text:
Sydney
University of Sydney
Freedom Ride
Macquarie University
Australian National University
University of Technology, Sydney
Group of Eight
Georgetown University
historiography
Academy of Social Sciences in Australia
Australian Academy of the Humanities
Australian Historical Association

categories: University of Sydney alumni,University of Sydney faculty,Australian National University faculty,Recipients of grants/fellowships from the Australian Research Council (ARC),Australian historians,1945 births,Macquarie University alumni,Fellows of the Academy of the Social Sciences in Australia,People from Sydney,Australian academics,Living people,Fellows of the Australian Academy of the Humanities

paragraph: Ann Curthoys

paragraph: Ann Curthoys, (born 5 September 1945) is an Australian historian and academic.

paragraph: Section::::Early life and education.

paragraph: Curthoys was born in Sydney, New South Wales, on 5 September 1945, and completed her undergraduate degree at the University of Sydney. In 1965, she took part in the Freedom Ride which highlighted racism against Aboriginal Australians in several towns. She completed a PhD at Macquarie University in 1973 and subsequently worked as a tutor and research assistant.

paragraph: Section::::Academic career.

paragraph: In 1976, Curthoys established the Women's Studies Program at the Australian National University (ANU) after becoming active in the women's movement in 1970. She taught at the University of Technology, Sydney from 1978 to 1995, when she returned to the ANU to take up the Chair of History. Curthoys was the Group of Eight Visiting Professor of Australian Studies at Georgetown University in 2003 and 2004. In addition to her teaching work, Curthoys has extensively published on Australian history and historiography.

paragraph: Curthoys retired in 2013, but remains active as a researcher, writer and supervisor of graduate students at the University of Sydney.

paragraph: Section::::Recognition.

paragraph: In 1997, she was elected to the Academy of Social Sciences in Australia. She was also elected to the Australian Academy of the Humanities in 2003.

paragraph: In 2019 the Australian Historical Association inaugurated the Ann Curthoys Prize, to be awarded for the best unpublished article-length work by an early career researcher.

description: Australian historian and academic

wikidata_label: Ann Curthoys

wikipedia_title: Ann Curthoys


text:
Venice
Turin
Italian
Venice
Aristotelian
specific gravity
theory of impetus
Galileo
Jesuit
Jean Taisner
Cologne
plagiarism
Peter of Maricourt
Cipriano de Rore
consonance
sound
Isaac Beeckman
Marin Mersenne
James Tenney
Descartes'
ear

categories: 16th-century Italian writers,16th-century Italian mathematicians,1530 births,1590 deaths,Italian music theorists,Italian physicists,People from Venice,Italian mathematicians

paragraph: Giambattista Benedetti

paragraph: Giambattista (Gianbattista) Benedetti (August 14, 1530 in Venice – January 20, 1590 in Turin) was an Italian mathematician from Venice who was also interested in physics, mechanics, the construction of sundials, and the science of music.

paragraph: Section::::Science of motion.

paragraph: In his works "Resolutio omnium Euclidis problematum" (1553) and "Demonstratio proportionum motuum localium" (1554), Benedetti proposed a new doctrine of the speed of bodies in free fall. The accepted Aristotelian doctrine at that time was that the speed of a freely falling body is directly proportional to the total weight of the body and inversely proportional to the density of the medium. Benedetti's view was that the speed depends on just the difference between the specific gravity of the body and that of the medium. As opposed to the Aristotelian theory, his theory predicts that two objects of the same material but of different weights would fall at the same speed, and also that objects of different materials in a vacuum would fall at different though finite speeds.

paragraph: In a second edition of the "Demonstratio" (also 1554), he extended this theory to include the effect of the resistance of the medium, which he said was proportional to the cross section or the surface area of the body. Thus two objects of the same material but of different surface areas would only fall at equal speeds in a vacuum. He repeated this version of his theory in his later "Diversarum speculationum mathematicarum et physicarum liber" (1585). In this work he explains his theory in terms of the then current theory of impetus.

paragraph: It is thought that Galileo derived his initial theory of the speed of a freely falling body from his reading of Benedetti's works. Thus the account found in Galileo's "De motu", his early work on the science of motion, follows Benedetti's initial theory as described above. It omits the later development which included the resistance of the medium and not just its density. In this early work, Galileo also subscribes to the theory of impetus.

paragraph: In 1572, the Jesuit Jean Taisner published from the press of Johann Birkmann of Cologne a work entitled "Opusculum perpetua memoria dignissimum, de natura magnetis et ejus effectibus, Item de motu continuo". This is considered a piece of plagiarism, as Taisnier presents, as though his own, the "Epistola de magnete" of Peter of Maricourt and the second edition of Benedetti's "Demonstratio".

paragraph: Section::::Music.

paragraph: In a letter to Cipriano de Rore dated from around 1563, Benedetti proposed a new theory of the cause of consonance, arguing that since sound consists of air waves or vibrations, in the more consonant intervals the shorter, more frequent waves concurred with the longer, more frequent waves at regular intervals. Isaac Beeckman and Marin Mersenne both adopted this theory in the next century. In the same letter, he proposed a measure of consonance by taking the product of the numerator and the denominator of a rational interval in lowest terms. James Tenney also used this method to develop his measure of "harmonic distance" (log(ab) is the harmonic distance for the ratio b/a measured from an arbitrary tonal center 1/1). When they sought Descartes' opinion on Benedetti's theory, Descartes declined to judge the goodness of consonances by such a rational method. Descartes argued that the ear prefers one or another according to the musical context rather than because of any concordance of vibrations.

alias:
Giovanni Battista Benedetti
Giovanni Battista Benedicti

description: mathematician from Italy

wikidata_label: Giambattista Benedetti

wikipedia_title: Giambattista Benedetti


href: Samos explorer Herodotus Tartessos Sostratus%20the%20Aeginetan Strait%20of%20Gibraltar Phocaeans Herodotus Argathonios

text:
Samian
explorer
Herodotus
Tartessos
Sostratus the Aeginetan
Strait of Gibraltar
Phocaeans
Herodotus
Argathonios

categories: Exploration of Europe,Ancient Samians,Year of birth unknown,7th-century BC Greek people,Year of death unknown,Ancient Greek explorers,Tartessos,Ancient Greek merchants

paragraph: Colaeus

paragraph: Colaeus () was an ancient Samian explorer and silver merchant, who according to Herodotus (Hdt. 4.152) arrived at Tartessos circa 640 B.C.

paragraph: In an era where most Greek traders were anonymous, Herodotus believed that Colaeus and Sostratus the Aeginetan were important enough to note. Colaeus was on a venture to Egypt when he was blown off course by a great storm through the Mediterranean and into the Atlantic by the Strait of Gibraltar as far as Tartessus, south-western Spain. Tartessus had previously been unvisited by traders and Colaeus was able to obtain a cargo of metal and return it safely to Samos. Upon his return, he dedicated one tenth of his profits to his native goddess, Hera. It is widely believed that the storm was an invention by Colaeus to hide his trade route from his competitors as the rewards from the previously untapped source of metal proved immense. Phocaeans were the first visitors of Tartessos (Herodotus (Hdt. 1.163))Πρώτῃ δὲ Φωκαίη Ἰωνίης ἐπεχείρησε. Φωκαιέες ... καὶ τόν τε Ἀνδρίην καὶ τὴν Τυρσηνίην καὶ τὴν Ἰβηρίην καὶ τον Ταρτησσὸν οὗτοι εἰσὶν οἱ καταδέξαντες (First Ionian Phocea was involved. Phoceans… discovered Adriatic and Tyrrenean and Iberia and Tartessos. Arriving at Tartessos were welcomed by the Tartessian king by the name Argathonios (ἀπικόμενοι δὲ ἐς τὸν Ταρτησσὸν προσφιλέες ἐγένοντο τῷ βασιλεῖ τῶν Ταρτησσίων, τῷ οὔνομα μὲν ἦν Ἀργαθώνιος. Colaeus' voyage and profited enough to devote the tenth of his earnings to Hera. Phoceans build a new fortification wall for Phocaea.

paragraph: Section::::Sources.

paragraph: BULLET::::- The role of metals in ancient Greek history By Michail Yu Treister Page 102

paragraph: BULLET::::- The ancient explorers By Max Cary, Eric Herbert Warmington

