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<mask> (born August 24, 1940) is an American convicted murderer and former radiographer. He appeared as a radiological technologist in a scene from the 1973 horror film The Exorcist, which was inspired when the film's director, William Friedkin, watched him perform a cerebral angiography the previous year. The scene, with a considerable amount of blood onscreen, was, for many viewers, the film's most disturbing scene; medical professionals have praised it for its realism. In 1979, <mask> was convicted of the murder of film industry journalist Addison Verrill and sentenced to a minimum of 20 years in prison; in 2003 he was released on parole, which ended after five years. Prior to <mask>'s trial, police and prosecutors implicated him in a series of unsolved slayings of gay men in Manhattan, killings he had reportedly boasted about while in jail, bringing it up at his sentencing. However, no additional charges ever were brought against him. The experience inspired Friedkin to make the 1980 film Cruising which, while based on a novel written a decade earlier, incorporated in its storyline the city's leather subculture, with which Bateson had identified.In 2012, Friedkin recalled having visited the jailed <mask> prior to his trial, and having a conversation which suggested that either <mask> had committed the additional murders or merely that he was considering confessing to them for a lighter sentence. However, there is no other record of incriminating evidence mentioned by Friedkin in that interview. Despite this, <mask> is often inaccurately described as a serial killer. , it is not known if <mask> is still alive or, if he is, where he is living. Friedkin said in a 2018 interview that he had heard Bateson was living somewhere in upstate New York. A Social Security record shows that a "<mask><mask>" with the same birthdate and a Social Security number issued in Pennsylvania died on September 15, 2012. Early life and career
<mask> was born on August 24, 1940 and grew up in Lansdale, Pennsylvania, the son of a metallurgist.He would later suggest that his appearance in The Exorcist was revenge on his father for punishing him as a child by making him stay home from Saturday matinées at the local movie theater and listen to opera on the radio instead. He served in the Army in the early 1960s, where he began drinking heavily out of boredom while stationed in Germany, beginning a lifetime struggle with alcoholism. After his discharge, he returned to Lansdale and stopped drinking. In 1964 he moved to New York City, where he began a relationship with a man (he would later describe himself as "not exclusively gay") who he said was "involved in music". The relationship was marked by heavy drinking, either in the form of cocktails at The Pierre and frequent parties at the couple's home, as well as weekends in the Fire Island enclave of Cherry Grove, both with food cooked by Bateson. Five years later, Bateson's mother died of a stroke and his younger brother died by suicide. Bateson trained as a neurological radiological technician and began working in that capacity.After the relationship ended in 1973, he moved to the Brooklyn neighborhood of Borough Park. He commuted from there to his job at New York University Medical Center (NYUMC), where he was well-liked and respected by his colleagues. The Exorcist
In late 1972, film director William Friedkin visited NYUMC while he was preparing to make The Exorcist, the film adaptation of William Peter Blatty's novel of that name. He wanted to view some medical procedures since he was considering showing some in the film. He was also looking for staff who might be willing to be extras in the film, since he would be shooting interiors in New York although the film itself is set in Washington, D.C. Dr. Barton Lane invited the director to watch a cerebral angiography. At the time, such angiographies were performed by puncturing the patient's carotid artery (in the front of the neck) in order to insert a catheter through which a contrast agent was injected in order to make the patient's blood vessels more visible under X-rays. In the moments between the arterial puncture and the insertion of the catheter, blood freely issued from the tube mouth in rhythm with the patient's heartbeat.Friedkin was sufficiently impressed that he told Lane immediately afterward that not only did he want to depict the procedure in his film, he wanted Lane to be the one performing it on camera, along with the nurse and <mask>, the technician, who, recalled Lane in 2018, was the best he had ever had. A few months later, Friedkin and his crew returned to shoot the scene, blocking off part of the hospital's radiology department for two successive weekends. It was one of the first scenes shot during principal photography, in which the character of Regan (Linda Blair) is examined medically to see if any of the strange behavior (later found to be the result of demonic possession) she has been exhibiting can be scientifically explained. Lane later recalled hearing that the crew was still trying to figure out how to make Regan's head spin for a scene later on in the film that, like the angiogram, became one of the film's best-remembered moments. In the scene, it is <mask> who speaks most of the dialogue, demonstrating the calming bedside manner, another attribute that drew praise from those he worked alongside, that he had used with many actual child patients. He can be seen in the background early, as Regan is wheeled into the room, helping put her on the table and attaching wires to her shoulders. As the film shows Regan's face in tight closeup, alternating with takes of the procedure being finished, including her blood spurting into the air and staining her surgical gown as it had in the procedure Friedkin watched, <mask>'s voice is heard off-camera, instructing her, warning her that the carotid puncture will hurt and reassuring her as she winces immediately afterward.Upon The Exorcist release at the end of 1973, the scene became notorious as the one that audiences found most disturbing, despite its lack of any of the supernatural content that underlies the rest of the film's horror elements. Medical professionals, including Lane and the others involved in the scene, have also praised it as a realistic depiction of the procedure, of special historic interest since it is no longer performed with a carotid puncture, and one of the most realistic depictions of any medical procedure in a popular film. 1973–1977
Around the time The Exorcist was released, Bateson's drinking again increased, adversely affecting his social life. "Nobody likes a drunk", he later told The Village Voice. In 1975 it affected his job performance, and NYUMC let him go. Bateson sustained himself with odd jobs, such as doing light repair work and cleaning in apartments near where he now lived in Greenwich Village, and taking tickets at a theater showing pornographic films. He also went to Alcoholics Anonymous meetings, and was successful for a while in staying sober.He socialized with other recovering alcoholic gay men and was hoping to start another long-term relationship. However, by 1977 Bateson had begun drinking again, more heavily. He said later that he was drinking at least a quart (0.95 L) of vodka a day, which made him passive and curtailed his social life again. "After a few shots, I'd shave and get dressed", intending to go out. But then after the vodka, "[I] had no energy left to move". On those nights when he was able to go out, Bateson patronized leather bars, something he had started doing back in 1970 with a group that styled themselves as bikers. "Leather impresses me", he said later, contrasting it with drag and swish."They give gays a bad name, like any extreme group would". Murder of Addison Verrill
On September 14, 1977, Addison Verrill, a reporter who covered the film industry for Variety, was found dead in his Horatio Street apartment. He had been beaten and stabbed; there were some signs of a struggle. However, nothing of value had been taken. Police believed that if the killer's motive had been robbery, he might have been looking for cash or jewelry since those could be taken quickly. There was no evidence of forced entry. Verrill had likely let his killer in to the apartment; there were several empty beer cans and half-full liquor glasses at the scene.Gay activist and journalist Arthur Bell, a friend of Verrill's, wrote an article about the case in The Village Voice setting it against the larger issue of how murders of gay men, several of which occurred yearly in the Village, were rarely taken seriously by police or reported on in the media since they were seen as the results of sexual encounters gone wrong. The police, Bell wrote, had learned that Verrill had been at the Mineshaft, a popular leather bar, until 6 a.m., talking to many other patrons. According to Bell, Verrill's friends said that while he did not seek the kink that was abundant at the Mineshaft, he nevertheless "liked the attitudes" of many of the customers. He was considered a regular, holding court at a corner table, not only at the Mineshaft but the Anvil, another popular leather bar, and other popular gay bars of the era. His presence was seen as making those bars popular. Phone calls, confession, and arrest
Bell ended his article by giving the phone number of the New York Police Department's homicide bureau and asking anyone with information to call them. However, eight days after the killing someone called him claiming to be the killer, apparently to correct Bell's assumption that the killer was a psychopath who targeted gays."I like your story and I like your writing", the caller told him, "but I'm not a psychopath". In a story that ran on the Voice front page, the caller recounted the events of the night that ended in Verrill's murder. "I'm gay and I needed money and I'm an alcoholic", he said. After three months of sobriety, he claimed, he had gone out to Badlands, a Christopher Street bar, in the early hours of September 14 where Verrill, whom he did not know, offered to buy him a beer, a proposition the caller accepted. That beer became several, with the two consuming poppers and cocaine in addition to the drinks. At 3 a.m., they left Badlands and went to the Mineshaft, where they continued their alcohol and drug consumption. The caller told Bell he was impressed by how popular his companion was."I didn't realize he was such a superstar, and I wanted to go home with him". After two hours,

