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<mask> (born June 29, 1987) is an American-Australian professional basketball player for the Waverley Falcons of the NBL1 South. He played college basketball for Benedict College before beginning a successful four-year stint with the Melbourne Tigers in 2009. He later played in the NBA Development League and the British Basketball League. Early life and high school
<mask> was born in Melbourne, Australia while his father, <mask>., was playing in the National Basketball League for the North Melbourne Giants. He is the grandson of the legendary Illinois Hall of Fame basketball coach <mask>., who coached the likes of LaPhonso Ellis, Cuonzo Martin and Darius Miles. Although born in Australia, <mask> was raised in Fort Wayne, Indiana and moved to East St. Louis, Illinois the beginning of his junior year in high school. As a junior at East St. Louis in 2003–04, <mask> led the team in free throw percentage (81.3) while only committing 10 turnovers and 14 fouls in 27 games for the Flyers, averaging 3.7 points and 1.2 rebounds per game.As a senior in 2004–05, <mask> averaged 10.5 points, 4.5 rebounds, 2.7 assists and 1.4 steals in 27 games for the Flyers. He had a season-best game against Cahokia, recording 23 points and 8 rebounds. For his performance at the Thanksgiving Holiday Tournament, he earned All-Tournament Team honors. College career
As a freshman at Benedict College in 2005–06, <mask> helped the Tigers go 22–7 on the season and helped them win the conference championship. They earned a spot in the NCAA Division II Tournament where they were knocked out in the first round. In 29 games (7 starts), he averaged 5.2 points and 2.0 rebounds in 12.5 minutes per game. As a sophomore in 2006–07, <mask> helped the Tigers go 25–5 on the season and helped them win the conference championship for a second straight year.They earned a spot in the NCAA Division II Tournament where they were again knocked out in the first round. In 30 games (3 starts), he averaged 6.6 points and 2.3 rebounds in 14.5 minutes per game. As a junior in 2007–08, <mask> earned second-team All-SIAC, Paine Classic Tournament MVP, and NCAA D2 South Region All-Tournament Team honors. He helped the Tigers go 28–5 on the season and helped them win the conference championship for a third straight year. The Tigers went on to win the SIAC Tournament and booked themselves a spot in the NCAA Division II Tournament, making their way through to the third round. In 32 games (14 starts), he averaged 11.3 points, 3.8 rebounds and 1.5 assists in 29.6 minutes per game. As a senior in 2008–09, <mask> helped the Tigers go 24–6 on the season and helped them earn conference runners-up honors.They also earned a spot in the NCAA Division II Tournament where they were knocked out in the first round for the third time in four years. In 30 games (16 starts), he averaged 11.3 points, 4.1 rebounds and 1.7 assists in 32.0 minutes per game. <mask> finished his career having played in 121 games with 1,051 career points. He also recorded 173 career three-pointer, 369 career rebounds, and 128 career assists. As a junior and senior, he earned All-SIAC Academic Team honors, while also earning NABC Academic Honor Roll honors as a senior. Professional career