description: Samian explorer

wikidata_label: Colaeus

wikipedia_title: Colaeus


text: New York City

text: College of Santa Fe

text: Santa Fe University of Art and Design

text: Pratt Institute

text: The Kavi Gupta Gallery

text: Marianne Boesky Gallery

text: Brooklyn

text: Treadwell, New York

text: Yosemite

text: Joshua Tree

text: College of Santa Fe

text: Pratt Institute

text: Brand Name Damages

text: Williamsburg, Brooklyn

text: Brand Name Damages

text: Herron Test-Site

text: Ronald Feldman Gallery

text: Genghis Khan

text: Adolf Hitler

text: Napoleon Bonaparte

text: Suharto

text: Amanita

text: Datura

text: Nelson-Atkins Museum of Art

text: Kansas City, MO

text: Association for Public Art

text: Kavi Gupta

text: Christian Viveros-Faune

text: Wabi-Sabi

text: Poststructuralism

text: Michel Foucault

text: Episteme

text: Jean Baudrillard

text: Paul Kasmin Gallery

text: Beeler Gallery

text: Columbus College of Art & Design

text: Gund Gallery

text: Frederik Meijer Gardens and Sculpture Park

text: Kavi Gupta

text: Nelson-Atkins Museum of Art

text: James Cohan Gallery

text: Wanas Foundation

text: James Cohan Gallery

text: Metropolitan Museum of Art Roof Garden

text: James Cohan Gallery

text: Madison Square Park

text: Portland Art Museum

text: James Cohan Gallery

text: Aspen Art Museum

text: James Cohan Gallery

text: Bernard Toale Gallery

text: Contemporary Arts Museum Houston

text: SITE Santa Fe

text: De Pont Museum of Contemporary Art

text: Museum of Contemporary Art, North Miami

text: Grand Arts

text: Christopher Grimes Gallery

text: James Cohan Gallery

text: Galerie Thomas Schulte

text: Roger Björkholmen Gallery

text: Ronald Feldman Fine Arts

text: Musee D'Art Americain Giverny

text: Lunds Kunsthall

text: Renate Schroder Galerie

text: Ronald Feldman Fine Arts

text: Temple Gallery, Tyler School of Art, Temple University

text: Ronald Feldman Fine Arts

text: Herron Test-Site

text: The Knitting Factory

text: The New School

text: Pierogi

text: SCAD Museum of Art

text: Denver Art Museum

text: Rail Curatorial Projects

text: Industry City

text: Catinca Tabacaru Gallery

text: SITE Santa Fe

text: William Benton Museum of Art

text: Museum of Art and Design

text: Walker Art Center

text: Weserburg Museum für moderne Kunst

text: The Harwood Museum of Art

text: Monica de Cardenas Galleria

text: Leslie Tonkonow

text: University Art Museum

text: Colorado State University

text: Kunstmuseum Bonn

text: The Rose Art Museum

text: Franklin Park Conservatory

text: Israel Museum

text: The Hague

text: Doris McCarthy Gallery

text: Dorothy F. Schmidt Center Gallery

text: Schirn Kunsthalle

text: Museum Tinguely

text: Tang Teaching Museum

text: Chemical Heritage Foundation

text: Davis Museum and Cultural Center

text: Musée d'art contemporain de Montréal

text: Museum of Contemporary Art Detroit

text: The American Academy of Arts and Letters

text: Weatherspoon Art Museum

text: Museum of Contemporary Art, Los Angeles

text: Numark Gallery

text: Fondation Beyeler

text: Museum of Contemporary Art Denver

text: Kresge Art Museum

text: Louisiana Museum for Moderne Kunst

text: Baltimore Museum of Art

text: Des Moines Center for the Arts

text: The Whitney Biennial

text: The Whitney Museum of American Art

text: The Aldrich Museum of Contemporary Art

text: Palm Beach Institute of Contemporary Art

text: California College of Arts and Crafts

text: Serpentine Gallery

text: Victoria and Albert Museum

text: Nordiska Akvarellmuseet

text: San Francisco Museum of Modern Art

text: Contemporary Art Center of Virginia

text: Institute of Contemporary Art, Boston

text: Katonah Museum of Art

text: Brooklyn Museum of Art

text: Lyon Biennale

text: PS1 Contemporary Art Center

text: Museum of Modern Art

text: Christopher Grimes Gallery

text: Exit Art

text: Atlanta College of Art Gallery

text: The Aldrich Contemporary Art Museum

text: Whitney Museum of American Art

text: Wanas Foundation

text: Fotouhi Cramer Gallery

text: Williamsburg Arts and Historical Society

text: Morris-Healey Gallery

text: Public Art Fund

text: The Aldrich Museum of Contemporary Art

text: Brooklyn Museum of Art

text: Exit Art

text: Weatherspoon Art Gallery

text: New Museum of Contemporary Art

text: Randolph Street Gallery

text: Christie's East

text: California Center for the Arts

text: Bronwyn Keenan Gallery

text: New York State Museum

text: Ronald Feldman Fine Arts

text: Pierogi 2000

text: 450 Broadway Gallery

text: Barneys

text: Exit Art

text: Berlin Shafir Gallery

text: Ronald Feldman Fine Arts

text: Gallery 400

text: David Zwirner Gallery

text: Cummings Art Center

text: Islip Art Museum

text: Chicago Cultural Center

text: Krannert Art Museum

text: Exit Art

text: Jimenez-Algus Gallery

text: Brand Name Damages

text: Minor Injury Gallery

text: Ridge Street Gallery

text: Brand Name Damages

text: John Simon Guggenheim Memorial Foundation Fellowship

text: The Aldrich Museum of Contemporary Art

text: Princeton Architectural Press

text: Brooklyn Rail Curatorial Projects

text: False Narratives at Pierogi

text: Kavi Gupta CHICAGO | BERLIN

text: Marianne Boesky Gallery

text: James Cohan Gallery

text: Roxy Paine in Madison Square Park

text: Public Art Fund: Whitney Biennial in Central Park, 2002

text: National Gallery of Canada: Roxy Paine - One Hundred Foot Line, 2010

text: Interview with Roxy Paine at ARTINFO.com

text: Conversation between Roxy Paine and Allan McCollum

text: Roxy Paine at NMAC Foundation

text: Maelstrom at the Metropolitan Museum of Art, New York, NY

text: Ken Johnson's review of Maelstrom, The New York Times

text: Blake Gopnik's review of Graft, National Gallery of Art Sculpture Garden, The Washington Post

text: Hilarie Sheet's feature 'Man of Steel's Industrial Web Mirroring Nature,' The New York Times.

categories: 1966 births,Guggenheim Fellows,Contemporary sculptors,Pratt Institute alumni,Santa Fe University of Art and Design alumni,American sculptors

paragraph: Roxy Paine

paragraph: Roxy Paine (born 1966, New York City) is an American painter and sculptor widely known for his installations that often convey elements of conflict between the natural word and the artificial plains man creates. He was educated at both the College of Santa Fe (now Santa Fe University of Art and Design) in New Mexico and the Pratt Institute in New York.

paragraph: Since 1990, Paine's works have been exhibited in major collections and galleries across the United States, Germany, Sweden, England, the Netherlands, and Israel. His most reviewed exhibitions include "Replicants, Machines, Dendroids," and "Dioramas". Paine is represented by Paul Kasmin Gallery in New York The Kavi Gupta Gallery of Chicago & Berlin, and by the Marianne Boesky Gallery in New York. Roxy Paine currently lives and works in Brooklyn and Treadwell, New York.

paragraph: Section::::Biography.

paragraph: Paine was born in New York City and raised in the suburbs of northern Virginia. Throughout his childhood, he spent his free time exploring the wooded, overgrown areas of land that separated housing developments in his neighborhood. He describes his experience of growing up in suburbia as a "twisted vision of nature", his environment possessing an "overwhelming blandness". Around age 13 or 14, Paine used his local creek as a place to experiment with using drugs and alcohol. "There was a creek nearby when I was growing up. That's where I spent most of my time. I would constantly reroute the stream, building dams. I was mostly interested in the water. What I remember distinctly about nature in the suburbs were the borders. The natural world is totally controlled and manipulated in suburbia."At age 15, Paine ran away to California to live with his brother, a hiker and rock climber. His brother's "outdoor western" influence spurred them to hike places like Yosemite and Joshua Tree. Living in California helped Paine make his decision to become an artist. He moved to New Mexico and enrolled at the College of Santa Fe, but he soon dropped out due to poor relations with his professors. "In general, the teachers hated me. I always had problems with art teachers. I don't know why. I didn't go in trying to be confrontational, but it always ended up with bad blood somehow."He then moved to New York and attended Pratt Institute for a time, originally as a painting major but later switching to sculpture. In addition to paintings, Paine produced unusual, functional ceramic and metal musical instruments. He eventually dropped out of Pratt, and with help from some of his colleagues, formed the artist collective Brand Name Damages in 1989.

paragraph: Section::::Work.

paragraph: In his body of work, Paine mirrors natural processes, drawing increasingly on the tension between organic and man-made environments, between the human desire for order and nature's drive to reproduce. His highly detailed simulations of natural phenomena include an ambitious series of hand-wrought stainless steel trees, vitrines of mushroom and plant life in various states of decay and several large-scale machines designed to replicate creative processes. Many of his works create a platform to ask aesthetic questions about art, the natural, and the unnatural world rather than answer these questions like his counterparts he ignites the flame of inquiry. Collectively, his works demonstrate the human attempt to impose order on natural forces, depicting the struggle between the natural and the artificial, the rational and the instinctual. Paine has said, "I'm interested in taking entities that are organic and outside of the industrial realm, feeding them into an industrial system, and seeing what results from that force-feeding. The end results are a seamless containment of these opposites."

paragraph: Section::::Work.:Early work.

paragraph: Paine began showing his work in Williamsburg, Brooklyn in 1990 and 1991 at an artist run collective called Brand Name Damages (which he helped to found) and he had his first solo exhibition at the short-lived Herron Test-Site in October 1992. His early work consisted of kinetic and time-based sculptures such as "Viscous Pult", 1990, which consisted of a paint brush smearing ketchup, white paint and motor oil on the gallery space's front window; and "Displaced Sink", 1992, which had a leaking pipe in the ceiling dripping water on a tall stack of soap bars, leaving a pool of semi-liquid soap to collect on the gallery floor.

paragraph: His next solo exhibition was at Ronald Feldman Gallery in 1995, and it included other kinetic works, but the central and most critically acclaimed work was a piece called "Dinner of the Dictators", 1993–95, a vitrine enclosing the taxidermied favorite meals of infamous dictators, ranging from Genghis Khan and Adolf Hitler to Napoleon Bonaparte and Suharto. The research alone took eight months, and overall, the work took two years to produce, opening Paine to new approaches and processes in his work.

paragraph: From this point onward, Paine's work separated into a few distinct but nevertheless related categories. The first involves naturalistic works: minutely precise reproductions of natural objects like mushrooms, leafy plants or poppies. A second category consists of machine-based works: he has devised a number of conceptually-challenging art-making machines, like the "SCUMAK (Auto Sculpture Maker)", 1998, "PMU (Painting Manufacturing Unit)", 1999–2000, and the "Erosion Machine", 2005. Bridging the gap between the naturalistic and mechanized works, Paine also creates large-scale stainless steel trees and boulders of varying sizes (ranging from 8 – 50 feet in height).

paragraph: Section::::Work.:Replicants.

paragraph: Paine's vitrines and botanical works often feature replicas of plants that have been discovered as extremely poisonous or have been used by humans for experimental hallucinogenic or drug experiences. The living plants are cast and subsequently rendered in thermoset polymers, paint, lacquer, and epoxy, among other materials. "Crop", 1997–98, shows a field of poppies, with ripened pods exposing the evidence of raw opium being readied for harvest. The piece embodies the shifting views of the beauty of a field of wild flowers and the grave potential of drug addiction. "Amanita Muscaria Field", 2000, shows a field of psychoactive mushrooms that appear as if they are sprouting from the gallery floor. This field might present multiple readings: are these works a hallucinogenic vision on their own or do they represent the plant life that offers the possibility of arriving at that vision? Another related series of works is that of the "Dead Amanita" vitrines, lifelike mushrooms seem to be decaying under glass. The genus "Amanita" is a group of poisonous and psychoactive mushrooms that has some species that are among the deadliest if ingested by humans.

paragraph: Another example is the leafy plant genus "Datura," which has long been used as a poison and hallucinogen; many species are known by common names such as Hell's Bells or Devil's weed. Paine's re-creation of various species of "Datura" take on a state of potential, presenting us with a deceptively simple plant that nonetheless contains complex molecules that can give rise to an altered state of consciousness.

paragraph: Section::::Work.:Machines.

paragraph: Removing the artist's hand in the creative process and replacing it with a computer program is the crux of Paine's machine-based works. His first art-making machine, "Paint Dipper", 1997, employed a steel armature that continuously dipped canvases into a vat of paint over the course of time, creating works that collect latex paint stalactites along the bottom edge. "SCUMAK (Auto Sculpture Maker)", 1998–2001, melts plastic with pigments and periodically extrudes them onto a conveyor belt, creating bulbous shaped sculptures that are each unique.

paragraph: "PMU (Painting Manufacturing Unit)", from 1999–2000, involves a metal painting arm that is programmed to expel white paint onto a canvas according to specific instructions programmed into the machine. The resulting works often can evoke landscapes or possibly layers of geological sediment.

paragraph: Most recently, Paine introduced his "Erosion Machine", 2005, which consists of a robotic arm that traces and cuts patterns into large blocks of stone. The course of the arm's movement is determined by data sets, such as weather conditions and school test results. The work suggests the corrosive effects of human imposition on the environment while at the same time represents the transformation of the banal into the beautiful.

paragraph: About the "SCUMAK (Auto Sculpture Maker)", art historian Jonathan Fineburg wrote that "The beauty of the machine and the eccentricity of the results are also a paean to the romantic. Paine positions both his gardens and his machines at a fluid interface of man, nature, and science; they take the viewer to an intuitive experience of the liminal place at which scientists have arrived as they begin to redesign the human genome and connect living neurons with silicon chips."

paragraph: Section::::Work.:Dendroids.

paragraph: Paine uses both mechanical means and the innate logic of natural forms to create his "Dendroid" tree-like sculptures. Paine's meticulous research and observation of a variety of tree species help him to understand the "language" of how a tree grows, and from there he creates fictional tree species that grow to a logic of their own. Paine has said: I've processed the idea of a tree and created a system for its form. I take this organic majestic being and break it down into components and rules. The branches are translated into pipe and rod. Employing the language that he has invented pertaining to each of these fictive species, Paine's trees are "grown" through a laborious process of welding together the cylindrical piping and rods of diminishing size. He has also described his aims with the "Dendroids" series by saying, "I have been seeking to expand the edges of the language, and send the work outward into those edges. Essentially, I am establishing the rules of a language, only to then break those rules."

