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Drug Rehab Centers in Somerville IN
Rehabilitation programs range from detoxification, medication, behavior modification and avoid a relapse. Such treatments concentrate on the mental health and medical requirements of the person getting sober. Once you start with a rehab center, you will be given support and inspired in the course to healing.
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The most intense, and crucial aspect on the roadway to healing is the release of the drugs from your body. If you were to try cleansing on your own, you would be grabbing the first needle or pipe you might discover in less than 24 hours, blowing your opportunities of healing out of the water. You experience psychological withdrawal signs such as depression, stress and anxiety, state of mind swings and suicidal thoughts. Physically you vomit, experience chills, cramps, muscle pains and sleeplessness. When you have the courage to check out a drug treatment center, the medical personnel monitors you 24 hours throughout this tough time, alleviating these symptoms with medication till the process ends. You won't regret drug rehab. These are some things to help you pick the right drug rehab programs in the surrounding 47683 area.
In drug rehabilitation, there are a variety of different treatment styles that can be administered to a client. These include inpatient and outpatient, behavior modification sessions, substance addiction therapy, residential treatment, extended care, regional assistance groups, mental health and sober homes. Expert psychologists, doctors, substance addiction specialists and psychiatrists in the best rehab centers work thoroughly to develop the most ideal mix of physical and medication therapy programs so as to produce the most notable success rates. A mix therapy accompanied by longer time in drug rehabilitation appears to be the most successful alternative for long term management. These are just a few things too keep in mind when choosing your rehab programs in Somerville.
Pick The Best Drug And Alcohol Rehab Centers
The story behind your addiction is unique. The personnel at your chosen treatment facility understands this. Their goal is to see you prosper, not only during your stay with them, but as soon as you leave the center. Although there are many substance rehabilitations offered to choose between, no two are the very same. Becoming sober will not make you robotic. Now, you can pick the best drug rehabilitation centers near me near you, today.
Just like the professional mental assist with recognized mental disorder, drug dependency clients have to look for the very best treatment for their certain behavior and substance addiction patterns. It needs to be pointed out that smaller rehabilitation centers have a greater opportunity for an one-on-one treatment session which is important in later stages of the treatment program. Keeping this in mind will help you choose the right drug rehabilitation centers near me for your loved one.
Answers To Common Questions About Drug Rehab Center
You can not stay at the rehabilitation center for the rest of your life, but the staff you have actually started to think about as like a family will not abandon you. They bid you adieu with your sobriety plan for you to follow once you show up home , and find a Narcotics Anonymous group for you in your area. They want you to be successful and stay drug free, therefore, they provide you the tools you need for this.
Residential treatment programs are also a highly reliable option, especially for clients with serious issues. For instance, therapeutic environments are highly structured settings where clients stay at their home. The patient normally remains at this in your home therapy for 6 months to a year. Healing centers vary from the treatment approaches principally through the supportive community, care givers, and recovery. The focus of this therapy is the resocialization of patients to a substance free and regret free lifestyle.


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- 2010
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• The entire Museum will be open on holiday Mondays, including Monday, May 31 (Memorial Day), Monday, September 6 (Labor Day), and Monday, October 11 (Columbus Day). Mount Pleasant and Cedar Grove Park Houses, administered by the Philadelphia Museum of Art, will also be open on Monday, January 18. Click here for directions and more information on the Fairmount Park Houses. • Focusing on the final three decades of his career, Late Renoir is the first exhibition to survey the achievement of the great Impressionist painter Pierre-Auguste Renoir (1841-1919) during the last decades before his death. Some 80 of the artist's paintings, sculpture, and drawings will be on view, accompanied by a selection of works by Henri Matisse, Pablo Picasso, Pierre Bonnard, and others who were inspired by the master. Press preview June 11, 2010.New and Upcoming Exhibitions
Art in Revolutionary Philadelphia
April 17 through fall 2010
As the political climate in Philadelphia grew increasingly charged throughout the 1770s, art became currency. Some Philadelphians who supported the revolutionary cause gave art in payment of taxes to help fund the war. Loyalists to the British crown clung to their houses and art, including furnishings, until they were ultimately confiscated or, if portable, joined their owners in exile. After the war, art and furnishings were sold at public auctions. In this exhibition of revolutionary-era objects from the Museum's collection, the elegant Powel House Period Room (Gallery 287) will be re-imagined as part of British General William Howe's encampment in Philadelphia from September 1777 to May 1778, when the British occupied the home of Elizabeth and Samuel Powel (The Powels were relegated to living in the servants' quarters). Next door, some 20 objects from the Museum's collection will be on view, including rare works from the Meschianza celebration of May 1778—the raucous final farewell party thrown by the British as they left Philadelphia—including a silver tankard from 1788 and a porcelain vessel showing the Penn family coat of arms. This exhibition of artworks and household items used during the 1770s features objects in the Museum's collection that, while usually admired for their artistic virtues, depict the role art played in the lives of Philadelphians during the American Revolution. Curator: Alexandra Kirtley, Associate Curator of American Art
Location: Galleries 286 and 287 This exhibition is made possible by the Center for American Art at the Philadelphia Museum of Art. Press Images -
Visions of Venice: Eighteenth-Century Prints from the Collection
April 24 – July 18, 2010
Venice in the 18th century was a leading cultural center, where painting and sculpture, printmaking and drawing flourished alongside music and theater, fashion and design, attracting travelers from around the world. Prompted by this thriving tourist trade, Venetian artists created lively prints of the city and its people for aristocratic visitors to take as souvenirs. The exhibition features more than 70 works by artists such as Canaletto, Marco Ricci, Giovanni Battista, Giovanni Domenico Tiepolo, and Pietro Longhi. The images celebrate the life and beauty of the city with the characteristic inventiveness of the Venetian Rococo style. Topographical or imaginary views of Venice (vedute) dominated the market, recording unique architecture as well as major ceremonies and festivals. Capricci, blending fantasy and reality in spirited scenes of classical ruins, were also popular, while genre prints or representations of everyday life among all social classes were sought after by tourists and Venetians alike. The exhibition is further enlivened by a small selection of drawings and paintings by notable Venetian masters. Curators: Sarah Cantor, The Dorothy J. del Bueno Curatorial Fellow in the Department of Prints, Drawings, and Photographs, and John Ittmann, Curator of Prints
Location: Berman Gallery, ground floor Press Images -
Notations/Forms of Contingency: New York and Turin, 1960s – 1970s
April 24 – September, 2010
In collaboration with the Sonnabend Collection, New York, the Philadelphia Museum of Art presents an installation charting the changing attitudes toward sculptural practice in a formative period that marked the shift from the bound forms of Mimimalism to the eccentric, elemental, energetic, and expressive forms of post-minimalism and Arte Povera. Forms of Contingency will include seminal works by artists engaged in the radical reinvention of art in the two cultural epicenters of New York and Turin, including Eva Hesse, Robert Morris, Mel Bochner, Alan Sonfist, Bruce Nauman, Mario Merz, Jannis Kounellis, Barry Le Va, Giovanni Anselmo, Pier Paolo Calzolari, Robert Smithson, and Lawrence Weiner. About the "Notations" Series:
Forms of Contingency has been organized in collaboration with the Sonnabend Collection. The exhibition is part of an ongoing series of gallery installations titled "Notations," named after the 1968 book by the American composer, writer, and visual artist John Cage, who was widely celebrated for his experimental approach to the arts. Cage's Notations was an international and interdisciplinary anthology of scores by avant-garde musicians, with contributions from visual artists and writers. It was also an exhibition in book form, in which the scores doubled as drawings. The Notations series at the Museum serves as a flexible tool to explore contemporary art. Curator: Erica Battle, Project Curatorial Assistant
Location: Alter Gallery 176, Modern and Contemporary Galleries Press Images -
Live Cinema/Histories in Motion: Jennifer Levonian, Martha Colburn, Joshua Mosley
April 30 – July 25, 2010
April 30 – May 31, 2010: Take Your Picture with a Puma (2010), by Jennifer Levonian. Stop-motion animation using watercolors and collage. 7:00 minutes.
June 1 – June 27, 2010: Join the Freedom Force (2009), by Martha Colburn. Mixed media animation. 3:56 minutes.