Decatur Court Kings
After graduating from Benedict College, <mask> joined the Decatur Court Kings of the World Basketball Association (WBA). Over his three-month stint with the Kings, he led the team to the semi-finals and averaged over 20 points per game.He subsequently earned All-WBA First Team honors and was named the 2009 WBA Rookie of the Year. Melbourne Tigers
In September 2009, <mask> signed with the Melbourne Tigers as a development player for the 2009–10 NBL season. During the season, he shared court time with fellow rookie Ryan Bathie. He appeared in 13 games for the Tigers in 2009–10, averaging 1.4 points per game. Following the conclusion of the NBL season, <mask> joined the Tigers' junior affiliate team in the Big V. In 20 games for the junior squad during the 2010 Big V season, he averaged 20.9 points, 7.0 rebounds, 1.9 assists, 1.2 steals and 1.1 blocks per game. On April 8, 2010, <mask> signed with the Melbourne Tigers on a full-time contract. He appeared in all 28 games for the Tigers in 2010–11, averaging a serviceable 4.3 points and 1.2 rebounds per game.He again played for the Tigers' junior squad during the 2011 Big V season, averaging 17.2 points, 7.0 rebounds, 1.7 assists, 1.3 steals and 1.3 blocks in 18 games. <mask> returned to the Melbourne Tigers for the 2011–12 NBL season, and averaged 3.1 points in 26 games. For the 2012 Big V season, he joined the Waverley Falcons and attempted to guide the team to a third-straight championship. He was unsuccessful in doing so, but still had a solid season for the Falcons as he averaged 16.0 points, 6.5 rebounds, 2.1 assists, 1.2 steals and 2.1 blocks in 20 games. <mask> continued on with the Tigers during the 2012–13 NBL season, and on December 22, he won the 2012 All-Star Slam Dunk Competition. In 27 games for the Tigers in 2012–13, he averaged 3.7 points and 1.0 rebounds per game. Perth Redbacks
On April 4, 2013, <mask> signed with the Perth Redbacks for the rest of the 2013 State Basketball League season.In 25 games for the Redbacks, he averaged 22.9 points, 6.4 rebounds, 4.1 assists and 1.2 steals per game. Fort Wayne Mad Ants and Geraldton Buccaneers
On December 5, 2013, <mask> was acquired by the Fort Wayne Mad Ants of the NBA Development League. He made his debut for the Mad Ants two days later, scoring nine points in 21 minutes off the bench against the Sioux Falls Skyforce. On December 15, he scored a season-high 19 points in the Mad Ants' 108–100 win over the Delaware 87ers. On February 17, 2014, he was waived by the Mad Ants. In 11 games for Fort Wayne in 2013–14, he averaged 7.4 points, 1.5 rebounds and 1.4 assists per game. Following his release from the Mad Ants, <mask> returned to Western Australia and joined the Geraldton Buccaneers for the 2014 State Basketball League season.He made his debut for the Buccaneers in the team's season opener, and went on to lead his team to the minor premiership with a 19–7 record. The Buccaneers reached the SBL Grand Final, where they lost to the East Perth Eagles. <mask> appeared in all 31 games for the Buccaneers in 2014, averaging 26.0 points, 4.7 rebounds and 2.9 assists per game. In October 2014, <mask> participated in Mad Ants' try-outs and earned himself a spot on the 2014–15 season roster. However, his second stint with the team lasted just three games, as he was waived by the Mad Ants on November 28. <mask> subsequently returned to Geraldton and re-joined the Buccaneers for the 2015 season. He was selected to play in the 2015 SBL All-Star Game for the North Stars, scoring a team-high 19 points in a 143–135 loss to the South Stars.The Buccs finished in second place in 2015 with a 20–6 record, but were knocked out in the quarter-finals by the Goldfields Giants. <mask> earned SBL All-Star Five honors, and in 28 games on the season, he averaged 29.3 points, 5.7 rebounds and 4.0 assists per game. Plymouth Raiders
On May 8, 2015, <mask> signed with the Plymouth Raiders for the 2015–16 British Basketball League season. He played in the Raiders' first two games of the season before travelling to Fort Wayne in mid-October to try out for the Mad Ants again. Upon completing the try-outs, he returned to Plymouth after missing two straight games. He appeared in Plymouth's October 30 match-up against the Leicester Riders before departing the team for good and joining the Mad Ants on November 2 for the start of training camp. However, he was waived by the Mad Ants on November 11 prior to the start of the regular season.Frankston Blues
On December 10, 2015, <mask> signed with the Frankston Blues for the 2016 SEABL season. He made his debut for the Blues in the team's season opener on April 3, scoring 15 points in 38 minutes of action as a starter in an 81–76 win over the Albury Wodonga Bandits. In the team's second game of the season on April 9, he recorded team highs of 24 points and 9 rebounds in an 84–72 loss to the Kilsyth Cobras. On April 29, <mask> scored a game-high 20 points in an 85–55 loss to the Hobart Chargers. On June 18, he scored a season-high 29 points in a 92–88 win over the Bandits. On June 26, he set a new season high with 31 points in an 81–75 loss to the Chargers. He surpassed that mark on July 10, scoring 35 points on 15-of-26 shooting from the field (with only one made three-pointer) in a 108–97 loss to the Ballarat Miners.The Blues finished last out of eight teams in the SEABL South Conference (third last overall) with a 6–18 record. <mask> appeared in all 24 games for the Blues, averaging 19.9 points, 4.7 rebounds and 2.9 assists per game. Melbourne United
On October 7, 2016, <mask> joined Melbourne United as a short-term injury replacement for David Barlow. He made his debut for United on November 4, missing his only three-point attempt in just under three minutes off the bench in a 98–92 loss to the New Zealand Breakers. Two days later, he recorded three points, one rebound, one assist and one steal in just under seven minutes off the bench in an 82–73 loss to the Illawarra Hawks. With Barlow's return to the squad in mid-November, <mask> was removed from United's active roster. On January 12, 2017, he was elevated to the active roster following a number of injuries to key players.That night, he scored three points in five minutes against the Adelaide 36ers. Return to Frankston
On February 6, 2017, <mask> re-signed with the Frankston Blues on a two-year deal. In Frankston's season opener on March 25, 2017, <mask> scored 16 points in a 77–67 loss to the Kilsyth Cobras. On April 29, he scored a season-high 25 points in an 87–84 win over the NW Tasmania Thunder. On July 14, he set a new season high with 28 points in a 102–95 overtime win over the Bendigo Braves. The Blues finished last out of seven teams in the SEABL South Conference with a 7–17 record. <mask> appeared in all 24 games for the Blues, averaging 15.6 points, 4.4 rebounds and 3.4 assists per game.In Frankston's 2018 season opener on April 7, <mask> played all 40 minutes and scored a game-high 29 points in an 82–72 loss to the Albury Wodonga Bandits. On June 30, he recorded 21 points and 14 rebounds off the bench in a 101–75 win over the Bandits. The Blues finished the season second from the bottom with a 4–16 record. In 18 games, <mask> averaged 18.9 points, 7.1 rebounds and 2.9 assists per game. Return to Waverley
On December 20, 2018, <mask> signed with the Waverley Falcons of the newly-established NBL1 competition for the 2019 season, returning to the team for a second stint. In 20 games, he averaged 15.2 points, 5.0 rebounds, 3.5 assists and 1.6 steals per game. On October 29, 2019, <mask> re-signed with the Falcons on a two-year deal.However, he did not play in 2020 after the NBL1 season was cancelled due to the COVID-19 pandemic. He renewed his two-year contract with the Falcons in March 2021 ahead of the NBL1 South season. Personal
<mask>' father, <mask> Jr., played 10 seasons in the NBL between 1981 and 1990. References