paragraph: The first of these dendroids was "Impostor", 1999, now at the Wanas Foundation, in Knislinge, Sweden. He has gone on to create 25 of these sculptures, including "Bluff", 2002, which premiered in New York's Central Park during the Whitney Biennial in 2002, and the very ambitious "Conjoined", 2007, recently on display in Manhattan's Madison Square Park (through December 31, 2007). "Conjoined" is a 40 ft tall by 45 ft wide sculpture of two trees whose branches cantilever in space and connect in mid air. Paine creates two different fictional tree species where each branch from one tree joins with a branch from the other. For the observer, it is unclear where one tree begins and the other ends. "Conjoined" was acquired in 2008 by and is on display at the Modern Art Museum of Fort Worth.

paragraph: Paine's recent sculpture, "Inversion", 2008, was installed in the Public Art Projects section of Art Basel 39, in Basel, Switzerland in June 2008. It was also part of "FREEDOM: Den Haag Sculptuur 2008" in The Hague, Netherlands through August 2008.

paragraph: "Maelstrom," 2009, was on view at the Metropolitan Museum of Art from April 28 - November 29, 2009 and "Graft," 2009 was installed at the National Gallery of Art Sculpture Garden in Washington, DC, in the fall of 2009. When asked about "Maelstrom" Paine described it as existing on five "levels" at once: "On one level, it's a forest that has been downed by an unseen force—a force of nature or, perhaps, a force of man. I also want the sculpture to be the force itself, a swirling, churning force. The word 'maelstrom' actually has a Dutch root; it literally means 'grinding stream,' ... The third state is trees in the state of becoming abstractions. There are areas with recognizable tree parts and then others where representation is stretching, breaking apart, and coalescing again ... I want the fourth state of trance to be a pipeline in a factory that's run amuck. This is getting back to the root of the material, so to speak, which is purely industrial. Here the piece is embracing its source. And, finally, the fifth state is that of a mental storm, or what I envision happens during an epileptic seizure." "Distillation," 2010, was on view at James Cohan Gallery in New York from October 16 - December 11, 2010, and "One Hundred Foot Line," 2010, was installed permanently at the National Gallery of Canada, in Ottawa, Ontario.

paragraph: "Distillation," as described by Hilarie Sheets in "The New York Times," pushes the metaphoric content that underpins these sculptures to new extremes. It still uses arboreal forms, but they now mesh with other overtly defined branching systems: a vascular network of arteries and veins with two plump kidneys, mushroom colonies and their germinating mycelia, neuron bundles and taxonomic diagrams, and raw pipelines connected to steel tanks and industrial valves.

paragraph: "Ferment" was permanently installed in April 2011 on the south lawn of The Nelson-Atkins Museum of Art in Kansas City, MO. Taking more than three years to produce, this 56-ft tall stainless steel dendroid sculpture, as described by Paine, "was trying to capture a churning, swirling force."

paragraph: In June 2014, "Symbiosis" (2011) was installed in Philadelphia, PA in Iroquois Park, originally on temporary loan to the Association for Public Art courtesy of Paine and Marianne Boesky Gallery. In 2015, the Association for Public Art received a grant from the Daniel W. Dietrich II Trust, Inc. to acquire "Symbiosis", enabling the dendroid to remain in Philadelphia.

paragraph: Section::::Work.:Dioramas.

paragraph: In September 2013 Paine debuted the first two installations of a new series of work utilizing large-scale dioramas. The two installations were revealed in an exhibition at the Kavi Gupta gallery in Chicago. The new pieces, meticulously carved from wood, are life-size replicas of a fast-food restaurant and a control room, respectively.

paragraph: The new work draws from a complex dialog of Western and Eastern philosophies which both embrace and deconstruct the values and conceptual core of Paine's earlier work. Christian Viveros-Faune, in an interview with Paine, discussed Paine's interests in the Japanese philosophical aesthetic of Wabi-Sabi, which emphasizes the beauty within natural and unpredictable flaws. Paine also told Viveros-Faune of an interest in Poststructuralism and the theories of Michel Foucault on Episteme, as described by Paine-

paragraph: Paine further discussed his interest in the new work as a manifestation of "A copy of a copy of a copy," which could be connected Foucault's fellow poststructuralist, Jean Baudrillard.

paragraph: Section::::Selected exhibitions.

paragraph: BULLET::::- Solo Exhibitions

paragraph: "Roxy Paine: Thermoplastic Flux", Paul Kasmin Gallery, New York, NY, September 15 - October 22

paragraph: "Roxy Paine: Serotonin Reuptake Inhibitor," Beeler Gallery, Columbus College of Art & Design, October 13

paragraph: "Roxy Paine", Gund Gallery, Columbus, Ohio, January - June 2016

paragraph: "Articulated Confusion: The Drawings of Roxy Paine", Frederik Meijer Gardens and Sculpture Park, Grand Rapids, MI

paragraph: Marianne Boesky, New York, NY

paragraph: "Roxy Paine", Kavi Gupta, Chicago, September 20 - December 20, 2013

paragraph: "Roxy Paine: Scumaks and Dendroids", Nelson-Atkins Museum of Art, Kansas City, MO, April 29 - August 28, 2011

paragraph: "Roxy Paine: Distillation", James Cohan Gallery, New York, October 16 - December 11, 2010

paragraph: "Roxy Paine", Wanas Foundation, Knislinge, Sweden

paragraph: "Roxy Paine: Scumaks", The Mill, Trinity College, Hartford, Connecticut

paragraph: "Roxy Paine: Dendroid Drawings and Maquettes", James Cohan Gallery, New York, May 1 - June 6, 2009

paragraph: "Roxy Paine on the Roof: Maelstrom", The Metropolitan Museum of Art Roof Garden, New York, NY, April 28 - November 29, 2009

paragraph: "Roxy Paine: SCUMAKS", James Cohan Gallery, New York, Opened June 26, 2008"

paragraph: "Roxy Paine", Madison Square Park, New York, NY, May 15 – December 31, 2007

paragraph: "Roxy Paine: PMU", curated by Bruce Guenther, Portland Art Museum, Portland, OR, February 25 – May 28, 2006

paragraph: "Roxy Paine: New Work", James Cohan Gallery, New York, January 14 – February 25, 2004

paragraph: "Defunct", Aspen Art Museum, Aspen, CO, 2004

paragraph: 'Roxy Paine", James Cohan Gallery, New York, November 8 - December 22, 2002

paragraph: "Scumak", Bernard Toale Gallery, Boston

paragraph: "Roxy Paine: Second Nature", co-curated by Joseph Ketner and Lynn Herbert, Rose

paragraph: Art Museum, Brandeis University, Waltham, MA. Traveled to Contemporary Arts Museum Houston, TX; SITE Santa Fe, New Mexico; De Pont Museum of Contemporary Art, Tilburg, Netherlands (April 2002 through January 2004)

paragraph: "Roxy Paine", Museum of Contemporary Art, North Miami, FL, November 11, 2001 - January 27, 2002

paragraph: "Roxy Paine", Grand Arts, Kansas City, MO, June 29 - August 11, 2001

paragraph: "Roxy Paine", Christopher Grimes Gallery, Los Angeles, May 26 - June 30, 2001

paragraph: "Roxy Paine", James Cohan Gallery, New York, April 5 - May 5, 2001

paragraph: "Roxy Paine", Galerie Thomas Schulte, Berlin, Germany, February 13 - April 20, 2001

paragraph: "Roxy Paine", Roger Björkholmen Gallery, Stockholm, Sweden, February 26 - March 31, 1999

paragraph: "Roxy Paine", Ronald Feldman Fine Arts, New York, NY, January 9 - February 13, 1999

paragraph: "Roxy Paine", Musee D'Art Americain Giverny, Giverny, France, June 1 - November 15, 1998. Traveled to Lunds Kunsthall, Lund, Sweden, March 6 - April 18, 1999

paragraph: "Roxy Paine", Renate Schroder Galerie, Koln, Germany, April 24 - June 6, 1998

paragraph: "Roxy Paine", Ronald Feldman Fine Arts, New York, March 15 - April 26, 1997

paragraph: "Roxy Paine", Temple Gallery, Tyler School of Art, Temple University, Philadelphia, September 5 - October 11, 1997

paragraph: "Roxy Paine", Ronald Feldman Fine Arts, New York, NY, April 29 - June 3, 1995

paragraph: "Roxy Paine", Herron Test-Site, Brooklyn, NY, October 9 - November 8, 1992

paragraph: "Horns", The Knitting Factory, New York, December 3–31, 1991

paragraph: BULLET::::- Group Exhibitions

paragraph: "Impossible Blossom", September 5, 2016, The New School, New York, NY

paragraph: "False Narratives," June 24 - July 31, 2016, Pierogi, New York, NY

paragraph: "Built,World", June 7—

paragraph: September 4, 2016, SCAD Museum of Art, Savannah, GA

paragraph: "Audacious: Contemporary Artists Speak Out", March 2016 - February 2017, Denver Art Museum, Denver CO

paragraph: "Social Ecologies," Rail Curatorial Projects, December 5, 2015 - February 21, 2016, Industry City, Brooklyn NY.

paragraph: "Devotion," Catinca Tabacaru Gallery"," Co-curated by Will Corwin, November 21, 2015 - January 17, 2016, NY, NY.

paragraph: "20 Years / 20 Shows," SITE Santa Fe, March 12 - May 31, Santa Fe, NM.

paragraph: "Sweet Sensation: UConn Reads 'The Omnivore's Dilemma," William Benton Museum of Art, February - March, curated by Jean Nihoul

paragraph: "Out of Hand: Materializing the Postdigital", Museum of Art and Design, New York, NY

paragraph: "Lifelike", Walker Art Center, Minneapolis, MN

paragraph: "Color in Flux", Weserburg Museum für moderne Kunst, Bremen, Germanybr

paragraph: "Nod Nod Wink Wink: Conceptual Art in New Mexico and Its Influences", The Harwood Museum of Art, Taos, New Mexico

paragraph: "The Secret Life of Trees", Monica de Cardenas Galleria, Zuoz, Switzerlandbr

paragraph: "Out of the Woods", Leslie Tonkonow, New Yorkbr

paragraph: "17th Biennale of Sydney: The Beauty of Distance: Songs of Survival in a Precarious Age", Sydney, Australia

paragraph: "Reflection, Refraction, Reconfiguration: Mediated Images from the Collection of Polly and Mark Addison", University Art Museum, Colorado State University, Fort Collins, CObr

paragraph: "Remote Proximity: Nature in Contemporary Art", Kunstmuseum Bonn, Bonn, Germanybr

paragraph: "The Rose at Brandeis: Works From the Collection", The Rose Art Museum, Brandeis University, Waltham, MA

paragraph: "Bending Nature", Franklin Park Conservatory, Columbus, OHbr

paragraph: "Bizarre Perfection", Israel Museum, Jerusalem, Israelbr

paragraph: "Freedom: Den Haag Sculpture 2008", The Hague, The Netherlandsbr

paragraph: "Public Art Projects," Art Basel 39, Basel, Switzerlandbr

paragraph: "Paragons: New Abstraction from the Albright-Knox Gallery", Doris McCarthy Gallery, University of Toronto Scarborough, Toronto, Ontario

paragraph: "Delicatessen", Dorothy F. Schmidt Center Gallery, Florida Atlantic University, Boca Raton, Floridabr

paragraph: "Art Machines/Machine Art", Schirn Kunsthalle, Frankfurt, Germany. Travelled to Museum Tinguely, Basel, Switzerland (through July 2008)br

paragraph: "Molecules that Matter", Tang Teaching Museum, Saratoga Springs, NY. Travelled to Chemical Heritage Foundation, Philadelphia, Pennsylvania; College of Wooster Art Museum, Wooster, Ohio (through May 2009)br