June 29 – July 25, 2010: International (2010), by Joshua Mosely. Mixed-media Animation, 5.5 minutes. Contemporary artists increasingly employ animation to examine formal elements of studio-based practice in narrative contexts that address personal and communal experiences. Combining paper cut-outs, collages, drawings, watercolors, and sculptures with stop-action techniques and computer technology, Histories in Motion presents animated films by three young artists with Philadelphia ties, as well as a selection of the sculptures, collages and works on paper used to create them. Each artist's animation and accompanying artworks will be on view for approximately one month. Take your Picture with a Puma (2010), by Philadelphia-based artist Jennifer Levonian, uses autobiographical details and French new-wave cinema references to create an intricate story set in Mexico. Levonian uses cut-paper animations to explore the ambivalence of everyday life, transforming them into bizarre and uncanny occurrences. Her works engage with filmmaking as a medium, and at times incorporate direct references to classic cinema in surreal juxtapositions that have the effect of transporting the viewer to a universe where popular culture provides a common language to communicate emotions in a way that animated characters cannot. Take your Picture with a Puma will be on view April 30 – May 31, 2010, with accompanying watercolors by Levonian. Martha Colburn's Join the Freedom Force (2009), a fast-paced collage of images inspired by street protests around the world, utilizes the language and materials of filmmaking to comment on popular culture, consumerism, politics, and sexuality. Through a collage of live-action (paint-on-glass) animations, found footage and documentary filmmaking techniques, Colburn creates a mesmerizing portrait of contemporary issues expressed in the public realm. Samples of Colburn's elaborately layered collages will accompany Join the Freedom Force (June 1 – June 27, 2010). Joshua Mosley's International (2010) focuses on two historical figures, the American builder and philanthropist George Brown and Austrian economist Friedrich Hayek. Using stop-motion animation, the Philadelphia-based artist constructs an imaginary conversation that identifies Brown and Hayek's perspectives on how a nation's ideal economic and social order should evolve. International will be on view June 29 – July 25, 2010, together with a sculpture installation by Mosley. Histories in Motion will be accompanied by a program of public events, including an opening musical and visual performance by Martha Colburn on April 30. Live Cinema is a series of programs in the Video Gallery of the Museum that explores the vast production of single-channel video and filmwork by a diverse group of local, national, and international artists. In the last decade an ever-increasing number of contemporary artists have appropriated these mediums as an artistic outlet, in a dialogue with the early video and Super 8 practices of the 60s and the tradition of experimental filmmaking. Each program of the Live Cinema series focuses on a specific aspect of this work, in order to both map and analyze this important facet of contemporary art production. Live Cinema programs are accompanied by a brochure in which writers discuss the works exhibited, and also by public lectures program. Curator: Adelina Vlas, Assistant Curator, Modern and Contemporary Art
Location: Galleries 178 and 179, 1st floor This exhibition is made possible by The Women's Committee of the Philadelphia Museum of Art, the Edna W. Andrade Fund of The Philadelphia Foundation, and the Mondriaan Foundation, Amsterdam. Press Images -
Water Work
May 15 – July 18, 2010
This exhibition features images in which water is the principal theme, highlighted in a selection of modern and contemporary prints, drawings, and photographs from the permanent collection. Some 15 works will be on view, ranging from Ellsworth Kelly's brush and ink drawing Reflections in the Seine (1950), to Untitled (after Tomb of the Diver, Paestum) (2002), a crayon and charcoal drawing on blue paper by Robert Moskowitz. Works by artists including Ed Ruscha, Roni Horn, Robert Moskowitz, Vija Celmins, and Georgia O'Keeffe will also be on view.Curator: Innis H. Shoemaker, The Audrey and William H. Helfand Senior Curator of Prints, Drawings and Photographs
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Location: Stieglitz Gallery, ground floor -
Late Renoir
June 17 – September 6, 2010
Focusing on the final three decades of his career, Late Renoir is the first exhibition to survey the achievement of the great Impressionist painter Pierre-Auguste Renoir (1841-1919) during the decades before his death. Some 80 of the artist's paintings, sculpture, and drawings will be on view, accompanied by a selection of works by Henri Matisse, Pablo Picasso, Pierre Bonnard, and others who were inspired by the master. A landmark exhibition, Late Renoir examines new directions that the artist explored several decades after he and others such as Claude Monet and Camille Pissarro created the new style of painting known as Impressionism. This new and widely admired phase in Renoir's career propelled him into the modern age and, at the same time, enabled him to recapture a classical past with expressive brushwork and a palette of sensuous colors that were both lyrical and decorative. Late Renoir includes major works on loan from public and private collections in Europe, the United States, and Japan. It will be organized chronologically, enabling the visitor to appreciate the evolution of Renoir's late style, beginning with portraits and genre scenes and examining his full embrace of the nude and mythological subjects. Itinerary: Los Angeles County Museum of Art (February 14-May 9, 2010); Philadelphia Museum of Art (June 17-September 6, 2010)
Curator: Jennifer Thompson, The Gloria and Jack Drosdick Associate Curator, European Painting Before 1900
Catalogue: The exhibition is accompanied by a fully illustrated catalogue.
Location: Dorrance Galleries This exhibition is supported in part by The Annenberg Foundation Fund for Major Exhibitions and by an indemnity from the Federal Council on the Arts and the Humanities. Major foundation support for this exhibition is provided by The Pew Charitable Trusts and The Robert Lehman Foundation. Additional support is provided by The Women's Committee of the Philadelphia Museum of Art; Bank of America; Mr. and Mrs. Leonard Abramson, Barbara B. and Theodore R. Aronson, Maude de Schauensee, Mr. and Mrs. Robert E. Linck, Martha Hamilton Morris and I. Wistar Morris III, Mr. and Mrs. John M. Thalheimer, Harriet and Larry Weiss, and other generous contributors to the Renoir Salon; and other individual donors. Promotional support provided by NBC 10 WCAU; Philadelphia Convention and Visitors Bureau (PCVB) and the Greater Philadelphia Tourism Marketing Corporation (GPTMC); The Philadelphia Inquirer, Daily News, and Philly.com; and Amtrak. Press Release | Press Images
John G. Johnson and the Theatrum Pictorium of David Teniers II
June 12 through fall 2010
The John G. Johnson collection, assembled by the Philadelphia lawyer who bequeathed it to the city of Philadelphia in 1914, is considered one of the finest samples of paintings collected by an individual in the United States. In his collecting of Old Master works, Johnson was frequently unorthodox. While others sought after the peasant scenes and village fairs by renowned Flemish master David Teniers II, Johnson chose five of Teniers' sketches for his 1660 Theatrum Pictorium, the world's first fully illustrated and printed collection catalogue. This grand quasi-scientific project was undertaken to publish the Italian paintings collection of his master and patron, Archduke Leopold Wilhelm. Teniers created small oil sketches of 243 of the paintings, noting the dimensions at the bottom. These sketches were then engraved by printmakers in Antwerp. The five sketches show Teniers translating Wilhelm Leopold's Italian treasures into his own lighthearted, precise style, which became very influential in the following century. The sketches, completed catalogue and other related works will be on view to illustrate Teniers' position at the nexus of art and science in 17th century Flanders culture. Curator: Lloyd DeWitt, Associate Curator of European Painting Before 1900
Location: Johnson Study Gallery 273
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Plain Beauty: Korean White Porcelain/Photographs by Bohnchang Koo
June 19 – September 26, 2010
White porcelains have been produced in Korea since the beginning in the 15th century and have often reflected the ideals and taste of the Joseon dynasty (1392-1910) which promoted the virtues of a frugal and restrained lifestyle. The production of porcelain continued throughout the early 20th century, yielding vessels of diverse functions, sizes, and shapes. In China, the preference for plain white wares was long ago replaced by lavishly decorated vessels with flamboyant, multicolored patterns, and as a result monochrome wares remained a uniquely Korean phenomenon. This exhibition explores the elegant beauty of plain white Korean porcelain with objects drawn from the Museum's collections and loans from other collections in the United States. The works range from a small water dropper to an imposing globular "moon jar." The porcelains are complemented by an installation of large-scale photographs by Bohnchang Koo (b. 1953), which capture the subtle beauty of undecorated white porcelains. Koo visited museums within and outside Korea to develop the almost portrait-like images, which feature off-center compositions, sectional details, and subtle pink tones. Curator: Hyunsoo Woo, The Maxine and Howard Lewis Associate Curator of Korean Art
Location: Levy Gallery, Perelman Building This exhibition is made possible by the Korea Foundation. Additional support is provided by The James and Agnes Kim Foundation Endowment for Korean Art and Frank S. Bayley. Press Images -
To Love, Honor and Obey? Stories of Italian Renaissance Marriage Chests
Ongoing from July 3, 2010
In Renaissance Italy, betrothal and marriage were celebrated with a variety of events as well as commemorative works of art. Often elaborate, these objects marked the joining of a couple while symbolizing wealth and demonstrating alliances between powerful families. Particularly significant were cassoni, large storage chests produced in pairs and typically used to hold the bride's dowry. In mid-15th-century Florence, these chests were sometimes paraded through the city in wedding processions, and were designed to complement other furnishings made for the new couple's bedchamber This exhibition includes two complete chests and related painted panels in the collection of the Philadelphia Museum of Art, all produced in Tuscany in the mid-to late-15th century. To Love, Honor and Obey? considers the contexts for which marriage chests were made and used, techniques em¬ployed by craftsmen in producing them, and the sources and meanings of their decoration. Usually representing moral exemplars intended for the education of the married couple—particularly the wife—the tales and images that decorate cassoni help illuminate Italian Renaissance art, life and society Curator: Jack Hinton, Assistant Curator of European Decorative Arts and Sculpture
Location: Gallery 209 Press Images -
Hanging Around: Modern and Contemporary Lighting from the Permanent Collection
July 17 – October 10, 2010
