Laurie Fendrich

Laurie Fendrich (born 1948) is an American artist, writer and educator based in New York City, best known for geometric abstract paintings that balance playfulness and sophistication. Her work has been featured in solo exhibitions in New York, Los Angeles and Chicago, a retrospective at the Williamson Gallery at Scripps College (2010), and group shows at MoMA PS1, the Los Angeles County Museum of Art, and the National Academy of Design, among many venues. She has received reviews in publications including "The New York Times", "Artforum", "Art in America", "Arts Magazine", "ARTnews" "Partisan Review", and "New York Magazine". Fendrich has been awarded fellowships from the Guggenheim Foundation (2016), Brown Foundation at the Museum of Fine Arts, Houston (2009, 2017), and National Endowment for the Arts (1983–4). She has been an educator for more than four decades, notably at Hofstra University (1989–2014), and a regular essayist for "The Chronicle Review" at "The Chronicle of Higher Education".
Fendrich's art has been described as a "deft blending of mid-twentieth century Cubism and biomorphism" that avoids easy harmony, playing a pictorial game of "part playground, part calculated wager against chaos." Critic Hilton Kramer characterized her work as "devoid of solemnity, dogmatism and existential angst," with an undercurrent of humor that embraces the worldly as it renegotiates the relationship between abstraction and representation in modernist painting.
Life and career.
Fendrich was born in Paterson, New Jersey in 1948 and attended Mount Holyoke College, where she studied painting, but graduated with a political science degree (1970), considering it a more practical major. She worked in publishing for three years, traveled across the country, and in 1975, enrolled at the School of the Art Institute of Chicago (MFA, 1978), where she studied painting with professors Ray Yoshida and Richard Loving. She met her future husband, artist and critic Peter Plagens, in Chicago; they would marry in 1981 and, after living in California and Chapel Hill, North Carolina, move to New York City in 1985.
Fendrich has shown in museums, universities and galleries across the U.S., notably solo exhibitions at John Davis and E. M. Donahue in New York (1990s), Jan Cicero in Chicago (1981–1993), Gary Snyder Fine Art and Katharina Rich Perlow in New York (2000s), and Louis Stern Fine Arts in Los Angeles (2016). She lives and works in New York City and Callicoon Center, New York, and shares a studio with Plagens.
Work.
Critics identify Fendrich as an artist whose work makes a case for the viability of geometric abstraction and the modernist tradition, while simultaneously taking a knowing jab at its quest for purity. Fendrich notes her inclination toward a Platonic, "modernist, optimistic spirit that strives for the eternal and universal." She cites 1930s American artists Stuart Davis and George L. K. Morris, Esphyr Slobodkina, and Russian Constructivism as influences; other touchstones include Cubist Juan Gris, early American comics, and Jane Austen. Art historian Mark Stevens likened Fendrich's sensibility to Austen's tempered mix of passion, reason and humor, a balancing act others observe makes Fendrich's work "hum with friction" as it seeks a "fusion of rationality and emotion, order and ardor," freedom and limitation, stasis and dynamism.
Painting.
In her early work, Fendrich created large abstractions dominated by triangular forms and tonal contrast, seeking, in her words, to "make the most eye-grabbing, dynamic painting … while not sacrificing harmony and balance." In the 1990s, she reduced her work's scale in reaction against the bombastic art of the day, and crucially, discovered Russian Constructivism and the oval and irregular bulbous forms of her mature work, which posed greater compositional challenges. Since that time, her vocabulary of interlocking, jigsaw–puzzle shapes orbiting complex, off-kilter compositions has remained fairly consistent. Her later work (e.g., "My Own Dolly", 2018), which "Art in America" called "her jauntiest, most complex and absorbing ever," has broadened to include near-cartoony forms alluding to the figure and Pop art, a more subdued palette, variation in the scale of shapes, and airier compositions.
Critics such as Karen Wilkin identify color as a defining aspect of Fendrich's work, describing her palette as inventive, "a little off," carnivalesque, riotous, and "slightly postmodern" in its "peculiar shades," while acknowledging its key role in creating harmony in her paintings. For Fendrich, color and composition are one. She introduces tension through unexpected color pairings, diagonals, ambiguous figure-ground relationships, and contained fields whose shapes bump the picture edges like balls ricocheting on a billiard table—then painstakingly resolves it through "an obsessive tinkering with color and mass."
While committed to overall harmony and an ideal of perfect geometric form, Fendrich injects the warmth, spontaneity and quirkiness of the human touch through her handling of paint and form. She insists on hand-rendering all shapes (even squares), creating quivering, soft edges and texture, and allows areas of irregular color and underpainting to be revealed. Her eccentric, biomorphic shapes—which just barely suggest eyes, noses, cartoon profiles, pots and other worldly things—add levity and wit through their "familial" interactions and allusions. Critic Donald Kuspit, however, wrote that while the work was "lovely to look at," it summarized the innovations of its predecessors rather than breaking new ground.
Drawing.
Fendrich began creating black-and-white Conté crayon works in the 1990s, inspired by a show of Seurat drawings. Works in their own right rather than studies for paintings, the drawings have been exhibited in four solo shows. The drawings resemble her paintings in their puzzle-like construction, sense of musicality, and droll anthropomorphic shapes, but differ in their exploration of nuanced tone and stippled texture, and in their approach, which is subtractive rather than additive (as the painting are). Critics describe her process as "a tightrope walk" in which she must carefully eliminate the white of the paper (always leaving some in the final work), because it can never be brought back.
Writing.
Fendrich's writing began with the publication of an essay in "The Chronicle of Higher Education" (1999) entitled, "Why Painting Still Matters," which later became the basis for a short book. Since then, she has regularly contributed to "The Chronicle" and for five years was a blogger for "Brainstorm", the "Chronicle"'s blog site that ran from 2007-2012. In addition, she has contributed essays and reviews to "The Common Review". Her topics range from the role of art and artists in society, abstraction in contemporary art, art education, art criticism, and individual artists such as Picasso, Matisse and Anselm Kiefer. She also contributed an essay on the philosophy of painting to an anthology in honor of the political philosopher Thomas L. Pangle. Her exhibition catalogue essays include those for Judith Geichman, Don Gummer, and Doug Hilson.
Teaching.
Fendrich has taught painting, drawing and contemporary art theory for more than four decades, emphasizing foundational skills and often drawing on her philosophy background. She was an Instructor at the University of Houston (1978–79) and University of Southern California, Los Angeles (1979-80), before joining the faculty at Art Center College of Design in Pasadena from 1980–5. In 1989, she began teaching at Hofstra University, where she served in various appointments until 2014, including Professor, Director of the Comparative Arts and Culture MA Program, and since then, Professor Emerita of Fine Arts and Art History.
Fendrich has also been a visiting artist, lecturer and panelist at numerous institutions, including the Pratt Institute, Whitney Museum of American Art, University of California, Davis, School of the Art Institute of Chicago, San Francisco Art Institute, Colorado State University, and Irish Arts Council, among many others.


Richard Van Buren

Richard Van Buren (born Syracuse, New York, 5 August 1937) is an American sculptor and painter. He is an artist who, throughout his lifetime, has tested the boundaries of what sculpture should look like. He was quite active in the New York art world in the 1960s and 1970s, and still continues his art-making practices, though he now lives in Maine. His sculptures and works on paper are best summarized by experimentation between the limits of natural/organic and the man-made/inorganic materials; and he often combines the two in combinations that evoke light and contradict our assumptions.
Biography.
Van Buren first studied painting at sculpture at San Francisco State University and the National University of Mexico. While still a student, he began exhibiting in galleries who showed works by his contemporaries, Franz Kline, H.C. Westermann, Ron Nagle, Ed Moses, and Robert Morris. Eventually, he relocated to New York in 1964, where he stayed for over twenty years teaching at the School of Visual Arts and the Parsons School of Design, while also becoming deeply engrained in the contemporary art scene. His colleagues were famous sculptors such as Eva Hesse, Lynda Benglis, and Richard Serra.
Artistic style.
Richard Van Buren has displayed a career-long fascination with materials. He often makes use of dry pigment, costume jewelry, fiberglass, wallpaper paste, and glitter simultaneously. His forms are often inconsistent and biomorphic, making use of man-made materials while forming biomorphic constructions.
Exhibitions.
He began exhibiting with a solo exhibition in 1961 at New Mission Gallery, San Francisco, and has held solo exhibitions at Bykert Gallery, New York; Paula Cooper Gallery, New York; Graduate Center Mall, City University of New York; Mitchell Algus Gallery, New York; Grand Arts, Kansas City, Missouri; Tides Institute and Museum of Art, Eastport, Maine; Garth Greenan Gallery, New York; and the South Dakota Art Museum, South Dakota State University, Brookings. He was included in group exhibitions at The Jewish Museum, New York; Institute of Contemporary Art, University of Pennsylvania, Philadelphia; Aldrich Museum of Contemporary Art, Ridgefield, Connecticut; Whitney Museum of American Art; Albright-Knox Art Gallery, Buffalo; Art in General, New York; Museum of Fine Arts, Boston; Museum of Contemporary Art, Los Angeles; and the National Gallery of Australia, Canberra.