External links

High school and college bio
NBA D-League profile
BBL stats

1987 births
Living people
American expatriate basketball people in Australia
American expatriate basketball people in the United Kingdom
American men's basketball players
Basketball players from Fort Wayne, Indiana
Benedict Tigers men's basketball players
Fort Wayne Mad Ants players
Melbourne Tigers players
Melbourne United players
Shooting guards
Small forwards
Basketball players from Melbourne

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Bennie Lewis III
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Bennie Lewis Sr
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<mask> (; -ghee; born March 12, 1936) is an American physician and epidemiologist who is credited with "devising the global strategy that led to the eradication of smallpox in the late 1970s". From May 1977 to 1983, Foege served as the Director of the Centers for Disease Control and Prevention. Foege also "played a central role" in efforts that greatly increased immunization rates in developing countries in the 1980s. In June 2011, he authored House on Fire: The Fight to Eradicate Smallpox, a book on modern science, medicine, and public health over the smallpox disease. On September 23, 2020, he sent a private letter to Centers for Disease Control and Prevention Director Robert R. Redfield urging him to acknowledge in writing that the CDC had responded poorly to COVID-19 and to set a new course for how CDC would lead the United States' response, calling the White House's approach "disastrous." Early life
Foege was born March 12 1936 in Decorah, Iowa. He was the third of six children born to <mask>. Foege, a Lutheran minister, and Anne Erika Foege.The family lived in Eldorado, Iowa in Fayette County, starting in 1936 and moved to Chewelah, Washington, in 1945. In his younger days he was inspired by the life of his uncle, a Lutheran missionary to New Guinea. He became interested in science at age 13 when working at a pharmacy, and read extensively about the world (e.g., Albert Schweitzer's work in Africa) while in a body cast for several months at age 15. When a teenager he expressed a desire to practice medicine in Africa. Education
Foege received a B.A. from Pacific Lutheran University in 1957. He attended medical school at the University of Washington, where he became interested in public health while working "after school and on Saturdays" at the Seattle–King County Health Department.After receiving his M.D. in 1961, he completed an internship with the United States Public Health Service hospital at Staten Island in 1961–1962. He participated in the Epidemic Intelligence Service (EIS) of the Centers for Disease Control and Prevention (CDC) between 1962 and 1964, assigned to Colorado. When Foege was with the EIS, he was inspired by Alexander Langmuir to pursue global health, and spent a short time with the Peace Corps in India under Charles Snead Houston. Upon reading a lecture on priorities in public health by Thomas Huckle Weller, Foege entered the Master of Public Health program at the Harvard School of Public Health where he studied with Weller. He received his M.P.H. in 1965.Smallpox eradication
While working for the Centers for Disease Control in Africa as Chief of the Smallpox Eradication Program, <mask> developed the highly successful surveillance and “ring vaccination” strategy to contain smallpox spread. This greatly reduced the number of vaccinations needed, ensuring that the limited resources available sufficed to make smallpox the first infectious disease to be eradicated in human history. For his efforts to eradicate smallpox, Foege was the co-winner of the 2020 Future of Life Award along with Viktor Zhdanov. "We're all indebted to <mask> and Viktor Zhdanov for their critical contributions to the eradication of smallpox, which demonstrated the immense value of science and international collaboration for fighting disease", said António Guterres, Secretary General, United Nations. Dr. <mask> who wrote an article about "Smallpox was one of the worst diseases to ever befall the human race, and its eradication is one of the greatest achievements of humanity. <mask> and Viktor Zhdanov should be celebrated for their contributions, and should inspire us today to take effective action to tackle the world's most pressing problems." In consideration of the achievements of Zhdanov and Foege, Bill Gates added, "They (Viktor and Bill) are phenomenal examples of what it means to harness science for global health”