Since the invention of the electric light in the early 20th century, designers have been experimenting with various ways to dress up the light bulb. Lighting fixtures—and particularly hanging lamps—received attention from designers such as American George Nelson, who in the decades after WWII, responded to a demand for fixtures that were both aesthetically functional and modern. This exhibition of some 20 hanging lamps drawn from the Museum's collection of modern and contemporary design explores the variety of ways designers used materials and technology to find new ways of diffusing and reflecting light. Artists such as Poul Henningsen, a Danish industrial designer and architect, experimented with unusual designs, creating objects such as PH Artichoke lamp (1958), composed of staggered and stacked reflectors in a configuration that resembles, as its name suggests, an artichoke. Others experimented with materials, some of them new, like plastic, and others merely low-tech materials adapted for a new purpose, like Italian artist Bruno Munari's Falkland lamp (1964), an elegant undulating column of elasticized fabric. In recent years, designers have experimented with new technologies, producing imaginative creations such as German designer Ingo Maurer's "Wo bist du, Edison?" ("Where Are you, Edison?"), made in 2003. One of Maurer's most technically advanced works, "Wo bist du, Edison?" features a 360-degree holographic image of a light bulb hanging above the shade, hidden in a socket in the shape of Thomas Edison's profile. Curator: Donna Corbin, Associate Curator of European Decorative Arts
Location: Collab Gallery, Perelman Building Press Images -
An Eakins Masterpiece Restored: Seeing "The Gross Clinic" Anew
July 24, 2010 – January 9, 2011
The Gross Clinic of 1875 by the Philadelphia painter Thomas Eakins (1844-1916) is among the most celebrated and imposing masterpieces of 19th-century American art. This exhibition will invite visitors to see the painting—its creation, reception, and changes it has undergone through the years—in new ways. The Philadelphia Museum of Art and the Pennsylvania Academy of the Fine Arts, joint owners of The Gross Clinic, in late 2008 initiated a plan to research the condition of the painting and assess the benefits of cleaning and restoration. The resulting study of The Gross Clinic and numerous other Eakins paintings identified preservation needs and made clear the potential of a new restoration to address problems caused by an insensitive 1920s cleaning. On July 24, 2010, The Gross Clinic, newly restored in the paintings conservation studio of the Philadelphia Museum of Art using extensive recent findings about the painting's original appearance, will be placed on view as the centerpiece of this exhibition. As a result of research and conservation work, audiences will be able to see this masterpiece looking more as it did in Eakins's day than it has at any time since the early 1920s. In the exhibition, the history and initial reaction to The Gross Clinic will be explored, using materials from the 1876 Centennial Exposition in Philadelphia, including photographs, didactic panels, and responses from viewers in the 1870s ranging from horror and revulsion to awe-struck praise. Three surviving preparatory studies for the painting and the recent X-radiograph of The Gross Clinic will be presented to provide insight into Eakins's painting process, supplemented by texts explaining the artist's commitment to the academic ideal of correct pictorial tone and color. The exhibition also includes a documentary film produced by the Philadelphia Museum of Art, exploring period and personal artistic ideas to which Eakins was responding as a painter, ways he used his materials and techniques in pursuit of specific effects, and the cause of changes to many of his paintings—including The Gross Clinic—in the decades after his death in 1916. This exhibition will explore the remarkable painting's history and include such supplementary works as The Agnew Clinic of 1889 (owned by the University of Pennsylvania,) the artist's second great clinic painting, as well as his Portrait of Dr. Benjamin H. Rand of 1874 (Crystal Bridges Museum), which was Eakins's first full-length portrait of a doctor. Visitors will have the opportunity to see The Gross Clinic and The Agnew Clinic side by side, as the two landmark depictions of American surgery have not been shown in the same room before. The Gross Clinic is owned jointly by the Philadelphia Museum of Art and the Pennsylvania Academy of the Fine Arts, thanks to the successful campaign launched by the two institutions in 2006 to keep the painting in Philadelphia when it was offered for sale by Thomas Jefferson University. The Gross Clinic will return to the Pennsylvania Academy of the Fine Arts following the exhibition. The exhibition is made possible by Joan and John Thalheimer, and by Wachovia, a Wells Fargo Company. The conservation of Thomas Eakins's "The Gross Clinic" was generously supported by The Richard C. von Hess Foundation. Curators: Mark S. Tucker, Vice Chair of Conservation and The Aronson Senior Conservator of Paintings, and Kathleen A. Foster, The Robert L. McNeil, Jr. Senior Curator of American Art, and Director, Center for American Art; documentary film by Suzanne Penn, Conservator of Paintings, Philadelphia Museum of Art
Location: Perelman Building, Pennsylvania Gallery Press Images -
Picturing the West: Yokohama Prints 1859-1870s
August 28 - November 14, 2010
Cut off from the outside world by a policy of isolation enforced by the ruling Tokugawa shogunate, Japanese citizens were naturally curious about the Westerners who arrived on their shores following Commodore Matthew Perry's historic voyages to Japan in 1853–1854. This fascination led to the flourishing of hundreds of color woodcuts portraying the foreigners who came to the country after Japan opened its borders to trade with the United States, France, Britain, the Netherlands and Russia at the end of the 1850s. The exhibition of approximately 90 woodcuts, selected from the Museum's extensive collection of 19th-century Japanese prints, showcases the rising interest in the dress, habits, and technologies of the newly arrived Westerners. The prints on view depict the coal-powered steam vessels known as "Black Ships," hoop-skirted women and men in top hats, as well as imaginary views of the foreigners' home countries. The Westerners residing in the burgeoning Japanese city of Yokohama were especially popular subjects. Once a small fishing village, Yokohama was completely transformed into a major international port for trade as foreigners set up their own districts and the city expanded with an unprecedented flow of travelers and goods. Print publishers sent artists to Yokohama to make sketches on site and supplemented eye-witness accounts with imagery borrowed from illustrations in Western journals and newspapers. The resulting prints are a curious blend of convention and novelty, where traditional color woodcut techniques and methods of production are combined with new subjects and sources of imagery. Curator: Shelley R. Langdale, Associate Curator of Prints and Drawings
Location: Berman and Stieglitz Galleries, ground floor
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Eakins on Paper: Drawings and Watercolors from the Collection
September – December 2010
In honor of the 150th anniversary of the Philadelphia Sketch Club, a selection of 10 rarely-seen drawings and watercolors will survey the early work of Thomas Eakins (1844-1916), considered as one of the great draftsmen in American art. Life-class drawings in charcoal from his student days during the 1860s at the Pennsylvania Academy of the Fine Arts illustrate the central focus on figure drawing that inspired the formation of the Sketch Club that same decade. After study in Paris from 1866 to 1870, Eakins returned to Philadelphia to share his expertise with the club's members, offering critiques at their life-class sessions in the 1870s before he began to teach at the Academy. Other examples of Eakins' figure subjects in pen and ink and watercolor on view will include a rare wash drawing of Dr. Samuel Gross from 1875, based on the image in The Gross Clinic, and unusual tracings from his own photographs in the early 1880s, documenting his scientific interest in human anatomy. These drawings will be displayed alongside figure subjects and portraits in oil, and in conjunction with the special exhibition on The Gross Clinic (on view in the Perelman Building), to demonstrate Eakins's reputation as a master of realism. Curators: Kathleen Foster, The Robert L. McNeil, Jr. Senior Curator of American Art
Location: Provident National Bank Gallery 118 Press Images -
Desert Jewels: North African Jewelry and Photography from the Xavier Guerrand-Hermès Collection
September 4– December 5, 2010
Three decades of objects collected by Xavier Guerrand-Hermès of the renowned Paris-based fashion empire illuminate the diversity and beauty of traditional North African jewelry design. Including some 80 pieces of jewelry and nearly 30 late-19th- and early-20th-century photographs by artists from Algeria, Libya, Morocco, Egypt, and Tunisia, Desert Jewels features ornate necklaces, bracelets, rings, and earrings, most of which have never been publicly displayed. Designers working with inventive combinations of silver, coral, amber, coins, and semi-precious stones highlight cultural threads shared by many North African societies, while exploring local variations in materials and motifs. North African jewelry came to the attention of Western collectors in the 19th century when archaeological monuments in the region were being explored, visited, and in some cases, pillaged. The jewelry was also captured in photographs by artists including the Scotsman George Washington Wilson, the Neurdine brothers from France, and the Turkish photographer Pascal Sabah, who visited the region and photographed landscapes, architecture, markets, and people adorned in their jewels. Some of these images were used for postcards, while other remained hidden in little-known collections. This exhibition is organized by the Museum for African Art in New York. Curator: Dilys Blum, The Jack M. and Annette Y. Friedland Senior Curator of Costume and Textiles
Location: Spain Gallery, Perelman Building Hyunsoo Woo, The Maxine and Howard Desert Jewels: North African Jewelry and Photography from the Xavier Guerrand-Hermès Collection is organized by the Museum for African Art, New York, and supported, in part, by the Robert Lehman Foundation. Press Images -
Mark Cohen: Strange Evidence
Fall 2010
Working primarily in small Pennsylvania rust-belt cities like Scranton and Wilkes-Barre, where he lives, Mark Cohen photographs people and places encountered at random. This exhibition of some 50 of Cohen's black-and-white and color photographs made during the past 40 years reveal elemental aspects of human behavior and urban life, charting transformations that have occurred in Pennsylvania cities and demonstrating that even the most subjective photographs can reveal historical truths. Part of a generation of street photographers that includes Robert Frank, William Klein, and Lee Friedlander, Cohen works in a close-up, graphically bold style, focusing on odd suburban enigmas often featuring children from around his home town. His images are often unsettling, showing us a world filled with anxieties, accidents, and desires. While they seem to reveal aspects of human behavior and urban life, they are far from objective documents, as he often employs an aggressive flash and radical cropping. The resulting images are clearly shaped as much by Cohen's encounters with his subjects as by the people and places themselves. Curator: Peter Barberie, The Brodsky Curator of Photographs
Location: Levy Gallery, Perelman Building
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Michelangelo Pistoletto: From One to Many, 1956 – 1974
November 2, 2010 – January 16, 2011
Michelangelo Pistoletto (Italian, b. 1933) is among the most influential European artists living today, and as a founder of Arte Povera in the 1960s, is credited for having played an integral role in introducing many contemporary participatory practices to the United States. As the first focused survey of works by Pistoletto in this country in over two decades, the exhibition of more than 100 works will place Pistoletto's work in the context of post-war Italy and Western Europe, while relating his work to developments in American art post-1960, including Pop Art, Minimalism and Conceptual Art. It will also emphasize the participatory aspect of his work, and will include loans from both American and European public and private collections, many of which have never been exhibited before in the United States. Pistoletto began exploring the tension between the individual human figure and the anonymous spectator at the beginning of his career. After first portraying himself in his paintings, he then sought to include the spectator through the progressive use of increasingly reflective surfaces, such as the Quadri specchianti (Mirror Paintings), incorporating the viewer's image into the work as a fundamental part of its experience. The exhibition will also include sections devoted to Pistoletto's Plexiglas works from 1964 that clearly prefigure Conceptualism, his Stracci (Rags) sculptures from the late-1960s and early-1970s that exemplify his Arte Povera period, and interactive documentation of the performance work that he produced with his Zoo group from 1968 to 1970. A centerpiece of the show will be Pistoletto's Oggetti in meno (Minus Objects), a group of sculptural objects created in 1965 and1966. Exhibition Catalogue:
The exhibition will be accompanied by a full-color 320-page catalogue, Michelangelo Pistoletto: From One to Many, 1956-1974 published in English by the Philadelphia Museum of Art in conjunction with Yale University Press. Museo nazionale delle arti del XXI secolo (MAXXI) will produce an Italian-language catalogue. The catalogue will be edited by Carlos Basualdo, the Keith L. and Katherine Sachs Curator of Contemporary Art, with contributions by art historians Jean-François Chevrier, Claire Gilman, Gabriele Guercio, and Angela Vettese, as well as the Museum's Conservator of Paintings Suzanne Penn. It is available in the Museum Store ($65), or via the internet at www.philamuseum.org. Michelangelo Pistoletto: From One to Many, 1956 – 1974 is organized by the Philadelphia Museum of Art and MAXXI (Museo nazionale delle arti del XXI secolo), Rome Curator: Carlos Basualdo, The Keith L. and Katherine Sachs Curator of Contemporary Art
Location: Dorrance Galleries for Special Exhibitions The exhibition is made possible by The Pew Center for Arts & Heritage through the Philadelphia Exhibitions Initiative, and by The Kathleen C. and John J. F. Sherrerd Fund for Exhibitions. Initial research was supported by The Andy Warhol Foundation for the Visual Arts. Press Images -
Michelangelo Pistoletto: Cittadellarte
November 2, 2010 – January 16, 2011
Pistoletto's current project Cittadellarte will be represented in conjunction with Michelangelo Pistoletto: From One to Many, 1956-1974. Cittadellarte is an interdisciplinary laboratory for art and cultural production, founded by Pistoletto in his hometown of Biella, Italy (near Turin) in 1998, where Pistoletto has developed several autonomous and self-organized offices focusing on art, economics, education, politics, ecology, and communication. The name Cittadellarte refers to both a fortified enclave and city of art and the artist's program represents Pistoletto's commitment to an "art [that is] at the center of a responsible process of transformation of society." At the Philadelphia Museum of Art, the installation will highlight the intellectual, political, and social dialogues fostered by Cittadellarte, and its associated program of activities will utilize the exhibition space as a social and educational forum. The Cittadellarte installation will host a series of performances, lectures, and workshops bringing the spirit of the artistic center to the Museum and the city of Philadelphia. Programming for Cittadellarte is being developed by the Museum's Education Department in close consultation with the Modern and Contemporary staff in the Curatorial Department, the artist, and staff members of Cittadellarte. The programming developed for Cittadellarte will also include the collaboration of grass roots organizations and other institutions in the city. Curator: Carlos Basualdo, The Keith L. and Katherine Sachs Curator of Contemporary Art
Location: Alter Gallery 176, Main Building -
Alessi: Ethical and Radical
November 21, 2010 to April 10, 2011
Alessi is widely regarded as the world's most innovative and influential maker of kitchen utensils, or in the company's parlance, "house-hold objects." The company was founded in 1921 by Giovanni Alessi in the region of Lake Orta in the Italian Alps, an area known for highly developed traditions in wood and metal. This exhibition presents the company's history in designing household objects made by leading designers, while exploring ecological concerns, new technologies, and other themes represented by the objects on view. In the 1950s, under the leadership of Carlo Alessi, Giovanni's grandson, the company made the decision to commission household objects by leading Italian architects. Alberto Alessi—the fourth generation in this family-owned enterprise—took over the management of Alessi in the 1970s. Maintaining the sensibility of handicraft while working in materials ranging from stainless steel to plastic, Alberto Alessi brought the company to the forefront of international design through collaborations with architects and designers including Achille Castiglioni, Michael Graves, Ettore Sottsass, and Philippe Starck. Alessi's current catalog presents the result of the firm's work with more than 200 designers, such as Ron Arad, David Chipperfield, Zaha Hadid, Jean Nouvel, and Kazuyo Sejima and Ryue Nishizawa of the architectural firm SANAA. Alessi: Ethical and Radical presents the company's history in objects while exploring ecological concerns, new technologies, and other themes. Alberto Alessi will receive Collab's Design Excellence Award for 2010. The exhibition is supported by Collab, a nonprofit group that supports the Philadelphia Museum of Art's modern and contemporary design collection and programs. Curator: Kathryn Hiesinger, Curator of European Decorative Arts after 1700
Location: Collab Gallery, Perelman Building This exhibition is supported by Collab Press Images -
Virtues and Vices: Moralizing Prints in the Low Countries, 1550-1600
Winter 2010 – 2011
This exhibition brings together a group of lively moralizing prints created between 1550 and 1600 in Antwerp and Haarlem, the two major print publishing centers in the Low Countries. Both sobering and satirical, prints of this type were popular best sellers, offering both moral instruction and visual delight to a newly expanded audience of educated Dutch and Flemish consumers. Familiar stories from the Bible, tales from Greek and Roman mythology, depictions of contemporary events, and scenes of everyday life all found favor with collectors. Ranging from the rowdy peasants and fantastic monsters of Pieter Bruegel the Elder (first documented 1550, died 1569) to the muscular heroes and sensuous nudes of Hendrick Goltzius (1558-1617), about 70 engravings selected from the permanent collection demonstrate the remarkable variety of moralizing prints created by leading artists of the Low Countries during a period of significant political and religious change. Location: Berman Gallery, ground floor
Curator: Charles Hausberg, Margaret R. Mainwaring Curatorial Fellow, with John Ittmann, The Kathy and Ted Fernberger Curator of Prints Press Images -
George Inness in Italy
February – May, 2011
A canonical figure in American painting, George Inness (1825–1894) is widely admired as the pioneer of the evocative aesthetic known as Tonalism, which is distinguished by soft focus and diaphanous layers of paint. This is the first exhibition to examine the artist's two Italian sojourns (1851–52 and 1870–74) and their formative impact on his work. Italy—its art and its landscape—offered Inness a font of inspiration as he developed his own unique artistic vision. This exhibition presents 10 oil paintings surveying Inness's Italian subjects dating from 1850 to 1879. A highlight of the exhibition is Twilight on the Campagna (c. 1851), Inness's first major work completed in Italy. Recently conserved, the painting has not been on view at the Philadelphia Museum of Art since 1952. Its re-emergence and restoration—precipitated by a comprehensive publication, or catalogue raisonné, of Inness's entire body of work issued in 2007—constitutes a significant rediscovery. Inness enjoyed his most productive years during his second stay in Italy. His paintings sold well, both as mementos of Italy for affluent American travelers and as progressive stylistic experiments for leading collectors of American landscape painting. Although Inness returned to the United States in 1874, he continued to paint Italian compositions, honing the Tonalist aesthetic that began with his first trip to Italy in 1851. With Twilight on the Campagna as its anchor, George Inness in Italy charts this innovative artist's development as he formed, interpreted, and later remembered his diverse and vivid impressions of Italy. Curator: Mark Mitchell, Assistant Curator and Manager, Center for American Art
Location: Gallery 119 This exhibition is organized by the Philadelphia Museum of Art and its Center for America Art, and is supported by a generous gift from Mr. and Mrs. Frank Martucci. Press Images -
Paris through the Window: Marc Chagall and his Circle
March - July 2011
The evocative power of Paris as a symbol of culture, of freedom, and of modernity was enormous for artists the world over and accounts for the extraordinary migration there during the first half of the 20th century. Most artists settled in a vibrant area of Paris known as Montparnasse, which was sprinkled with artists' residences, cafes, and art galleries; it was here that Marc Chagall, Jacques Lipchitz, Amedeo Modigliani, Chana Orloff, Jules Pascin, Chaim Soutine, and Ossip Zadkine established studios and discovered each other's work. This exhibition will include around 35 paintings and sculptures by these emigré artists, all of which were created in a unique atmosphere of mutual encouragement and support in Montparnasse before the Second World War. The exhibition will focus in particular on the paintings that Chagall made between 1910 and 1920, including the artist's early masterpiece Half Past Three (The Poet), of 1911, which has long been considered one of the great treasures of the Philadelphia Museum of Art. Curator: Michael Taylor, The Muriel and Philip Berman Curator of Modern Art
Location: Exhibition Gallery, Perelman Building In conjunction with the Kimmel Center April in Paris program
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Roberto Capucci
March – May 2011
Italian fashion designer and artist Roberto Capucci (born 1930) is revered by contemporary designers for his innovative silhouettes and masterful use of form, color, and materials. Roberto Capucci—featuring some 90 works, archival material and film clips, and images captured by leading fashion photographers—will be the first retrospective of his work in the United States. Refusing to compromise his vision to commercial concerns, Capucci refers to his work as "a study in form" inspired by art, architecture, and nature. He opened his first couture salon in Rome in 1950 at age 20, and by 1956 the international press had declared him Italy's best designer, lauding his "vigor, imagination, and uninhibited originality." In 1962 he moved to Paris, where he created both classical and experimental collections, incorporating surprising materials such as plastic and stones. Capucci returned to Rome in 1968, where he has continued his work as couturier and artist. The exhibition includes work ranging from Capucci's sculpture-dresses—which originated with his 1978 "Colonna" silhouette, based on the Doric column—to designs conceived for the 1995 Venice Biennale and his most recent series from 2007. Capucci's "Ocean" dress-sculpture, created for the Italian Pavilion at the 1998 World's Fair in Lisbon, is on view alongside works that reveal his technical innovations and singular use of color. Curator: Dilys Blum, The Jack M. and Annette Y. Friedland Senior Curator of Costumes and Textiles
Location: Dorrance Galleries Organized by the Philadelphia Museum of Art and the Capucci Foundation Press Images -
Rembrandt and the Face of Jesus
August – October 2011