David Seyfort Ruegg

David Seyfort Ruegg (New York, 1931) was an eminent Buddhologist with a long career, extending from the 1950s to the present. His specialty has been Madhyamaka philosophy, a core doctrine of Mahayana Buddhism.
Ruegg graduated from École des Hautes Etudes in 1957 with degrees in historical science and Sanskrit. He published his thesis "Contributions à l'histoire de la philosophie linguistique indienne" ("Contributions to the History of Indian Linguistic Philosophy") in 1959. He received a second doctorate in linguistics from the Sorbonne in Paris, where his thesis was "La théorie du tathâgatagarbha et du gotra : études sur la sotériologie et la gnoséologie du bouddhisme" ("The Theory of Gotra and Tathâgatagarbha: A Study of the Soteriology and Gnoseology of Buddhism"), with a second half thesis on Bu Rin chen grub's approach to tathâgatagarbha. In 1964 he joined the faculty of the Ecole Francaise d'Extreme Orient, where he researched the history, philology and philosophy of India, Tibet and Buddhism.
From 1966-1972 Ruegg occupied the Chair of Languages and Cultures of India and Tibet at Leiden University. His predecessor was Jan Willem de Jong and his successor was Tilmann Vetter. He has since become associated with the School of Oriental and African Studies, University of London.
Ruegg was president of the International Association for Buddhist Studies (IABS) from 1991 to 1999.
L.S. Cousins called Ruegg "certainly the leading scholar today" on the subject of tathâgatagarbha doctrine.


Jean Cohen de Vinkenhoef

Anne-Jean-Philippe-Louis Cohen de Vinkenhoef (17 October 1781 – 6 April 1848) was a French writer, translator, and librarian.
Cohen was born to Jewish parents at Amersfort, in the Netherlands. Beginning as a journalist, he contributed to the "Étoile". He went to Paris in 1809, and was appointed censor for foreign languages in 1811, and librarian of the Bibliothèque Ste-Geneviève in 1824. He was the compiler of several catalogues, and also contributed to various papers, including "" and "Les Annales de la littérature et des arts", and translated works by French, Swedish, English, Russian, and Italian authors, as "La symbolique populaire", by Jacob Buchmann; "Histoire des institutions d'éducation ecclésiastique", by Augustin Theiner; "Scènes Norvégiennes", by Frédérique Bremer; and "Histoire de la conquête de Grenade", by Washington Irving, 1829. He also contributed the "Théâtre Hollandais" section to the "Collection des théâtres étrangers".
In addition Cohen published a number of works, among which were: "La France telle que M. Kératry la rêve", Paris, 1821; "Herminie de Civray; ou, L'ermite de la foret", 1823; "Histoire de Pierre Terrail, dit le Chevalier Bayard," 1821 and 1825; "Jacqueline de Bavière, Dauphine de France", 1821; "Précis Historique sur Pie VII", 1823; "La noblesse de France, histoire, mœurs, et institutions", 1845; and "Réflexions historiques et philosophiques sur les révolutions", 1846.


David Whitaker (artist)

David Whitaker (8 June 1938 – 15 March 2007) was a British abstract artist and art teacher.
Early Life and education.
Whitaker was born in Blackpool, Lancashire. He studied at the Blackpool and the Fylde School of Art for 6 years from the age of 13 and moved to London in the late 1950s, where he began working as a graphic designer. He did not enjoy the work, and left to become a milkman instead. The early hours suited him: his job finished early, and he could spend the rest of the day painting. He married fellow artist Frances Wood in 1959, and studied as a mature student at the Royal Academy Schools from 1962 to 1966.
Later Career and Recognition.
Whitaker won the Mark Rothko Memorial Award in 1973 at the recommendation of Bridget Riley, which allowed him to work in the U.S. for several months. He then taught at the Ruskin School of Art in Oxford, helping to oversee the school's merger with the University of Oxford, before becoming a lecturer at the Wimbledon College of Art in 1984, retiring in 2001. He was elected as a member of the London Group in 1989, of the Colour Group (Great Britain) in 1996, and became a Fellow of the Royal Watercolour Society in 2004. He won a Hunting Art Prize in 1996, and won the Singer Friedlander National Watercolour Competition in 2001. Beginning in the 1960s, Whitaker held many one-man exhibitions over more than 40 years as a practitioner.
Works.
Whitaker's works in oils and watercolour are characterised by their use of straight lines of seven colours: two shades of yellow, cadmium red, magenta, viridian, and two shades of blue. His paintings were created in layers, using tape to create straight-sided stencils. The final effect, only revealed when the tape was removed, produced a shimmering graduation of colour from stripe to stripe over the canvass.
Personal life.
Outside art, Whitaker was a keen marathon runner with Kingston Stragglers, and played cricket in the Lancashire League. He died in 2007 in Kingston upon Thames and was survived by his wife, Frances, and their three sons.


Suzanne Bergeron

Suzanne Bergeron (June 23, 1930–November 19, 1998) was a Canadian abstract painter.
Education.
She studied painting under Jean Paul Lemieux at École des Beaux-Arts de Montréal, graduating in 1953. In 1955, she won the Prix de Concours Artistiques de la Provinde du Quebec for study in Paris and won several awards afterwards keeping her there.
Collections.
Her work is included in the collections of the Musée national des beaux-arts du Québec, the Art Gallery of Greater Victoria and the National Gallery of Canada


Luigi Malice

Luigi Malice (born 1937, Naples, Italy) is an Italian abstract artist.
Malice studied at Naples Academy of Fine Arts as a pupil of Emilio Notte, later studying under avant-garde and "Informal Art" painter Domenico Spinosa.
He began as an expressionist and figurative painter in the late 1950s, his then style demonstrated by his painting "Still life with figure" for which he received the "Michetti Prize", and "Ricordo di Spagna" ("Memory of Spain") which Malice exhibited for the "Posillipo Prize".
In the early 60's, he approached the "Arte Informale", an Italian art movement close to the American Abstract expressionism and to the French Art Informel or Tachisme.
In 1963, Malice became a teacher in Reggio Calabria, where he exhibited in collective and one-man shows, and in 1967 exhibited at the Flaccovio Gallery in Palermo and the Santo Stefano Gallery in Venice.
After 1968, he concentrated on sculpture, and works consisting of waterproof cloth ("tela ciriè") on twisted plywood, imitating shaped canvases, these related to the work of his contemporaries Enrico Castellani, Agostino Bonalumi, and Pino Pascali, but also to wooden silhouettes of men of Mario Ceroli, and in the early 1970s constructed works with ready-made Plexiglas panels.
Malice exhibited in 1968 at the New York Coliseum, and in 1984, held a retrospective exhibition in Milan. Subsequently, his art took on abstract impressionism and "lyrism" of the colours. The same year he became the principal of the Academy of Fine Arts, Reggio, Calabria. Malice exhibited at the Institute Francais "Le Grenoble" in Naples, and in a travelling exhibition that included Venice and Florence. In 1992, he presented a one-man show, "Percorsi 1965–1992" ("Itineraries 1965–1992"), at the Royal Palace, Naples. Since 2001, his work "Metamorphosis 1979" has been held in the "", Pieve di Cento.
Recently the artist has exhibitedhis work at the Italian pavilion of the 54th Venice Biennale.


Alice Berger Hammerschlag

Alice Berger Hammerschlag née Berger (1917–1969) was an Austrian artist. She settled in Belfast and while creating abstract paintings also had a number of creative and administrative roles in Northern Ireland.
Biography.
Hammerschlag was born in Vienna and studied art between 1929 and 1938 under Franz Cižek at the Kunstgewerbeschule and at the Vienna Academy of Arts. In 1938 she moved to Belfast, as a refugee on a British government permit for graphic designers, to avoid persecution under the Nazi regime.
In Northern Ireland Hammerschlag did design work for commercial publishers and, later, designed theatre sets. In 1941 the Ulster Academy of Arts published a portfolio of her lithographs in aid of the Ulster Hospital for Children and Women. Hammerschlag showed three paintings at the Ulster Academy of Arts in 1942 and again in 1944. Between 1950 and 1961 she showed a further seventeen works at the Academy. Hammerschlag was active in the running of the New Gallery in Belfast and in 1959 had her first solo exhibition at the New Vision Centre Gallery in London. Further exhibitions of her work followed at Queen's University in Belfast, at the Avgarde Gallery in Manchester and, in 1965 and 1968, at the Dawson Gallery in Dublin. She participated in the Irish Exhibition of Living Art at Belfast in 1955. She also showed with the Living Art Exhibition in 1961, and between 1964 and 1967 inclusive. She also had exhibitions in Europe and the United States, at the United Nations, Rome in 1963, at the Ulster Office, London in 1966, the Gallery Creuze, Paris in 1967, and in 1968 and 1969 at the Salon International in Cannes.
In 1959 the Council for the Encouragement of Music and the Arts, CEMA, sponsored a show of eighteen abstract paintings by Hammerschlag at the Piccolo Gallery in Belfast. CEMA also hosted Hammerschlag's work in their Chicester Street Gallery in 1962 where her paintings included a series based on W. B. Yeats' "The Death of Cuchulain". Hammerschlag also exhibited in numerous group shows with the Arts Council of Northern Ireland, including "9 Ulster Artists," a travelling exhibition that visited Edinburgh in 1963, as well as the second and third "Open Painting Exhibitions" in 1964 and 1966 at the Ulster Museum. In the 1960s Hammerschlag also designed theatre sets for companies in Belfast and Dublin, including the Lyric where she was engaged as a set designer. These included sets for productions of Ibsen's "Brand" in 1961, for Stravinsky's "The Soldier's Tale" in 1965 and, also in 1965, "The Death of Cuchulain" by W. B. Yeats.
Hammerschlag was a member of the Women's International Art Club and the Free Painters and Sculptors. When the Ulster Society of Women Artists was established in 1957, Hammerschlag was appointed as joint honorary secretary with her friend Deborah Brown. Her early paintings were abstract works and she remained an abstract artist throughout her career but increasingly included more overtly rhythmic patterns in her work. The Ulster Museum, the Royal Society of Arts and the Arts Council of Northern Ireland hold examples of her work. A memorial exhibition of her work was held by the Arts Council Gallery in Belfast in 1970 and an award for artists was set up in her name by her husband, the musician Heinz Hammerschlag.