paragraph: "The Outdoor Gallery: 40 Years of Public Art in New York City Parks", The Arsenal Gallery in Central Park, New Yorkbr

paragraph: "Drawings from the Collection of Martina Yamin", Davis Museum and Cultural Center, Wellesley College, MA

paragraph: "Recent Acquisitions", Musée d'art contemporain de Montréal, Montreal, Canada, October 28, 2006 - March 25, 2007br

paragraph: "Meditations in an Emergency", Museum of Contemporary Art Detroit, MI, October 28, 2006 - April 29, 2007br

paragraph: "A Brighter Day", James Cohan Gallery, New York, NYbr

paragraph: "Garden Paradise", curated by Lacy Davisson Doyle and Clare Weiss, The Arsenal Gallery in Central Park, New York, NYbr

paragraph: "American Academy Invitational Exhibition of Painting and Sculpture", The American Academy of Arts and Letters, New York, March 7 - April 9br

paragraph: "Uneasy Nature", curated by Xandra Eden, Weatherspoon Art Museum, The University of North Carolina, Greensboro, NC, February 18 - May 28

paragraph: "Ecstasy: In and About Altered States", organized by Paul Schimmel with Gloria

paragraph: Sutton, Museum of Contemporary Art, Los Angeles, CAbr

paragraph: "The Empire of Sighs", Numark Gallery, Washington D.C.br

paragraph: "Extreme Abstraction", Albright Knox Art Gallery, Buffalo, NYbr

paragraph: "Sculpture", James Cohan Gallery, New Yorkbr

paragraph: "Flower Myth. Vincent van Gogh to Jeff Koons", Fondation Beyeler, Riehen/Basel, Switzerlandbr

paragraph: "Material Terrain: A Sculptural Exploration of Landscape and Place", curated by Carla Hanzal, commissioned by Laumeier Sculpture Park, St. Louis, MO. Traveling to Santa Cruz Museum of Art and History, Santa Cruz, CA; University of Arizona Museum of Art, Tucson, AZ; Memphis Brooks Museum of Art, Memphis, TN; Cheekwood Museum of Art, Nashville, TN; Lowe Art Museum, University of Miami, Coral Gables, FL (February 2005 through December 2007)

paragraph: "PILLish: Harsh Realities and Gorgeous Disasters", curated by Cydney Payton, Museum of Contemporary Art Denver, Denver, CO, through January 2, 2005br

paragraph: "Paintings That Paint Themselves, or so it seems", Kresge Art Museum, Michigan State University, East Lansing, MIbr

paragraph: "Summer Show", James Cohan Gallery, New Yorkbr

paragraph: "Between the Lines", James Cohan Gallery, New Yorkbr

paragraph: "The Flower as Image", Louisiana Museum for Moderne Kunst, Humlebaek, Denmarkbr

paragraph: "Natural Histories: Realism Revisited", Scottsdale Museum of Contemporary Art, Scottsdale, AZ, May 29 - September 12

paragraph: "Work Ethic", Baltimore Museum of Art, Baltimore, Maryland, October 12, 2003 - January 11, 2004. Traveled to the Des Moines Center for the Arts May 15 - August 1, 2004br

paragraph: "UnNaturally", organized by Independent Curators International (ICI), curated by Mary-Kay Lombino. Traveled to Contemporary Art Museum, University of South Florida, Tampa, FL; H & R Block Artspace at the Kansas City Art Institute, Kansas City, MO; Fisher Gallery, University of Southern California, Los Angeles, CA; Copia: The American Center for Wine, Food and the Arts, Napa, CA; Lowe Art Museum, University of Miami, Coral Gables, FL (January 2003 through November 2004)br

paragraph: "The Great Drawing Show 1550-2003 A.D", Michael Kohn Gallery, Los Angeles, April 12 - May 31br

paragraph: "Decade", Schroeder Romero, Brooklyn, April 11 - May 19

paragraph: "The Whitney Biennial in Central Park", curated by Tom Eccles, organized by the

paragraph: Public Art Fund, New York in collaboration with The Whitney Museum of American Art, New Yorkbr

paragraph: "Early Acclaim: Emerging Artist Award Recipients 1997-2001", The Aldrich Museum of Contemporary Art, Ridgefield, CT, September 22 - December 31

paragraph: "Painting Matter", James Cohan Gallery, New York, May 3 - June 15, 2002br

paragraph: "2001 Brooklyn!", Palm Beach Institute of Contemporary Art, Palm Beach, FL, September 4 - November 25br

paragraph: "Arte y Naturaleza", Outdoor Sculpture Garden, Montenmedio Arte Contemporaneo, Cadiz, Spain, June 2 - October 2br

paragraph: "Present Tense 6", Israel Museum, Jerusalem, Israel, May - Decemberbr

paragraph: "A Contemporary Cabinet of Curiosities - Selections from the Vicki and Kent Logan Collection", California College of Arts and Crafts, San Francisco, January 17 - March 3br

paragraph: "Give and Take", Serpentine Gallery in collaboration with the Victoria and Albert Museum, London, January 30 - April 1br

paragraph: "Making the Making", Apex Art, New York, January 5 - February 3br

paragraph: "Waterworks: U.S. Akvarell 2001", curated by Kim Levin, Nordiska Akvarellmuseet, Skarhamn, Swedenbr

paragraph: "01.01.01: Art in Technological Times", San Francisco Museum of Modern Art, San Francisco, CAbr

paragraph: "All-Terrain", Contemporary Art Center of Virginia, Virginia Beach, VA

paragraph: "From a Distance: Approaching Landscape", curated by Jessica Morgan, Institute of Contemporary Art, Boston, MAbr

paragraph: "WILDflowers", Katonah Museum of Art, Katonah, NY, July 28 - October 3br

paragraph: "Working in Brooklyn: Beyond Technology", Brooklyn Museum of Art, Brooklyn, NY, July 1 - September 12br

paragraph: "5th Lyon Biennale of Contemporary Art: Sharing Exoticism", Lyon Biennale, Lyon, France, June 27 - September 24br

paragraph: "Vision Ruhr", Dortmund Coal Factory, Dortmund, Germany, May 11 - August 20br

paragraph: "The Greenhouse Effect", Serpentine Gallery, London, April 4 - May 21br

paragraph: "Sites Around the City: Art and Environment", curated by Heather Sealy Lineberry, Arizona State University Art Museum, Tempe, AZ, March 4 - June 4br

paragraph: "Greater New York: New Art in New York Now", PS1 Contemporary Art Center in collaboration with the Museum of Modern Art, New York, February 27 - April 16br

paragraph: "Visionary Landscape", Christopher Grimes Gallery, Santa Monica, CA, January 8 - February 19. Travelled to The End, Exit Art/The First World, New York, January 29 - April 8br

paragraph: "As Far As the Eye Can See", Atlanta College of Art Gallery, Atlanta, GA, January 29 - March 7

paragraph: "Best of the Season: Selected Work from the 1998-99 Gallery Season", The Aldrich Contemporary Art Museum, Ridgefield, CT, September 26 - January 9, 1999

paragraph: "Interlacings: The Craft of Contemporary Art", Whitney Museum of American Art at Champion, Stamford, CT, September 10 - November 21br

paragraph: "22/21", Emily Lowe Gallery/Hofstra Museum, Hempstead, NY, September 8 - October 25br

paragraph: "Elise Goodheart Fine Art", Sag Harbor, NY, July 24 - August 16br

paragraph: "DNA Gallery", Provincetown, MA, July 17 - August 5br

paragraph: "Nine International Artists at Wanas, 1998", Wanas Foundation, Knislinge, Sweden, May 24 - August 18br

paragraph: "Landscapes", Meyerson & Nowinski, Seattle, WA, January 8 - March 1

paragraph: "Redefinitions, A View From Brooklyn", California State University, Fullerton, CA, November 9 - December 11br

paragraph: "Sculpture", James Graham & Sons, New York, July 10 - August 29br

paragraph: "Summer of Love", Fotouhi Cramer Gallery, New York, July 2 - August 2br

paragraph: "Artists Respond to 2001: Space Odyssey", Williamsburg Arts and Historical Society, Brooklyn, June 21 - July 26br

paragraph: "Benefit for Pat Hearn", Morris-Healey Gallery, New York, February 26 - March 9br

paragraph: "9 to 5 at Metrotech: New Commissions for the Common", The Public Art Fund, Brooklyn, NY, October 30, 1997 - May 31, 1998br

paragraph: "Best of the Season 1996-97", The Aldrich Museum of Contemporary Art, Ridgefield, CT, September 14 - January 4, 1997br

paragraph: "Current Undercurrent: Working in Brooklyn", Brooklyn Museum of Art, Brooklyn, July 25, 1997 - January 25, 1998

paragraph: "Imaginary Beings", Exit Art/The First World, New York, December 2 - January 27, 1996br

paragraph: "Art on Paper", Weatherspoon Art Gallery, The University of North Carolina, Greensboro, NC, November 12 - January 21, 1996br

paragraph: "Human/Nature", The New Museum of Contemporary Art, New York, NY, April 20 - May 18br

paragraph: "Better Living Through Chemistry", Randolph Street Gallery, Chicago, March - April, 1996br

paragraph: "Momenta Art", Inside Out, Brooklyn, September 15 - October 7, 1996br

paragraph: "Currents in Contemporary Art", Christie's East, New York, July 22–31, 1996br

paragraph: "Inside: The Work of Art", California Center for the Arts, Escondido, CA, June 16 - October 13, 1996br

paragraph: "Wish You Were Here", Bronwyn Keenan Gallery, New York, March 1–30, 1996br

paragraph: "New York State Biennial", New York State Museum, Albany, NY, February 8 - May 26, 1996br

paragraph: "NY Withdrawing", Ronald Feldman Fine Arts, New York, January 13 - February 17, 1996br

paragraph: "Multiples", Pierogi 2000, Brooklyn, NY, December 2, 1995 - January 15, 1996

paragraph: "Lookin' Good-Feelin"', 450 Broadway Gallery, New York, December 5–9, 1995

paragraph: "Red Windows: Benefit for Little Red School House", Barneys Windows, November - December, 1994br

paragraph: "Spring Benefit", Sculpture Center, New York, April 19, 1994br

paragraph: "Garden of Sculptural Delights", Exit Art/The First World, New York, NY, March 2 - April 23, 1994br

paragraph: "Free Falling", Berlin Shafir Gallery, New York, January 22 - February 19, 1994

paragraph: "UNTITLED (14)", Ronald Feldman Fine Arts, New York, November 13 - December 23, 1993br

paragraph: "INFLUX", Gallery 400, Chicago, November 3 - December 4, 1993br

paragraph: "4 Walls Benefit", David Zwirner Gallery, New York, November 1993br

paragraph: "Fantastic Wandering", Cummings Art Center, New London, CT, October 9 - November 10, 1993br

paragraph: "Extracts", Islip Art Museum, Islip, NY, August 8 - September 19, 1993br

paragraph: "Real Art Ways", Popular Mechanics, Hartford, CT, June 19 - July 16, 1993br

paragraph: "Outside Possibilities '93", The Rushmore Festival at Woodbury, New York, June 5 - July 4, 1993br

paragraph: "The Nature of the Machine", Chicago Cultural Center, Chicago, April 3 - May 30, 1993br

paragraph: "Out of Town: The Williamsburg Paradigm", Krannert Art Museum, University of Illinois, Champaign, IL, January 22- February 28, 1993

paragraph: "Fever", Exit Art, New York, December 14, 1992 - February 6, 1993

paragraph: "Group", Jimenez-Algus Gallery, Brooklyn, September 13 - October 13, 1991br

paragraph: "Generator 547", Entropy, New York, August 2 - September 5, 1991br

paragraph: "Tweeking the Human", Brand Name Damages and Minor Injury Galleries, Brooklyn, June 7–31, 1991br

paragraph: "The Ego Show", Minor Injury Gallery, Brooklyn, April 5 - May 2, 1991

paragraph: "Desire and Deception", Brand Name Damages, Brooklyn, October 9–21, 1990br

paragraph: "Group Show", Ridge Street Gallery, New York, September 3–26, 1990br

paragraph: "Roxy Paine and David Fasoldt", Brand Name Damages, Brooklyn, NY, March 29 - April 6, 1990

paragraph: Section::::Awards.