Career
Foege's research includes child survival and development, injury prevention, population, preventive medicine, and public health leadership—particularly in the developing world.He is a strong proponent of disease eradication and control and has taken an active role in the eradication of Guinea Worm Disease, polio and measles, and the elimination of river blindness. In May 1977, he became the director of the Centers for Disease Control and Prevention, and served until 1983. Directorship aside, he has also held various positions during his career:

President, co-founder, The Task Force for Global Health, 1984-1999
Senior Fellow, Global Health Program, Bill & Melinda Gates Foundation
Advisory Board Member, Emory University Global Health Institute
Professor Emeritus, Rollins School of Public Health
Health Policy Fellow, The Carter Center, 1986–present
Executive Director, The Carter Center,  1986–1992
Advisory Medical Board Member, Theranos

Personal life
He is noted for his height of . Foege and his wife Paula had three sons, the eldest of whom died in 2007. He has been described as a "religious man"; between 1997 and 2006 he served on the Board of Regents of Pacific Lutheran University. Awards and honors
Abraham Lilienfeld Award, American College of Epidemiology, 1990
Fries Prize for Improving Health, James F. and Sarah T. Fries Foundation (formerly known as the Healthtrac Foundation), 1992
Sedgwick Memorial Medal, American Public Health Association, 1993
 Frank A. Calderone Prize, Columbia Mailman School of Public Health, 1996
Honorary Doctor of Science, Harvard University, 1997
Honorary Fellow, London School of Hygiene & Tropical Medicine, 1997–present
Honorary Doctor of Humane Letters, Pacific Lutheran University, 2000
Wittenberg Award, The Luther Institute, 2001
Mary Woodard Lasker Award for Public Service, 2001
C.-E. A. Winslow Medal, Yale University, 2004
Thomas Francis, Jr. Medal in Global Public Health, University of Michigan, 2005
Public Welfare Medal, United States National Academy of Sciences, 2005
Honorary Doctor of Medical Sciences, Yale University, 2005
Albert B. Sabin Gold Medal, Sabin Vaccine Institute, 2006
 Julius B. Richmond Award, Harvard School of Public Health, 2006
The William H. Foege building, named in his honor and dedicated in 2006, houses the University of Washington School of Medicine's Departments of Bioengineering and Genome Sciences. Jimmy and Rosalynn Carter Award for Humanitarian Contributions to the Health of Humankind, National Foundation for Infectious Diseases, 2007
Chosen as one of "America's Best Leaders" by U.S. News & World Report, 2007
Raymond and Beverly Sackler Award for Sustained National Leadership, Research!America, 2008
CDC Foundation Hero Award, 2009
Ivan Allen Jr. Prize for Social Courage, Ivan Allen College of Liberal Arts at the Georgia Institute of Technology, 2012
Presidential Medal of Freedom, 2012
Richard and Barbara Hansen Leadership Award, University of Iowa College of Public Health, 2014
2020 Future of Life Award (Smallpox Eradication)

Selected publications

Books and book chapters

Foege WH."Foreword." In:

Journal articles

References

External links
<mask> Oral History (interview by Victoria Harden, July 13, 2006; part of the Global Health Chronicles site). 1936 births
American epidemiologists
Smallpox eradication
Living people
University of Washington School of Medicine alumni
Pacific Lutheran University alumni
Harvard School of Public Health alumni
People from Decorah, Iowa
Vaccinologists
Theranos people
Presidential Medal of Freedom recipients
Directors of the Centers for Disease Control and Prevention
Carter administration personnel
Reagan administration personnel

masks:
William Herbert Foege
William A
Bill Foege
Bill Foege
William MacAskill
Bill Foege
Bill Foege