Degii Sodbaatar

Degii (Delgerjargal) Sodbaatar graduated from Ulaanbaatar University, Mongolia in 2000 with a degree in Korean language and culture. Later she did a one-year course on Korean poetics at Kim Il Sung University in Pyongyang, North Korea. She then entered Donguk University of South Korea as a graduate student, to pursue an MA in Buddhist studies.
In addition to the above academic endeavors, in 2009 Degii spent three months in residence at Smith College, Mass., USA, as part of a Mongolian art and culture exchange, and a one-month residence at the University of Indiana in Bloomington. Then in 2010-11 she did a six-month internship at the Olcott Institute of the Theosophical Society of America, Wheaton, Ill., to upgrade her English translation skills.
In Mongolia she worked as publications manager at Maitri Books, and also ran a small travel company for people wishing to visit the Buddhist power places in the country. She is a permanent member of the Board of Directors of the Kim Ill Jung Flower Growers Association of Mongolia, as well as a member of the Board of Advisors of the America Mongolia Friendship Society.
Her first book was her translation and publication of a bilingual edition of the Blavatsky classic, "The Voice of the Silence," for the Nicholas Roerich Society of Mongolia.
She also oversaw the editing work and publication of "Michael Kohn's Lama of the Gobi," a study of the life, legends and works of the great 19th century Mongolian mystic Danzan Rabjaa, the fifth incarnation of the great Gelukpa lama known as the Noyon Hutuktu.
Her most recent book is entitled "Reflections of a Mongolian Shaman", a translation of the writings from the famous Mongolian shaman Byampadorj Dondog. He was born in 1947 in Darvi Sum of Hovd Amaig, southwest Mongolia, in a maternal lineage descended from the tribe of the wife of Chinggis Haan (Genghis Khan). This was the harsh era of the Stalinist purges, when Mongolia was a satellite of the Soviets, and thus he grew up during a period when both Buddhism and Shamanism were oppressed to the point of near extinction. In his youth he secretly trained in the ancient shamanic arts under several underground masters, and when Communism fell in 1990 he emerged as a principal force in the efforts of cultural and spiritual restoration.
Degii is presently working on her third book, "Lojong: A Modern Perspective from a Mongolian Woman,"


Makoto Nakahara

 is a retired Japanese professional shogi player who achieved the rank of 9-dan. He is considered to be one of the strongest shogi players of the Shōwa period (1926–1989) and holds the titles of Lifetime Kisei, Lifetime Meijin, , Lifetime Ōi, and Lifetime Ōza.
Nakahara served as the president of the Japan Shogi Association from May 2003 until May 2005. He retired from professional shogi in March 2009 at age 61 due to health reasons.
Nakahara castle.
Nakahara won the Kōzō Masuda Award in 1996 for developing the "Nakahara castle" (中原囲い) as a counter strategy to the Side Pawn Capture opening.
Major titles and other championships.
Nakahara appeared in 91 major title matches and won 64 major titles during his career. He won the Kisei title sixteen times, the Meijin title fifteen times, the eleven times, the Ōi title eight times, the Osho title seven times, Oza title six times, and the Kioh title once. He holds the titles of Lifetime Kisei, Lifetime Meijin, , Lifetime Ōi, and Lifetime Ōza.
In addition to major titles, Nakahara won 28 other shogi championships throughout his career.


Doug Ohlson

Douglas Dean Ohlson (November 18, 1936 – June 29, 2010) was an American abstract artist who specialized in geometric patterns.
Ohlson was born on November 18, 1936, in Cherokee, Iowa and attended Bethel College before serving in the United States Marine Corps. After completing his military service, he attended the University of Minnesota, where he was awarded a degree in studio art in 1961. He moved to New York City, where he studied at Hunter College under abstract sculptor Tony Smith, but dropped out when he could no longer afford tuition. He worked as an assistant to Smith and started teaching at Hunter College in 1964.
Ohlson's early work was included in an exhibit organized by art historian E. C. Goossen at the Hudson River Museum titled "8 Young Artists" in 1964, and had a solo show that year at the Fischbach Gallery, the first of seven at that location. Goossen also included work by Ohlson in the 1968 exhibition "The Art of the Real: 1948-1968" at the Museum of Modern Art which focused on the development and history of geometric art in the United States. Sharply defined and repeated geometric shapes were characteristic of his earliest painting, that were described by Goossen as depicting "yellowish pink and green dawns, blue noons, and red-orange sunsets that swiftly slide from purple to black", hypothesizing that Ohlson's experience growing up and working long days on the family's farm gave him a unique passion for color. Ohlson was recognized with a Guggenheim Fellowship in 1968.
His works in the 1970s and 1980s, often featured at Susan Caldwell Inc., had characteristically rougher backgrounds. His later work was displayed in numerous solo exhibitions at the Andre Zarre Gallery, in addition to surveys of his work at Bennington College and at Hunter College, where he taught for 35 years. His works are included in the collections of the Brooklyn Museum, the Metropolitan Museum of Art and the Whitney Museum of American Art.
Ohlson died at age 73 on June 29, 2010, after a fall in front of his Manhattan apartment. He was survived by his second wife, Michele Toohey. He was divorced from his first wife, painter Jane Kaufman.


Denis Bowen

Denis Bowen (5 April 1921 - 23 March 2006) was a South African artist, gallery director and promoter of abstract and avant-garde art in Britain. He was founder of the New Vision Group and the New Vision Centre Gallery, both of which played an important role in the post-World War II British art scene.
Life.
Denis Bowen was born on 5 April 1921 in Kimberley, South Africa. His father was Welsh and his mother English. After being orphaned at a young age, Bowen moved to England where he was raised by his aunt in Huddersfield. He enrolled at the Huddersfield School of Art in 1936. After serving in the Navy in World War II, Bowen resumed his art studies at the Royal College of Art in London in 1946.
Between 1940 and 1986 Bowen taught art at numerous institutions including: the Kingston Institute of Art, Hammersmith School of Art, Birmingham School of Art, the Central School of Art and Design, the Royal College of Art and the University of British Columbia in Vancouver.
In 1951 Bowen founded the New Vision Group, which initially emerged from meetings and displays that he organised with his students in 1951. In 1955, Bowen worked alongside Frank Avray Wilson and Halima Nalecz to open a permanent exhibition space for the New Vision Group and associated artists. Bowen, Wilson and Nalecz were all members of the New Vision Group and also the Free Painters Group (later Free Painters and Sculptors) which had been founded a few years earlier.
Their new exhibition space was called the New Vision Centre Gallery (NVCG), and was located on Seymour Place in the Marble Arch area of London. While the importance of the NVCG was often overlooked while it was active, its significant role in shaping British art in the postwar period, and in promoting international artists and abstract art in particular, has been recognized in subsequent years. Artists who exhibited at the NVCG included Aubrey Williams, Judy Cassab, Ron Russell, and Rotraut. Bowen served as director of the gallery from the time of its opening to the time of its closure in 1966.
Working alongside British artist Kenneth Coutts-Smith, Bowen launched the Commonwealth Biennale of Abstract Art at the NVGC in 1963.
Art.
In the early years of his artistic career, from the early 1950s to the mid 1960s, Bowen formed part of a small group of UK-based artists who were associated with Tachisme and Art Informel. Between 1969 and 1980 he produced a series of "psychedelic works" that incorporated lighting effects (including the use of UV lights), music and live music performances. From the 1980s onward, Bowen's work developed cosmological and planetary themes.