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 they took a taxi to Verrill's apartment, something the caller said Verrill was reluctant to do because he had to get up early and work on a story. There the two had more alcohol and cocaine, followed by sex at 7:30 a.m. The caller said that afterwards he realized that was as far as Verrill had wanted the relationship to go. "I needed money and I hated the rejection", so, still intoxicated, "I decided to do something I'd never done before". After incapacitating Verrill with a frying pan from his kitchen, the caller recounted, he stabbed the journalist with a knife, although he said he chose the wrong part of his chest. After the killing, the caller said, he took cash, totaling $57 ($ in modern dollars) and Verrill's Master Charge card, passport, and some clothes.He used the money to buy liquor and was consequently drunk for the entire next day. Bell confirmed with another source that the man had been seen at a popular bathhouse that night. The caller offered some information about himself besides that relevant to understanding the crime. He claimed to be the son of an orchestra leader, to have a wife in Berlin who did not understand his homosexuality, and a teenage son. He had an interest in the arts, and had wanted to be a dancer when he was younger. Bell noted that he talked about wanting to "atone" for the crime several times, which he connected to the conversation taking place on Yom Kippur, the Jewish day of atonement. "[B]ut I don't want to give myself up.I wouldn't be able to practice again. I'd lose my license". He declined to tell Bell what sort of practice the license was for, suggesting that would help identify him. When Bell contacted police about the call, they told him that it seemed like the first solid lead in the case. The caller had known about the stolen credit card, a detail police had not made public, and described a white substance found on the floor of Verrill's apartment as Crisco, a shortening frequently used at the time by gay men as a sexual lubricant. Police had not thus far been able to identify it and had also not made the information public. Detectives suspected the caller would call Bell again, and went to his apartment to wait with him.At 11 p.m. his phone rang; it was not the original caller but a man who identified himself as "Mitch". He told Bell the killer was <mask>, whom he had gotten to know while the two were drying out at St. Vincent's Hospital a few months earlier. While he believed Bateson was not the man's real name, since he knew the man to have used the pseudonym "Johnny Johnson" at one point, he said Bateson was an unemployed X-ray technician and that he had called him earlier and confessed to the crime. Mitch asked to meet Bell in person, but the police told Bell not to do so. Instead, they just arrested Bateson at his East 12th Street apartment, where he was lying around drunk; when he was asked if he knew why he was being arrested, he pointed to an open copy of the Voice with Bell's article and indicated that that was probably why. A detective went to the bar and brought Mitch in for questioning as well; he was released after a few hours. Bateson eventually gave police a handwritten confession that was consistent with what he had told Bell.Arrest and jailhouse conversations
<mask> was charged with second-degree murder and detained while awaiting trial. Bell interviewed <mask> in person a month later, visiting him at Rikers Island. <mask> talked generally about his life, something he said he did often (as did other acquaintances of Bateson whom Bell spoke with). Jail, he said, was helping him to again get sober; his biggest regret about being in custody was missing the new season of the Joffrey Ballet, at the time based in New York. Bell admitted that he, too, might have taken Bateson up on an offer to go to his apartment if he had met him in a bar rather than a jail. While <mask> avoided talking about the crime he was charged with (on what Bell supposed to be advice from his attorney) he did talk about the trial. He had pleaded not guilty and expected that to be the verdict after a long trial."A lot of people will be hurt—parents, friends ... Then, I'll tear up my roots and settle somewhere else". Suspicion in serial killings
At the time of <mask>'s arrest, police had also been investigating a series of murders of gay men over the previous two years which they believed were committed by the same person due to similarities in the killings' modus operandi. Six corpses of men had been found, dismembered, in bags floating in the Hudson River. None of them have ever been identified, but police traced the clothes on them to shops in Greenwich Village that catered to the gay community. Since the bags reportedly had wording on them connecting them to NYUMC's neuropsychiatric unit, and the dismemberment of the bodies appeared to have been done by someone skilled in using a knife, investigators began to suggest publicly that Bateson might be a suspect in, as they were referred to officially, the "CUPPI" killings, for "Circumstances Unknown Pending Police Investigation", as well. Those killings were the subject of another interview <mask> gave, although it would not be made public until 2012. Friedkin, who recalled him from both his initial visit to NYUMC and the filming of the angiography for The Exorcist as a "nice young man" who stood out due to the earring and studded bracelet he wore, neither of which were common accessories for men at the time, read a long story about the case in the Daily News.Surprised that the gentle Bateson he recalled could have even been accused of a murder, Friedkin came to Rikers to talk with him after getting permission from <mask>'s lawyer. In an interview with Mubi's The Notebook that coincided with the release of his film Killer Joe, Friedkin said Bateson admitted killing Verrill, although the director then incorrectly stated that Bateson had dismembered the body and thrown the bagged body parts in the river. Bateson said that the prosecutors were offering him a deal whereby if he confessed to the bag murders and some other unsolved killings he would receive a shortened sentence. He told Friedkin he was not sure if he would accept it. In a 2018 episode of The Hollywood Reporter "It Happened in Hollywood" podcast, Friedkin attributed to Bateson a confession to the unsolved murders. As a result of his conversation with Bateson, Friedkin decided it was time to make the film adaptation of New York Times reporter Gerald Walker's 1970 novel Cruising about a police officer going undercover in the gay community to catch a serial killer. Life had already imitated art, with an NYPD officer, Randy Jurgenson, going undercover in gay bars since he was similar in appearance to the victims of the bag killer.Intrigued by the leather subculture <mask> had told him about, Friedkin knew Matthew Ianniello, the mafioso who owned the Mineshaft and other Manhattan gay bars of the era, and was able to visit the bar himself. He later added scenes set there to his film, released in 1980 to mixed reviews after heavy protests by the city's gay community during production. Trial
In pretrial motions, <mask>, through his attorney, attempted to have his confession suppressed. He argued that he had been drunk at the time, and the police had not yet read him his rights. <mask> also denied having made the phone call to Bell, claiming his purported confession was just based on what he had read about the case in the Voice. <mask> went on trial in early 1979. The state entered both his confession and Bell's Voice article into evidence against him.Contrary to his prediction of a long trial in the wake of his arrest, <mask> was convicted after four days, on March 5, 1979. At <mask>'s sentencing a month later, prosecutor William Hoyt called him a "psychopath" and reiterated his belief that he was responsible for the six unsolved murders. While Hoyt admitted there was "no direct proof" of this, he said that Bateson had confessed to those crimes in a conversation with Richard Ryan, a friend who had testified for the state at the trial that Bateson had confessed the Verrill murder to him. Speaking for himself, Bateson denied any role in the other murders. Justice Morris Goldman sentenced Bateson to 20 years to life in prison, five years less than the minimum Hoyt had asked for. He ultimately found the connection to the other murders "too ephemeral" to merit any consideration in sentencing Bateson. In a 2018 Esquire article about Bateson, writer Matt Miller was unable to find what that evidence might have been as the New York County court clerk's office could not find a copy of the trial transcript.But nothing Miller had been able to review mentioned either the bags purportedly being traced to NYUMC or any mention of a deal offered to Bateson if he confessed to the other murders. Prison term and release
Bateson ultimately served 24 years and 3 months of his sentence, becoming eligible for parole in 1997. On the day after his 63rd birthday, in August 2003, he was released from Arthur Kill Correctional Facility on Staten Island. According to online records kept by the state's Department of Corrections and Community Supervision, his parole was successfully completed in November 2008. That was the last public record of Bateson available ; where he is living, or even if he is alive, is not known. Miller attempted to contact <mask> for his Esquire article in 2018 at his last known address, in the Long Island village of Freeport, but was unsuccessful as the phone had been disconnected; emails to different addresses either bounced or were not answered. In his podcast interview around the same time, Friedkin said he had heard Bateson was living somewhere in upstate New York.A record in the Social Security Death Index shows that a <mask><mask>, with the same birthdate and a Social Security number issued in Pennsylvania, died on September 15, 2012. Media portrayals

<mask> was portrayed by Morgan Kelly in the second season of the Netflix series Mindhunter. See also
Crime in New York City

References

External links

1940 births
Radiographers
20th-century American criminals
American people convicted of murder
People convicted of murder by New York (state)
Criminals from Pennsylvania
Gay men
LGBT people from New York (state)
LGBT people from Pennsylvania
Military personnel from Pennsylvania
People from Lansdale, Pennsylvania
People from Borough Park, Brooklyn
People from Greenwich Village
Possibly living people
United States Army

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Brigadier Alastair "<mask><mask>,  (1 June 1915 – 29 March 1996) was a baker, farmer and one of the most highly regarded soldiers of the Parachute Regiment and the British Army who served in the Second World War. Early life
<mask> was born in Glasgow, Scotland, on 1 June 1915. He was educated at Kelvinside Academy. After leaving school, he worked as a baker and enlisted in the Territorial Army. He joined the 6th Battalion of the Highland Light Infantry, based in Yorkhill, and part of the 157th Infantry Brigade, 52nd (Lowland) Infantry Division, which was fully mobilised in 1939. Second World War
<mask> was attached to the South Lancashire Regiment and served briefly in France during January 1940. On 8 June 1940, after the end of Operation Dynamo, he returned to France with the 6th Highland Light Infantry.He fought in the Battle of France with the Second British Expeditionary Force. He was evacuated on 17 June as part of Operation Aerial. On its return to the United Kingdom, the 52nd (Lowland) Infantry Division was assigned to defend the coast. In 1942 <mask> volunteered to join the British Army's airborne forces and on 1 August he joined the Parachute Regiment, part of the Army Air Corps. He was promoted to the rank of major and served as second-in-command of 2nd Battalion, part of 1st Parachute Brigade. Within a fortnight, <mask> was transferred to 1st Battalion by the commander, Eric Down. <mask> was promptly demoted by Down after a riotous night on the town.He was then promoted to the rank of major for the second time before becoming second-in-command of 1st Battalion under James Hill. In October 1942, the 1st Parachute Brigade was sent to Tunisia to participate in Operation Torch. <mask> assumed command of 1st Battalion when Hill was badly wounded on 23 November. For his actions while under heavy fire, <mask> was awarded the Military Cross. At the age of twenty-seven, <mask> was promoted to lieutenant colonel and given command of the 1st Parachute Battalion. <mask> was awarded the Distinguished Service Order for his actions in late January and early February 1943. He was awarded a second DSO for actions during the Battle of Tamera in March.<mask> was awarded a third DSO for his contribution to the invasion of Sicily. In July 1943, the 1st Parachute Brigade was assigned to capture Primosole Bridge in Sicily, ahead of Bernard Montgomery's British Eighth Army. Due to high winds, intense flak, and poor flying, less than 20% of the 1,900 men of the brigade landed on target. However, the bridge was captured and <mask> organized a defence. German forces counter-attacked the following day and the paratroopers were forced to withdraw. <mask> helped to recapture the bridge by guiding a battalion of the Durham Light Infantry, part of 151st Brigade, in an attack on the flank of the German infantry holding the bridge. After the Sicilian campaign, <mask> recuperated from an attack of malaria.During the summer of 1944, the commander of the new 6th Airborne Division, Major-General Richard Nelson Gale gave <mask> command of the division's 8th Parachute Battalion, which was assigned to the 3rd Parachute Brigade. <mask> immediately began preparing the battalion for the Battle of Normandy. On the night of 5 June 1944, the battalion departed England for France. Upon landing, as part of Operation Tonga (the British airborne drops on D-Day), <mask> was shot in the hand but continued to command. The 8th Parachute Battalion went on to destroy several bridges over the River Dives and then take up defensive positions in the Bavent Wood, east of Pegasus Bridge. <mask> was awarded a fourth DSO in February 1945 for his contributions during the Battle of Normandy. On his return to England in September 1944, <mask> surrendered command of the 8th Parachute Battalion due to ill health: he married the widow of Reginald G S Morgan Weld Smith(who was killed in the Battle of Britain)-Joan M Niven.Later life
He then resigned his commission to return to his bakery in Glasgow. In 1947, he rejoined the Territorial Army and commanded the 15th (Scottish Volunteer) Parachute Battalion. Later, he gave up the bakery to turn to farming. In 1951, he was made a Deputy Lord-Lieutenant for Glasgow. In 1953 he was promoted to full colonel and in 1967, he was promoted to Brigadier and became Commandant of the Army Cadet Force in Scotland. In June 1956 <mask> was appointed aide-de-camp to the Queen, a ceremonial post he held until 1961. He was appointed CB on 12 June 1958.He was appointed Deputy Lord Lieutenant of Dunbartonshire in 1975, and Lord Lieutenant in 1979. Honours and awards
4 May 1943 – The Distinguished Service Order Major (acting Lieutenant-Colonel) Alastair <mask>is (62792) Army Air Corps (Glasgow, W.2):