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<mask> (Guf-fogg; born August 12, 1962) is an American artist associated with the abstract art movement. He has worked in the media of painting, drawing, and sculpture. Guffogg lives and works between Los Angeles and Strathmore, California. Early life and education
<mask> was born in Los Angeles on the 12th of August 1962. At the age of four, he and his family moved to Lindsay, a small farming town in the San Joaquin Valley. In 1975, his family moved to Strathmore, the neighboring town, because they bought an exotic bird farm. He worked on the farm during his teen years.In the late 1970s Guffogg realized his passion for art and convinced his parents to let him build a studio on the farm. After graduating high school in 1980, Guffogg traveled around Europe visiting various art museums for two months. That fall, he began studying art in a local community college in the Tulare County area. In fall of 1983, he entered the fine arts program at California Institute of the Arts, also known as “Cal Arts.”  Attending Cal Arts was a recommendation by artist, Joe Goode after Guffogg visited his studio earlier that year. Douglas Huebler became Guffogg's mentor at Cal Arts because of his influence in the conceptual art movement. He received his B.F.A. from Cal Arts in 1985.He was an assistant to Ed Ruscha and Joe Goode from 1989 until 1995. Work
Guffogg's works consist of mediums such as oils on canvas or paper, watercolors, gouache, pastels on paper, and traditional etchings on zinc plates. The size of Guffogg's pieces can range anywhere between 10” x 8” to 10’ x 8’. The paintings with oils typically have as many as 60 to 70 layers of translucent colors. These colors are mixed with a glazing medium that gives these works an illuminated look. This particular process of layering is customary of the Masters and shows how Guffogg's work is rooted in ways of historical European painting techniques. After visiting the work of the Master's in person during his European travels, Guffogg came to the realization that art is a language in itself as it can explain certain things words cannot.As a result, his works can be thought to be its own language of signs and symbols through its patterns, visual depth and light; which can, in turn, emit emotion to the viewer and hints to Quantum Physics and Super String Theory. Early Influences
Guffogg's attraction to art began at an early age. In the late 1960s his mother would take him to the library to check out books. Many of these books were art books with pictures of the art created by the masters, Da Vinci, Rembrandt, and Van Gogh. He saw their works as magic and wanted to be a part of that. From then on he was always drawing or painting. Guffogg said, “I would look at a tube [of paint] and smell it and dab a little bit on my fingers and wonder how artists could take this substance and make it into a work of art.I thought it was like alchemy, like magic. So I always wanted to be a magician in that regard.”

His fascination with the masters and art only continued as he flew to Europe the day after he graduated high school to finally see the works he had admired in person. He visited the National Gallery in London and was inspired to create a self-portrait of himself in Rembrandt's style after seeing Rembrandt's portrait. However, it was not until he saw “The Last Supper” in Milan where he knew he would be an artist. After that summer, Guffogg enrolled in Porterville College where he put all his focus on painting and studied art history. He felt that it was important to study art history because he felt that it was essential to understanding the art world if one wanted to be a part of it. He looked at it as if it were a conversation that had gone on for years and in order to be fully immersed in it, he must understand how the dialogue began.At the same time, he was curious about Einstein's theory of relativity and space. After studying at CalArts he returned to Strathmore to live with his family and began painting fruit at the family's farm. This homecoming changed his thoughts of how he could contribute to the dialogue of the masters. Guffogg explained, “I began wondering what thoughts look like before we attach language to them. I was also wanting to make paintings that hover between abstraction and realism – between what we see and what we sense.”

New York City
In 1985, he was chosen by Huebler and other faculty members at CalArts to attend an internship in New York where he could work at a gallery, museum, or as an artist assistant. Guffogg chose to work alongside New York artist, Gary Stephan. The internship lasted around six months, Guffogg chose to focus on learning and watching Stephan work and chose to make no artwork during this time.Pharmaka
In 2003, Guffogg began meeting weekly with fellow artists John Scane and Vonn Sumner, and art dealer, Adam Gross, discussing art and the LA art scene. Guffogg created a manifesto for the group that explained the ideas discussed within the group. The manifesto became a constitution which would be called Pharmaka. The name Pharmaka was utilized after their dialogue became public when they opened it up through three exhibitions in Downtown Los Angeles, Hollywood, and Los Feliz. The Pharmaka non-profit gallery space opened in Downtown Los Angeles in 2004 and stayed until 2009. This space was used for different exhibitions and to continue to open up the dialogue of the current state of contemporary art for artists and curators. Guffogg's involvement in Pharmaka allowed him to become a pillar in the arts community.During this period, Guffogg lectured at the Savannah College of Art and Design (SCAD), Pharmaka, and the Orange County's Art Crowd. Additionally, he curated numerous exhibitions and had a strong voice in the Los Angeles art community. As a result, he was given a position on the board of the downtown neighborhood council to represent art, culture, and education. He also became a chair for the Downtown Arts Committee. Pattern Paintings
Guffogg began creating his pattern paintings in the 90's. These works are created through 70 to 80 layers of translucent oil paint on canvas in order for the pieces to display illumination from within. What is different about the pattern paintings is that Guffogg paints a pattern over his usual pattern found in other works.The patterns are painted lightly and look as if a painted lace was draped over <mask>'s work. He creates the patterns seen in these works by starting at the left-hand corner and working his way across the canvas. This method of applying the pattern to the painting shows Guffogg's attention to conscious and subconscious perceptions and his fascination with the way the human psyche operates. As a result, the viewer can see dancing light within the work veiled by a lace-like pattern. At the Still Point of the Turning World