Mancala

Mancala is a generic name for a family of two-player turn-based strategy board games played with small stones, beans, or seeds and rows of holes or pits in the earth, a board or other playing surface. The objective is usually to capture all or some set of the opponent's pieces.
Versions of the game date back to the 7th century and evidence suggests the game existed in Ancient Egypt. It is among the oldest known games to still be widely played today.
Names and variants.
The name is a classification or type of game, rather than any specific game. Some of the most popular mancala games (with regard to distribution area, the numbers of players and tournaments, and publications) are:
They differ from other mancala types in that the player's store is included in the placing of the seeds. The most common type has seven holes for each player, in addition to the player store holes. This version has identical rules throughout its range. But there are also numerous variations with the number of holes and rules by region. Sometimes more than one version can be played in a single locality.
Although more than 800 names of traditional mancala games are known, some names denote the same game, while some names are used for more than one game. Almost 200 modern invented versions have also been described.
History.
Evidence of the game was uncovered in Israel in the city of Gedera in an excavated Roman bathhouse where pottery boards and rock cuts were unearthed dating back to between the 2nd and 3rd century AD. Among other early evidence of the game are fragments of a pottery board and several rock cuts found in Aksumite areas in Matara (in Eritrea) and Yeha (in Ethiopia), which are dated by archaeologists to between the 6th and 7th centuries AD; the game may have been mentioned by Giyorgis of Segla in his 14th century Ge'ez text "Mysteries of Heaven and Earth", where he refers to a game called qarqis, a term used in Ge'ez to refer to both Gebet'a (mancala) and "Sant'araz" (modern "sent'erazh", Ethiopian chess).
The games existed in especially eastern Europe. In the Baltic area, it was once very popular ("Bohnenspiel"); in Bosnia, where it is called Ban-Ban and still played today; Serbia; and Greece ("Mandoli", Cyclades). Two mancala tables from the early 18th century are to be found in Weikersheim Castle in southern Germany. In western Europe, it never caught on, but was documented by Oxford University orientalist Thomas Hyde.
The United States has a larger mancala-playing population. A traditional mancala game called Warra was still played in Louisiana in the early 20th century, and a commercial version called Kalah became popular in the 1940s. In Cape Verde, mancala is known as "ouril". It is played in the Islands and was brought to the United States by Cape Verdean immigrants. It is played to this day in Cape Verdean communities in New England.
Recent studies of mancala rules have given insight into the distribution of mancala. This distribution has been linked to migration routes, which may go back several hundred years.
Etymology.
The word "mancala" () is a tool noun derived from an Arabic root "naqala" () meaning "to move". No one game exists with the name "mancala"; the name is a classification or type of game. This word is used in Syria, Lebanon, and Egypt, but is not consistently applied to any one game, and has been used for backgammon in the ancient near east. Mancala is a game that first appeared in Africa, and later, the ancient near east.
General gameplay.
Most mancala games share a common general game play. Players begin by placing a certain number of seeds, prescribed for the particular game, in each of the pits on the game board. A player may count their stones to plot the game. A turn consists of removing all seeds from a pit, "sowing" the seeds (placing one in each of the following pits in sequence) and capturing based on the state of the board. The object of the game is to plant the most seeds in the bank. This leads to the English phrase "count and capture" sometimes used to describe the gameplay. Although the details differ greatly, this general sequence applies to all games.
If playing in capture mode, once a player ends their turn in an empty pit on their own side, they capture the opponent's pieces directly across. Once captured, the player gets to put the seeds in their own bank. After capturing, the opponent forfeits a turn.
Equipment.
Equipment is typically a board, constructed of various materials, with a series of holes arranged in rows, usually two or four. The materials include clay and other shapeable materials. Some games are more often played with holes dug in the earth, or carved in stone. The holes may be referred to as "depressions", "pits", or "houses". Sometimes, large holes on the ends of the board, called "stores", are used for holding the pieces.
Playing pieces are seeds, beans, stones, cowry shells, half-marbles or other small undifferentiated counters that are placed in and transferred about the holes during play.
Board configurations vary among different games but also within variations of a given game; for example Endodoi is played on boards from 2×6 to 2×10. The largest are Tchouba (Mozambique) with a board of 160 (4×40) holes requiring 320 seeds; and En Gehé (Tanzania), played on longer rows with up to 50 pits (a total of 2×50=100) and using 400 seeds. The most minimalistic variants are Nano-Wari and Micro-Wari, created by the Bulgarian ethnologue Assia Popova. The Nano-Wari board has eight seeds in just two pits; Micro-Wari has a total of four seeds in four pits.
With a two-rank board, players usually are considered to control their respective sides of the board, although moves often are made into the opponent's side. With a four-rank board, players control an inner row and an outer row, and a player's seeds will remain in these closest two rows unless the opponent captured them.
Objective.
The objective of most two- and three-row mancala games is to capture more stones than the opponent; in four-row games, one usually seeks to leave the opponent with no legal move or sometimes to capture all counters in their front row.
At the beginning of a player's turn, they select a hole with seeds that will be sown around the board. This selection is often limited to holes on the current player's side of the board, as well as holes with a certain minimum number of seeds.
In a process known as "sowing", all the seeds from a hole are dropped one-by-one into subsequent holes in a motion wrapping around the board. Sowing is an apt name for this activity, since not only are many games traditionally played with seeds, but placing seeds one at a time in different holes reflects the physical act of sowing. If the sowing action stops after dropping the last seed, the game is considered a "single lap" game.
"Multiple laps" or "relay sowing" is a frequent feature of mancala games, although not universal. When relay sowing, if the last seed during sowing lands in an occupied hole, all the contents of that hole, including the last sown seed, are immediately re-sown from the hole. The process usually will continue until sowing ends in an empty hole. Another common way to receive "multiple laps" is when the final seed sown lands in your designated hole.
Many games from the Indian subcontinent use "pussa kanawa laps". These are like standard multilaps, but instead of continuing the movement with the contents of the last hole filled, a player continues with the next hole. A pussakanawa lap move will then end when a lap ends just prior to an empty hole.
If a player ends his stone with a point move he gets a "free turn".
Capturing.
Depending on the last hole sown in a lap, a player may "capture" stones from the board. The exact requirements for capture, as well as what is done with captured stones, vary considerably among games. Typically, a capture requires sowing to end in a hole with a certain number of stones, ending across the board from stones in specific configurations, or landing in an empty hole adjacent to an opponent's hole that contains one or more pieces.
Another common way of capturing is to capture the stones that reach a certain number of seeds at any moment.
Also, several games include the notion of capturing holes, and thus all seeds sown on a captured hole belong at the end of the game to the player who captured it.
Psychology.
Like other board games, mancala games have led to psychological studies. Retschitzki has studied the cognitive processes used by awalé players. Some of Restchitzki's results on memory and problem solving have recently been simulated by Fernand Gobet with the CHREST computer model. De Voogt has studied the psychology of Bao playing.