paragraph: BULLET::::- Roxy Paine was awarded by the John Simon Guggenheim Memorial Foundation Fellowship in 2006.

paragraph: BULLET::::- He also received a Trustees Award for an Emerging Artist by, The Aldrich Museum of Contemporary Art, Ridgefield, CT in 1997.

paragraph: Section::::Public collections.

paragraph: The artist Roxy Paine contributed many of his works to the following locations:

paragraph: BULLET::::- City of Beverly Hills, CA

paragraph: BULLET::::- Crystal Bridges Museum of American Art, Bentonville, AR

paragraph: BULLET::::- De Pont Museum of Contemporary Art, Tilburg, The Netherlands

paragraph: BULLET::::- Denver Art Museum, Denver, CO

paragraph: BULLET::::- Frederik Meijer Gardens and Sculpture Park, Grand Rapids, MI

paragraph: BULLET::::- Hirshhorn Museum and Sculpture Garden, Washington, D.C.

paragraph: BULLET::::- Il Giardino Dei Lauri, Città della Pieve (PG), Italy

paragraph: BULLET::::- Israel Museum, Jerusalem

paragraph: BULLET::::- Modern Art Museum of Fort Worth, TX

paragraph: BULLET::::- Museum of Modern Art, New York, NY

paragraph: BULLET::::- National Gallery of Art Sculpture Garden, Washington, D.C.

paragraph: BULLET::::- National Gallery of Canada, Ottawa, ON

paragraph: BULLET::::- Nelson-Atkins Museum of Art, Kansas City, MO

paragraph: BULLET::::- The New School for Social Research, New York, NY

paragraph: BULLET::::- North Carolina Museum of Art, Raleigh, NC

paragraph: BULLET::::- Fundación NMAC, Cadiz, Spain

paragraph: BULLET::::- Olympic Sculpture Park, Seattle Art Museum, WA

paragraph: BULLET::::- Rose Art Museum, Brandeis University, Waltham, MA

paragraph: BULLET::::- Saint Louis Art Museum, St. Louis, MO

paragraph: BULLET::::- San Francisco Museum of Modern Art, CA

paragraph: BULLET::::- Sheldon Memorial Art Gallery, University of Nebraska, Lincoln, NE

paragraph: BULLET::::- Wanas Foundation, Knislinge, Sweden

paragraph: BULLET::::- Whitney Museum of American Art, New York, NY

paragraph: Section::::See also.

paragraph: BULLET::::- "Inside the Artist's Studio", Princeton Architectural Press, 2015. ()

paragraph: BULLET::::- Heartney, Eleanor, and Roxy Paine. "Roxy Paine". Munich: Prestel, 2009. Print. http://www.worldcat.org/oclc/294884961

paragraph: BULLET::::- Paine, Roxy, and Jan Schall. "Roxy Paine: Ferment". , 2011. Print. http://www.worldcat.org/oclc/699379092

paragraph: BULLET::::- GOODMAN, J. (2014). Dendroids, Replicants, and Sculpture Machines. "Sculpture", "33"(8), 24–31. Retrieved from http://search.ebscohost.com/login.aspx?direct=true&db=aft&AN=97909823&site=ehost-live

paragraph: Section::::External links.

paragraph: BULLET::::- Brooklyn Rail Curatorial Projects

paragraph: BULLET::::- False Narratives at Pierogi

paragraph: BULLET::::- Kavi Gupta CHICAGO | BERLIN

paragraph: BULLET::::- Marianne Boesky Gallery

paragraph: BULLET::::- James Cohan Gallery

paragraph: BULLET::::- Roxy Paine in Madison Square Park

paragraph: BULLET::::- Public Art Fund: Whitney Biennial in Central Park, 2002

paragraph: BULLET::::- National Gallery of Canada: Roxy Paine - One Hundred Foot Line, 2010

paragraph: BULLET::::- Interview with Roxy Paine at ARTINFO.com

paragraph: BULLET::::- Conversation between Roxy Paine and Allan McCollum

paragraph: BULLET::::- Roxy Paine at NMAC Foundation

paragraph: BULLET::::- Maelstrom at the Metropolitan Museum of Art, New York, NY

paragraph: BULLET::::- Ken Johnson's review of Maelstrom, The New York Times

paragraph: BULLET::::- Blake Gopnik's review of Graft, National Gallery of Art Sculpture Garden, The Washington Post

paragraph: BULLET::::- Hilarie Sheet's feature 'Man of Steel's Industrial Web Mirroring Nature,' The New York Times.

description: American artist, sculptor

wikidata_label: Roxy Paine

wikipedia_title: Roxy Paine


text: pop

text: BBC

text: Just Good Friends

text: BAFTA

text: Peterborough

text: Belgian

text: World War II

text: Union-Castle Line

text: docker

text: Oscar Beuselinck

text: solicitor

text: Isle of Sheppey

text: Letchmore Heath

text: Hertfordshire

text: Bhaktivedanta Manor

text: The Savages

text: Screaming Lord Sutch

text: Robert Stigwood

text: Reaction Records

text: Radio London

text: Fab Forty

text: Pete Townshend

text: The Who

text: Over the Wall We Go

text: David Bowie

text: The Sweet

text: Phil Wainman

text: Hair

text: title role

text: Jesus Christ Superstar

text: Elaine Paige

text: Grease

text: The Young Vic

text: Frank Dunlop

text: Much Ado About Nothing

text: John Antrobus

text: Richard O’Brien

text: Royal Court Theatre

text: Prospect Theatre Company

text: Rocky Horror Show

text: b-side

text: Cannabis

text: See No Evil

text: What Became of Jack and Jill?

text: Stardust

text: Three for All

text: Tommy

text: Richard Wagner

text: Lisztomania

text: UK Singles Chart

text: Heaven On The 7th Floor

text: "Billboard" Hot 100

text: Sgt. Pepper's Lonely Hearts Club Band

text: The World Is Full of Married Men

text: Yesterday's Hero

text: punk

text: The Jazz Singer

text: Invitation to the Wedding

text: Nutcracker

text: Andrew Lloyd Webber

text: Rum Tum Tugger

text: Cats

text: Blondel

text: Sir Tim Rice

text: Stephen Oliver

text: Two Up, Two Down

text: Su Pollard

text: Just Good Friends

text: BAFTA

text: Joseph Papp

text: The Pirates of Penzance

text: London Palladium

text: Manchester Opera House

text: Barnum

text: This Is Your Life

text: Variety Club

text: Singin' in the Rain

text: Tommy Steele

text: King Arthur

text: Camelot

text: BBC Radio 2

text: BBC Radio 4

text: Gracie

text: Thames Television

text: Karoline Leach

text: Comedy Theatre

text: Simon Gray

text: Eric Chappell

text: transsexual

text: Bill Kenwright

text: Charles Dickens

text: A Tale of Two Cities

text: Sunburn

text: Doctor Dolittle

text: Fiddler on the Roof

text: showjumper

text: Sport Relief

text: Only Fools on Horses

text: Cash and Curry

text: Jekyll & Hyde

text: A Tale of Two Cities

text: The Yeomen of the Guard

text: Carl Rosa Opera Company

text: Tale of Two Cities

text: And Then There Were None

text: Gavin Sullivan

text: EastEnders

text: Masaryk

text: David Ian

text: The Pirates of Penzance

text: New York Shakespeare Festival

text: Gilbert and Sullivan

text: Jesus Christ Superstar

text: Pirates of Penzance

text: Grease

text: Tony Award

text: The Rocky Horror Show

text: Ain't Misbehavin'

text: Singin' in the Rain

text: Evita

text: Chess

text: Happy Days

text: Saturday Night Fever

text: Tale of Two Cities

text: Jekyll & Hyde

text: Keeler

text: Tale of Two Cities

text: Grease

text: "Keeler"

text: "The Tale Of Two Cities" (Musical)

text: Blackpool

text: Hair (Original London Cast Recording)

text: André Deutsch

text: Paul Nicholas

text: British Film Institute

categories: Musicians from Cambridgeshire,English people of Belgian descent,Male actors from Cambridgeshire,English male soap opera actors,English male stage actors,English male television actors,1944 births,British male comedy actors,English male singers,RSO Records artists,Living people,People from Peterborough

paragraph: Paul Nicholas

paragraph: Paul Nicholas (born Paul Oscar Beuselinck; 3 December 1944) is an English actor and singer. He started out with a pop career, but soon changed to musical theatre. Later, in the 1970s, he returned to the pop charts, and he began an acting career – starring in the 1983 BBC sitcom "Just Good Friends", for which he is best known. The show won a BAFTA and Nicholas was also nominated for best comedy performance. After the show ended, he returned to musical theatre and various other entertainment roles, including producing and directing.

paragraph: Section::::Biography.

paragraph: Paul Nicholas was born Paul Oscar Beuselinck on 3 December 1944 in Peterborough. His paternal grandfather, Oscar Beuselinck, was Belgian and had been a chef in the merchant navy during World War II, before becoming head chef on the Union-Castle Line ships between the United Kingdom and South Africa. His maternal grandfather was a London docker.

paragraph: Nicholas' father, Oscar Beuselinck, a former MI6 agent, became a highly esteemed entertainment and show business solicitor. The family spent holidays at his maternal grandparents' home on the Isle of Sheppey, until Nicholas was 10. After his parents divorced when he was 12, his father's family home was at Letchmore Heath, Hertfordshire, opposite the Bhaktivedanta Manor. His paternal grandparents, Winnie and Oscar, lived in a small cottage on the grounds.

paragraph: Section::::Career.

paragraph: Nicholas began his pop career as early as 1960. Adopting the stage name Paul Dean, he formed Paul Dean & The Dreamers who were booked to support The Savages, the backing band for the British rocker Screaming Lord Sutch.

paragraph: It was here that Sutch first noticed the young Nicholas, who was soon to become vocalist and pianist with The Savages. Still using the name Paul Dean, he released two solo singles in 1965–66. After taking a new stage name, Oscar, he began a long association with the Australian-born entrepreneur, Robert Stigwood. In 1966, Nicholas signed with Stigwood's Reaction Records label and his first single under his new name, "Club of Lights", scraped into the lower reaches of the Radio London Fab Forty chart.

paragraph: The second Oscar single was a version of a Pete Townshend song "Join My Gang", which The Who never recorded. His third single, a novelty song called "Over the Wall We Go" (1967) is notable for being written and produced by a young David Bowie (Nicholas at this time was managing the band The Sweet and recommended them to record producer Phil Wainman whom he worked with at Mellin Music Publishing). After settling on the stage name Paul Nicholas, he found success in the UK in musicals, beginning with the leading role of Claude in "Hair" (which Stigwood produced) before winning the title role in the original London production of "Jesus Christ Superstar". The part of Danny to Elaine Paige's Sandy made them the first British couple to play the leads in "Grease". He joined The Young Vic under Frank Dunlop and played Claudio in "Much Ado About Nothing" and appeared in "Crete and Sgt. Pepper" by John Antrobus. He appeared as the Bully of the Boulevard in Richard O’Brien’s "T-Zee" at London's Royal Court Theatre. He performed in Prospect Theatre Company's Carl Davies musical "Pilgrim". While touring with O'Brien in "Hair" in 1970 he first heard songs from the yet to be produced "Rocky Horror Show" and made the first professional recording with O'Brien singing "That Ain't No Crime". On the b-side was a song entitled "Very 50s", where O'Brien introduces the characters Brad, Janet, and Dr. Scott.