<mask> began his At the Still Point series in 2009. The series was inspired and its name was taken from T.S. Eliot's poem, ‘Burnt Norton (No.1 of Four Quartets).’  He first read the poem, years previous to the series’ creation, however, he returned to it because Guffogg feels that the poem addresses his concerns about the art world and the world of painting in the 21st century. Guffogg stated, “for me this is a continuous conversation between past and present, and about creating movement out of stillness in order to make the abstract real.” Although most works in the abstract movement are about flattening of pictorial space and denying the Renaissance window, in this series Guffogg's goal was to create it. The movement of light through the ribbons in the series documents his own physicality through brushstrokes seen within the paintings. The ribbons create a web through each movement of the brush as each movement requires a counter movement so balance occurs within the piece. As a result, it makes the viewer think the web consists of a single line. He was also inspired by William Turner's seascapes that were made from 1835 to 1846, Mark Rothko's last works on paper, pieces by Rembrandt, and Jasper John's early ‘Alphabet’ paintings. Guffogg sees this series as a conversation with the artists that inspired him.Ginevra de Benci
Guffogg's Ginevra de Benci series of paintings are inspired by Leonardo da Vinci's "Ginevra de Benci” painting. The series was created following Guffogg's “At the Still Point Series” and is thought of as an evolution of that series. The portrait by Leonardo da Vinci is on display at the National Gallery of Art in Washington D.C. The series by Guffogg consists of fifty-two oil on canvas pieces that are meant to symbolize a conversation between Guffogg and Da Vinci. Each painting in the series is titled Ginevra de Benci then numbered. The series appeared in Guffogg's 2013 exhibition, titled, “The Annunciation of Ginevra de’Benci: Conversations with Leonardo.”

The series displays Guffogg's illuminated ribbon motif created in combination with oil paint and resin. The combination of these two materials gives these paintings bursts of light.The tangled ribbons give hints at Leonardo's portrait of de Benci and feminine shape. One can see how Guffogg utilizes abstraction and string theory, modern mathematical and scientific tools, and how Da Vinci utilized classicism and science and math of his time within his work. Lumen Lapsis
"Lumen Lapsis" series consists of pastels on paper. In Latin, “lumen lapsis” means, “light falling”. This name is meant to capture the use of light, which is always present in Guffogg's artwork. Additionally, these works utilize light to display the cascading colors of the medium. Lumen Lapsis is also meant to display “thought and process”, working simultaneously, as Guffogg is able to manifest these pieces over one sitting, completing a dialogue with each work.While creating, Guffogg believes he is able to truly connect with each pastel, unlike oils, that need to be worked over a number of sessions, and take time to dry,  pastels allow him to create dimensional layers, as there is no drying time and it allows him to create a “pure moment.”

Murano Glass

“The Fifth Sound” is the name of Guffogg's Murano glass pieces. The inspiration that would later create this series came to Guffogg in 1997. He began drawing the negative space between the ribbons found in his oil paintings. Then Guffogg would fold the paper with the drawing of negative space in half then cut out the shape would appear as a mirrored image. These shapes created from negative space in his paintings spurred the idea of creating sculptures and would later become templates for the Murano glass series, “The Fifth Sound.”

In 2004, Guffogg was approached by a Venetian art dealer that was looking to have a California artist collaborate with a Murano glass master. He then pursued this opportunity and went to Venice. There, he learned the history of Murano glassmaking.He collaborated with the glass master to display this negative space found with in his oil paintings in a three- dimensional sculpture form. Guffogg and the glass master proceeded with this, and “The Fifth Sound” Murano glass series came to fruition. Guffogg sees these pieces as extensions of his two-dimensional work. These pieces are hand blown and then sanded down so they appear more opaque. Some pieces in the series are also mirror coated as well. Sapere Aude
Sapere Aude is a series that Guffogg began in 2016. Like many of his series, this one is also based on the movement of light.Guffogg uses his signature ribbon motif through oils on canvas in flesh tones. The series’ name Sapere Aude means “Dare to Know” in latin. The flesh tones are used to depict the human form and its constant evolution through life and society. Through these works he strives to make his viewer question the themselves, people, surroundings and unknown to find virtue. A Rose is a Rose is a Rose

In 2019, <mask>g began the series, A Rose is a Rose is a Rose. This series was inspired by Gertrude Stein and his ranch in Central California. The name of this series comes from a line in Gertrude Stein’s 1913 poem, “Sacred Emily.” He was also inspired by a lecture she spoke at Oxford University where she shared that the word “rose” has three meanings: a person’s name, a flower, and a concept.He also found inspiration from his blooming orchard at his ranch is Central California. There he has planted over 100 different fruit trees and of course roses as well. While up at his ranch, he starts each day tending to this orchard and then begins to paint. The evolution of these plants, blossoming and bearing delicious fruits sparked inspiration for this series. These pieces depict a delicacy of a rose in a silent, abstract form. He utilizes oils on canvas to depict these dreamy shapes and swirl of a rose in an abstract way. They enamor the viewer as Guffogg demonstrates the evolution of a blossoming rose in these works.Collections