Rembrandt van Rijn (1606–1669) is universally acclaimed as the greatest master painter of the Dutch Golden Age, the 17th-century efflorescence of art in the Netherlands. An inventory of Rembrandt's home and studio conducted in July 1656 brought to light eight paintings created by Rembrandt and his pupils between 1643 and 1655, including two paintings called Head of Christ, and a third painting identified as a Head of Christ, from life, found in a bin in Rembrandt's studio and awaiting use as a model for a New Testament composition. This exhibition of more than 50 related paintings, prints, and drawings, examines the religious, historic, and artistic significance of these eight bust-length portraits depicting traditional artistic conceptions of Christ. The portraits, reunited for the first time, feature an ethnographically correct model, deviating from the history of Christian art, which had relied on rigidly copied prototypes for Christ that were not overtly Semitic Jewish in appearance. Objects of private refection for Rembrandt, the paintings in this exhibition bear witness to Rembrandt's iconoclasm and his search for a meditative ideal, while exploring issues of attribution derived from the artist's collaboration with students and apprentices in his workshop. The exhibition will be on view at the Musée du Louvre, Paris, from April to July 2011, and at the Detroit Institute of Arts from November 2011 to February 2012. Curator: Lloyd DeWitt, Associate Curator of European Painting Before 1900
Location: Dorrance Galleries Press Images
Ongoing Exhibitions
PHILAGRAFIKA 2010: The Graphic Unconscious—Works by Óscar Muñoz and Tabaimo
Through April 11, 2010
The printed image lies at the heart of the work of many contemporary artists, but just as printed materials have become ubiquitous in visual culture, passing nearly unnoticed, so too have print processes become an integral part of art-making without always being acknowledged. The role of the printed image in contemporary art is the focus of the international festival, PHILAGRAFIKA 2010, to be held throughout the city of Philadelphia. The core exhibition of the festival, The Graphic Unconscious, will be shown across five venues, including the Philadelphia Museum of Art. The Museum will display installations by the Japanese artist Tabaimo (b. 1975) and the Colombian artist Óscar Muñoz (b. 1951) that explore the translation of printmaking into other mediums and expand the conceptual boundaries of printmaking. Tabaimo (b. 1975) often portrays communal places such as public restrooms, commuter trains, and bathhouses in her video works—settings where anonymity and intimacy can collide and the orderly surface of Japanese society is disturbed. Drawing on the aesthetics of traditional Japanese woodcuts as well as the frequently violent narratives of Japanese comics (manga) and animation (anime), Tabaimo's video projections (often life-size or larger) are installed in well-defined spaces or stage-like settings in which they directly confront, envelop, or otherwise encompass the viewer. The U.S. debut of her video installation, dolefullhouse (2007), will be presented in the Museum's Stieglitz gallery. Oscar Muñoz (b.1951) blurs the boundaries between photography, printmaking, drawing, installation, video and sculpture. He uses innovative processes, such as screenprinted charcoal portraits on water, to create images that address the ephemeral nature of human existence, memory, and history. Muñoz will present two projects in the Berman Gallery: screenprinted charcoal self-portraits on water, titled Narcisos en proceso (Narcissi in process), 1994-ongoing, and a set of video portraits of people who are deceased or have disappeared, Biographies, (2002). The institutions participating in The Graphic Unconscious are: Moore College of Art & Design, Pennsylvania Academy of Fine Arts (PAFA), The Philadelphia Museum of Art, The Print Center, Temple Gallery, Temple University, and Tyler School of Art. Thirty-five artists from 18 countries will be represented. PHILAGRAFIKA 2010 is the inaugural presentation of an international festival celebrating the print in contemporary art that is based in Philadelphia with installations and exhibitions at a broad range of cultural institutions and sites in the city. These exhibitions, part of the multi-site exhibition PHILAGRAFIKA 2010: The Graphic Unconscious, were organized by the Philadelphia Museum of Art in collaboration with PHILAGRAFIKA, a nonprofit arts organization in Philadelphia that provides leadership for large-scale, collaborative initiatives with broad public exposure. Program support for The Graphic Unconscious is provided by The Pew Center for Arts & Heritage through the Philadelphia Exhibitions Initiative, The Andy Warhol Foundation for the Visual Arts and the National Endowment for the Arts. Additional support for the installations by Óscar Muñoz and Tabaimo at the Philadelphia Museum of Art was provided by the Ministerio de Cultura de Colombia and the Ministerio de Relaciones Exteriores de Colombia, the Sicardi Gallery, Houston, Texas, the Pennsylvania Council on the Arts, and other generous individuals. Curator: Shelley R. Langdale, Associate Curator of Prints and Drawings
Location: Berman and Stieglitz Galleries, Ground floor: Muñoz (Berman Gallery); Tabaimo (Stieglitz Gallery) Press Release | Press Images -
Jun Kaneko
Through April 18, 2010
A suite of four large glazed ceramic sculptures by Jun Kaneko, on view in the Skylit Galleria of the Ruth and Raymond G. Perelman Building, was installed to coincide with the East Coast debut of the artist's production of the opera Madama Butterfly at the Opera Company of Philadelphia October 9 – 18, 2009. The sculptures, all of them rounded and richly decorated forms, are part of a larger body of works, or dangos, from the Japanese artist's Mission Clay Project, so named after a sewer-pipe factory where Kaneko fired his work in a beehive kiln. Altogether, 41 of the works are on view in Philadelphia, including City Hall, the Kimmel Center, and Locks Gallery. Each work, which takes about a year to complete, is hollow-cast, and painted with his signature striped and polka-dot patterns. Kaneko, born in Nagoya, Japan in 1942, began his formal studies in art in the United States at the Chouinard Art Institute and continued at Berkeley and Claremont Graduate School. He has been developing the dango sculptures since the mid 1990s, and some measure up to 13 feet tall. In conjunction with city-wide installations titled "On the Wings of Music: Art, Opera & You," celebrating Jun Kaneko's sets and costumes for Madama Butterfly, presented at the Academy of Music by the Opera Company of Philadelphia. Courtesy of Jun Kaneko and Locks Gallery.
Curator: Elisabeth Agro, The Nancy M. McNeil Associate Curator of American Modern and Contemporary Crafts and Decorative Arts
Location: Skylit Galleria, the Perelman Building Press Images -
Picasso and the Avant-Garde in Paris
Through May 2, 2010
One of the most innovative and influential artists of the 20th century, Pablo Picasso (Spanish, 1881–1973) was at his most inventive between 1905 and 1945. Picasso and the Avant-Garde in Paris surveys the artist's remarkable output, from his early experiments with abstraction to his pioneering role in the development of Cubism, as well as his dialogue with Surrealism and other important art movements. The exhibition also explores the role of Paris in the history of modern art, when artists from around the world followed Picasso's example and moved to the French capital. It will include nearly 200 paintings, drawings, and sculptures by Picasso, Braque, Léger, Chagall, Dalí, and many others, who collectively formed an avant-garde group that became known as the School of Paris. Among the major works in the exhibition are Picasso's Three Musicians (1921), a grand summation of the artist's decade-long exploration of Synthetic Cubism, Fernand Léger's The City (1919), and Marc Chagall's Half Past Three (The Poet) (1911). The exhibition presents a unique opportunity to display the Museum's important collection of works on paper by these artists, most notably collages by Picasso and Braque, which, due to their light sensitivity, are only occasionally on view. Several paintings that have not been displayed in several decades will also be on view. The exhibition will be arranged to chronicle the dramatic evolution of Picasso's art, from the early, iconic Self-portrait with Palette (1906), in which the young artist unabashedly proclaims his mastery and command, to Woman with Loaves (1906) in which he begins to use archaic and non-western art forms to reinvent human anatomy, to later works that are infused with surrealism and neoclassicism. Although Picasso and Braque pioneered Cubism, with its flattened forms and multiple perspectives, the exhibition will also include works by artists such as Juan Gris and Léger, who began to formulate their own visions in response. The exhibition further considers the role of American and Eastern European artists who joined the thriving scene in Paris, among them Alexander Archipenko, Marc Chagall, Charles Demuth, Jacques Lipchitz, Man Ray, and Max Weber. Through the dizzying shifts in style and technique that marked these tumultuous years, Picasso continued to be a galvanizing force for the artists around him. The exhibition demonstrates the variety and innovation of his work during this time, and brings to life the extraordinary atmosphere of early 20th century Paris and the significant artwork that emerged there. Picasso and the Avant-Garde in Paris is made possible by GlaxoSmithKline.Additional funding is provided by the Commonwealth of Pennsylvania and the Pew Charitable Trusts. Promotional support provided by NBC 10 WCAU; Philadelphia Convention and Visitors Bureau (PCVB) and the Greater Philadelphia Tourism Marketing Corporation (GPTMC); The Philadelphia Inquirer, Daily News, and Philly.com; and Amtrak.
Curator: Michael Taylor, The Muriel and Philip Berman Curator of Modern Art
Location: Dorrance Galleries Press Release | Press Images -
The Platinum Process: Photographs from the Nineteenth to the Twenty-First Century
Through May 23, 2010
Photographers have long been seduced by the subtle and lustrous shades of the platinum print, which range from the deepest blacks to the most delicate whites. More than 50 works from the late 19th century to the present are included in the exhibition, showcasing outstanding prints largely drawn from the Museum's collection of photographs. Highlights include images by early masters of the process including Frederick H. Evans (1853-1943) and Alfred Stieglitz (1864-1946), as well as works by skilled contemporary practitioners such as Lois Conner (born 1951) and Andrea Modica (born 1960), who continue to engage in this historic and painstaking process in an era marked today by electronic imaging. Revered for its permanence as well as its tonal depth and beauty, platinum has been treasured by photographers and collectors since its introduction in 1873, its popularity impeded only by its high cost and its scarcity. Unlike standard silver printing, in which particles are suspended in gelatin, platinum is brushed directly onto the paper, allowing artists to create a matte image that boasts an exceptionally wide tonal range. While encompassing works spanning many dates and styles, The Platinum Process highlights one of the Museum's treasures, the 1915 masterpiece Wall Street, by Paul Strand (1890-1976), whose work was at the forefront of the modernist aesthetic developing in New York during the early 20th century. In this work, he used platinum's subtlety to emphasize abstract patterns in the long shadows cast by figures that appear dwarfed before a succession of monumental windows. This exhibition is supported by the Arlin and Neysa Adams Fund. Curator: Peter Barberie, Curator of Photographs, and Julia Dolan, The Horace W. Goldsmith Curatorial Fellow
Location: The Julien Levy Gallery, the Perelman Building Press Release | Press Images -
An Enduring Motif: The Pomegranate in Textiles
Through spring 2010
Artists have been inspired by the inner and outer beauty of the pomegranate since biblical times. An Enduring Motif: The Pomegranate in Textiles presents nine textiles from the Museum's collection, each of which feature the richly symbolic fruit. The pomegranate tree or shrub is known for its spherical, calyx-crowned red fruit filled with hundreds of seeds. It originated in Persia (present-day Iran) several thousand years ago and is still prized for its sweet-sour flavor and medicinal properties. Historically, the pomegranate tree's bark has been a source of tannin used in curing leather and its rind and flowers used as a textile dye. In addition to its practical uses, the pomegranate has been cross-culturally revered for centuries as a symbol of health, fertility, and resurrection.