18 May 1943 – Bar to the Distinguished Service Order: Major (temporary Lieutenant-Colonel) Alastair <mask> DSO (62792) Army Air Corps. (Glasgow, W.2):

23 September 1943 Military Cross: Captain (temporary Major) Alastair <mask> D.S.O. (62792), Army Air Corps (Glasgow 19):

23 December 1943 Second Bar to the Distinguished Service Order: Major (temporary Lieutenant-Colonel) Alastair <mask>, D.S.O., M.C. (62792), Army Air Corps (Glasgow, W.2):

1 February 1945 – Third Bar to the Distinguished Service Order. Major (temporary Lieutenant-Colonel) Alastair <mask>, D.S.O., M.C. (62792), Army Air Corps (Devizes):

3 September 1948 – Lieutenant Colonel Alastair <mask> is (62792) is awarded Efficiency Medal.Television appearances
<mask> was the subject of This Is Your Life in October 1961 when he was surprised by Eamonn Andrews at the BBC Television Theatre. Footnotes

References

External links
British Army Officers 1939−1945
Imperial War Museum Interview

1915 births
1996 deaths
Military personnel from Glasgow
British Army personnel of World War II
Highland Light Infantry officers
British Parachute Regiment officers
Deputy Lieutenants of Dunbartonshire
Lord-Lieutenants of Dunbartonshire
Companions of the Order of the Bath
Officers of the Order of the British Empire
Recipients of the Military Cross
Companions of the Distinguished Service Order
Operation Overlord people
South Lancashire Regiment officers
Army Cadet Force officers
British bakers
Scottish farmers
British Army brigadiers

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<mask> (19462020) was an American interdisciplinary artist. Self-taught, he worked in collage, drawing, sculpture, photography, performance, and creative writing. He was raised in Detroit, Michigan and moved to New York City in the mid-1970s. Over the course of his time in New York, he developed a vast, encyclopedic archive of images and ephemera related to fashion, the body, advertising, AIDS, and queer subjects through his various jobs and social presence in hustler bars and gay nightlife. His early collages and photography, which often utilized likenesses of patrons, highlighted the social and communal nature of such institutions. Continuing this theme, in the mid-1990s, he became co-founder of guerrilla artist group Underground Railroad, which produced street art and outdoor installations. In his lifetime, he exhibited to small audiences in non-traditional art spaces and only in the last two years of his life did his work become widely known and appreciated in urban art circles.<mask>'s early ambition to write fashion reviews for a living later took new life when an AIDS therapist encouraged him to express his feelings in poems. Reviewers later saw influences of his poetry in the collages he made. When the Foundation for Contemporary Arts gave him its Roy Lichtenstein Award in 2019, its announcement praised his collages as "a form of visual poetry, which explore individualism and the ways in which identity is shaped by community" and on the occasion of his first solo exhibition in a commercial gallery a curator wrote, "<mask> embraces collage for its immediacy as a fluid form of tactile poetry". <mask> was modest about the late recognition he received. In a 2019 interview he said, "I'm getting recognition as an artist now basically because I'm 73 and a professional AIDS patient who has managed to survive and has been practicing art all this time". Early life and education
<mask> <mask> was born on September 9, 1946 in Memphis, Tennessee. His mother, Freda Morman <mask>, was 21 years old at the time and unmarried.While he was still a baby, Freda brought him to live with her parents, Fred and <mask>, in their home in Detroit. Fred was an autoworker and Emma a housewife. <mask> later said that his grandparents were his main caretakers during his childhood. He called his grandparents "mother" and "daddy" and called his mother "Freda". <mask> had a large number of close relatives, the families of Freda's aunts and uncles and the children of a marriage she made while <mask> was young. His father never recognized him as his child and <mask> said he only saw him twice in his life. The household in which <mask> was raised was literate and creative.He was read to and was himself an avid reader. An expert seamstress, his mother created much-admired women's fashions. He benefited from anti-segregation policies in education and was bused to integrated public schools in Detroit in which, he said, he felt comfortable and received a good education. A hard worker, he earned money doing odd jobs so that he could attend and eventually graduate from Ferris University. He liked student life there and helped found the university's first African-American fraternity. He spent his childhood in Detroit, Michigan, where his mother had moved soon after his birth. As a child, he met his father only once and, due to the youth of his mother, he received most of his parental care from her parents' home.He was educated in integrated public schools and, while he was a student in Detroit's Commerce High School, one of his teachers encouraged him to pursue art as a career. However, when his mother emphatically told him he could never support himself as an artist, he did not pursue that recommendation. Instead, he took business courses in high school and, after graduating, attended Ferris State University in the small mid-state city of Big Rapids where, in 1971, he obtained a B.S. degree with a major in marketing. Having learned to make clothing by watching his mother's highly skilled sewing technique, he designed clothing for himself while earning his living at an all-Black modeling agency in Detroit. In 1973, <mask> moved to Manhattan where, failing to find work in the fashion industry, worked in low-paying off-the-books service jobs. In the early 1980s, he began study at the Fashion Institute of Technology, taking courses in menswear design and marketing.He graduated from F.I.T. magna cum laude in 1985 with an A.A.S. degree. He worked for a time with the African-American designer Stephen Burrows, but grew frustrated with the fashion industry's discriminatory practices and abandoned an ambition to become a professional fashion writer. During the 1980s, he continued to survive on low-pay service jobs such as checking hats and coats at midtown gay bars, all the while collecting and organizing source material for the collages he had, by then, begun to make. Although, as he later said, he had never learned to draw, by the middle of the 1990s an unexpected sequence of events led him to believe he could become a professional artist. In March 1995, <mask> received a diagnosis as a victim of AIDS.At the time, a friend directed him to the Gay Men's Health Crisis, an AIDS service organization in Greenwich Village. An acquaintance at GMHC suggested he become a participant in the AIDS Adult Day Health Care Program, located in the same building and run by a social services organization called Village Care of New York. On applying, <mask> was accepted into the program and began participating in the Medicaid-supported services that it offered. As a participant, he received health services and substance-abuse counseling, and was given food he could take home thereby ensuring that he ate two meals a day (where before he only had one). He also received help toward obtaining financial assistance via the New York City welfare program and, significantly, was given encouragement and supplies for constructing art projects. In 1998, <mask> brought photographs taken by a deceased friend to Visual AIDS, an organization that supports artists who have AIDS. Recognizing his artistic ability, the organization invited him to join the organization and participate in exhibitions it sponsored.Career in art

At about the same time he became a participant in the AIDS Adult Day Health Care Program, <mask> took an off-the-books nighttime job in a Midtown gay bar called Trix. <mask> mounted large panels on the walls of the coat-check cubicle where he worked with Polaroid images that he had taken of young gay men he had met at Trix whom he had dressed in second-hand clothing he had accumulated and assembled into outfits. <mask> later described Trix customers as "a fabulous mix of high and low and the best drag queens you ever saw". Out of this collection of photographs he created what has been called his first solo exhibition. In 1996, Trix relocated to another block in the midtown theater-district and changed its name to Stella's. Continuing to run the coat-check operation there, <mask> produced what has been called his second solo show. Called "Night Blooming Flowers", it was a selection from the display he exhibited at Trix.An installation photo of this assemblage appears at left. <mask> picked up a low-wage clothing store job in the late 1990s where, as he said, "they were giving me a title (art director) because they weren't giving me any money". Asked to design a blue-themed presentation for the front of the store, he brought together a variety of empty containers he had collected, all of them painted blue, to simulate an abstract urban setting. When the shop's owner rejected the plan, he installed his project on the sidewalk in front of a blue barrier at a nearby construction site. This proved to be the first iteration of what became one of his best-known works, "Blue Bathroom Blues". He drew the title from an evolving series of poems he had written first called "Blue Bedroom Ballads" and eventually "Blue Bathroom Blues". In presenting the poems, he included slides showing versions of the sidewalk art project.The project evolved from empty containers assembled outdoors to collages on foamcore made up of small slips of paper. These collages were similar to the photo boards he had first made while working at Trix. A 1999 version of "Blue Bathroom Blues" is shown at right. During this period, <mask> continued to show collage projects in non-traditional gallery settings, including Village Care ("The Hats" and "I Am a Man" in 1999, as well as "Underground Railroad" in 2000), Stella's ("Presenting Stephanie Crawford" in 1997, and "Whatever Happened to Freddy Darling?" in 2003), the AIDS Housing Network Art Gallery ("The Lost Language of Men's Clothing" in 2002), and the Lesbian, Gay, Bisexual and, Transgender Community Center ("Go Figure" in 2002). In 2000, <mask> showed a collage called "Little Black Sambo" at Village Care. Like "Blue Bathroom Blues" this project evolved over a period of years.One version from 2006, called "Sambo Schema I", is shown at left. It is significant that the Sambo character in the children's book of the same name is a person of color from South India. Because many people who were labeled "Black" came from South India and other places in Asia as well as the biodiverse island of Madagascar, he resented the widespread practice of labeling all Black people African-American. Because of his dark skin color, <mask> had to endure the taunt "African" during his childhood and as an adult, he rejected the label, saying "I don't know what I am. But I'm not African. I'm not from the deep dark jungles. I'm not a savage, you know.And that's what they taught us about Africa". <mask> knew that the Sambo story was seen as racist, but he did not read it that way. He said, "it's about clothes, and going somewhere you didn't have any business... when the fear's in my face and someone is threatening my life, can I use my wits, you know, to keep my life?" In 2003, <mask> showed collages in