 Hammer Museum, Los Angeles, CA
 Nasher Museum of Art at Duke University, Durham, NC
 Fresno Art Museum, Fresno, CA
 Fundación Jumex, Mexico City
 Laguna Art Museum, Laguna Beach, CA
 Long Beach Museum of Art, Long Beach, CA
 St. Patrick's Cathedral, New York, NY
 Van Pelt-Dietrich Library, University of Pennsylvania, Philadelphia, PA
 Frederick R. Weisman Art Foundation, Los Angeles, CA

Art Market
Guffogg's Amor Fati #1, 2013 sold under the "best sales" category at the Beach Cannes Auction in August 2016 for €148,100. In June 2017, Guffogg's As of Today #3, 2011 oil on canvas (60” x 80”) was sold for a record high price of $285,000 at Paris auction house, Cornette de Saint CYR. Ginevra de Benci #24, completed in 2012, oil on canvas 80 x 100 inches, sold for

€257,000 ($311,516), at an auction in October 2017 at Cornette de Saint CYR, Paris, France “Art Contemporain” auction in Paris. At the Still Point of the Turning World - Inhabit the Garden, completed in 2019 is an oil on canvas, 78 x 96 inches, SOLD at Cannes Encheres auction (France) for $224,000.00 USD on July 19, 2019

On August 2, 2020, Guffogg's Hommage à Klien (At the Still Point of the Turning World - Behind Us Reflected in the Pool) 2017, oil on canvas, 60 x 48 inches, SOLD at Vermot & Associes Auction in France for $136,000.00 USD (115,000.00 EURO). Publications

 Thoughts and Conversations with <mask> Guffogg 2017-2019 by Victoria Chapman

References

External links
Official Website: https://www.shaneguffogg.com

American painters
Art in Greater Los Angeles
American male painters
American sculptors
21st-century artists
21st-century American painters
20th-century artists
20th-century American artists
California Institute of the Arts alumni
Male painters
Pastel artists
American abstract artists
American contemporary painters
1962 births
Living people

masks:
Shane Guffogg
Guffogg
Guffogg
Guffogg
Shane Guffog
Shane


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<mask> (June 17, 1922 – March 9, 2011) was an American ceramic artist, painter, sculptor, and educator who was known for her rounded, closed forms that viewed ceramics as a fine art and more than a functional vessel. She is of Japanese descent and from Pepeeko, Hawaii. Early life and education
<mask> was born to Japanese immigrant parents in Pepeekeo, Hawaii, on 17 June 1922. She moved to Honolulu in 1940, where she worked at the Hawaii Potter's Guild creating identical pieces from press molds. While she hated creating hundreds of identical pieces, she appreciated that she could practice glazing. Takaezu attended Saturday classes at the Honolulu Museum of Art School (1947 to 1949) and attended the University of Hawaii (1948, and 1951) where she studied under Claude Horan. From 1951 to 1954, she continued her studies at Cranbrook Academy of Art in Bloomfield Hills, Michigan (1951), where she met Finnish ceramist Maija Grotell, who became her mentor.Takaezu earned an award after her first year of study, which acknowledged her as an outstanding student in the clay department. Career
In 1955, Takaezu traveled to Japan, where she studied Zen Buddhism, tea ceremony, and the techniques of traditional Japanese pottery, which influenced her work. While studying in Japan, she worked with Kaneshige Toyo and visited Shoji Hamada, both influential Japanese potters. She taught at several universities and art schools: Cranbrook Academy of Art, Bloomfield Hills, Michigan; University of Wisconsin, Madison, Wisconsin; Cleveland Institute of Art, Cleveland, Ohio (10 years); Honolulu Academy of Art, Honolulu, Hawaii; and Princeton University, Princeton, New Jersey (1967–1992), where she was awarded an honorary doctorate. She retired in 1992 to become a studio artist, living and working in the Quakertown section of Franklin Township, Hunterdon County, New Jersey, about 30 miles northwest of Princeton. In addition to her studio in New Jersey, she made many of her larger sculptures at Skidmore College in Saratoga Springs, New York. Takaezu made functional wheel-thrown vessels early in her career.Later she switched to abstract sculptures with freely applied poured and painted glazes. In the early 1970s, when she didn't have access to a kiln, she painted on canvas. Work
Takaezu treated life with a sense of wholesomeness and oneness with nature; everything she did was to improve and discover herself. She believed that ceramics involved self-revelation, once commenting, "In my life I see no difference between making pots, cooking and growing vegetables... there is need for me to work in clay... it gives me answers for my life." When she developed her signature “closed form” after sealing her pots, she found her identity as an artist. The ceramic forms resembled human hearts and torsos, closed cylindrical forms, and huge spheres she called “moons.” Before closing the forms, she dropped a bead of clay wrapped in paper inside, so that the pieces would rattle when moved. She was once asked by Chobyo Yara what the most important part of her ceramic pieces is.She replied that, it is the hollow space of air within, because it cannot be seen but is still part of the pot. She relates this to the idea that what's inside a person is the most important. Death and legacy
Takaezu died on March 9, 2011 in Honolulu, following a stroke she suffered in May 2010. The Toshiko Takaezu Foundation was established in 2015, to support the legacy of the artist <mask> Takaezu. Exhibitions