Curator: Dilys Blum, The Jack M. and Annette Y. Friedland Senior Curator of Costume and Textiles
Location: Costume and Textile Gallery 271 Press Images -
Marcel Wanders: Daydreams
Through June 13, 2010
Marcel Wanders' (b.1963) unique fusion of technology, artistry, and wit have established him as a leading figure in international design. Created specifically for the Museum, this installation will showcase the designer's favorite projects over the last 20 years, including prototypes, personal editions, and objects never before exhibited. Trained in The Netherlands as an industrial designer, Wanders' work ranges from manufactured products and design-art to architecture and interior design. Using shifting video images, light, and sound, the exhibition dramatizes the evolution of Wanders' design process and philosophy with visual and aural storytelling. Several films will demonstrate how Wanders' works are interrelated. A selection of what the artist considers his most essential works will be on view, among them: Knotted Chair, Bell Big Ben Bianco, Calvin, Lucky One, Extra Big Shadow Floor Lamp, Moosehead, Crochet Chair New Antiques Chair, and Blow Lamp. Throughout his career, Wanders has consistently challenged the premises of modernism through avant-garde works on view like Knotted Chair (1996), which marries handcraft and industrial technology; the chair is made from braided, epoxy-soaked aramide rope with a carbon-fiber core and hung in a frame to harden. This exhibition was made possible by Lisa S. Roberts and David W. Seltzer, and by Target, with additional support provided by Collab—a group that supports the Museum's modern and contemporary design collection and programs.An in-kind contribution was provided by Electronic Theatre Controls, Inc.
Curator: Kathryn Hiesinger, Curator of European Decorative Arts after 1700
Location: Collab Gallery, Perelman Building Press Release | Press Images -
Interactions in Clay: Contemporary Explorations of the Collection
Through July 11, 2010
Chosen for their adventurous and experimental attitudes toward traditional ceramic practices, four artists interact with historical works or spaces to discover new meanings and formal strategies inspired by works of art in the Museum. The artists' interpretations will range in scope and location, from Walter McConnell's ongoing exploration of wet clay manifested within the Pillard Hall from a Temple in Gallery 224, to Paul Sacaridiz' interest in city forms displayed in relation to the Pennsylvania German furniture in the Joan and Victor Johnson Gallery 115 in the American Galleries. The Lansdowne Room (Gallery 297), a 1760s London drawing room, serves as inspiration for two artists. Betty Woodman's abstract vases and wall pieces celebrate the architectural and ceramic forms displayed in the Lansdowne room and will be shown in the adjacent Gallery 295. Ann Agee's wallpaper highlights the cultural contrast between the aristocratic Lansdowne Room and the utilitarian Millbach Kitchen (Gallery 285) where her work will be shown. The Clay Studio has developed this project in conjunction with Independence: The 44th Annual National Council on Education for the Ceramic Arts Conference, to be held in Philadelphia March 31 – April 3, 2010. Guest curators for the project are Jody Clowes, Jo Lauria, John Perreault, and Judith Tannenbaum. Curator: Elisabeth Agro, The Nancy M. McNeil Associate Curator of American Modern and Contemporary Crafts and Decorative Arts
Location: Galleries 115, 224, 285, and 295 This exhibition was commissioned by The Clay Studio of Philadelphia, in collaboration with the Philadelphia Museum of Art. Support for the development and planning of the project is provided by the Philadelphia Exhibitions Initiative, a program of the Philadelphia Center for Arts and Heritage, funded by The Pew Charitable Trusts and administered by the University of the Arts. Additional support is provided by the William Penn Foundation and the National Endowment for the Arts. The exhibition was developed by guest curators Jody Clowes, Jo Lauria, John Perreault, and Judith Tannenbaum. Elisabeth Agro, The Nancy M. McNeil Associate Curator of American Modern and Contemporary Craft and Decorative Arts, is the organizing curator for the Museum's presentation. Press Images -
Kantha: The Embroidered Quilts of Bengal from the Hill and Sheldon Bonovitz Collection and the Stella Kramrisch Collection of the Philadelphia Museum of Art
Through July 25, 2010
Lovingly created from the remnants of worn garments and embroidered with motifs and tales drawn from the rich visual and narrative repertoire of Bengal, kanthas were traditionally stitched by women as gifts to be used in the celebration of weddings and other family occasions. This exhibition presents 44 examples of this vibrant domestic art, created by village and urban women in the Bengal region, now comprised of Bangladesh and the state of West Bengal, India between the mid-19th and the mid-20th century. The first exhibition devoted solely to this form of art ever presented outside of South Asia, Kantha: The Embroidered Quilts of Bengal focuses on two premier collections. One was assembled and donated to the Museum by its former Curator of Indian Art, Dr. Stella Kramrisch (1896-1993). The other was assembled by Jill and Sheldon Bonovitz, leading proponents of American self-taught art, who have offered their kantha collection as a promised gift to the Museum on the occasion of this exhibition. The quilts on view were created by women who, whether rural or urban, Hindu or Muslim, shared a common Bengali culture from which they drew inspiration. Embroidered kanthas served a great variety of ritual and household needs. Elaborately ornamented or especially beloved pieces might be carefully preserved and passed down through generations, but most kanthas become ever more stained, faded, and fragile until finally being used as a diaper or dishcloth, making the well-preserved kanthas in these collections especially rare. The exhibition and its accompanying catalogue were made possible by Jill and Sheldon Bonovitz, with additional generous support from The Coby Foundation, Ltd., and the E. Rhodes and Leona B. Carpenter Foundation.
Curator: Darielle Mason, The Stella Kramrisch Curator of Indian and Himalayan Art
Location: Joan Spain Costume and Textile Gallery, Perelman Building Press Release | Press Images -
Inspiring Fashion: Gifts from Designers Honoring Tom Marotta
Through summer 2010
This exhibition presents a collection of runway styles donated by 17 celebrated designers in recognition of the creative legacy of the late fashion visionary and powerhouse Tom Marotta. The gifts, obtained through the auspices of Saks Fifth Avenue, reflect a diverse spectrum of contemporary special occasion and evening wear, from classic designs to cutting-edge styles. The gifts will become part of the Museum's permanent collection, and are donated by designers including Badgley Mischka, Bill Blass Ltd., Burberry Prorsum, Oscar de la Renta, Nancy Gonzalez, Carolina Herrera, Marc Jacobs, Donna Karan, Michael Kors, Ralph Lauren, Missoni, Zac Posen, Zandra Rhodes, Ralph Rucci, Peter Som, Valentino, and Diane von Furstenberg. Marotta, born in South Philadelphia, spent over 40 years working in fashion, including many at Philadelphia's highly regarded Nan Duskin boutique. As vice president of couture for Saks Fifth Avenue, his fashion sense was much admired by loyal customers as well as emerging and established fashion designers. He earned the affection and esteem of fashion titans and was an early champion of a new generation of designers. This exhibition explores the creative influence behind each designer's aesthetic, and will be accompanied by materials exploring the creative influences and inspiration behind the designers' work. Curator: Kristina Haugland, Associate Curator of Costume and Textiles and Supervising Curator for the Study Room and Academic Relations
Location: Costume and Textile Study Gallery, the Perelman Building Press Release | Press Images -
Arts of Bengal: Wives, Mothers, Goddesses
Through August 2010
Bengal (modern Bangladesh and eastern India) is a lush region of lotus pools, fish-filled rivers, and tiger-haunted forests punctuated by rice and banana fields, rural villages, and teeming cities. The domestic arts made by and for Bengali women during the 19th and 20th centuries include intricate embroidered quilts called kanthas, vibrant ritual paintings, fish-shaped caskets and other implements created in resin-thread technique. Drawn from a common pool of motifs and ideas that reflect the unique environment of the region, these creations provide a rare view into women's everyday lives and thoughts. Other arts, such as elaborate painted narrative scrolls and souvenir paintings from Kalighat near Calcutta, illustrate women's roles, both domestic and divine. Representations of the great goddess Durga as beloved daughter, devoted wife, adoring mother, fierce warrior, and heroic victor epitomize the complex nature of female divinity—and of women themselves—in the stories and culture of Bengal. Created in conjunction with the exhibition Kantha: The Embroidered Quilts of Bengal from the Jill and Sheldon Bonovitz Collection and the Stella Kramrisch Collection of the Philadelphia Museum of Art, on view in the Spain Gallery of the Museum's Perelman Building (through July 25, 2010), Arts of Bengal: Wives, Mothers, Goddesses and the companion Arts of Bengal: Town, Temple, Mosque (Gallery 227, March 13 through summer 2010) showcase works from the Museum's extensive holdings of Bengali vernacular arts.
