationathome #eathealthy #drinkhealthy #hfsuper #dairy #bakery #stayhome #staysafe
GET YOUR KNEE OFF OUR NECKS Commitment March Rally at Lincoln Memorial North Elm Walkway, NW, Washington DC on Friday morning, 28 August 2020 by Elvert Barnes Photography
Visit Commitment March website at nationalactionnetwork.net/commitment-march-on-washington-dc/
Elvert Barnes 57th Anniversary of 1963 March on Washington COMMITMENT MARCH docu-project at elvertbarnes.com/57MOW2020
The Carlisle Thundering Herd football team, lost Friday's conference game against the Cumberland Valley Eagles, by a score of 33-13. The Herd were without their starting QB, due to a concussion from the previous week of play. The team needs to win the rest of their games, if they hope to become eligible for the playoffs. A couple of backup players stepped up and played hard this game.
The refs made a few questionable calls in favor of CV and that could have changed the momentum of the game in Carlisle's favor. This is Coach Conrad's first year, so I feel the team will get better as the years go by. "ALL IN!"
Artist Erik Blome used steel beams from the Twin Towers to create this memorial. Unfortunately, it's hidden away, between the 95th St. Metra station and parking tower. Unless you know where to look for it, or happen to walk past this sculpture, you'd never know it was there. Not a single area resident I spoke to knew of it's existence.
Several parts of the beams that were removed during the creation of the sculpture were used at the nearby Children’s Museum, and are featured behind an illustration of an American flag. They are part of the exhibit titled, “We The People.”
A commitment by the current administration and Congress to ensure better treatment of Department of Homeland Security employees, obtain full-funding, and end privatization can help reverse the low morale at the agency, American Federation of Government Employees National President John Gage said before Congress on March 5
Every year, DLA and MWR join forces to recognize its military and civilian workforce for their dedication and commitment to the overall Department of Defense (DoD) mission and to those who provide us with the freedoms that we enjoy every day! DLA and MWR hosted one of the most anticipated events of the year! The 2019 SummerFest and Organization Day took place on August 14, 2019 from 11:30 a.m.-4:30 p.m., at the Installation Fest Area (Riverview Golf Course Practice Range). This year’s event featured a special live musical performance by local singer-songwriter, Garrett Shultz! This up-and-coming artist performed various popular country, rock, & pop hits of today! Also, there was a Car & Bike Show, free swimming at the pool, vendors selling tasty food and unique merchandise, various chances to win prizes and receive free goodies, informational booths, bounce houses, a caricaturist, a clown, a mechanical bull, bocce ball, baggo, and more! MWR offered a chance to win a 65” flat screen TV to patrons who participated in the Sponsor Scavenger Hunt. So many activities all crammed into one day!
The Port’s new and wide ranging apprenticeship scheme gave young people from the local community the chance to apply for a wealth of apprenticeships being
established across the business. Forming a significant part of the Port’s commitment to work with all local schools in giving young people the tools for future success, the scheme provides opportunities and skills for
the community in a way that brings them closer together with the Port. The aim is to serve the Port’s customers in the years to come through young local people delivering excellent customer service in their chosen profession.
WASHINGTON (January 24, 2023) Homeland Security Secretary Alejandro Mayorkas participates in a roundtable discussion with companies that have refugee hiring commitments in Washington, DC. (DHS photo by Tia Dufour)
On June 18, 2015, GMF’s Warsaw office hosted a discussion panel focused on the results of the recent Pew Research Center survey concerning public sentiment on NATO commitments, Ukraine, Russia. Featuring speakers and participants from think tanks, government and research centers, the discussion explored questions of NATO member responsibilities, Article 5 commitments, NATO leadership, and questions surrounding Ukraine and Russia.
This mother wheels her severely disabled son around Phnom Penh all day every day collecting donations from their many friends and supporters
6/30/2012 - As part of its continuing commitment to science, technology, engineering and math (STEM) programs, Eastern Washington University sponsored the First Robotics exhibition in Riverfront Park as a part of 2012 Hoopfest. The teams, which came from came from area High Schools, built robots that shot basketballs through hoops set at various heights and then manuevered them onto platforms. Points were awarded for which hoop the ball was shot through and how many robots they could park on the elevated platforms in a head-to-head competition. Photo by John Demke.
GET YOUR KNEE OFF OUR NECKS Commitment March Rally at Lincoln Memorial North Elm Walkway, NW, Washington DC on Friday morning, 28 August 2020 by Elvert Barnes Photography
Visit Commitment March website at nationalactionnetwork.net/commitment-march-on-washington-dc/
Elvert Barnes 57th Anniversary of 1963 March on Washington COMMITMENT MARCH docu-project at elvertbarnes.com/57MOW2020