Scripting language

A scripting language or script language is a programming language for a runtime system that automates the execution of tasks that would otherwise be performed individually by a human operator. Scripting languages are usually interpreted at runtime rather than compiled.
A scripting language's primitives are usually elementary tasks or API calls, and the scripting language allows them to be combined into more programs. Environments that can be automated through scripting include application softwares, text editors, web pages , operating system shells, embedded systems, and computer games. A scripting language can be viewed as a domain-specific language for a particular environment; in the case of scripting an application, it is also known as an extension language. Scripting languages are also sometimes referred to as very high-level programming languages, as they sometimes operate at a high level of abstraction, or as control languages, particularly for job control languages on mainframes.
The term "scripting language" is also used loosely to refer to dynamic high-level general-purpose interpreted languages, such as Perl, PowerShell, Python, and Tcl, with the term "script" often used for small programs (up to a few thousand lines of code) in such languages, or in domain-specific languages such as the text-processing languages sed and AWK. Some of these languages were originally developed for use within a particular environment, and later developed into portable domain-specific or general-purpose languages.
Conversely, many general-purpose languages have dialects that are used as scripting languages. This article discusses scripting languages in the narrow sense of languages for a specific environment.
The spectrum of scripting languages ranges from very small and highly domain-specific languages to general-purpose programming languages used for scripting. Standard examples of scripting languages for specific environments include: Bash, for the Unix or Unix-like operating systems; ECMAScript (JavaScript), for web browsers; and Visual Basic for Applications, for Microsoft Office applications. Lua is a language designed and widely used as an extension language. Perl is a general-purpose language that is also commonly used as an extension language, while ECMAScript is still primarily a scripting language for web browsers, but is also used as a general-purpose language. The Emacs Lisp dialect of Lisp (for the Emacs editor) and the Visual Basic for Applications dialect of Visual Basic are examples of scripting language dialects of general-purpose languages. Some game systems, notably the Second Life virtual world and the Trainz franchise of Railroad simulators have been extensively extended in functionality by scripting extensions (Linden Scripting Language and TrainzScript). In other games like Wesnoth, the variety of actual games played by players are scripts written by other users.
Characteristics.
Typical scripting languages are intended to be very fast to learn and write in, either as short source code files or interactively in a read–eval–print loop (REPL, language shell). This generally implies relatively simple syntax and semantics; typically a "script" (code written in the scripting language) is executed from start to finish, as a "script", with no explicit entry point.
For example, it is uncommon to characterise Java as a scripting language because of its lengthy syntax and rules about which classes exist in which files, and it is not directly possible to execute Java interactively, because source files can only contain definitions that must be invoked externally by a host application or application launcher.
public class HelloWorld {
 public void printHelloWorld() {
 System.out.println("Hello World");
This piece of code intended to print "Hello World" does nothing as "main()" is "not declared" in HelloWorld class, although the one below would be useful.
public class HelloWorld {
 public void printHelloWorld() {
 System.out.println("Hello World");
 public static void main(String[] args) {
 printHelloWorld();
In the example above, main is defined and so this can be invoked by the launcher, although this still cannot be executed interactively.
In contrast, Python allows the definition of some functions in a single file, or to avoid functions altogether and use imperative programming style, or even use it interactively.
print("Hello World")
print "Hello World" # Python 2.7 or earlier
This one line of Python code prints "Hello World"; no "declarative" statement like "main()" is required here.
A scripting language is usually interpreted from source code or bytecode. By contrast, the software environment (interpreter) the scripts are written for is typically written in a compiled language and distributed in machine code form.
Scripting languages may be designed for use by end users of a program—end-user development—or may be only for internal use by developers, so they can write portions of the program in the scripting language. Scripting languages typically use abstraction, a form of information hiding, to spare users the details of internal variable types, data storage, and memory management.
Scripts are often created or modified by the person executing them, but they are also often distributed, such as when large portions of games are written in a scripting language, notably the Google Chrome T-rex game.
History.
Early mainframe computers (in the 1950s) were non-interactive, instead using batch processing. IBM's Job Control Language (JCL) is the archetype of languages used to control batch processing.
The first interactive shells were developed in the 1960s to enable remote operation of the first time-sharing systems, and these used shell scripts, which controlled running computer programs within a computer program, the shell. Calvin Mooers in his TRAC language is generally credited with inventing "command substitution", the ability to embed commands in scripts that when interpreted insert a character string into the script. Multics calls these "active functions".
Louis Pouzin wrote an early processor for command scripts called RUNCOM for CTSS around 1964. Stuart Madnick at MIT wrote a scripting language for IBM's CP/CMS in 1966. He originally called this processor COMMAND, later named EXEC. Multics included an offshoot of CTSS RUNCOM, also called RUNCOM. EXEC was eventually replaced by EXEC 2 and REXX.
Languages such as Tcl and Lua were specifically designed as general-purpose scripting languages that could be embedded in any application. Other languages such as Visual Basic for Applications (VBA) provided strong integration with the automation facilities of an underlying system. Embedding of such general-purpose scripting languages instead of developing a new language for each application also had obvious benefits, relieving the application developer of the need to code a language translator from scratch and allowing the user to apply skills learned elsewhere.
Some software incorporates several different scripting languages. Modern web browsers typically provide a language for writing extensions to the browser itself, and several standard embedded languages for controlling the browser, including JavaScript (a dialect of ECMAScript) or XUL.
Types.
Scripting languages can be categorized into several different types, with a considerable degree of overlap among the types.
Glue languages.
Scripting is often contrasted with system programming, as in Ousterhout's dichotomy or "programming in the large and programming in the small". In this view, scripting is glue code, connecting software components, and a language specialized for this purpose is a "glue language". Pipelines and shell scripting are archetypal examples of glue languages, and Perl was initially developed to fill this same role. Web development can be considered a use of glue languages, interfacing between a database and web server. But if a substantial amount of logic is written in script, it is better characterized as simply another software component, not "glue".
Glue languages are especially useful for writing and maintaining:
Glue language examples:
Macro languages exposed to operating system or application components can serve as glue languages. These include Visual Basic for Applications, WordBasic, LotusScript, CorelScript, Hummingbird Basic, QuickScript, Rexx, SaxBasic, and WinWrap Basic. Other tools like AWK can also be considered glue languages, as can any language implemented by a Windows Script Host engine (VBScript, JScript and VBA by default in Windows and third-party engines including implementations of Rexx, Perl, Tcl, Python, XSLT, Ruby, Modern Pascal, Delphi, and C). A majority of applications can access and use operating system components via the object models or its own functions.
Other devices like programmable calculators may also have glue languages; the operating systems of PDAs such as Windows CE may have available native or third-party macro tools that glue applications together, in addition to implementations of common glue languages—including Windows NT, DOS, and some Unix shells, Rexx, Modern Pascal, PHP, and Perl. Depending upon the OS version, WSH and the default script engines (VBScript and JScript) are available.
Programmable calculators can be programmed in glue languages in three ways. For example, the Texas Instruments TI-92, by factory default can be programmed with a command script language. Inclusion of the scripting and glue language Lua in the TI-NSpire series of calculators could be seen as a successor to this. The primary on-board high-level programming languages of most graphing calculators (most often Basic variants, sometimes Lisp derivatives, and more uncommonly, C derivatives) in many cases can glue together calculator functions—such as graphs, lists, matrices, etc. Third-party implementations of more comprehensive Basic version that may be closer to variants listed as glue languages in this article are available—and attempts to implement Perl, Rexx, or various operating system shells on the TI and HP graphing calculators are also mentioned. PC-based C cross-compilers for some of the TI and HP machines used with tools that convert between C and Perl, Rexx, AWK, and shell scripts to Perl, Modern Pascal, VBScript to and from Perl make it possible to write a program in a glue language for eventual implementation (as a compiled program) on the calculator.
Editor languages.
A number of text editors support macros written either using a macro language built into the editor, e.g., The SemWare Editor (TSE), vi improved (VIM), or using an external implementation, e.g., XEDIT, or both, e.g., KEDIT. Sometimes text editors and edit macros are used under the covers to provide other applications, e.g., FILELIST and RDRLIST in CMS .
Job control languages and shells.
A major class of scripting languages has grown out of the automation of job control, which relates to starting and controlling the behavior of system programs. (In this sense, one might think of shells as being descendants of IBM's JCL, or Job Control Language, which was used for exactly this purpose.) Many of these languages' interpreters double as command-line interpreters such as the Unix shell or the MS-DOS codice_1. Others, such as AppleScript offer the use of English-like commands to build scripts.
GUI scripting.
With the advent of graphical user interfaces, a specialized kind of scripting language emerged for controlling a computer. These languages interact with the same graphic windows, menus, buttons, and so on, that a human user would. They do this by simulating the actions of a user. These languages are typically used to automate user actions. Such languages are also called "macros" when control is through simulated key presses or mouse clicks, as well as tapping or pressing on a touch-activated screen.
These languages could in principle be used to control any GUI application; but, in practice their use is limited because their use needs support from the application and from the operating system. There are a few exceptions to this limitation. Some GUI scripting languages are based on recognizing graphical objects from their display screen pixels. These GUI scripting languages do not depend on support from the operating system or application.
When the GUI provides the appropriate interfaces, as in the IBM Workplace Shell, a generic scripting language, e.g. OREXX, can be used for writing GUI scripts.
Application-specific languages.
Application specific languages can be split in many different categories, i.e. standalone based app languages (executable) or internal application specific languages (postscript, xml, gscript as some of the widely distributed scripts, respectively implemented by Adobe, MS and Google) among others include an idiomatic scripting language tailored to the needs of the application user. Likewise, many computer game systems use a custom scripting language to express the programmed actions of non-player characters and the game environment. Languages of this sort are designed for a single application; and, while they may superficially resemble a specific general-purpose language (e.g. QuakeC, modeled after C), they have custom features that distinguish them. Emacs Lisp, while a fully formed and capable dialect of Lisp, contains many special features that make it most useful for extending the editing functions of Emacs. An application-specific scripting language can be viewed as a domain-specific programming language specialized to a single application.
Extension/embeddable languages.
A number of languages have been designed for the purpose of replacing application-specific scripting languages by being embeddable in application programs. The application programmer (working in C or another systems language) includes "hooks" where the scripting language can control the application. These languages may be technically equivalent to an application-specific extension language but when an application embeds a "common" language, the user gets the advantage of being able to transfer skills from application to application. A more generic alternative is simply to provide a library (often a C library) that a general-purpose language can use to control the application, without modifying the language for the specific domain.
JavaScript began as and primarily still is a language for scripting inside web browsers; however, the standardisation of the language as ECMAScript has made it popular as a general-purpose embeddable language. In particular, the Mozilla implementation SpiderMonkey is embedded in several environments such as the Yahoo! Widget Engine. Other applications embedding ECMAScript implementations include the Adobe products Adobe Flash (ActionScript) and Adobe Acrobat (for scripting PDF files).
Tcl was created as an extension language but has come to be used more frequently as a general-purpose language in roles similar to Python, Perl, and Ruby. On the other hand, Rexx was originally created as a job control language, but is widely used as an extension language as well as a general-purpose language. Perl is a general-purpose language, but had the Oraperl (1990) dialect, consisting of a Perl 4 binary with Oracle Call Interface compiled in. This has however since been replaced by a library (Perl Module), DBD::Oracle.
Other complex and task-oriented applications may incorporate and expose an embedded programming language to allow their users more control and give them more functionality than can be available through a user interface, no matter how sophisticated. For example, Autodesk Maya 3D authoring tools embed the Maya Embedded Language, or Blender which uses Python to fill this role.
Some other types of applications that need faster feature addition or tweak-and-run cycles (e.g. game engines) also use an embedded language. During the development, this allows them to prototype features faster and tweak more freely, without the need for the user to have intimate knowledge of the inner workings of the application or to rebuild it after each tweak (which can take a significant amount of time). The scripting languages used for this purpose range from the more common and more famous Lua and Python to lesser-known ones such as AngelScript and Squirrel.
Ch is another C compatible scripting option for the industry to embed into C/C++ application programs.


FOSD origami

Feature Oriented Programming or Feature Oriented Software Development (FOSD) is a general paradigm for program synthesis in software product lines. Please read the Feature Oriented Programming page that explains how an FOSD model of a domain is a tuple of 0-ary functions (called values) and a set of 1-ary (unary) functions called features. This page discusses multidimensional generalizations of FOSD models, which are important for compact specifications of complex programs.
Origami.
A fundamental generalization of metamodels is "origami".
The essential idea is that a program's design
need not be represented by a single expression; multiple expressions
can be used. This involves the use of multiple orthogonal GenVoca models.
 E = D•H•P -- tool equation
 E = S•B -- language equation
Let U=[U1,U2...,Un] be a GenVoca model of n features, and
W=[W1...Wm] be a GenVoca model of m features. The relationship
between two orthogonal models U and W is a matrix UW, called an
Origami matrix, where each
row corresponds to a feature in U and each column corresponds to
a feature in W. Entry UWij is a function that implements the
"combination" of features Ui and Wj.
 formula_1
 formula_2
To see how multiple equations are used to synthesize a program, again consider
models U and W. A program F is described by two equations, one per model. We can
write an equation for F in two different ways: referencing features by name or
by their index position, such as:
 formula_3—U expression of F
 formula_4—W expression of F
The UW model defines how models U and W are implemented. Synthesizing program F involves projecting UW of unneeded columns and rows, and aggregating (a.k.a. tensor contraction):
 formula_5
A fundamental property of origami matrices, called orthogonality, is that the order in which dimensions are contracted does not matter. In the above equation, summing across the U dimension (index i) first or the W dimension (index j) first does not matter. Of course, orthogonality is a property that must be verified. Efficient (linear) algorithms have been developed to verify that origami matrices (or tensors/n-dimensional arrays) are orthogonal. The significance of orthogonality is one of view consistency. Aggregating (contracting) along a particular dimension offers a 'view' of a program. Different views should be consistent: if one repairs the program's code in one view (or proves properties about a program in one view), the correctness of those repairs or properties should hold in all views.
In general, a product of a product line may be represented by n expressions, from n "orthogonal" and "abstract" GenVoca models G1 ... Gn. The Origami
matrix (or cube or tensor) is an n-dimensional array A:
 formula_6
A product H of this product line is formed by eliminating unnecessary rows, columns, etc.
from A, and aggregating (contracting) the n-cube into a scalar:
 formula_7
Applications.
There are several of product line applications developed using Origami. Among them include:
More applications to be supplied.