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 a group exhibition called "Release" that was organized by Visual AIDS and appeared in the Museum of Contemporary African Diasporan Arts. Sally Block and Laurie Cumbo were its curators. In 2011, he was given a retrospective exhibition called "For Colored Boys Who Have Considered Suicide When All You Ever Needed Was the Blues". It was held in the Rankin Art Gallery of Ferris State University.Later that year, his work appeared in a group show called "Stay, Stay, Stay" sponsored by Visual AIDS at La MaMa La Galleria and three years later he showed with another group in Davidson College's Van Every Gallery. Other group shows in this period included "Out of Bounds" at Leftfield Bar on the Lower East Side of Manhattan (2015), "Art AIDS America" at the University at Buffalo and three other sites (2016), and "Persons of Interest" at a Manhattan bookstore called Bureau of General Services—Queer Division. He showed collages in four group shows during 2017 ("Intersectional Identities" at Clifford Chance in New York, "Found: Queer Archaeology; Queer Abstraction" at the Leslie-Lohman Museum of Art in New York, and "AIDS at Home" at the Museum of the City of New York, "Cut Here: Matt Keegan, Siobhan Liddell, <mask>" at the Gordon Robichaux Gallery). The following year, he appeared frequently in group shows and in panel discussions in which he often showed slides of his work. These included a panel called "Fag, Stag, or Drag?" with John Neff at Artists Space in New York, a panel of poetry readings at Gordon Robichaux, a group show called "Proposals on Queer Play and the Ways Forward" at University of Pennsylvania's Institute of Contemporary Art, a panel on "Visual Arts and the AIDS Epidemic" at the Whitney Museum of American Art, a group called "This Must Be the Place" at the 44 Walker Street Gallery in New York, a group called "A Page from My Intimate Journal" at Gordon Robichaux, a group called "Queer Artist Fellowship: Alternate Routes" at the Leslie-Lohman Museum, and a two-person show called "Inside, Out Here" at La MaMa La Galleria. In 2019, Gordon Robichaux mounted a solo retrospective exhibition called "Happening".The show included the then-current version of <mask>'s "Body Map" project, a collage begun in 2013, it was made from images and other small paper objects that he had, as one commenter said, "amassed over the last 30 years and cataloged in binders in different categories of race, gender, class issues, color, and other devices for organizing images". "Body Map I" of 2015, shown here at right, contains images of prominent African-American men, including the face of Tom Morgan, the first openly gay president of the National Association of Black Journalists. In 2020, <mask> received a $40,000 prize, the Roy Lichtenstein Award of the Foundation for Contemporary Arts. That year he also showed "Blue Bedroom Blues" in an exhibition at the Ace Hotel Art Fair in New York and appeared in a groups show at the Parker Gallery ("A Page From My Intimate Journal II") and at the Tom of Finland Foundation, both in Los Angeles. Artistic style

<mask>'s exhibitions in non-traditional spaces did not usually attract reviews from critics in the mainstream press. Sponsoring organizations publicized the shows using websites or other online media and, for most of <mask>'s career, critical evaluations are rarely found. Exceptions include a wall label written by the curator, John Neff, for the Art AIDS America traveling exhibition of 2016.He wrote, "Fredrick <mask>’s tightly composed collages subject the leftovers of an HIV-positive person’s daily discipline of self-careQ-Tip wrappers, Norvir (an HIV protease inhibitor) boxes and other pharmaceutical containersto a severe formal order, transforming what would otherwise be wastepaper into abstract arrangements that rival the most accomplished paintings of the Modern movement. In this way, <mask>’s collages transform evidence of a tedious and unwelcome habitself-administration of the daily HIV-inhibiting ‘drug cocktail’into decorative, pleasurable, life-affirming works of art". A 2019 profile of <mask> by Svetlana Kitto, written in conjunction with the "Happenings" exhibition, gives what is probably the fullest evaluation of his approach and its significance. She wrote, "<mask> embraces collage for its immediacy as a fluid form of tactile poetry. Through his use of visual and textual alliteration, images and categories collide, cohere, rhyme, and fracture around a single color or cultural symbol, resisting synthesis or literal interpretation". His works, she wrote, express "range of ideas, rubrics, colors, vernaculars, histories, and ethics". She described his themes as, "the absurdity of labels, critique of racial categories and hierarchies, ecstasy of multiplicity, and the pleasure of being a person gifted with the language to celebrate, assess, and play within the world(s) we inhabit".Other evaluations tended to locate <mask> as a product of his environment, his sexual orientation, his race, and his affliction. One such, by Tessa Solomon, in ARTnews, said that <mask> "interrogate[d] the intersections of Black culture and mass consumerism, as well as his own identity as a Black, queer, HIV-positive artist". <mask> used binders to organize the source materials he used for his collages. He frequently used photocopiers to reproduce images that appealed to him and once said, "I multiply. I know I'm a multiplier... I love the copy machine". His sources included items that he called trash as well as advertising and media reproductions involving AIDS, human bodies, and queer subjects.Male fashions were a special concern of his. In 2020, he told an interviewer, "My whole practice really is about the way that men look, men comport themselves, and the way that men pose". In 2019, a reviewer said that fashion was for <mask>, "a pleasurable, expressive place of liberation where signifiers of race, gender, and class mix and match like paper dolls". Personal life
<mask> possessed an outgoing and engaging personality and maintained close ties with family, friends he'd made while working in Detroit, and his fraternity brothers. While living in New York, he suffered from poverty and drug abuse. He also endured emotional upheavals that would produce mental breakdowns. These problems resulted in frequent moves from one single-room-occupancy hotel to another and to frequent occasions during which his turmoil and loss of self-control would result in the loss of his possessions.For many years, <mask> lived in SROs and hotels all over the city—the Esquire, the Senton, the Roger Williams, and the Breslin—where a series of financial and emotional upheavals would lead him, as a reporter said, to “lose everything three times.”  He later said that during breakdowns he would check himself into Bellevue Hospital for a few days to calm down. He also said that by 2001 he had given up use of LSD and cured himself of a crack addiction. In 2016, after he had turned his life around and his art career had begun to take hold, he addressed the massive challenges he had earlier faced. He said, "there used to be a time where things would happen and I would say, "Lord why me?" Now things happen to me and I'm like, "Why not me? I'm the man for the job. Why not me".In a 2019 interview, he explained his economic situation after he had received his AIDS diagnosis. He said, "When you get an AIDS diagnosis, in order to get your entitlements, you need to take a vow of poverty. In order to get housing and the health care that you need, you have to say you don’t have anything in your pockets, because the minute you start to have anything, they’re going to start taking things away from you. So I’ve just managed to learn, to live, and to seek out a rich life under those circumstances. I really consider going to my day treatment program, taking my medicine, keeping my viral load down and my T-cells up, kind of like my job". <mask> was open about his sexual orientation but, at least on one occasion, rejected the label of gay man. In 2016, he said, "You can't put me on a cross for being a homosexual when really, I'm an asexual.I don't know why I have sex". Regarding the impact of AIDS on his art, he said, "There were the periods where I wasn't having sex just because I didn't want to catch it, or I didn't want to spread it, or didn't know how to spread it, or didn't want to get somebody else's strain. So my work really got to be a way of me using that energy". <mask>'s practice of collecting source materials for his collages could become an obsession. He joined and became an active member of Clutterers Anonymous to help cope with this problem. <mask> died on October 21, 2020. Earlier that year, he had learned that he had advanced stage of bladder cancer and this proved to be the cause of his death.An obituary reported that he worried that treating the cancer might cause problems with the medications he took to control HIV. The obituary said, "he decided not to seek more hospital treatment, and he remained at home focusing on his art". Further reading
 DUETS: <mask> & Samuel R. Delany in Conversation (Visual AIDS, 2021)

Notes

References

External links
"Blue Bathroom Blues" performance, 2001
"Share Your Vision" presentation, 2003
"Metaphors and Their Distemper", 2015
"Persons of Interest" exhibit, 2016
Tribute to Affrekka Jefferson, 2016
"AIDS at Home" presentation, 2017
AIDS at Home: Art and Everyday Activism, 2017
"Fag, Stag, or Drag? ", 2018
Discussion of "Alternate Endings, Activist Risings", 2018
"Happening" exhibition, 2019
"<mask> Reads Intimidated For James Baldwin" poetry reading
"Last Address Tribute Walk: Times Square"
Visual AIDS conversation with Alivin Baltrop, Raynes Birkbeck, and Reverend Joyce McDonald, 2020
"Page From My Intimate Journal" exhibition, 2020

1946 births
2020 deaths
20th-century American artists
American collage artists
People from Memphis, Tennessee
20th-century African-American artists
21st-century African-American

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Frederick Weston
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<mask> (15 January 1872 – 8 March 1934) was a journalist, linguist and writer of Irish descent. He is perhaps most well known for his important English translation of the Greek-speaking philosopher Plotinus ( 204/5 – 270), introducing Neoplatonic philosophy to a new generation of readers. MacKenna's prose style was widely admired and he influenced many of his contemporaries, including W. B. Yeats, W. B. Stanford and J. M. Synge. Life

Early years

MacKenna was born 15 January 1872 in Liverpool, England to an Irish father and an Anglo-Irish mother. His father, Captain <mask>, served in the 28th Infantry in India and under Garibaldi in Italy. Returning to England, he wrote children's adventure stories and began to have a family. Growing up, MacKenna had seven brothers and two sisters.He and his brothers were educated at Ratcliffe in Leicestershire. It was there that he first acquired a knowledge of Classical Greek. MacKenna impressed with his literary talents, particularly in his personal translations of Virgil's Georgics and Sophocles' Antigone. He passed the Matriculation, but despite his talents he failed to pass the Intermediate: the university entrance examination. After a brief period as a novice in a religious order he became a clerk in the Munster & Leinster Bank. He then obtained a job as a reporter for a London newspaper, and in 1896 progressed to a post as Paris correspondent for a Catholic journal. It was in Paris in 1897 around the Hotel Corneille where he met Maud Gonne, Arthur Lynch and J. M. Synge.Synge considered <mask> his closest friend, and Lynch later wrote,