Curator: Yael Rice, Assistant Curator of Indian and Himalayan Art, and Darielle Mason, The Stella Kramrisch Curator of Indian and Himalayan Art
Location: Himalayan Art Gallery 232, second floor Press Images -
The Two Qalams: Islamic Arts of Pen and Brush
Through August 2010
This exhibition explores the relationship between calligraphers and artists through five works of calligraphy, drawing, and painting dating from the 17th through 19th century. A highlight from this group is a never-before-exhibited Mughal tinted drawing of around 1600, which, in its subject matter and emphasis upon bold and graceful linear effects, borrows from both European prints and Islamic calligraphies. In Arabic, the word qalam originally meant the calligrapher's reed pen. Calligraphers were and are esteemed in Islamic circles because their pens write the sacred words of the Qur'an, the holy book of Islam. The attitude toward painters, however, has not always been so positive since their brushes could depict—thus create—human and animal figures, thereby challenging the sole creative authority of God. Persian poets of the 16th century countered this negative perception by describing the painter's brush as a second qalam, equivalent to that of the calligrapher's pen. The two qalams came together in the vibrant bookmaking workshops of the Islamic courts of Persia and India, where calligraphers and painters collaborated to produce a wealth of elaborate manuscripts and albums in which the art of pen and brush merged with exquisite results. Curator: Yael Rice, Assistant Curator of Indian and Himalayan Art
Location: Shah Abbas Cubiculum, Gallery 228 Press Images -
Arts of Bengal: Town, Temple, Mosque
Through August 2010
The great cities of Bengal (modern Bangladesh and parts of eastern India) have long been artistic hubs where professional painters, weavers, and sculptors catered to both local and European clientele. Under British colonial rule, artists in Calcutta (modern Kolkata), Dacca (Dhaka), Murshidabad, and Patna, produced silver vessels adorned with scenes of rural life, silk saris brocaded with images of urban pleasures, and paintings of colorful festivals. Temples and mosques, often decorated with intricately molded terracotta bricks, also fostered creativity. Some even provided venues for artists to sell paintings satirizing city life. Bengal's rich urban fabric also offered inspiration to artist-intellectuals such as Jamini Roy, Mukul Dey, and Nandalal Bose as they sought to forge a modern aesthetic in the decades leading to and following independence. Through works drawn from the Museum's collections, this exhibition explores the texture of life and art in Bengal's cities from the 18th to the 20th century. Curator: Yael Rice, Assistant Curator of Indian and Himalayan Art, and Darielle Mason, The Stella Kramrisch Curator of Indian and Himalayan Art
Location: The William P. Wood Gallery 227 Press Images -
Pleasures and Pastimes in Japanese Art
Through fall 2010
From representations of classical Noh theater masks and costumes to depictions of poetry competitions and of the joys of fishing, Pleasures and Pastimes in Japanese Art examines the myriad ways in which leisure time was interpreted across all social classes in Japanese art. The 70 or so objects on view, spanning the period from the 16th to the 20th century, encompass activities ranging from libretti and musical instruments of the theater, attended by Japanese nobility, to scroll painting and ceramics depicting fishing trips. The importance of gourmet food and drink to Japanese culture is also reflected in ceramic vessels intended for sake and by food containers on view. Other pleasures and pastimes represented include intricately designed incense burners, painted versions of ikebana—or flower arrangements—and a set of playing cards, based on 100 classical poems, still used during New Year's celebrations in Japan today. Curator: Felice Fischer, The Luther W. Brady Curator of Japanese Art and Curator of East Asian Art
Location: East Asian Art Galleries 241, 242, 243 Press Images
Flora and Fauna in Korean Art
Through spring 2011
Artists of East Asia have been greatly inspired by depictions of flora and fauna based on Chinese works of art as well as those indigenous to various regions. The fine arts and crafts in this exhibition of 45 works from the 5th to early 20th century feature diverse representations of animals and plants that often served as living symbols of philosophical, historical, and metaphorical associations in Korea. These works, drawn from the collection, depict mythical animals like the dragon and phoenix, believed to protect against evil spirits, as well as plum trees, orchids, chrysanthemum, and bamboo, considered the "four symbols" of literati gentlemen. Often, the metaphor of animals and plants was based on word play, giving additional meaning to certain combinations of selected animals or plants. The Korean pronunciation of the characters for "reed" and "old man" are the same (no), as are the words for "geese" and "comfort"(an). Thus, traditional Korean paintings of reeds and geese represent a wish for a peaceful life in later years. The highlight of the paintings, ceramics and lacquer objects on view is a pair of court paintings of phoenixes and peacocks with a paulownia and peach tree. These rare and exquisite paintings of the 19th-century Joseon dynasty have been newly conserved and remounted in Korea, and make their debut in this exhibition. They would have functioned both as wall decoration and as an emblem of good fortune in the setting of a Joseon palace. Owing to the fragility of works on paper and silk, the paintings will be rotated periodically. Curator: Hyunsoo Woo, The Maxine and Howard Lewis Associate Curator of Korean Art
Location: Gallery 237 and Baldeck Gallery 238 Press Images
Informed by Fire: Highlights of American Ceramics
Through spring 2011
Varied form, surface decoration and use of color combined with science and skill reveal vibrant, original and intelligent expressions in clay. This exhibition will present more than 40 examples of ceramics from the Museum's collection that demonstrate the rich ceramic tradition of the United States, from Anthony W. Baecher's Watch Holder (1850), to Jane Irish's Poverty (2008). Firing, the final act in creation, is a celebratory moment fringed by anxiety and excitement. It is the kiln that gives these works of art their final form; they are Informed by Fire. Informed by Fire is on view to honor Independence: The 44th Annual National Council on Education for the Ceramic Arts (NCECA) Conference that will be held in Philadelphia in Spring 2010. Curator: Elisabeth Agro, The Nancy M. NcNeil Associate Curator of American Modern and Contemporary Crafts and Decorative Arts
Location: North Auditorium Gallery Press Images
Social Media
Twitter/Facebook/Instagram/Tumblr/YouTube: @philamuseum
We are Philadelphia's art museum. A landmark building. A world-renowned collection. A place that welcomes everyone. We bring the arts to life, inspiring visitors—through scholarly study and creative play—to discover the spirit of imagination that lies in everyone. We connect people with the arts in rich and varied ways, making the experience of the Museum surprising, lively, and always memorable. We are committed to inviting visitors to see the world—and themselves—anew through the beauty and expressive power of the arts.
For additional information, contact the Communications Department of the Philadelphia Museum of Art phone at 215-684-7860, by fax at 215-235-0050, or by e-mail at firstname.lastname@example.com. The Philadelphia Museum of Art is located on the Benjamin Franklin Parkway at 26th Street. For general information, call (215) 763-8100.

subset: commoncrawl


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Record Book
Directions to City Park
Live Stats
Goal Club
Courtesy: ICGaels.com
Burke Selected By Padres In MLB Draft
Courtesy: ICGaels.com
Release: 06/05/2012
Iona Draft Picks
Iona Major Leaguers
Chris Burke Selected By The Padres In 2012 MLB Draft
NEW YORK, NY - Iona College baseball graduate IF/OF
Chris Burke
was selected by the San Diego Padres as the 555th pick in the 18th round of the Major League Baseball First Year Player Draft this afternoon. Burke becomes the 24th Iona player to be selected in the draft since its inception in 1965.
The last Iona player drafted was former catcher and current pitching coach
James LaSala
in 2006. LaSala was selected as the 1,331th pick (44th round) by the New York Yankees. He played two seasons in the organization appearing in 27 games behind the plate and at first base. LaSala most notably served as Roger Clemens' bullpen catcher in Tampa during his heavily publicized media workout after resigning with the Yankees in 2007.
Iona has had four players appear in a major league game, all pitchers including current St. Louis Cardinals' closer
Jason Motte
. Motte recorded the final out to lead the Cardinals to a 2011 World Series championship. LHP
Mike Bertotti
appeared in 28 games for the Chicago White Sox from 1995-97. Kansas City Royals' Hall of Fame starter RHP
Dennis Leonard
is the most prolific major league performer having appeared in 312 games and 302 starts from 1974-86. Leonard won 20 games in three seasons, 1977, 1978 and 1980 and was the first Iona performer to appear in a World Series game. Iona's first ever major leaguer was RHP
Vito Valentinetti
, a five-year veteran that played for five different teams from 1954-1959.
Burke was named the 2012 Metro Atlantic Athletic Conference player of the year on May 23. Burke contended for both overall and conference games triple crown this season hitting .351 with 11 home runs and 50 RBI in 53 games played and .409 with five home runs and 26 RBI in 23 MAAC contests. Overall, he finished fourth in hitting, second in RBI and second in home runs among MAAC performers. His 72 hits, 44 runs scored, 20 doubles, 127 total bases led the league while his .620 slugging percentage was second and 23 stolen bases ranked fourth.
In MAAC contests, Burke led the league in hitting by 34 points, and finished second in home runs and RBI. His 38 hits (five more than Rider's Adam Wayman), 10 doubles, 63 total bases, and .677 slugging percentage (90 points higher than Niagara's Ryan McCauley) were all conference bests.
In the Iona single season record book this year, Burke's performance ranked second in hits and at bats, third in games played, fourth in RBI, fifth in doubles, seventh in stolen bases, ninth in home runs, and 14th in runs scored.
Burke completed a remarkable career in the Top 10 in virtually every offensive category. He is Iona's all-time leading hits man (226) and ranks second in games played (188), at bats (689), runs batted in (138), and stolen bases (52). Burke is third in doubles (47) and home runs (31), fourth in runs scored (137), ninth in slugging percentage (.540) and 10th in bases on balls (73). His .328 career batting average ranks 14th in school history.
Burke is the first Iona performer to earn the award since Wil Pikolycky in 2000.
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text: Welcome to Teach Beside Me! I am participating in the Ultimate Blog Party today where we get to meet up with LOTS of other bloggers. If you have never been here before, I'll share a little about who I am and what my site is all about. I hope you'll stick around and get to know me a little better. This is me & my three little ones.We live in Utah with a mountain in our back yard. We homeschool, ... read more


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Vehicles continue to get smarter and more electronically complex, which introduces challenges throughout the development process from concept to production.
Reuse test components, such as user interface elements, stimulus profiles, and simulation models, during development to boost efficiency and lower costs.
Significantly reduce development time with a flexible, future-proof, and adaptable hardware-in-the-loop (HIL) system that leverages the PXI platform.
Automotive engineers can take measurements from devices under test using the modular, flexible and powerful instruments of the NI PXI platform.


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Latest Stories
IGN Editors' Proudest Gaming Accomplishments
0 CommentsSeptember 14, 2015
Pac-Man Series Joins Fight Against Breast Cancer
0 CommentsOctober 1, 2014
About This Game
- Summary
- Specifications
- Game Editions
Take control of a yellow disc adorned with lipstick and a pink bow. The goal is to guide the disc around a maze and eat all the dots. However, there are four ghosts chasing you around the maze. As a stroke of luck, there are power pellets located in each corner of the maze. When the power pellets are eaten, all of the ghosts turn blue, and they can be eaten. Occasionally, fruit will float into the maze and can also be munched for extra points.
Status: Released
- Supported Functions
- Number Of Players: 1
0 Edits
Start a Ms. Pac-Man Wiki »


text:
Company Fast Facts
General Information
- Founded in 1969 to provide investors with monthly dividends that increase over time
- Dividends are supported by the revenue generated from our net-leased real estate assets
- Publicly traded on the New York Stock Exchange since 1994 (ticker symbol "O")
- Member of the S&P 500 index
- Headquartered in San Diego, California
Since our 1994 listing on the NYSE, we have increased:
- Properties in our portfolio from 630 to 4,944 in 49 states and Puerto Rico
- Real estate assets (at cost) from $451 million to $13.9 billion
- Commercial tenants in our portfolio from 23 to 248
- Total number of industries in our portfolio from 5 to 47
- Annual revenue from $49 million to $1.103 billion* (as of 12/31/2016)
- Adjusted funds from operations (AFFO) from $39.2 million to $736.4 million (as of 12/31/2016)
- Annualized cash dividends from $0.90 per share to $2.532 per share
To learn more Company Fast Facts, please see our printable fact sheet.