paragraph: Nicholas' film career began in 1970 in "Cannabis". He followed this with "See No Evil" (1971) and "What Became of Jack and Jill?" (1972). He then appeared in "Stardust" (1974), and "Three for All" (1975). In 1975, he played "Cousin Kevin", Tommy's vicious cousin, in "Tommy", and portrayed Richard Wagner in "Lisztomania" (1975).

paragraph: In 1976, he embarked on a short-lived but high-profile pop career, with three Top 20 hits in the UK Singles Chart "Reggae Like It Used To Be", "Dancing with the Captain", and "Grandma's Party", the last two of which reached the Top 10. He released the single "Heaven On The 7th Floor" in 1977. This only just reached the UK Top 40, but reached number No. 1 in New Zealand. In the US, the song peaked at No. 6 on the "Billboard" Hot 100 and number 5 in Cashbox listings, giving Nicholas a gold record. He followed this with "On The Strip" which entered the Billboard Hot 100 No. 67 but failed to enter the UK chart. In the mid-1970s he hosted his own children's television pop show, "Paul".

paragraph: In 1978, he co-starred in "Sgt. Pepper's Lonely Hearts Club Band" as Dougie Shears. Further films followed including "The World Is Full of Married Men" (1979), "Yesterday's Hero" (1979), the loutish punk singer in "The Jazz Singer" (1980), the romantic lead in "Invitation to the Wedding" (1983), and "Nutcracker" (1983).

paragraph: Having done the workshop with Andrew Lloyd Webber, he returned to the West End stage in 1981 to create the role of Rum Tum Tugger in Lloyd Webber's musical "Cats". He followed this originating the title role in "Blondel" by Sir Tim Rice and Stephen Oliver. That same year he starred in "Two Up, Two Down", a short-lived sitcom co-starring Su Pollard. In 1983, he got his first high-profile television role as Vince Pinner in "Just Good Friends". The show, for which Nicholas also sang the theme tune, was a success. He was also nominated for a BAFTA.

paragraph: Nicholas later returned to the stage, playing numerous roles on screen in both movie and television projects. He starred as The Pirate King in Joseph Papp's version of "The Pirates of Penzance" at the London Palladium and the Manchester Opera House, touring again in the same role in the late 1990s. He starred in "Barnum" in the first national tour and followed this with a highly successful season at The Dominion Theatre in the West End. At the end of 1991, while touring with "Barnum", Nicholas was the subject of "This Is Your Life". For his services to show business and charity, Nicholas was awarded a Silver Heart from the Variety Club of Great Britain and a Gold Badge Award from BASCA. Nicholas then starred in the national tour of "Singin' in the Rain", which was directed by Tommy Steele.

paragraph: In June 1996, Nicholas played the role of King Arthur in the Covent Garden Festival's production of "Camelot". He repeated his role of King Arthur in a BBC Radio 2 production of "Camelot". Other radio work included Bert in BBC Radio 4's "Gracie". He hosted two series of BBC Radio 2's "Mad About Musical"', as well as his own hour-long TV special, "Paul and Friends", for Thames Television. Nicholas fronted the Radio 4 children's series "Cat's Whiskers" during the 1980s.

paragraph: In 1997, he starred as the anti-hero of Karoline Leach's "The Mysterious Mr. Love" at the Comedy Theatre in London's West End. He continued to appear as the lead in numerous straight roles thereafter: Simon Gray's "Stagestruck", a national tour of Michael Cooney's "The Dark Side", "Catch Me if You Can", and two plays by Eric Chappell: "Mixed Feelings", in which he played a transsexual, and "Snakes and Ladders". He starred as John Smith in the original production of "Caught in the Net". He co-produced, with Bill Kenwright, a new musical based on Charles Dickens' novel "A Tale of Two Cities", starring as Sidney Carton. The musical played Windsor with a Christmas season in Birmingham.

paragraph: In 2000, Nicholas appeared in the BBC television comedy drama "Sunburn", playing David Janus, owner of the self-titled holiday company around which the series was centered. He Ronnie Buchan in the new police drama series "Burnside". Further television work included parts in "The Bill" and "Holby City".

paragraph: He then played the title role in the national tour of "Doctor Dolittle" and followed this with the role of Tevye in UK Productions' national tour of "Fiddler on the Roof". In the summer of 2006, he was a celebrity showjumper in the BBC's Sport Relief event "Only Fools on Horses", as well as appearing in "Doctors", "Heartbeat" and "Holby City". That autumn, Nicholas was attached to star in the British film "Cash and Curry", and that year he co-produced and starred in "Jekyll & Hyde" in a UK national tour.

paragraph: In 2008, Nicholas played Alan Boon in BBC Four's "Consuming Passions – a hundred years of Mills and Boon". He also directed and produced "A Tale of Two Cities" at Upstairs at the Gatehouse. In 2009, Nicholas played Jack Point in "The Yeomen of the Guard" for the Carl Rosa Opera Company at the Tower of London Festival. In November 2010, Nicholas opened in "The Haunting". He also directed the musical version of "Tale of Two Cities" at Charing Cross Theatre in April–May 2012.

paragraph: In 2014, Nicholas produced and starred in "Blockbuster", a musical. In 2015, he appeared as Judge Wargrave in "And Then There Were None". In the summer of 2015 he directed a new production of "Tommy" at Blackpool's Opera House. In June 2015 while touring in "And Then There Were None", Nicholas was cast as Gavin Sullivan on "EastEnders". He then starred as Scrooge in the Alan Menken musical, "A Christmas Carol". In 2016, he was cast as Neville Chamberlain in the film "Masaryk". Paul appeared as himself in 'The Real Marigold Hotel' shown on BBC One in March 2017. A further two episodes of ‘The Marigold On Tour’ November 2017. In January 2018 Nicholas will commence a nine week tour of the Ronald Harwood play ‘Quartet’. Nicholas filmed further episodes of ‘Marigold on Tour’ in Argentina and Mexico in August 2018.Nicholas will appear in three staged concerts of ‘Guys And Dolls’

paragraph: at the Royal Albert Hall in London. Nicholas will play Father Merrin in ‘The Exorcist’ On Tour in the UK from September 2019 he will also be appearing in ‘The Marigold Hotel’ theatre tour at selective dates.

paragraph: Section::::Business.

paragraph: In 1990, while starring with David Ian in "The Pirates of Penzance" at the London Palladium, Nicholas offered Ian a partnership in co-producing and starring in a touring production of the New York Shakespeare Festival version of the popular Gilbert and Sullivan opera. Paul Nicholas & David Ian Associates Ltd was formed to produce the 20th anniversary production of "Jesus Christ Superstar" on a UK-wide tour, which sold out. They then produced a nightly fully staged version of "The Pirates of Penzance" in which Nicholas starred and again they sold out.

paragraph: The company has since produced numerous shows, including:

paragraph: BULLET::::- "Jesus Christ Superstar" – concert version

paragraph: BULLET::::- "Pirates of Penzance" – UK tour

paragraph: BULLET::::- "Grease" – West End-Broadway – Tony Award nomination for Best Revival 2008

paragraph: BULLET::::- "The Rocky Horror Show" – directed by Paul Nicholas

paragraph: BULLET::::- "Ain't Misbehavin'" – West End

paragraph: BULLET::::- "Singin' in the Rain" – UK tour

paragraph: BULLET::::- "Evita" – UK tour

paragraph: BULLET::::- "Chess" – UK tour

paragraph: BULLET::::- "Happy Days" – UK tour

paragraph: BULLET::::- "Saturday Night Fever" – at the London Palladium and Minskoff Theatre (NYC), Producer, co-adapter

paragraph: BULLET::::- "Tale of Two Cities" – UK tour; co-produced with Bill Kenwright

paragraph: BULLET::::- "Jekyll & Hyde" – UK tour; co-produced with UK Productions

paragraph: BULLET::::- "Keeler" – produced and directed by Paul Nicholas 2007

paragraph: BULLET::::- "Tale of Two Cities" – produced and directed by Paul Nicholas "Upstairs at the Gatehouse" 2008

paragraph: BULLET::::- "Grease" – US tour co-producer 2008-09, West End 2007

paragraph: BULLET::::- "Jest End" – musical parody, producer, Players and Jermyn Theatres London 2009

paragraph: BULLET::::- "Grease" – South Africa/Far East Tour 2010, co-producer US&UK tours 2010/11

paragraph: BULLET::::- "Keeler" (play) – Producer/Director UK Tour September/November 2011

paragraph: BULLET::::- "The Tale Of Two Cities" (Musical) – Charing Cross Theatre April/May 2012 Director

paragraph: BULLET::::- "Seven Brides For Seven Brothers" – September 2013 UK Tour Producer

paragraph: BULLET::::- "Wag" – July 2013 Charing Cross Theatre co-producer

paragraph: BULLET::::- "Keeler" – October 2013 Producer/Director

paragraph: BULLET::::- "Blockbuster" – UK Tour September 2014 Producer/Director

paragraph: BULLET::::- "Christmas Carol" – 2015 Associate/Producer

paragraph: BULLET::::- "Grease" – UK Tour 2017 Co-producer

paragraph: Section::::Paul Nicholas School of Acting & Performing Arts.

paragraph: In 2006 Nicholas set up a franchise operation, the Paul Nicholas School of Acting & Performing Arts, aimed at teaching acting to school-age children. The company went into liquidation in 2012. In January 2008 Nicholas launched Paul Nicholas Community Arts, a project designed to engage disenfranchised children in the arts. The pilot scheme will be funded for fourteen weeks by Wyre Borough Council. A twelve-week scheme began on 28 May 2008 in Blackpool.

paragraph: Section::::Personal life.

paragraph: Nicholas has been married twice, and has six children. His first wife Susan, from whom he was divorced in the early 1970s, died in a car accident in 1977. Nicholas married his second wife, columnist Linzi, in 1984.

paragraph: Section::::Discography.

paragraph: Section::::Discography.:Albums.

paragraph: BULLET::::- Hair (Original London Cast Recording) 1968

paragraph: Paul Nicholas has released three studio albums and one compilation album.

paragraph: BULLET::::- "Paul Nicholas" (LP) 1977, RSO (10 songs)

paragraph: BULLET::::- "On the Strip" (LP) 1978, RSO (12 songs, 8 of which are also on 1977's "Paul Nicholas" LP, 4 are new recordings)

paragraph: BULLET::::- "Just Good Friends" (LP and CD) 1986, K-Tel (13 songs, 12 are cover songs)

paragraph: BULLET::::- "That's Entertainment" (CD) 1993, Karussell (14 songs) (compilation of RSO/Polydor material from 1976-1980)

paragraph: Section::::Literature.

paragraph: BULLET::::- Paul Nicholas (with Douglas Thompson): "Behind the Smile" autobiography, hardcover, 218 pages published in October 1999 by André Deutsch Ltd;

paragraph: Section::::External links.