In London he collected books, joined the Irish Literary Society and became a member of Young Ireland, a revolutionary group. Culture and language interests
With the outbreak of the Greco-Turkish War of 1897, <mask> rushed to join the Greek forces as a volunteer. This enabled him to acquire a command of colloquial Greek. It was here that his love for Greek, both ancient and modern, became active. Years later, he would write,

His service was brief, and he returned first to Paris, then to London, and afterwards went on to Dublin. After a brief stay in New York, where he lived in poverty, he returned to Paris. He then obtained a job as European foreign correspondent with Joseph Pulitzer, reporting from as far afield as Russia and Hungary.Around 1907 or 1908 he married Marie Bray (1878–1923), an American born pianist educated in France. They shared similar cultural and political interests. In the early 1900s <mask> began to revise the Greek he had learned at school and to perfect his command of it. By 1905, he expressed an interest in translating the works of the Greek philosopher Plotinus, whose concept of a transcendent “One,” prior to all other realities, he found fascinating. He resigned from his job as a correspondent for Pulitzer, but continued to write for the Freeman's Journal, an Irish nationalist paper. In the meantime he published a translation of the first volume of Plotinus, Ennead 1. <mask> had already begun to acquire the rudiments of the Irish language.He and Marie had attended Gaelic League classes in London. In Dublin he did administrative work for the League and was keen to expand its activities. His house in Dublin was a centre of League activity, with enthusiasts meeting there once a week. His friend Piaras Béaslaí later testified that MacKenna learned to speak the language with reasonable fluency. <mask> had a high opinion of the capabilities of the language, saying "A man could do anything in Irish, say and express anything, and do it with an exquisite beauty of sound." Poet Austin Clarke expressed awe regarding <mask>'s ability to use the Irish language:

MacKenna regretted that he had come to the language too late to use it as a medium of written expression, writing "I consider it the flaw and sin of my life that I didn't twenty years ago give myself body and soul to the Gaelic [i.e. Irish] to become a writer in it..."

Irish nationalism
<mask> was an ardent Irish nationalist and member of the Gaelic League.He imagined a future where Ireland would be completely emancipated from all things English:

This vision of Ireland's future is why he opposed the Treaty. He saw the outbreak of war in 1914 as disastrous for all sides and was deeply saddened by the violence. The Easter Rebellion of 1916 by militant Irish nationalists in Dublin took him by surprise, as it did for many in Ireland. He particularly mourned for his friend and neighbour, Michael O'Rahilly, who was wounded by machine gun fire in Moore Street and left to die over two days. Later years and death
Both he and Marie suffered from failing health. Marie died in 1923, and MacKenna moved to England to increase his chances of recovery. He continued to translate and publish the work of Plotinus, with B.S.Page being a collaborator on the last volume. By this time he had privately rejected Catholicism. His investigation of other philosophies and religious traditions drew him back to Plotinus and the intuitive perception of the visible world as an expression of something other than itself, the result of a "divine mind at work (or at play) in the universe." His income was greatly reduced and his last years were spent in a small cottage in Cornwall. Realizing that his death was approaching, he expressed he had no wish to live longer and had no fear of dying alone, instead preferring the prospect. By being alone, he would avoid the "black crows" who he expected would pester him with services once they found he was on his death bed. He both hoped and expected that there was nothing after death.In November of 1933, <mask> entered a hospital for operations to help with his failing health. He was initially expected to recover, but eventually lost the endurance to live. He was true to his word and kept his whereabouts a secret from friends, planning to die alone. Only a few days before his death, however, Margaret Nunn discovered his address from his landlord at Reskadinnick and obtained permission to visit him. He died at Royal Northern Hospital in London on 8 March 1934, aged 62. Translation of Plotinus

<mask>'s translation of Plotinus' Enneads was effectively his life's work, beginning in 1905 and finally finishing in 1930. Throughout his life, Plotinus remained a significant influence.The deep connection he felt with the philosophy was expressed in a 1907 journal entry:

Discovery and beginnings
Around 1905, while on a trip to St. Petersburg, MacKenna encountered Georg Friedrich Creuzer's Oxford text of Plotinus. Returning to Paris, he encountered the French translation by Didot. He became enamored with Neoplatonic philosophy and desired to translate the Enneads in full. In 1908, MacKenna released an initial rendering of the essay on Beauty (Ennead 1.6) which drew considerable respect from scholars. Among the impressed was Dean Inge, who praised it for its clear and vigorous wording. By 1912, this initial translation had garnered the attention of English businessman E. R. Debenham who subsequently provided MacKenna with material support for the completion of the work. Method
With the first version of the First Ennead, MacKenna declared his purpose and method for the translation:

He based his translation on Richard Volkmann's 1883 text (published by Teubner), occasionally adopting a reading from Friedrich Creuzer's 1835 Oxford text.He also compared his version to other language translations, including:

 The Latin of Ficino (in Creuzer's edition)
 The French of M. N. Bouillet (three vols., Paris, 1875, &c.)
 The German of Hermann Friedrich Mueller (2 vols., Berlin: Weidmann, 1878–80)
 The German of Otto Kiefer (2 vols., Diederichs: Jena and Leipzig, 1905)

When B.S. Page made revisions on the fourth edition of <mask>'s translation, he utilized the Henry-Schwyzer critical edition, the Beutler-Theiler revision of Harder's German translation, and the first three volumes of A. H. Armstrong's Loeb translation. MacKenna rewrote sections of the translation, sometimes as many as three or four times. While contemporary translations (including Armstrong's) have been more true to the original on a literal level, <mask>'s translation has been praised for its "stylistic qualities and beauty characteristics." It has been suggested that the influence of Plotinus can be seen in MacKenna's translation style, being drawn in particular from the essay concerning Beauty where Plotinus discusses the preparation of the soul for its ascent to the world of Nous and God (Ennead 1.6.9). In Plotinus, the main interest of philosophy and religion "is the ascent of the soul to the realm of Nous." <mask> translated "Nous" here as "Intellectual Principle," while Dean Inge instead translated it as "Spirit."Recognition and criticism
In 1924, Yeats announced at the Tailteann Games that the Royal Irish Academy had awarded a medal to MacKenna for the translation. <mask> declined the award because of his distaste for connecting the English and Irish, declining membership to the Royal Irish Academy for similar reasons. He explained his reasoning in a 1924 letter:

E.R. Dodds praised <mask>'s translation, ultimately concluding that "[It] is one of the few great translations of our day... a noble monument to an Irishman's courage, an Englishman's generosity (Debenham's), and the idealism of both." Sir John Squire similarly praised the translation, writing "I do not think that any living man has written nobler prose than Mr. MacKenna." A reviewer in The Journal of Hellenic Studies wrote that "In the matter of accuracy, Mr. <mask>'s translation, which in English at least is pioneer work, is not likely to be final, but for beauty it will never be surpassed.<mask>'s translation of Plotinus was discovered by Irish poet W. B. Yeats, whose own writing would subsequently be influenced greatly by the translation:

The Plato Centre at Trinity College Dublin holds the "<mask>enna Lecture" annually in honour of MacKenna. The lecture series stated goal is "to bring distinguished contemporary scholars working in the area of Plato and the Platonic tradition to Dublin to deliver a lecture aimed at a wide and general audience." Literature
<mask>'s prose style was widely admired and he influenced many of his contemporaries, including W. B. Yeats, W. B. Stanford and J. M. Synge. James Joyce paid tribute to him in chapter 11 of his novel Ulysses, with the librarian Richard Best saying,

Writings
 trans., Plotinus [...] with Porphyry's Life of Plotinus, and the Preller-Ritter extracts, forming a conspectus of the Plotinian system, 5 vols. (Library of Philosophical Translations). London & Boston: The Medici Society Ltd., 1917–30. Journals and Letters (1936) ed.E. R. Dodds, with a memoir by Dodds (pp.1–89) and a preface by Padraic Colum (pp.xi-xvii). London: Constable; NY: W. Morrow. 330pp. References

Notes

Sources

Plotinus. The Six Enneads. Translated by <mask> and B. S. Page: The Internet Classics Archive. 1872 births
1934 deaths
English people of Irish descent
English translators
Irish nationalists
20th-century Irish translators
Translators from Greek
Writers from Liverpool

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<mask>  (; 22 June 1856 – 14 May 1925) was an English writer of adventure fiction romances set in exotic locations, predominantly Africa, and a pioneer of the lost world literary genre. He was also involved in land reform throughout the British Empire. His stories, situated at the lighter end of Victorian literature, continue to be popular and influential. Life and career