Historical Financial Performance (1994-2016)
Vision and Values
Realty Income was founded by William and Joan Clark in 1969 to generate monthly income for investors. From the first Taco Bell property acquisition in 1969 to today, we have continued to operate the company according to two key objectives:
1. Grow and maintain a reliable real estate portfolio to pay dividends to shareholders
- Our real estate investment strategy is focused on owning properties net leased to tenants with a service, non-discretionary, and/or low price point component to their business
- We target properties located in significant markets or strategic locations to ensure the viability of the real estate location for the tenant's business
- Our acquisitions department uncovers opportunities consistent with this strategy
- Our research department uses its underwriting expertise to assess the tenants' long-term business prospects
- We seek to maintain tenant, industry and geographic diversification through our acquisitions, portfolio management and asset management strategies
2. Secure access to low-cost capital to support real estate acquisitions that increase earnings
- We have maintained access to the public equity markets since our 1994 listing on the New York Stock Exchange
- We have achieved and maintained investment grade credit ratings since 1996
- Our relationships with investment and commercial banks provide continued access to capital to fund our growth
- Our conservative balance sheet preserves a low cost of capital and offers financial stability throughout various economic cycles
Past performance is not a reliable indicator of future performance. The price of Realty Income shares may go down as well as up and you may not get back all or any of your original investment.


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What started as an isolated occurrences in Spring 1861, by Fall 1861 became more widespread. The phenomena in question was slaves seeking sanctuary with the Union army. It had begun in March that year with a few bold slaves making their way to isolated Union garrisons at Fort Sumter, South Carolina, and Fort Pickens, Florida–and being turned away. It became a sensation in May, when for reasons of military advantage, Gen. Benjamin Butler, refused to return three fugitive slaves to their rebel owners, and over that summer learned a lesson in humanity as over a thousand Virginia slaves sought freedom at Fortress Monroe.
Yet even with the events at Fortress Monroe, Americans could still fool themselves early in the Civil War what had happened there was an isolated incident. Yet over the Summer 1861, events elsewhere suggested not. In Maryland, as northern troops flooded the state, first to protect Washington, D.C. and then for their ill-fated campaign in Virginia that ended at Bull Run, slaves–many of loyal owners–disappeared into army camps. In Virginia, daring slaves braved often treacherous coastal waters to make their way to Union blockading fleet.
So it should come as no surprise as northern forces increasingly spread across the Upper South in Fall 1861 that so did the contraband phenomenon. Gary Gallagher is quite right in asserting that the Union army was a necessary agent to freedom for the slaves. However, what also must be acknowledged in the emancipation process during the American Civil War is the slaves' initiative. The Union army would not have become a force for freedom if the slaves had not repeatedly and in many different places shown up expecting that northern soldiers would become their liberators, wearing down the initial determination of many Union officers that the army would have nothing to do with slaves or slavery.
The spread of the contraband phenomenon during Fall 1861 can be seen in Union army correspondence saved in the Official Records. For example, as Missouri descended into chaos that autumn, slaves began showing up in army camps and Union officers had to decide what to do with them. A task made all the more complicated by of the fact that some of these slaves' owners were loyal and others disloyal, and it was often impossible in Missouri's disorder for the army to determine to which group particular slaves belonged.
On September 20, 1861, Brig. Gen. Justus McKinstry, the U.S. Army Provost Marshal in St. Louis sent a letter to the captain in charge of the federal arsenal there. It read: "By my order Colonel McNeil, commanding provost guard, will deliver into your custody certain runaway negro slaves who have been heretofore apprehended and committed to the military prison. I desire they be employed at police duty and such other labor as you may choose until they are reclaimed by their masters, who upon proof of their ownership and that they are loyal to the United States will be entitled to receive them back into their service."
Other slaves continued to present themselves to Union troops as September rolled into October. On October 6, Col. John C. Kelton, commanding Union forces at Booneville, Missouri, forwarded slaves to the Assistant Adjutant General of the Army of the West with the following note, which stated: "I send by the Northerner in charge of Captain Renfro, Ninth Regiment Missouri Volunteers, several slaves who having given important information to Major Eppstein while in command of this post which saved his command from surprise now seek protection from their masters who threaten to kill them. Major Eppstein cannot longer protect them. I therefore send them to Jefferson City where they can work on the fortifications."
Prompting Missouri slaves to flee their owners was not only the general disorder in the state which broke down the state's enforcement of slave discipline, but also the Missouri campaign of Kansas' U.S. Senator and Union general James Henry Lane. Lane was an abolitionist radicalized by "Bleeding Kansas." His tactics in Fall 1861 anticipated the "hard war" that would be implemented elsewhere later by commanders such as Sherman and Sheridan, which is not surprising given the bitter fighting between pro and anti-slavery forces in Kansas in the 1850s. Lane's attitude is fully evident in a colorful letter, dated October 3, 1861, to Gen. Samuel D. Sturgis, who was evidently concerned about Lane's activities, which had included sacking Osceola, Missouri, on September 23. General/Senator Lane would brook no interference from Sturgis, writing:
James Henry Lane was clearly a man ahead of his time, and he would prove it again in 1862 by organizing the first African-American regiment in the Union army. But during Fall 1861, the contraband phenomenon was spreading. Maryland, as a staging area for the Union army, continued to have problems with slaves escaping into army camps, as soldiers sheltered fugitives from loyal masters despite the diligent efforts of Gen. John A. Dix to keep them out.
Yet the really notable area of new contraband activity in Fall 1861 was in Kentucky, where slaves seeking protection from the army vexed William Tecumseh Sherman, in command of the Army of the Cumberland, no doubt contributing to his famous nervous breakdown soon afterwards. On October 15, 1861, he wrote Col. John Turchin in command of the 19th Illinois Infantry in Louisville. His letter, which belied his declining mental state, said simply:
Sherman no doubt wished the slaves would stop coming, but instead their numbers grew. On November 5, he received a letter from Gen. Alexander McDowell McCook, in charge at Camp Nevin in Hardin County, seeking guidance with what to do with the slaves seeking his protection. McCook wrote:
Sherman replied on November 8, telling McCook that he must deliver up the slaves to their owners when requested. He wrote:
Gen. George McClellan, recently appointed as Commander-in-Chief of the Union Army, reiterated the aforementioned sentiments even more forcefully in a letter to Sherman's replacement, Don Carlos Buell. McClellen stated in a letter to Buell dated November 7, 1861:
So McClellan repeated a sentiment common in the North in Fall 1861, especially within the Lincoln administration, that Union policy toward slaves must be guided by the necessity of keeping the loyalty of the slaveholders in critical border states like Kentucky, Maryland, and Missouri. Yet as this policy was already being undermined by the distaste of many Union soldiers for slavery, especially now that they were encamped in slave states and could see it firsthand, and the realization that slaves could do useful work for the army. Yet none of this would have happened had not many slaves, individually and in groups, presented themselves to Union forces and refused to be ignored. And this contraband phenomenon would only grow further in late Fall 1861, as Union forces moved for the first time in large numbers into the coastal areas of the Deep South, where the concentration of slaves was considerably greater than in the border states.
Source: http://www.simmonsgames.com/research/authors/USWarDept/ORA/OR-S2-V1-C4.html


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Well look, it's another one of those free compilations that come with those great MOJO magazines and yet usually sells individually for a few bucks (or more) at record shops. Lucky for us, some of these can be found cheaply here and there.
No, I imagine you're not shocked that this compilation has the word 'punk' in it and I bought it, but you may be surprised that I still held this record with hesitation. I have to say that I am not a huge post-punk fan and, if I am going to be honest, the Siouxsie song I'm most familiar with is "Peek-a-Boo" that I heard a lot of from watching Beavis and Butthead. Yeah, I know, my credibility just took a hit there (even if I scored major points with the mundane humor crowd!) Therefore, this record reads like a list of bands that I should know more about, so I suppose that the choice to pick it up was even more obvious.
Post-punk, by definition, really does mean 'beyond punk' when put in context of the time. Punk was getting played out and musicians were trying to be more creative with elements of punk but without resorting to the typical thrash and yelp that was common in most punk outfits. What you get on this compilation is a wide array of sometimes complicated, sometimes noisy tunes that won't always necessarily mesh with your tastes. However, there are quite a few great tunes on here, like Mission of Burma's "Academy Fight Song" (mislabeled on this comp) which is a classic song that is right up there with their "Revolver" tune in greatness. Wire, my favorite post-punk band, gets their soothingly enjoyable yet essentially nonsensical "Kidney Bingos" on this disc, which highlights their later period of music more than their earlier raucous.
Siouxsie and the Banshees' "Mirage" comes across as the most punkish tune, with the speed and hard riffs required to cause a bit of pogo-ing. The band that I had hoped would be great is Bird Blobs, if only because their name is rather amusingly curious. However, they are rather noisy without being memorable, which I suppose appeals to some. A few more modern bands, like Radio 4 and Death From Above 1979, get a tune on this record due to their post-punk style in the more modern day. It's too bad that the latter have disbanded and the former hasn't put out anything particularly good since 2002. Those two groups, once promising in 2005, are now just another addition to the post-punk back catalog.
Unlike some other genres, I'm not sure if there are many people out there who like everything that is post-punk, but this is a great introduction to the sound of the genre. Some of the artists on this compilation are still putting out music, like Mission of Burma and Siouxsie Sioux, but it's mostly a collection of tunes from time gone by. One would have to check out some post-punk revivalists like A Place to Bury Strangers and the Walkmen to get their modern day fix these days, but that shouldn't be too much of a chore since I can vouch for the Strangers' excellent live show. Still, is there any chance we can rewind a few decades to when the music scene was utterly fantastic?
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TPM Livewire
Arizona GOPer Plans To Hand Out Boxes Of Gun Ammo At Boozy Fundraiser
Andrew Walter, a Republican candidate in the state's 9th congressional district, is slated to host an "Alcohol, Tobacco and Firearms" fundraiser Friday at the Scottsdale Gun Club in Scottsdale, Ariz. Guests can choose to donate at three levels, from a $1,000 "expert" ticket that buys access to four weapons plus 250 rounds of ammunition to a $250 "marksman" ticket that buys the chance to shoot a Glock 18 with a single box of ammo.
Walter's campaign manager, Chris Tolino, told USA Today that alcohol and cigars will be provided at a nearby restaurant, not at the range, once the shooting is over. Donor response to the event had been positive so far, Tolino said.
Walter, who is a former NFL and Arizona State University quarterback, has trailed his primary opponent Wendy Rogers in fundraising, according to USA Today.