Calendar queue

A calendar queue (CQ) is a priority queue (queue in which every element has associated priority and the dequeue operation removes the highest priority element). It is analogous to desk calendar, which is used by humans for ordering future events by date. Discrete event simulations require a future event list (FEL) structure that sorts pending events according to their time. Such simulators require a good and efficient data structure as time spent on queue management can be significant. The calendar queue (with optimum bucket size) can approach O(1) average performance. Calendar queues are closely related to bucket queues but differ from them in how they are searched and in being dynamically resized.
Implementation.
Theoretically, like a bucket queue, a calendar queue consists of an array of linked lists. Sometimes each index in the array is also referred to as a bucket. The bucket has specified width and its linked list holds events whose timestamp maps to that bucket. A desk calendar has 365 buckets for each day with a width of one day. Each array element contains one pointer that is the head of the corresponding linked list. If the array name is “month” then month[11] is a pointer to the list of events scheduled for the 12th month of the year (the vector index starts from 0). The complete calendar thus consists of an array of 12 pointers and a collection of up to 12 linked lists. In calendar queue, enqueue (addition in a queue) and dequeue (deleting from a queue) of events in FEL is based on event time.
Let the calendar queue with "n" buckets with "w" width. Then enqueue of an event with time "t" operates on bucket formula_1 . And more than two events scheduled in the bucket according to the increased timestamp. To dequeue events from the calendar queue, it keeps track of current year and day. Then it searches for the earliest event within that bucket and dequeue it. (In contrast, a bucket queue would merely return any element from the first nonempty bucket, without determining which element in that bucket is earliest.)
Calendar Queue Resize Operation.
If the number of events in the queue is much smaller or much larger than the number of buckets, it will not function efficiently. The solution is to allow the number of buckets to correspondingly grow and shrink as the queue grows and shrinks. To simplify the resize operation, the "Nb" (number of buckets) in a CQ is often chosen to be the power of two, i.e., formula_2;↵
The number of buckets is doubled or halved each time the "Ne" (number of events) exceeds 2"Nb" or decreases below "Nb"/2 respectively. When "Nb" is resized, the new width "w" has to be calculated as well. The new "w" that is adopted will be estimated by sampling the average inter-event time gap from the first few hundred events starting at the current bucket position. Thereafter, a new Calendar queue is created and all the events in the old calendar will be recopied over.


Harold Frank

Harold Frank (1921–1995) was an American abstract expressionist artist, born in Southampton, England.
Life and career.
Born in England in 1917, Harold Frank and his family immigrated to the United States via Ellis Island. He was brought up in the tenements of New York and showed a talent for drawing when young. Feeling the angst of the great depression and World War II, his search for answers to the meaning of life lead him to take up abstract expressionism:
After some time in the US Army, he traveled to Paris to study and returned to New York in the 1950s. He attended the New York Art Students League, the National Academy of Design, Pratt Institute, Chouinard Art Institute, and UCLA, where he was a colleague of Richard Diebenkorn, who had a lasting influence on his work. Other artists who affected his creative philosophy included De Kooning, Matisse, Picasso, and Rouault.
He had an extensive one-man and group exhibition record and he was shown internationally in London, Paris, Amsterdam and Aubonne, Switzerland, as well as throughout the United States from the 1960s through to the 1980s. His awards included the Adolph and Clara Obrig Award and the Sudam Silver Medal from the National Academy of Design; the National Watercolor Society's Grumbacher Award; the John Marin Memorial Award in the Watercolor U.S.A. Show and a First Prize from the Laguna Beach Museum of Art.
His subject matter included pure abstracts, landscapes, still lifes and the male and female head and figure. As many artists have done, he explored variations of each subject, experimenting with changes in medium, technique, light and color. His paintings of the female head and form quickly developed into a vehicle for his abstract interpretations. He used very quick brushwork and often labored over several pieces at the same time.
His colors are rooted in the creative freedom of the Fauvists and were applied with a craftsman's confidence and expertise.
He led a reclusive and introspective life, yet when asked, he communicated his creative experience with eloquence:
Harold Frank died in Los Angeles, California, USA, in 1995.
Education.
According to the Social Security Death Index found on Ancestry.com, Harold Frank was born in Poland on April 21, 1917 (not 1921).


Extensible programming

Extensible programming is a term used in computer science to describe a style of computer programming that focuses on mechanisms to extend the programming language, compiler and runtime environment. Extensible programming languages, supporting this style of programming, were an active area of work in the 1960s, but the movement was marginalized in the 1970s. Extensible programming has become a topic of renewed interest in the 21st century.
Historical movement.
The first paper usually associated with the extensible programming language movement is M. Douglas McIlroy's 1960 paper on macros for higher-level programming languages. Another early description of the principle of extensibility occurs in Brooker and Morris's 1960 paper on the Compiler-Compiler. The peak of the movement was marked by two academic symposia, in 1969 and 1971. By 1975, a survey article on the movement by Thomas A. Standish was essentially a post mortem. The Forth programming language was an exception, but it went essentially unnoticed.
Character of the historical movement.
As typically envisioned, an extensible programming language consisted of a base language providing elementary computing facilities, and a meta-language capable of modifying the base language. A program then consisted of meta-language modifications and code in the modified base language.
The most prominent language-extension technique used in the movement was macro definition. Grammar modification was also closely associated with the movement, resulting in the eventual development of adaptive grammar formalisms. The Lisp language community remained separate from the extensible language community, apparently because, as one researcher observed,
any programming language in which programs and data are essentially interchangeable can be regarded as an extendible [sic] language. ... this can be seen very easily from the fact that Lisp has been used as an extendible language for years.
At the 1969 conference, Simula was presented as an extensible programming language.
Standish described three classes of language extension, which he called "paraphrase", "orthophrase", and "metaphrase" (otherwise paraphrase and metaphrase being translation terms).
Death of the historical movement.
Standish attributed the failure of the extensibility movement to the difficulty of programming successive extensions. An ordinary programmer might build a single shell of macros around a base language, but if a second shell of macros was to be built around that, the programmer would have to be intimately familiar with both the base language and the first shell; a third shell would require familiarity with the base and both the first and second shells; and so on. (Note that shielding the programmer from lower-level details is the intent of the abstraction movement that supplanted the extensibility movement.)
Despite the earlier presentation of Simula as extensible, by 1975, Standish's survey does not seem in practice to have included the newer abstraction-based technologies (though he used a very general definition of extensibility that technically could have included them). A 1978 history of programming abstraction from the invention of the computer to the (then) present day made no mention of macros, and gave no hint that the extensible languages movement had ever occurred. Macros were tentatively admitted into the abstraction movement by the late 1980s (perhaps due to the advent of hygienic macros), by being granted the pseudonym "syntactic abstractions".
Modern movement.
In the modern sense, a system that supports extensible programming will provide "all" of the features described below.
Extensible syntax.
This simply means that the source language(s) to be compiled must not be closed, fixed, or static. It must be possible to add new keywords, concepts, and structures to the source language(s). Languages which allow the addition of constructs with user defined syntax include Camlp4, OpenC++, Seed7, Red, Rebol, and Felix. While it is acceptable for some fundamental and intrinsic language features to be immutable, the system must not rely solely on those language features. It must be possible to add new ones.
Extensible compiler.
In extensible programming, a compiler is not a monolithic program that converts source code input into binary executable output. The compiler itself must be extensible to the point that it is really a collection of plugins that assist with the translation of source language input into "anything". For example, an extensible compiler will support the generation of object code, code documentation, re-formatted source code, or any other desired output. The architecture of the compiler must permit its users to "get inside" the compilation process and provide alternative processing tasks at every reasonable step in the compilation process.
For just the task of translating source code into something that can be executed on a computer, an extensible compiler should:
Extensible runtime.
At runtime, extensible programming systems must permit languages to extend the set of operations that it permits. For example, if the system uses a byte-code interpreter, it must allow new byte-code values to be defined. As with extensible syntax, it is acceptable for there to be some (smallish) set of fundamental or intrinsic operations that are immutable. However, it must be possible to overload or augment those intrinsic operations so that new or additional behavior can be supported.
Content separated from form.
Extensible programming systems should regard programs as data to be processed. Those programs should be completely devoid of any kind of formatting information. The visual display and editing of programs to users should be a translation function, supported by the extensible compiler, that translates the program data into forms more suitable for viewing or editing. Naturally, this should be a two-way translation. This is important because it must be possible to easily process extensible programs in a "variety" of ways. It is unacceptable for the only uses of source language input to be editing, viewing and translation to machine code. The arbitrary processing of programs is facilitated by de-coupling the source input from specifications of how it should be processed (formatted, stored, displayed, edited, etc.).
Source language debugging support.
Extensible programming systems must support the debugging of programs using the constructs of the original source language regardless of the extensions or transformation the program has undergone in order to make it executable. Most notably, it cannot be assumed that the only way to display runtime data is in "structures" or "arrays". The debugger, or more correctly 'program inspector', must permit the display of runtime data in forms suitable to the source language. For example, if the language supports a data structure for a business process or work flow, it must be possible for the debugger to display that data structure as a fishbone chart or other form provided by a plugin.