Early years
<mask>, generally known as H<mask> or <mask>, was born at Bradenham, Norfolk, the eighth of ten children, to <mask>, a barrister, and Ella Doveton, an author and poet. His father was born in Saint Petersburg, Russia, in 1817 to British parents. <mask>ard was initially sent to Garsington Rectory in Oxfordshire to study under Reverend H. J. Graham, but, unlike his elder brothers, who graduated from various private schools, he attended Ipswich Grammar School. This was because his father, who perhaps regarded him as somebody who was not going to amount to much, could no longer afford to maintain his expensive private education.After failing his army entrance exam, he was sent to a private crammer in London to prepare for the entrance exam for the British Foreign Office, which he never sat. During his two years in London he came into contact with people interested in the study of psychic phenomena. South Africa, 1875–1882
In 1875, <mask>ard's father sent him to what is now South Africa to take up an unpaid position as assistant to the secretary to Sir <mask>, Lieutenant-Governor of the Colony of Natal. In 1876 he was transferred to the staff of Sir Theophilus Shepstone, Special Commissioner for the Transvaal. It was in this role that <mask> was present in Pretoria in April 1877 for the official announcement of the British annexation of the Boer Republic of the Transvaal. Indeed, <mask>ard raised the Union flag and read out much of the proclamation following the loss of voice of the official originally entrusted with the duty. At about that time, <mask>ard fell in love with Mary Elizabeth "Lilly" Jackson, whom he intended to marry once he obtained paid employment in Africa.In 1878 he became Registrar of the High Court in the Transvaal, and wrote to his father informing him that he intended to return to England and marry her. His father forbade it until <mask>ard had made a career for himself, and by 1879 Jackson had married Frank Archer, a well-to-do banker. When <mask>ard eventually returned to England, he married a friend of his sister, Marianna Louisa Margitson (1859–1943) in 1880, and the couple travelled to Africa together. They had a son named Jack (born 1881, died of measles at age 10) and three daughters, Angela (b.1883), Dorothy (b.1884) and Lilias (b.1892). Lilias <mask> became an author, edited The Rabbit Skin Cap and I Walked By Night, and wrote a biography of her father entitled The Cloak That I Left (published in 1951). In England, 1882–1925

Moving back to England in 1882, the couple settled in Ditchingham, Norfolk, Louisa Margitson's ancestral home. Later they lived in Kessingland and had connections with the church in Bungay, Suffolk.<mask>ard turned to the study of law and was called to the bar in 1884. His practice of law was desultory and much of his time was taken up by the writing of novels, which he saw as being more profitable. <mask>ard lived at 69 Gunterstone Road in Hammersmith, London, from mid-1885 to circa April 1888. It was at this Hammersmith address that he completed King Solomon's Mines (published September 1885). <mask>ard was heavily influenced by the larger-than-life adventurers whom he met in colonial Africa, most notably Frederick Selous and Frederick Russell Burnham. He created his Allan Quatermain adventures under their influence, during a time when great mineral wealth was being discovered in Africa, as well as the ruins of ancient lost civilisations of the continent such as Great Zimbabwe. Three of his books, The Wizard (1896), Black Heart and White Heart; a Zulu Idyll (1896), and Elissa; the Doom of Zimbabwe (1898), are dedicated to Burnham's daughter Nada, the first white child born in Bulawayo; she had been named after <mask>ggard's 1892 book Nada the Lily.<mask>ggard belonged to the Athenaeum, Savile, and Authors' clubs. Aid for Lilly Archer

Years later, when <mask>ard was a successful novelist, he was contacted by his former love, Lilly Archer, née Jackson. She had been deserted by her husband, who had embezzled funds entrusted to him and had fled bankrupt to Africa. <mask>ard installed her and her sons in a house and saw to the children's education. Lilly eventually followed her husband to Africa, where he infected her with syphilis before dying of it himself. Lilly returned to England in late 1907, where <mask>ggard again supported her until her death on 22 April 1909. These details were not generally known until the publication of <mask>ard's 1981 biography by <mask>.Writing career
After returning to England in 1882, <mask> published a book on the political situation in South Africa, as well as a handful of unsuccessful novels,  before writing the book for which he is most famous, King Solomon's Mines. He accepted a 10 percent royalty rather than £100 for the copyright. A sequel soon followed entitled Allan Quatermain, followed by She and its sequel Ayesha, swashbuckling adventure novels set in the context of the Scramble for Africa (although the action of Ayesha happens in Tibet). The hugely popular King Solomon's Mines is sometimes considered the first of the Lost World genre. She is generally considered to be one of the classics of imaginative literature, and with 83 million copies sold by 1965, it is one of the best-selling books of all time. He is also remembered for Nada the Lily (a tale of adventure among the Zulus) and the epic Viking romance, Eric Brighteyes. His novels portray many of the stereotypes associated with colonialism, yet they are unusual for the degree of sympathy with which the native populations are portrayed.Africans often play heroic roles in the novels, although the protagonists are typically European (though not invariably). Notable examples are the heroic Zulu warrior Umslopogaas, and Ignosi, the rightful king of Kukuanaland, in King Solomon's Mines. Having developed an intense mutual friendship with the three Englishmen who help him regain his throne, he accepts their advice and abolishes witch-hunts and arbitrary capital punishment. Three of <mask>'s novels were written in collaboration with his friend Andrew Lang, who shared his interest in the spiritual realm and paranormal phenomena. <mask> also wrote about agricultural and social reform, in part inspired by his experiences in Africa, but also based on what he saw in Europe. At the end of his life, he was a staunch opponent of Bolshevism, a position that he shared with his friend Rudyard Kipling. The two had bonded upon Kipling's arrival at London in 1889, largely on the strength of their shared opinions, and remained lifelong friends.Public affairs
<mask> was involved in reforming agriculture and was a member of many commissions on land use and related affairs, work that involved several trips to the Colonies and Dominions. It eventually led to the passage of the 1909 Development Bill. He stood unsuccessfully for Parliament as a Conservative candidate for the Eastern division of Norfolk in the 1895 summer election, losing by 197 votes. He was appointed a Knight Bachelor in 1912 and a Knight Commander of the Order of the British Empire in the 1919 New Year Honours. Death
<mask> died on 14 May 1925 in Marylebone, London, aged 68. His ashes were buried at St Mary's Church, Ditchingham. His papers are held at the Norfolk Record Office.His descendants include the writer <mask> (great-nephew), the director Piers <mask> (great-great-nephew), and the actress <mask> (great-great-great niece). Legacy

Influence
Psychoanalyst Carl Jung considered Ayesha, the female protagonist of She, to be a manifestation of the anima. Her epithet "She Who Must Be Obeyed" is used by British author John Mortimer in his Rumpole of the Bailey series as the private name which the lead character uses for his wife, <mask>, before whom he trembles at home (despite the fact that he is a barrister with some skill in court). <mask>ard's Lost World genre influenced popular American pulp writers such as Edgar Rice Burroughs, Robert E<mask>, Talbot Mundy, Philip José Farmer, and Abraham Merritt. Allan Quatermain, the adventure hero of King Solomon's Mines and its sequel Allan Quatermain, was a template for the American character Indiana Jones. Quatermain has gained recent popularity thanks to being a main character in the League of Extraordinary Gentlemen. Graham Greene, in an essay about <mask>ard, stated, "Enchantment is just what this writer exercised; he fixed pictures in our minds that thirty years have been unable to wear away."<mask> was praised in 1965 by Roger Lancelyn Green, one of the Oxford Inklings, as a writer of a consistently high level of "literary skill and sheer imaginative power" and a co-originator with Robert Louis Stevenson of the Age of the Story Tellers. On race
<mask>'s works have been criticised for their depictions of non-Europeans. In his non-fiction book Decolonising the Mind, Kenyan author Ngũgĩ wa Thiong'o refers to <mask>ard, who he says was one of the canonical authors in primary and secondary school, as one of the "geniuses of racism." Author and academic Micere Mugo wrote in 1973 that reading the description of "an old African woman in <mask>'s King Solomon's Mines had for a long time made her feel mortal terror whenever she encountered old African women." Influence on children's literature in the 19th century
During the 19th century, <mask>ard was one of many individuals who contributed to children's literature. Morton N. Cohen described King Solomon's Mines as a story that has "universal interest, for grown-ups as well as youngsters". <mask> himself wanted to write the book for boys, but it ultimately had an influence on children and adults around the world.Cohen explained, "King Solomon’s Mines was being read in the public schools [and] aloud in class-rooms". General influence and legacy
The first chapter of <mask>ard's book People of the Mist is credited with inspiring the motto of the Royal Air Force (formerly the Royal Flying Corps), Per ardua ad astra. In 1925, his daughter Lilias commissioned a memorial window for Ditchingham Church, in his honour, from James Powell and Sons. The design features the Pyramids, his farm in Africa, and Bungay as seen from the Vineyard Hills near his home. The Rider Haggard Society was founded in 1985. It publishes the Haggard Journal three times a year. Works

Films based on <mask>ard's works
<mask>ard's writings have been turned into films many times including:
 King Solomon's Mines
This novel has been adapted at least six times.The first version, King Solomon's Mines, directed by Robert Stevenson, premiered in 1937. The best known version premiered in 1950: King Solomon's Mines, directed by Compton Bennett and Andrew Marton, was followed in 1959 by a sequel, Watusi. In 1979 a low-budget version directed by Alvin Rakoff, King Solomon's Treasure, combined both King Solomon's Mines and Allan Quatermain in one story. The 1985 film King Solomon's Mines was a tongue-in-cheek comedy, with a 1987 sequel in the same vein, Allan Quatermain and the Lost City of Gold. Around the same time an Australian animated TV film came out, King Solomon's Mines. In 2004 an American TV mini-series, King Solomon's Mines starred Patrick Swayze. In 2008 a direct-to-video adaptation, Allan Quatermain and the Temple of Skulls, was released by Mark Atkins; it bore more resemblance to Indiana Jones than the novel.She
She: A History of Adventure has been adapted for film at least ten times, and was one of the earliest movies to be made:
In 1899, as La Colonne de feu (The Pillar of Fire), by Georges Méliès. An American 1911 version starred Marguerite Snow. A British-produced version appeared in 1916, and in 1917 Valeska Suratt appeared in a production for Fox which is lost. In 1925 a silent film of She, starring Betty Blythe, was produced with the active participation of <mask>, who wrote the intertitles. This film combines elements from all the books in the series. The 1935 version, filmed a decade later, featured <mask>, Randolph Scott, <mask>, and Nigel Bruce. The lost city of Kôr is set in the Arctic, rather than Africa, and depicts the ancient civilisation in an Art Deco style.The music is by Max Steiner. The screenplay combines elements from all the books in the series, including Wisdom's Daughter. In 2006, Legend Films and <mask> restored and colorized the film for DVD release, as it was originally intended. The 1965 film She was produced by Hammer Film Productions; it starred Ursula Andress as Ayesha and John Richardson as her reincarnated love, with Peter Cushing and Bernard Cribbins as other members of the expedition. The 1984 adaptation of She took place in a post-apocalyptic setting, attempting to capitalize on the fame of Mad Max. In 2001, another adaptation was released direct-to-video with Ian Duncan as Leo Vincey, Ophélie Winter as Ayesha and Marie Bäumer as Roxane. Dawn
The film Dawn was released in 1917, starring <mask> and Annie Esmond.Jess
This book was filmed in 1912, featuring Marguerite Snow, Florence La Badie and James Cruze, in 1914 with Constance Crawley and Arthur Maude, and in 1917 as Heart and Soul, starring Theda Bara in the title role. Beatrice
The book was adapted into a 1921 Italian silent drama film called The Stronger Passion, directed by <mask> and starring Marie Doro and Sandro Salvini. Swallow
The novel was adapted into a 1922 South African film. Stella Fregelius
The book was adapted into a 1921 British film, Stella. Moon of Israel
This novel was the basis of a script by Ladislaus Vajda, for film-director Michael Curtiz in his 1924 Austrian  epic known as Die Sklavenkönigin (Queen of the Slaves). Honours
The locality of Rider, British Columbia, was named after him. <mask> Lane in Kessingland, Suffolk, is located at his former home.See also