paragraph: BULLET::::- Paul Nicholas at the British Film Institute

description: British actor and singer

wikidata_label: Paul Nicholas

wikipedia_title: Paul Nicholas


text:
African American
golf
U.S. Opens
Washington D.C.
Presbyterian
1896 U.S. Open
Shinnecock Hills Golf Club
Southampton, New York
1902 U.S. Open
Garden City Golf Club
Shinnecock Indian Reservation
caddie
Willie Dunn Jr.
Theodore Havemeyer
Charles B. Macdonald
U.S. Amateur
James Foulis
New Jersey
Scotch Plains
Ted Rhodes
PGA of America
Bill Spiller
Joe Louis
Shady Rest
U.S. Open
List of Caddie Hall of Fame inductees

categories: Golfers from Washington, D.C.,American male golfers,Caddie Hall of Fame inductees,Golfers from New York (state),1879 births

paragraph: John Shippen

paragraph: John Matthew Shippen Jr. (December 2, 1879 – May 20, 1968) was an African American golfer who competed in several of the early U.S. Opens. Born in Washington D.C., he was the son of Presbyterian minister John Shippen Sr. and Eliza Spotswood Shippen.

paragraph: Shippen's best finishes came at the 1896 U.S. Open held at Shinnecock Hills Golf Club in Southampton, New York, and the

paragraph: 1902 U.S. Open held at Garden City Golf Club in Garden City, New York, where he tied for fifth place at both.

paragraph: Section::::Early life.

paragraph: When he was nine his father was sent to serve as minister on the Shinnecock Indian Reservation—close to Shinnecock Hills—one of America's earliest golf clubs. John Jr. worked as a caddie at the course and was taught to play by the club's Scottish professional, Willie Dunn Jr.

paragraph: Section::::1896 U.S. Open.

paragraph: The Shinnecock Hills course was chosen to host the second U.S. Open in 1896. Shippen played superb golf, finishing in fifth place. Prior to the start of the tournament, some club members had been so impressed with Shippen's talent for the game that they decided to pay his entry fee for the tournament, along with that of his close friend, Oscar Bunn, a Shinnecock Indian. Shippen was allowed to play because he registered as an Indian (his mother was Shinnecock) rather than as a black.

paragraph: When the professional entrants for the competition found out a racial controversy had begun and they threatened to boycott the event, but they backed down after USGA president Theodore Havemeyer stated that the tournament would proceed even if only Shippen and Dunn took part. Shippen was paired with Charles B. Macdonald, winner of the first U.S. Amateur in 1895. He was tied for second place after the first of the two rounds, and remained in contention until he drove his ball onto a sandy road at the 13th hole and scored an eleven. If he had made par on that hole, he would have made a playoff for the championship, but he still finished in a tie for fifth and won $25 as the fourth-placed non-amateur. Scottish-born James Foulis won the $150 first prize.

paragraph: Section::::Golf career.

paragraph: Shippen played in five more U.S. Opens, and his best finish was a tie for fifth in 1902. He made his career in golf and served as professional at several clubs, the last of which was Shady Rest Golf Course in New Jersey, where he worked from 1932 until the club was acceded to the township of Scotch Plains in 1964. As a professional, Shippen made and sold his own clubs which bore a stamp reading "J. M. Shippen".

paragraph: No other African-American played in the Open until Ted Rhodes took part in 1948.

paragraph: Section::::Posthumous PGA of America membership.

paragraph: In 2009, the PGA of America granted posthumous membership to Shippen, Rhodes, and Bill Spiller who were denied the opportunity to become PGA members during their professional careers. The PGA also granted posthumous honorary membership to boxer Joe Louis.

paragraph: Section::::Legacy and death.

paragraph: When the U.S. Open was played at Shinnecock Hills in 1986, Shippen was remembered during the ABC television broadcast. Ironically, for many members of the former Shady Rest club, it was the first time they had learned of his accomplishments.

paragraph: Section::::Results in major championships.

paragraph: "Note: Shippen played only in the U.S. Open Championship."br

paragraph: "T" indicates a tie for a placebr

paragraph: ? = Unknown

paragraph: Yellow background for top-10

paragraph: Section::::See also.

paragraph: BULLET::::- List of Caddie Hall of Fame inductees

description: American golfer

wikidata_label: John Shippen

wikipedia_title: John Shippen


text: Soviet

text: Stalinist

text: Alexander Vishnevsky

text: heart and lung machine

text: Experiments in the Revival of Organisms

text: Lenin Prize

text: public domain

text: Sergei S. Bryukhonenko

categories: Russian inventors,Russian medical researchers,Soviet inventors,Lenin Prize winners,20th-century scientists,1960 deaths,1890 births

paragraph: Sergei Brukhonenko

paragraph: Sergei Sergeyevich Brukhonenko (, 30 April 1890 – 20 April 1960) was a Soviet biomedical scientist and technologist during the Stalinist era. Brukhonenko's research was vital to the development of open-heart procedures in Russia. He was one of the leaders of the Research Institute of Experimental Surgery, where Professor Alexander Vishnevsky performed the first Soviet open-heart operation in 1957.

paragraph: Brukhonenko is primarily remembered for his development of the autojektor, one of the first heart and lung machines. The device was used with mixed results in a series of experiments with canines during the year 1939, which can be seen in the film "Experiments in the Revival of Organisms". While some today speculate that the film is a re-staging of the procedures, the experiments themselves were well documented, and resulted in Brukhonenko being posthumously awarded the prestigious Lenin Prize.

paragraph: Brukhonenko was also known for his experiments of decapitating animals (mainly dogs) and attempting to put them on life support thus keeping the head alive for multiple hours.

paragraph: Section::::External links.

paragraph: BULLET::::-  Biography and documentation to the experiment

paragraph: BULLET::::- "Experiments in the Revival of Organisms" at the Internet Archive (public domain)

paragraph: BULLET::::- Information and patents related to the autojektor

paragraph: BULLET::::- Sergei S. Bryukhonenko A Spanish article

alias:
Sergueï Brioukhonenko
Sergei Sergeyevich Brukhonenko

description: Soviet scientist

wikidata_label: Sergei Brukhonenko

wikipedia_title: Sergei Brukhonenko


href: mineralogist Prussia Cologne Bonn%20University Berlin Ph.D. Johann%20Jakob%20N%C3%B6ggerath mineral Bonn geology crystallography tridymite Europe Palestine%20%28region%29 United%20States petrology earthquake meteorite Koblenz Annalen%20der%20Physik Berlin%20Academy%20of%20Science

text:
mineralogist
Prussia
Cologne
Bonn University
Berlin
Ph.D.
Johann Jakob Nöggerath
mineral
Bonn
geology
crystallography
tridymite
Europe
Palestine
United States
petrology
earthquake
meteorite
Koblenz
"Annalen der Physik und Chemie"
Berlin Academy

categories: 1888 deaths,1830 births,University of Bonn alumni,German mineralogists

paragraph: Gerhard vom Rath

paragraph: Gerhard vom Rath (20 August 1830 – 23 April 1888), was a German mineralogist, born at Duisburg in Prussia.

paragraph: Section::::Biography.

paragraph: Rath was educated at Cologne, at Bonn University, and finally at Berlin, where he graduated Ph.D. in 1853. In 1856 he became assistant to Johann Jakob Nöggerath in the mineralogical museum at Bonn, and succeeded to the directorship in 1872. Meanwhile, in 1863 he was appointed extraordinary professor of geology, and in 1872 he became professor of geology and mineralogy in the university at Bonn. He was distinguished for his accurate researches on mineralogy and crystallography; he described a great many new minerals, some of which were discovered by him, and he contributed largely to our knowledge of other minerals, notably in an essay on tridymite. He travelled much in southern Europe, Palestine and the United States, and wrote several essays on petrology, geology and physical geography, on earthquakes and on meteorites. He died at Koblenz in 1888.

paragraph: Section::::Work.

paragraph: He published the results of his researches in Poggendorf's "Annalen der Physik und Chemie", in the "Zeitschrift der deutschen geologischen Gesellschaft", and in the "Monatsberichten" of the Berlin Academy. Among his own publications were:

paragraph: BULLET::::- "Ein Ausflug nach Kalabrien" (Bonn 1871)

paragraph: BULLET::::- "Der Monzoni im südlichen Tirol" (1875)

paragraph: BULLET::::- "Siebenbürgen" (Heidelberg 1880)

paragraph: BULLET::::- "Durch Italien und Griechenland nach dem heiligen Land", Reisebriefe (Heidelberg 1882, 2 vols.)

paragraph: BULLET::::- "Arizona" (Heidelberg 1885)

paragraph: BULLET::::- "Pennsylvanien" (Heidelberg 1888)

paragraph: BULLET::::- "Über den Granit" (Berlin. 1878)

paragraph: BULLET::::- "Über das Gold" (Berlin 1879)

paragraph: BULLET::::- "Naturwissenschaftliche Studien. Erinnerungen an die Pariser Weltausstellung" (Bonn 1879).

paragraph: Section::::Further reading.

paragraph: BULLET::::- H. Laspeyres, "Gerhard vom Rath, eine Lebensskizze" (Bonn 1888)

description: German mineralogist

wikidata_label: Gerhard vom Rath

wikipedia_title: Gerhard vom Rath


text:
philosophy
political philosophy
socratic tradition
Noëlle Châtelet
Lionel Jospin
Paris
Michel Foucault
Gilles Deleuze
University of Vincennes
Collège international de philosophie
University of São Paulo
Jean-Pierre Vernant
Brazilian military government
Plato
ancient Greek

categories: 20th-century French historians,French historians of philosophy,University of São Paulo faculty,French philosophers,1985 deaths,1925 births

paragraph: François Châtelet

paragraph: François Châtelet (27 April 1925 – 26 December 1985) was a historian of philosophy, political philosophy and professor in the socratic tradition. He was the husband of philosopher Noëlle Châtelet, the sister of Lionel Jospin.

paragraph: Section::::Biography.

paragraph: Châtelet was born and died in Paris. Along with Michel Foucault and Gilles Deleuze, he is at the origin of the department of philosophy at the University of Vincennes, and co-founded the Collège international de philosophie (International College of Philosophy). In 1971 he was professor at the University of São Paulo. This was an act of protest that he made with Jean-Pierre Vernant against the Brazilian military government (dictatorship). Châtelet has always been concerned with linking thought and action, engaging in a restless combat with his contemporaries.

paragraph: His conception of philosophy makes him more of a historian of philosophy than a philosopher. In his work "une histoire de la raison" (A History of Reason), he shows the role of philosophy in the constitution of modern Western rationality. His work "Platon" (Plato) is a formidable invitation-initiation to the thought of the ancient Greek philosopher.

paragraph: Section::::Works.

paragraph: BULLET::::- "Périclès et son siècle" (Pericles and his century) (1960)

paragraph: BULLET::::- "Platon" (Plato) (1965)

paragraph: BULLET::::- "Hegel" (Hegel) (1968)

paragraph: BULLET::::- "La philosophie des Professeurs" (The Philosophy of Professors) (1970)

paragraph: BULLET::::- "Histoire de la philosophie" (History of Philosophy) (1972–1973) — 8 volumes

paragraph: BULLET::::- "Une histoire de la raison" (A History of Reason)

description: French philosopher

wikidata_label: François Châtelet

wikipedia_title: François Châtelet


text:
entrepreneur
promoter
blackface
minstrel show
Haverly's United Mastodon Minstrels
Haverly's Colored Minstrels
United States
England
managers
P. T. Barnum
Virginia Minstrels
Ethiopian Serenaders
advertisements
Haverly's United Mastodon Minstrels
brass band
drum corps
circus
Charles Callender's
Original Georgia Minstrels
Haverly's Colored Minstrels
plantation
Her Majesty's Theatre
London
The Times
Charles
Gustave Frohman

categories: Blackface minstrel managers and producers,1901 deaths,1837 births

paragraph: J. H. Haverly

paragraph: Jack H. Haverly (1837–1901) or J. H. Haverly was an entrepreneur and promoter of blackface minstrel shows. During the 1870s and 1880s, he created an entertainment empire centered on his minstrel troupes, particularly Haverly's United Mastodon Minstrels and Haverly's Colored Minstrels. Under his guidance, these troupes grew to impressive sizes and featured elaborate sets and costumes. They toured widely, enlarging minstrelsy's audience to encompass the entire United States as well as England. Haverly's methods sparked a revolution in minstrelsy as other troupes scrambled to compete. As the costs of minstrelsy increased, many troupes went out of business.