Cuillin Bantock

Cuillin Bantock (born 29 July 1935) is a British abstract painter and zoologist. He lives and works in London, UK. Bantock worked as a professional environmentalist in London and elsewhere. His main interest was evolutionary ecology and his children's book "The Story of Life" published in 1983, is in the collections of more than 100 libraries in 2016.
Early life.
Bantock was born in Barnt Green, Worcestershire, son of Raymond Bantock and Margaret More. His grandfather was classical composer Sir Granville Bantock. Bantock read zoology at Oxford University from 1955 to 1958 and was then awarded a three-year Christopher Welch Scholarship of the University for research in developmental cytogenetics. MA and D.Phil. degrees were awarded to him in 1965.
In 1961, he studied painting for three years at Camberwell College of Art in London.
Career.
Bantock worked as a research supervisor and senior lecturer in genetics at the Polytechnic of North London from 1966 to 1989. He was a member of The Field Studies Council Executive Committee and consultant advisor to the Science Research Council (UK), the National Environmental Research Council (UK) and the National Science Foundation (USA) c.1975-1985. He was a member of the London Wildlife Executive Council 1985–1989.
His main research area was in the ecological genetics of gastropod molluscs, on which he published over 20 papers in the international scientific literature. He contributed to several scientific books. His "The Story of Life" published by Walker Books Ltd in 1983 is included in "The Museum of Science and Industry Basic List of Children's Science Books".
After his retirement in 1989, Bantock became a full-time painter. A lifelong familiarity with a particular North Welsh dune system is a constant preoccupation in all his work, both abstract and figurative. His work has been exhibited in the UK, Canada and USA. He was the co-founder of Harlech Biennale 1994 and between 1994 and 2006 he has curated and co-curated more than 40 exhibitions in a number of venues in the UK, and organized art sales. He is the author of several exhibition catalogues and essays.
He was artist adviser to Space from 1996 to 2004 and was co-founder member, company secretary and trustee of The Art in Perpetuity Trust from 1995 to 2015. He engaged in successful fund-raising from the Arts Council and other bodies.
Since 2014 he has been represented by Richeldis Fine Art.


Yoshiyuki Kubota

 is a Japanese professional shogi player, ranked 7-dan.
Early life.
Yoshiyuki Kubota was born in Adachi, Tokyo on May 18, 1972. In 1984, he won the 9th , and later that same year entered the Japan Shogi Association's apprentice school at the rank of 6-kyū under the guidance of shogi professional . He was promoted to 1-dan in 1988, and full professional status and the rank of 4-dan in April 1994.
Promotion history.
The promotion history for Kubota is as follows:


HD Schrader

HD Schrader (born 1945), born Hans-Dieter Schrader, is a German sculptor. He is known in particular for his series of works titled "Cubecracks", which may be attributed to Concrete Art.
Life.
Schrader was born in 1945 in Bad Klosterlausnitz in Thuringia, in former East Germany. He studied (among other things) constructive design (under Max Herrmann Mahlmann) at the former Werkkunstschule Hamburg (School of Applied Arts) from 1965 to 1969. Schrader had his first solo exhibition in 1969 in the Galerie des Städtebauministeriums (gallery of the ministry for urban construction) in Bonn, showing his first series of works "Quadratreihungen" (Sequences of squares) consisting of drawings and relief pictures made of perspex. The following year he went on to produce his "Kubusreihungen" (Sequences of cubes) encompassing objects, acrylic paintings, drawings and silkscreen prints. In 1972, Schrader co-founded the artists’ group International Work Group for Constructive Art (AIFKG) in Antwerp, whose members included the artists Ewerdt Hilgemann, Richard Paul Lohse, Marcello Morandini and François Morellet. Up until 1986 he participated in six symposia held by the IAFKG work group in various European countries. Schrader sparked considerably more interest in 1973 with his work "Kugel im Kubus" (Sphere in Cube), which he was commissioned to create by the City of Hamburg after winning an open competition for Hamburg artists; the work was installed on the forecourt of the Hamburger Kunstverein. In 1974, Schrader took part in the 10th Biennale Internationale d’Art Menton in France.
Since 1986 Schrader has held a position as a professor for typography at the Dortmund University of Applied Sciences and Arts, in the department of design. He was awarded several prizes, such as, in 1990, the award "Kultur aktuell in Schleswig-Holstein" (Contemporary culture in Schleswig-Holstein) for the work of the citizens’ action group that campaigned to preserve the sculpture "Kubus-Balance" (Cube-Balance); or, in 1991, the regional art award "Landesschaupreis Schleswig-Holstein". He was commissioned by the state government in Kiel to show his installation "Kubuskoog" (Cube polder) in the German pavilion at the EXPO 2000 in Hanover. In 2005, Schrader was invited to participate in a Chinese-German symposium on painting, held in Wuyishan in China. The following year he was appointed a member of the international jury for the "Olympic Landscape Sculpture Contest" in Beijing, China.
Schrader lives and works in Hamburg and Osterhever (in northern Germany).
Work.
With their unusual angular or pointed forms Schader’s Cubecracks are initially perceived as alien bodies – whether encountered in urban surroundings or in the countryside. Their impact is reinforced by his use of signal red. As Bernhard Holeczek wrote, “how the things are made is clear to see, but not the idea they are derived from”. While a Cubecrack can be read as an autonomous sculptural sign, it at the same time also addresses the viewer as if an emissary from a foreign world, as a sign whose meaning can only be elucidated with closer knowledge of Schrader’s work. Indeed, Schrader’s Cubecracks suggest a rational system, that of a cube or a cuboid. Since 1974, Schrader has been working in drawings, paintings, objects, installations, animated film and sculptures to explore the idea of “the cube as a space of art”. Whereas certain sculptures such as those executed in plaster grow in the course of being shaped by the artist’s hand, or others such as those made of marble diminish by being hewn with hammer and chisel until they achieve their final form, Schrader’s Cubecracks arise in an entirely different manner. He dissects a cuboid form – in this case a hollow steel body in the shape of a cube – into individual sections. The cuboid Schrader used for his first Cubecracks that were exhibited in 1995/96 in the towns of Herne, Ingolstadt and Lübeck, should be imagined as three 2.5 metre cubes, one stacked upon another. Schrader cut these cuboid forms into twelve sections: in each town he distributed six of the twelve sections, bright red, in various public places, while the other six were displayed in the museum of each town. Viewers encountered them as different entities, each with its own dynamism and immediate symbolic presence. But one soon sensed that these objects were necessarily separate parts of a whole which, while no longer physically extant, was nonetheless implicitly present in each of its individual components. As Schrader commented, “It is of course what has been omitted that determines each single piece.”
Adopting an approach rooted in constructive concrete art, when Schrader begins to conceive a work of art he subjects himself to a prescribed system of rules. In the case of his Cubecracks this would be equivalent to specifying that each individual element should derive from a systematic process of dissecting the surface of a cuboid. The Cubecracks series vividly illustrates that while the ensuing formal language can be explained rationally it cannot be developed from simple deduction. Indeed, the individual Cubecracks are certainly not products of accident: on the contrary, the artist consciously selects his cuts so as to create what strikes him as the most interesting forms. They are the product of subjective decisions or his artistic instinct. Thus the steel bodies are not simply fragmentary forms as parts of a whole; rather, each one develops its own aesthetic impact and signification.
It is scarcely possible to define Schrader’s art in terms of a single element or an individual work. Nonetheless, for the series of works titled "Viereck und Viereck" (quadrilateral and quadrilateral), for example, the point of departure was a series of drawings depicting variations on two falling cubes, represented by two quadrilaterals. “The dynamism is therefore not the expression of the form but a process of transformation.” (Andrzej Turowski) It should be mentioned that variations of this series were already installed in several locations (Hünfeld, Hofbieber and Hilders, in East Hesse) as early as 1986 as part of the exhibition "Kunststrasse Rhön" (Rhön regional art trail).
In 1999, Schrader began producing the series of works titled "Elastic Cubes". Each one is assembled from eight square-section steel tubes, just enough to allow viewers to picture the framework of a cube. At each of the eight corners of the cube two square-section steel elements are held together by means of an axle or shaft – like joints on a skeleton. Since four of the twelve edges that would be required to fully construct a cube are missing, this framework of edges can be twisted or contorted. Accordingly, each Elastic Cube assumes its own individual physiognomy, if not also a personal style of movement. “As ‘figures’ they cause us almost to forget their constructional method, or at least relegate it to the background.” (Knut Nievers) Describing the effect of Elastic Cubes, Klaus Reeh wrote: “Atmosphere is ultimately Schrader’s style and, not unlike an architect, he creates sculptures that exude a powerful and lasting presence in the space surrounding them. With his Elastic Cubes he succeeded in forging a particularly aesthetic atmosphere by using means that could hardly be more minimal and as part of a process that surprises us with its simplicity.”
In 2000, Schrader presented a group of works titled "Cubes and Trees" in the park of Schloss Agathenburg. Here, the cubes and cuboids were simply conceived as bare skeleton models made of wood or aluminium. The objects can be seen through and reduce the objects’ materiality. At the same time, the bright red frames transform the previously unremarkable sites in nature where they are installed into arenas for challenging and even poetic encounters between organic forms and geometrically abstracted purity and clarity. The objects were fotographed in spring, summer, autumn and winter.