 Jules Verne (1825–1905), like Boussenard, his French contemporary, also wrote of fantastic worlds, though some of these are considered to be more science fiction in some of his works than others. Journey to the Center of the Earth and The Mysterious Island are novels that are similar in structure to the novels of Boussenard and <mask>ard. <mask> Boussenard (1847–1911), French author of adventure novels, dubbed the French <mask>ggard during his lifetime. Pierre Benoit (1886–1962), French author whose novel L'Atlantide is similar to She. Emilio Salgari (1862–1911), Italian author of adventure novels and founder of the adventure genre in Italy. Alexandre Dumas, père (1802–1870), French author of historical novels of high adventure. <mask> (1863–1933), English author of adventure novels such as The Prisoner of Zenda.P. C. Wren (1875–1941), British writer of adventure fiction. He is remembered best for Beau Geste, a much-filmed book of 1924 involving the French Foreign Legion in North Africa, and its sequels, Beau Sabreur and Beau Ideal. Mythopoeia
 Theosophical fiction

References
Notes

Bibliography

 Klein, Darius M. Survivals and Origins in H<mask> <mask>'s She: A History of Adventure--A bibliography online source of bibliography

External links

 Works by H. R<mask>ard at Project Gutenberg Australia
 Works by H. R<mask> at One More Library
 The Mahatma and the Hare : a Dream Story illustrated by William Thomas <mask> (1911)
 Umslopogaas, She, & Allan Quatermain Full Series (1927)

 H. Rider Haggard's She, Escape, CBS radio, 1948
 H. Rider Haggard Quotation Collection
 The Books of H. Rider <mask>ggard: A Chronological Survey
 Rider Haggard Society

 In and Out of Africa : The Adventures of H. <mask>ard The Lilly Library, Bloomington, IN
 Camera Interviews - <mask> <mask>ard (1923), by Pathé
 Finding aid to H. <mask>ggard papers at Columbia University. Rare Book & Manuscript Library. 1856 births
1925 deaths
Fabulists
English fantasy writers
English historical novelists
Writers of historical fiction set in antiquity
Writers of historical fiction set in the Middle Ages
Writers of historical fiction set in the early modern period
Mythopoeic writers
Legion of Frontiersmen members
Knights Bachelor
Knights Commander of the Order of the British Empire
People educated at Ipswich School
People from Breckland District
Victorian novelists
19th-century British novelists
20th-century English novelists
19th-century British short story writers
People from Ditchingham
Writers of Gothic fiction
English male novelists

masks:
Sir Henry Rider Haggard
Henry Rider Haggard
. Rider Haggard
Rider Haggard
William Meybohm Rider Haggard
Hagg
Hagg
Henry Bulwer
Haggard
Hagg
Hagg
Hagg
Hagg
Rider Haggard
Hagg
Hagg
Hagg
Ha
Ha
Hagg
Hagg
Ha
Hagg
Sydney Higgins
Haggard
Haggard
Haggard
Haggard
Haggard
Stephen Haggard
Haggard
Daisy Haggard
Hilda
Hagg
. Howard
Hagg
Haggard
Rider Haggard
Hagg
Rider Haggard
Hagg
Haggard
Hagg
Hagg
Hagg
Rider Haggard
Helen Gahagan
Helen Mack
Ray Harryhausen
Hubert Carter
Herbert Brenon
Rider Haggard
Hagg
Louis Henri
Rider Ha
Anthony Hope
. Rider
Haggard
. Hagg
. Haggard
Horton
Ha
Rider Hagg
Sir Rider
Hagg
Rider Ha


texts:
<mask> (February 18, 1954 -November 14, 2006) was an American mountain climber, writer, and photographer. He was one of North America's most experienced mountain climbers, and successfully climbed many of the world's highest peaks. Along with his climbing partner, Christine Boskoff, he went missing in southwestern China sometime between November 11 and November 14, 2006. His body was found on a Ge'nyen Mountain on December 27, 2006, and was officially identified a day later. Biography

Early life and accomplishments
<mask> was born in North Carolina and grew up in Virginia, where he graduated from the University of Virginia with a degree in environmental science in 1975. He spent the next 12 years in Boulder, Colorado, before moving to Telluride, Colorado, in 1987 and settling in Norwood, Colorado, in 1992. In 1977 he gained fame after free soloing the Direct North Buttress route on Middle Cathedral Rock in Yosemite National Park, followed by the first free solo ascent of the Diamond on Colorado's Longs Peak in 1978.The route he chose, initially called the Integral Route, was renamed the Casual Route after <mask>'s bold climb. He became a member of the American Mountain Guides Association in 1986, and was a certified guide who taught courses and evaluated other students who wanted to become certified mountain guides. He often guided expeditions for Mountain Madness, an adventure travel company owned by Christine Boskoff. <mask> claimed to have been climbing mountains since 1968, having successfully climbed the 8,000 meter peaks of Mount Everest, Cho Oyu, and Shishapangma, as well as Aconcagua, one of the Seven Summits. He attempted to ascend K2, but had to turn back before reaching the summit due to poor conditions. In recent years, he explored unnamed peaks in Tibet and remote areas of China. In recognition of his climbing accomplishments, he was awarded the Robert and Miriam Underhill Award for outstanding mountaineering achievement by the American Alpine Club in 2004.Other career achievements
<mask>'s nature photographs and articles have been published in various books, magazines, journals, and catalogs, and he published three local climbing guidebooks. <mask> had the honor of appearing on the cover of Climbing Magazine on different occasions as both cover subject and cover photographer. He also worked as a guide and rigger for Ice Climb, a National Geographic film; participated in two American Adventure Productions films; appeared in several episodes of the Outdoor Life Network's High Country Climber series; and appeared in and helped film the award-winning John Catto documentary La Escoba de Dios. Along with his friend Damon Johnston, <mask> founded the publishing company Mountain World Media LLC in 2005. <mask> and Johnston also co-authored a guidebook to sandstone climbs in southwest Colorado titled The Wild Wild West. <mask> also started the Telluride Mountain Club and the Horizon Program. Additionally, he was a board member of Mountainfilm in Telluride for almost 10 years, and served on their Advisory Board.Disappearance and death
In October 2006, <mask> left the United States for China with his climbing partner, Christine Boskoff, for a two-month-long trip to attempt several peaks that had never been climbed. According to a post on <mask>'s website, it was his fifth trip to the region. Last known contacts
From the time of their departure until November 8, 2006, <mask> and Boskoff were in frequent contact with friends and other mountain climbers via email. One of Boskoff's final emails said that the pair would be "back in Internet contact in two weeks." On November 7, <mask> made his last known contact with the outside world in an email sent to Alpinist from Litang, China:

We're in the town of Litang for a few days, getting ready for one more trip into the hills. We just got back from attempting a peak I tried in '96 doing a film. Didn't make it that time due to complications with the film crew.This time the peak was a lot less icy (global warming?). We got near the top but backed off due to scary conditions --- thin snow over rock slabs. Had a blast climbing as far as we did though. Now off to one more different area to try a 6,000-meter peak and a smaller one, then traveling back doing the tourist thing. Search efforts
<mask> and Boskoff were officially declared missing when they were not present on a scheduled return flight to the United States booked for December 4. Search efforts by Chinese authorities and an independent search party retained by friends and mountaineers continued through most of December 2006. The two peaks <mask> referred to in his final email were unnamed, which initially complicated search and rescue efforts launched by local authorities in Litang.Furthermore, locals in Litang and Buddhist monks living at a monastery near the base of Mount Genyen told investigators they had not seen any foreigners in the area for the previous month. The authorities also found no evidence of the pair in the vicinities of other peaks they had talked about climbing in previous e-mails. But, on December 25 (about three weeks after the pair was declared missing), authorities began to make progress in the search when they discovered a local man who said he had driven <mask> and Boskoff to a remote town not far from the Tibetan border. According to the driver, <mask> and Boskoff said they planned to climb 6,204-meter (20,354-foot) Mount Genyen. They left their luggage with the man when he dropped them off on November 11, and said they would retrieve it when they returned on November 24, which they never did. With this new lead, the authorities began to focus their efforts on the slopes of Mount Genyen. Bodies found
On December 27, searchers found a body, mostly buried in snow, at the 5,300-meter level of Mount Genyen, though darkness prevented them from making an immediate identification.They returned on December 28 and confirmed that the body was <mask>'s. The initial investigation revealed that <mask> was likely killed in an avalanche. The body of Christine Boskoff was found and identified on July 8, 2007. It was to be retrieved from the mountain in August 2007 (when more favorable weather conditions were predicted for recovery team). Notable ascents
 1981 Pale Fire IV 5.12, Moses, Canyonlands National Park, Utah; FFA of North Face Route (Bjornstad, Beckey, Galvin, Nephew, Markov 1972) with Chip Chace, May 1981
 1982 In Search of Suds III 5.10+, Washer Woman Arch, Canyonlands National Park, Utah; FA with Glenn Randall, November 1982
 1988 The Promised Land (V 5.10+ A3+), Moses, Canyonlands National Park, Utah; FA with Sue Wint
 1992 East Face, La Catedral, Paine Group, Patagonia (VI 5.10 A4+ 1000m). FA of route (2nd of peak) with John Catto, Peter Gallagher and Max Kendall. Summit reached January 26, 1992.See also
 Christine Boskoff (climbing partner)
 Mountaineering
 Mount Genyen
 Forensic pathology
 Mountain Madness (Mountaineering company)