paragraph: Section::::Early endeavors.

paragraph: Haverly was one of a new wave of theater troupe owners and managers who had not entered the profession as a performer himself. He borrowed the spectacular techniques of famous showmen like P. T. Barnum to promote his theater companies. In the late 1870s, he turned his eye to the lifeless minstrel show, observing that other entertainments, such as stage plays, operas, and variety shows, had "increased and enlarged their dimensions until their proportions and attractive qualities [had] appeared unlimited." Minstrelsy, on the other hand, had remained much as it had been in the days of the Virginia Minstrels and Ethiopian Serenaders.

paragraph: His answer would be a company of minstrels "that for extraordinary excellence, merit, and magnitude [would] astonish and satisfy the most exacting amusement seeker in the world." He gathered up a large pool of talented performers and combined them into a single troupe. Aiming his advertisements at the family market and emphasizing his shows' freedom from base humor, they toured the whole United States, not just the Northeastern circuit to which minstrelsy had previously been mostly limited.

paragraph: Haverly's success in minstrelsy allowed him to finance other ventures. At the height of his fortune, he owned and managed three minstrel troupes and four comic theater groups, in addition to three theaters in New York and one in each of Brooklyn, Chicago, and San Francisco, three mining and milling companies, as well as stock in many others. Haverly's stock investments did not perform as he had wished, and by the end of 1877, he was in debt by as much as $104,000. However, he tried to skirt bankruptcy with another gamble.

paragraph: Section::::Haverly's United Mastodon Minstrels.

paragraph: With four minstrel companies as his raw materials, he created a single troupe, dubbed Haverly's United Mastodon Minstrels. He flooded New York with posters and newspaper advertisements twice the size of the ads placed by other troupes. These trumpeted the Mastodons' size: "FORTY—COUNT 'EM—40" members. He paraded his minstrels through every city they played, preceded by a brass band. In 1878, he added a drum corps that could play simultaneously in another section of town. He found other ways to emphasize the troupe's size, one being a series of curtains pulled back in succession, each revealing more than a dozen men standing behind it.

paragraph: Haverly's shows were also more visually stunning than anything that had preceded them. One program read, "The attention of the public is respectfully called to the magnificent scene representing a Turkish Barbaric Palace in Silver and Gold", and the production delivered what had been promised. In addition, a lavish royal palace appeared at one point, followed by a succession of non-connected scenes: "Base-Ball", "The Strong Defending the Weak," "United We Stand," and "The Dying Athlete". The show ended with a circus-like production in the tradition of Barnum. The show represented Haverly's mantra as a producer: "I've got only one method, and that is to find out what the people want and then give them that thing . . . . There's no use trying to force the public into a theater."

paragraph: Haverly's shows were different, and he took every opportunity to emphasize this in his advertisements. He stressed the high costs of production. He continued to purchase minstrel troupes throughout the 1870s and 80s and to absorb them into the Mastodons. The troupe had over 100 members at one point.

paragraph: Section::::Haverly's Colored Minstrels.

paragraph: Meanwhile, Haverly entered the market of black minstrelsy and bought Charles Callender's Original Georgia Minstrels in 1878, renaming them Haverly's Colored Minstrels. Haverly promoted the troupe with the same panache he employed for the Mastodons, and he bought other black troupes to increase their size. He also reinforced the belief that black minstrels were authentic portrayers of African American life by moving to a format of almost all plantation-themed material. In place of Turkish baths, audiences got "THE DARKY AS HE IS AT HOME, DARKY LIFE IN THE CORNFIELD, CANEBRAKE, BARNYARD, AND ON THE LEVEE AND FLATBOAT". In 1880, he even went so far as to create a mock plantation in a Boston field with over a hundred black actors in costume, including "overseers, bloodhounds and darkies at work ... indulging in songs, dances [and] antics peculiar to their people" In 1881 the 65-strong Haverly's Colored Minstrels opened at Her Majesty's Theatre in London, where "The Times" wrote: "There can be no doubt of the spontaneity of the outbursts of sound, or of the enjoyment with which the performers take part in the dances and frolics of the evening. The heartiness of their fun seems to communicate itself to the audience." Peter Fryer notes, "There were 20 dancers, a banjo orchestra, and 8 players of bones and 8 of tambourines -16 musicians who sat in two rows on the stage and made 'a most picturesque display in unison'." The huge troupe was successful, but Haverly found it difficult to manage both them and the Mastodons. He sold the Georgia Minstrels to Charles and Gustave Frohman in 1882.

paragraph: Section::::References.

paragraph: BULLET::::- Toll, Robert C. (1974). "Blacking Up: The Minstrel Show in Nineteenth-century America". New York: Oxford University Press.

paragraph: BULLET::::- Watkins, Mel (1994). "On the Real Side: Laughing, Lying, and Signifying—The Underground Tradition of African-American Humor that Transformed American Culture, from Slavery to Richard Pryor. New York: Simon & Schuster.

paragraph: Section::::External links.

paragraph: BULLET::::- http://digital.library.louisville.edu/u?/macauley,1438

alias:
Jack Haverly
Christopher Haverly
Jack H. Haverly
John H. Haverly

description: American theatre manager

wikidata_label: J. H. Haverly

wikipedia_title: J. H. Haverly


text:
Canadian
ice hockey
defenceman
JYP
Finnish
Liiga
major junior
Western Hockey League
Kelowna Rockets
Brandon Wheat Kings
Washington Capitals
1999 NHL Entry Draft
NHL
2001–02
AHL
Portland Pirates
Nashville Predators
Milwaukee Admirals
San Antonio Rampage
Anaheim Ducks
Calgary Flames

categories: Ice hockey people from Saskatchewan,Kelowna Rockets players,Florida Panthers players,Brandon Wheat Kings players,Adirondack Flames players,JYP Jyväskylä players,1981 births,Washington Capitals players,Norfolk Admirals players,Phoenix Coyotes players,Canadian ice hockey defencemen,Portland Pirates players,Milwaukee Admirals players,Living people,Canadian expatriate ice hockey players in Finland,San Antonio Rampage players,Hershey Bears players,Anaheim Ducks players,Washington Capitals draft picks

paragraph: Nolan Yonkman

paragraph: Nolan Yonkman (born April 1, 1981) is a Canadian professional ice hockey defenceman currently playing with JYP of the Finnish Liiga.

paragraph: Section::::Playing career.

paragraph: Yonkman played major junior in the Western Hockey League (WHL) with the Kelowna Rockets and Brandon Wheat Kings. He was drafted 37th overall by the Washington Capitals in the 1999 NHL Entry Draft and made his NHL debut in 2001–02. Yonkman played the majority of his time with the Capitals organization with their AHL affiliate, the Portland Pirates.

paragraph: On July 17, 2006, Yonkman signed as a free agent with the Nashville Predators. He has since played with their AHL affiliate, the Milwaukee Admirals for three seasons. On July 13, 2009, he was re-signed by the Predators to a one-year contract.

paragraph: After four seasons with the Admirals, Yonkman then signed a one-year contract with the Phoenix Coyotes on July 3, 2010. Yonkman played for their affiliate, the San Antonio Rampage.

paragraph: On July 1, 2011 Yonkman signed a two-year deal with the Florida Panthers organization. He remained as captain with the Rampage, the Panthers new AHL affiliate, during his tenure with the Panthers. Over the course of his contract he appeared in 8 games for Florida as a reserve defenseman.

paragraph: On July 7, 2013, Yonkman signed a one-year, two-way contract as a free agent with the Anaheim Ducks.

paragraph: As a free agent, following his season with the Ducks, Yonkman was unable to earn an NHL contract but was invited to the Calgary Flames training camp on September 18, 2014. Following his release from Calgary, Yonkman signed a one-year AHL contract with Flames affiliate, the Adirondack Flames, on October 7, 2014.

paragraph: On May 18, 2015, Yonkman headed overseas, signing a one-year contract with Finnish Liiga club JYP.

description: Canadian ice hockey defenceman

wikidata_label: Nolan Yonkman

wikipedia_title: Nolan Yonkman


text:
Genoa
Italian
lieutenant
Italo-Turkish War
aerial warfare
heavier-than-air
Etrich Taube
Ottoman military
Libya
Tagiura
oasis
military camp
Ain Zara
Ottoman Empire
balloon
Hague Convention of 1899
1911 in aviation
Aerial bomb
Bomber
Tactical bombing

wikipedia_title:
Genoa
Italian Army
Lieutenant
Italo-Turkish War
Aerial warfare
Aircraft
Etrich Taube
Military of the Ottoman Empire
Libya
Tajura
Oasis
Military camp
Ain Zara
Ottoman Empire
Balloon
Hague Conventions of 1899 and 1907
1911 in aviation
Aerial bomb
Bomber
Tactical bombing

categories: Italian Air Force personnel,Aviation pioneers,Italian military personnel of the Italo-Turkish War,People from Genoa,1882 births,1939 deaths

paragraph: Giulio Gavotti

paragraph: Giulio Gavotti (17 October 1882 in Genoa – 6 October 1939) was an Italian lieutenant and pilot, who fought in the Italo-Turkish War. He set two firsts in the history of aerial warfare of heavier-than-air flyers: He was the first man to make an aerial bombardment, as well as the first to perform a night mission.

paragraph: Section::::Aerial bombardment.

paragraph: On 1 November 1911, he flew his early model Etrich Taube monoplane against Ottoman military in Libya. He took four grenades (""Cipelli"") to a leather pouch, each of a size of grapefruit and weighing about four pounds. Flying at an altitude of 600 feet, Gavotti screwed in the detonators and tossed each munition over the side — three onto the Tagiura (Jagiura) oasis, and one more onto military camp at Ain Zara. Gavotti’s attack did not inflict any casualties.

paragraph: The oldest known preserved Etrich Taube, in Vienna, Austria, is possibly a near-twin to the aircraft Gavotti flew in 1911, as both are said to have been powered with inline-four cylinder liquid-cooled powerplants.

paragraph: After this and further missions, the Ottoman Empire issued a protest. The dropping of bombs from balloons had been outlawed by the Hague Convention of 1899, but Italy argued that this ban did not extend to heavier-than-air craft.

paragraph: Section::::Night mission.

paragraph: Gavotti performed the historically first night mission of a heavier-than-air aircraft. It took place as part of the same campaign in Libya on 4 March 1912.

paragraph: Section::::See also.

paragraph: BULLET::::- 1911 in aviation

paragraph: BULLET::::- Aerial bomb

paragraph: BULLET::::- Bomber

paragraph: BULLET::::- Tactical bombing

description: Italian Air Force officer

wikidata_label: Giulio Gavotti

wikipedia_title: Giulio Gavotti


text: English Army

text: Thetford

categories: English soldiers,1706 deaths,English MPs 1701–1702,Year of birth missing,17th-century births,Place of birth missing,18th-century deaths,English MPs 1702–1705

paragraph: Edmund Soame

paragraph: Edmund Soame (c. 1669 – 8 September 1706) was an English soldier and politician. He served in the English Army where he attained the rank of colonel, and was member of Parliament for Thetford from 1701 to 1705.

paragraph: Section::::References.

paragraph: BULLET::::- british-history.ac.uk retrieved 10 May 2011 - represented Thetford in the Parliament of 1702.

description: English politician

wikidata_label: Edmund Soame

wikipedia_title: Edmund Soame