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Hortense Gordon

Hortense Mattice Gordon (24 November 1886 – 6 November 1961), born Hortense Crompton Mattice, was a Canadian abstract artist who belonged to the Painters Eleven.
Life and early work.
Born in Hamilton, Ontario, Gordon was the youngest daughter of Sarah Louise Crompton and James Harvey Mattice. The family lived on Catharine street in central Hamilton and encouraged their children to paint and draw. While still in public school, Gordon attended Saturday morning art classes at the Hamilton Art School and received a scholarship for her efforts.
She spent a large portion of her childhood creating art in the shadow of her elder sister Marion Mattice (1878–1956). Although there was a large age difference between the two, the girls were known to be in fierce competition with each other and would often not get along.
After her father's retirement in 1903, Gordon chose to leave Hamilton to live with relatives on a 200-acre fruit farm near Chatham, Ontario. It was here where she began to study and paint china with her cousins. Realizing this was a marketable skill, she decided to rent a studio to sell her unique china pieces and teach art to locals. She held her first exhibition of china from December 14–16, 1908 at the Hotel Sanita (presently the Chatham Cultural Centre). For a number of years Gordon worked as a teacher at the Hamilton Technical School, and was known to aggressively seek out exhibition opportunities. She was well regarded not only for her china works but also a steadily growing portfolio of Canadian landscape paintings.
In 1916, Hortense's father died in Hamilton. When she returned for the funeral, she was approached by John Gordon, who suggested she consider teaching at the Hamilton Art School. She joined the staff in October 1918 and after being courted by Gordon for a number of years, the two were married on 3 August 1920. The married couple often traveled to Europe in the summers, where Gordon was inspired by the Barbizon School and other European masters. Her landscape works developed an increasingly soft, loose paint handling style and a sense of spontaneity.
Later life and the Painters Eleven.
For almost four decades, Hortense painted landscapes and still life almost exclusively. However, after the death of her husband in 1940, Hortense's style became much less inhibited.
She studied at the Cranbrook Academy of Art between 1941 and 1945 with famed abstract expressionist Hans Hofmann. Hofmann's influence and friendship pushed her to abandon strict realism and explore non-objective painting. She began to paint cubist–inspired works with jutting angles, linear forms and energetic movement.
This style gained her recognition on a national scale. She was named honorary president of the Contemporary Artists of Hamilton in 1948 and soon after joined the Painters Eleven as their oldest member in 1952. Through this group, she was inspired to create more non–objective art and she was given the opportunity to participate in high–profile exhibitions in New York and Toronto. She was made a member of the Royal Canadian Academy of Arts.
Gordon spent the last decade of her life painting countless works and showcasing her works in diverse galleries across Ontario. She was forced into the hospital with emphysema and a heart condition in 1961, and died on 6 November 1961.


Minas Avetisyan

Minas Avetisyan (, July 20, 1928 — February 23, 1975) was an Armenian painter.
Biography.
Minas Avetisyan was born in the village of Jajur, Soviet Armenia. His mother, Sofo, was a daughter of the priest from Kars. His father, Karapet, was a smith from Mush. His wife was Gayane Mamajanyan.
The main theme of his works was Armenian nature, the nature of Jajur, the religion, poor people, mountains, fields etc.
Avetisyan emerged as an artist at the "Exhibition of Five" in Yerevan (1962). Numerous specialists and visitors to the exhibition appreciated greatly his work. Avetisian's method differs from the method of plein-air painting which was once widespread in Armenian art. For him working from nature was no more than a preliminary stage, and the main portion of the work on the canvas was done in his studio.
In 1967, he first appeared on film in the censored and suppressed documentary The Color of Armenian Land by his friend Mikhail Vartanov.
In 1975, Avetisyan died under the wheels of the car, which stopped off at the sidewalk. According to some sources, he was murdered by the KGB.


Ghada Jamal (artist)

Ghada Jamal (born 1955) is an abstract artist born in Beirut, Lebanon. Jamal studied Fine Arts at the LAU Lebanese American University before relocating to California to pursue a Masters from California State University in Long Beach.
Jamal's artwork, though abstract, depicts the Middle Eastern Landscape, especially Lebanon’s, through turbulent and peaceful times; with the use of oil, acrylic, and chalk on canvas and paper, her work varies in tone from peaceful and serene images to violent and brutal expressions.
Throughout her artistic career, Jamal has explored the boundaries of Abstract art by tackling diverse topics such as the physical, emotional and spiritual devastation caused by the Lebanese civil war, Iraqi war, and Palestinian massacres; delved into the reinterpretation of Arabic music and poetry ; and revisited the idea of identity and identification, the transformation and devastation of contemporary life, the majesty of landscape and the architectural grandeur of city space.
Ghada Jamal currently lives, paints, and teaches at the Notre Dame University and the American University of Beirut in Lebanon.
Jamal's artwork has been exhibited, as part of both Solo and Group exhibitions, around the world. Her artwork is currently displayed in the United States, England, France, Jordan, and Lebanon.


Academic ranks in South Africa

Academic ranks in South Africa are the titles, relative importance and power of professors, researchers, and administrative personnel held in academia.
Overview.
Administrative ranks
In Afrikaans-speaking universities the terms rector and vice-rector are common, whereas English-speaking universities tend to favour the terms principal and vice-principal. The use of deputy vice-chancellor seems to be phasing out pro-vice-chancellor.
Professorship.
The appointment of professors follows the British system, and the term "professor" is never used for school teachers. However, since the university system has long been fractured between research-intensive and undergraduate teaching-focused universities, there is no absolute consistency. The description provided here refers to research-intensive universities, which are generally recognized as the top tier of the university system, and which are responsible for almost all university-based research and postgraduate (Honours, Masters and Doctoral) graduations. The academic ranking system is roughly as follows:
Professor positions are clearly separated from more junior faculty positions, but only (full) Professors sit on the University Senate by virtue of their positions in faculty. Other grades may be present, but only through other appointments, such as being Heads of Departments or programmes, or as elected representatives of other staff. Full "Professor" refers to the most senior academic grade, and is ideally based upon extensive publications, postgraduate supervision, academic leadership, service to the field, and recognition in the field. Professors are expected to have PhDs, but there is no equivalent to the German Habilitation system.
Several universities have created posts such as "Honorary Professor" (for appointments of lay experts) and Distinguished/Extraordinary Professor (for the most exemplary Professors). Several undergraduate teaching-focused universities award various Professorial ranks, but criteria for appointment can vary quite widely.


Kenji Kobayashi

 is a Japanese professional shogi player ranked 9-dan. He is a former director of the Japanese Shogi Association.
Early life.
Kobayashi was born in Takamatsu, Kagawa on March 31, 1957. He entered the Japan Shogi Association's apprentice school in 1972 at the rank of 6-kyū under the guidance of professional shogi player . At first, Kobayashi pursued his apprenticeship at the Japan Shogi Association's school in Tokyo; however, he soon began to have health problems, and moved to Nagoya to study under Itaya as a uchi-deshi (a live-in apprentice). He was promoted to the rank of apprentice professional 1-dan in 1974 and obtained full-professional status and the rank of 4-dan in December 1975.
Shogi professional.
Kobayashi became the 40th professional to win his 600th official game when he defeated in Meijin Class C1 tournament play on June 9, 2009.
In March 2018, Kobayashi finished the 76th Meijin Class C2 league (April 2017March 2018) with a record of 3 wins and 7 losses, earning a second consecutive demotion point which meant he was only one point away from automatic demotion to "Free Class" play. As a result, he declared his intention to the Japan Shogi Association to become a Free Class player as of April 2018 rather than risk automatic demotion.
Theoretical contributions.
Together with Masataka Sugimoto he was well-known for systematizing Fourth File Rook josekis before the advent of the Fujii System, and also as the creator of the Super Fourth File Rook opening (スーパー四間飛車).
JSA director.
Kobayashi served on the Japan Shogi Association's board of directors as a director from 1999 to 2004.
Promotion history.
The promotion history for Kobayashi is as follows:
Titles and other championships.
Kobayashi has yet to make an appearance in a major title match, but he has won two non-major shogi championships during his career: the in 1977 and the in 1994.
Awards and honors.
Kobayashi received the Japan Shogi Association's "Best New Player" (1980) and "Technique Award" (1990) Annual Shogi Awards. He also received the association's "25 Years Service Award" in 2000 for being an active professional for twenty-five years and the "Shogi Honor Award" in 2009 for winning 600 official games.


Fritz Glarner

Fritz Glarner (July 20, 1899 in Zurich – September 18, 1972 in Locarno) was a Swiss-American painter.
Glarner was a leading proponent of so-called Concrete Art, an artists' movement whose roots lead back to the painters of De Stijl and the principles of the Bauhaus. He was a disciple of Piet Mondrian, strongly influenced by Mondrian's theories of "dynamic symmetry." As he developed as an artist, his works began to be increasingly influenced by Mondrian's Neoplastic theory. His leaning toward nonrepresentational art had begun as early as 1929 in Paris, where he was a member of the Abstraction-Création group. Glarner took up Mondrian's motif of arranging simplified colors and forms on an architectural pattern. Glarner introduced a diagonal into the strict horizontal and vertical geometric aesthetic of Mondrian, creating new, yet equally systematic principles of composition that he termed "relational painting."
Like Mondrian, Glarner limited his color palette to the primaries, red, yellow and blue. He expanded Mondrian's black "line" into a broad range of grays, used both as line and, like the primaries, as geometric areas of color. Many of his works are tondos, his signature relational principles ordered within a circle. Glarner's additions and alterations in structure and color to the Mondrian style gave his works a vitality and spatial dimensions. 24 of his works are owned by Museo Cantonale d’Arte of Lugano, Switzerland. A mural by Glarner is included in The Governor Nelson A. Rockefeller Empire State Plaza Art Collection in Albany, NY.
Biography.
Although Glarner was Swiss, born in Zurich, and kept close ties to his home country, he lived most of his life as an expatriate. He spent his childhood and youth in Italy and France. He studied and worked in Paris from 1923-1935. Glarner emigrated to the United States in 1936, living and working first in Manhattan and later at a studio and residence on Long Island. In 1966 he was gravely injured in rough seas on an ocean liner crossing from Europe to America. He returned to Switzerland in 1971, taking residence in Locarno. He died the next year.