References

External links
 "<mask>: A Climber's Life" appreciation of <mask> at Climbing Magazine
 <mask>'s autobiographical statement at Mountain Madness
 "Rescuers Search for American Climbers Missing in China," The New York Times, 15 December 2006
 "Chinese official says survival hopes dim for missing U.S. climbers," The Associated Press, 19 December 2006
 "U.S. climbers in China missing 1 month," The Associated Press, 25 December 2006
 "Dead mountain climber is American photographer," The Associated Press, 28 December 2006
 Alpinist Magazine's article on <mask>'s disappearance
 Blog created for discussion on <mask>'s disappearance
 Mountainfilm in Telluride

1954 births
2006 deaths
People from North Carolina
People from Virginia
American mountain climbers
University of Virginia alumni
American summiters of Mount Everest
People from Telluride, Colorado

masks:
Charlie Fowler
Fowler
Fowler
Fowler
Fowler
Fowler
Fowler
Fowler
Fowler
Fowler
Fowler
Fowler
Fowler
Fowler
Fowler
Fowler
Fowler
Fowler
Fowler
Charlie Fowler
Fowler
Fowler
Fowler
Fowler


texts:
<mask> (born 1964) is an American multimedia artist based in Los Angeles. She primarily works in ceramics, drawing, painting, and printmaking. Biography
<mask> was born in 1964 in San Gabriel Valley after her parents came from Mexico. Gonzalez is descended from a family of artists, whose early work can be dated to 1877. At seven years old, Gonzalez received a painting set from her grandmother which started her interest in the arts. Gonzalez works was first presented to a public audience in 1988 at the First Annual Nuevo Chicano Los Angeles Art Exhibition at Plaza de la Raza. She did not develop her current art style of bright, vivid colors with Chicano influence until she worked at Self-Help Graphics & Art and experimented with printmaking.Gonzalez has lived as an artist-in-residence in Madrid, Spain, Ginza, Japan, Assisi, Italy, and part of the Ratkovitch Company's The Alhambra. At the age of twenty-nine the death of friend made her change the way she viewed the world and influenced her art. She returned to the U.S from Japan in 1993 where she worked on her series Metamorphosis I. She has lived in Alhambra, California for over 20 years, where her art residency and studio is also located for the past 10 years, called Ma Art Gallery. She has taught art for other organizations such as Inner City Arts, Para Los Niños, Plaza De La Raza, Crenshaw Christian Center, and MOCA. Gonzalez is a mother to five children and a grandmother to three. Education
Gonzalez attended San Gabriel Mission High School, where an art teacher first discovered her talents.Gonzalez was entered in an art contest by her art teacher and she placed 1st. At eighteen years old, Gonzalez attended the Art Center College of Design in Pasadena. Gonzalez got a scholarship to the college from winning a painting competition. Gonzalez has a BA in liberal studies. Artworks

Style and influence
Gonzalez is stylistically known for her incorporation of bright, vivid colors that are heavily influenced by her cultural background of being Chicana, as well as incorporating some inspiration from 20th century German expressionism. Her favorite mediums isacrylic on canvas. Gonzalez enjoys working with ceramics and wooden panels as well.In the 1990s Gonzalez experimented with a new darker, monochromatic style with her series Metamorphosis I that reflected her feeling and life at that time. Gonzalez enjoys traveling in order to find a form of influence and inspiration for her artwork. Gonzalez's experiences and the people she meets during her travels are reflected in her works. Commissioned work
Gonzalez has been commissioned by Para Los Niños, The White Memorial Medical Center, and Greyhound Lines Inc. to paint murals. Another commissioned work was for the Los Angeles Cultural Affairs calendar. Sueño de Familia/Dream of Family
This exhibit showcases a retrospective of artwork produced by Gonzalez and her family in the past 150 years. Family members' artwork included in the exhibit consists of Gonzalez’s mother, grandmother, grandfather, and her niece.Starting from the 1870s to now, artworks presented are drawings, paintings, ceramics, and printmaking. Gonzalez' series Sueños /Dreams (2000–Present), was included in the exhibit. Metamorphosis I & II
Metamorphosis shows a transition in style from bright vivid colors to an only monochromatic color palette. Metamorphosis I represents Gonzalez’s past life experiences to how the world is now. She started the series 1994-1997 after returning to the U.S. from her residency in Japan in 1993. Around that time she lost a close friend which caused a change in how she viewed her morality, spirituality, and how she approached making art. In 2020, Gonzalez worked on Metamorphosis II.Metamorphosis II reflects on Gonzalez’s loss of her mother and the impact of Covid-19. Metamorphosis I was influenced by Japanese styles and zen concepts. Metamorphosis II fuses Japanese styles with her Chicana background. Metamorphosis consists of 30 artworks for the series. Solo exhibitions
 Nov 17, 2015 - Feb 29, 2016, Faces of The Community, AARP
 Nov 14, 2020 - Jan 16, 2021 - Metamorphosis, Bermudez Projects

Group exhibitions
Nov 16, 2019 - March 15, 2020 - Sueño de Familia / Five Generations of Artists, Vincent Price Museum

Published works
 Gonzalez, Yolanda. <mask> Gonzalez: Metamorphosis . Art Works Fine Art Publishing, n.d. ISBN 9781732561274

Awards
Gonzalez received an award from the Los Angeles County Commission for Women's Thirty-third Annual Women of the Year Arts award in 2018.Two other awards are the KCET Unsung Hero Award/Latin Heritage Month and the Angel Award/Artist of the Year. Bibliography

 Alfaro, Luis, Tomas Benitez, Kristine Kim, and Leonard Simon. 1996. Finding family stories: Judy Chan, Charles Dickson, <mask> Gonzalez, Kori Newkirk, Miguel Angel Reyes, David Alan Yamamoto.The California State Senate Contemporary California Art Collection. United States: California State Senate, 2003. ART HOUR WITH AVENUE 50: Artist Talk with <mask> Gonzalez. YouTube.YouTube, 2021. https://www.youtube.com/watch?v=UyrA9QFHNgQ&ab_channel=Avenue50StudioInc. ArtQuench. “Velia La Garda Produces a Tribute to the Late-Great Lupe Ontiveros.” Be Inspired! ...and Get ArtQuenched!, October 25, 2013. https://artquenchmagazine.com/2013/10/23/velia-la-garda-produces-a-tribute-to-the-late-great-lupe-ontiveros/. Centeno, Jimmy. “The Millennial Practice in Yolanda Gonzalez's and YOLA's Ceramics.” Fabrik Magazine, January 16, 2018. https://fabrikmagazine.com/the-millennial-practice-in-yolanda-gonzalezs-and-yolas-ceramics/. Cigainero, Jake.“Celebrating a Partnership of Two West Coasts.” The New York Times. The New York Times, September 9, 2014. https://www.nytimes.com/2014/09/10/arts/international/mexican-american-street-art-from-los-angeles-comes-to-bordeaux.html. Davalos, Karen Mary. Chicana-o Remix: Art and Errata since the Sixties. New York: New York University press, 2017. “Gallery Exhibitions.” Gallery Exhibitions | Pacific Standard Time. http://www.pacificstandardtime.org/lala/en/gallery-exhibitions/index.html.The California State Senate Contemporary California Art Collection.the University of California, 2003. Discover Los Angeles. “The Best Is Yet to Come: Horse Art Pop-Up Celebrates the 2016 Breeders' Cup.” Discover Los Angeles, March 14, 2019. https://www.discoverlosangeles.com/things-to-do/the-best-is-yet-to-come-horse-art-pop-up-celebrates-the-2016-breeders-cup.Garcia, Sam. “Santa Fe Springs Art Fest 2019.” El Paisano, May 8, 2019. https://elpaisanoonline.com/news/2019/05/08/santa-fe-springs-art-fest-2019/. Interview with Yolanda Gonzalez. YouTube. YouTube, 2020. https://www.youtube.com/watch?v=ZbU_HcQ0x6c&ab_channel=Inner-CityArts.Latina Art & Culture | <mask> Gonzalez + More | Talks at Google. YouTube. YouTube, 2017. https://www.youtube.com/watch?v=vckNcYpZVCM&ab_channel=TalksatGoogle. Tompkins Rivera, Pilar, and Karen Mary Davalos. <mask> Gonzalez: Sueño De Familia / Dream of Family. Vincent Price Art Museum, 2019. ISBN 9780578574462
“VALLEY WEEKEND: Archetype of Nude Reveals New Meanings: <mask> Gonzalez Explores the Theme of Self-Examination in Her Painting Series, 'Metamorphosis.'.” Los Angeles Times. Los Angeles Times, December 14, 1995. https://www.latimes.com/archives/la-xpm-1995-12-14-ca-14129-story.html. Ventura. “Recycled Recollections.” Ventura County Star. Ventura, October 7, 2016. https://www.vcstar.com/story/entertainment/arts/2016/10/07/recycled-recollections/91134514/. <mask> <mask>. YouTube.YouTube, 2012. https://www.youtube.com/watch?v=WgavtH8P3o4&ab_channel=LAPlazadeCulturayArtes. References

External links

1964 births
Living people
20th-century American artists
21st-century American artists
20th-century American women artists
21st-century American women artists
American artists of Mexican descent
American ceramists
American women ceramists
American multimedia artists
American printmakers
American women printmakers
American women painters
Art Center College of Design alumni
Painters from California
People from Alhambra, California

masks:
Yolanda González
Yolanda Gonzalez
Yolanda
Yolanda
Yolanda
Yolanda
Yolanda
Yolanda
Yolanda
González