 1955: University of Wisconsin, Madison, Wisconsin
 1959, 1961: Cleveland Institute of Art, Cleveland, Ohio
 1961: Peabody College for Teachers, Nashville, Tennessee
 1965: Gallery 100, Princeton, New Jersey
 1971: Lewis and Clark College, Portland, Oregon
 1975, 1985: Florida Junior College, Jacksonville, Florida
 1987: Hale Pulamamau, Kuakini Hospital, Honolulu, Hawaii
 1989: Montclair Art Museum, Montclair, New Jersey
 1989: University of Bridgeport, Bridgeport, Connecticut
 2006: Hunterdon Art Museum, Clinton, New Jersey

She has also been in several group exhibitions throughout the United States and internationally in countries including Belgium, Czechoslovakia, Japan, and Switzerland. Honors and awards
Takaezu won many honors and awards for her work:
 1952: McInerny Foundation grant
 1964: Tiffany Foundation grant
 1980: National Endowment for the Arts fellowship
 1983: Dickinson College Arts Award
 1987: Living Treasure Award (Honolulu, HI)

Collections
Takaezu's work may be found in private and corporate permanent collections, as well as several public collections across the United States:

Takaezu's work may also be found in the National Museum in Bangkok, Thailand. Notes

Further reading
 Clarke, Joan and Diane Dods, Artists/Hawaii, Honolulu, University of Hawaii Press, 1996, 98-103.Department of Education, State of Hawaii, Artists of Hawaii, Honolulu, Department of Education, State of Hawaii, 1985, pp. 55–60. Haar, Francis and Murray Turnbull, Artists of Hawaii, Volume Two, University of Hawaii Press, Honolulu, Hawaii, 1977, 79–84. Nemmers, Peyton, Steuber. "In Memory of <mask> Takaezu: Artist, Mentor, Friend"  Ceramic Arts and Technical, vol 87. 2012. Honolulu Academy of Arts, <mask> Takaezu, Honolulu, HI, Honolulu Academy of Arts, 1993.Honolulu Museum of Art, Spalding House Self-guided Tour, Sculpture Garden, 2014, pp. 5 & 18
 International Art Society of Hawai'i, Kuilima Kākou, Hawai’i-Japan Joint Exhibition, Honolulu, International Art Society of Hawai'i, 2004, p. 45
 Morse, Marcia, Legacy: Facets of Island Modernism, Honolulu, Honolulu Academy of Arts, 2001, , pp. 24, 82-87
 Morse, Marcia and Allison Wong, 10 Years: The Contemporary Museum at First Hawaiian Center, The Contemporary Museum, Honolulu, 2006, , p. 111
 <mask>, <mask>, Portfolio in Bamboo Ridge: Journal of Hawai'i Literature and Arts, Spring, 1996, 26–30. <mask>, <mask>, <mask> Takaezu, Four decades, Montclair, N.J., Montclair Art Museum, 1989. Woolfolk, Ann, "<mask> Takaezu," Princeton Alumni Weekly, Vol. 83(5), 6 October 1982, pp. 31–33.Yake, J. Stanley, <mask> Takaezu, The earth in bloom, Albany, NY, MEAM Pub. Co., 2005. Yoshihara, Lisa A., Collective Visions, 1967-1997, Hawaii State Foundation on Culture and the Arts, Honolulu, Hawaii, 1997, 61. External links
 Toshiko Takaezu Foundation
Toshiko Takaezu group on Facebook
 Essay about Takaezu by Tony Ferguson
 Grounds for Sculpture
 Chautauqua Institution
 ArtCyclopedia
 Public television documentary featuring <mask> Takaezu, 1993
 Oral history interview with <mask> Takaezu, 2003 June 16, Archives of American Art, Smithsonian Institution

1922 births
2011 deaths
20th-century American women artists
American artists of Japanese descent
American potters
American women ceramists
American women painters
Ceramists from Hawaii
Cleveland Institute of Art faculty
Cranbrook Academy of Art alumni
Modern sculptors
People from Franklin Township, Hunterdon County, New Jersey
People from Hawaii (island)
Princeton University faculty
University of Hawaiʻi alumni
Women potters
Painters from Hawaii
20th-century American painters
20th-century American sculptors
Sculptors from Hawaii
American women academics
21st-century American women

masks:
Toshiko Takaezu
Takaezu
Toshiko
Toshiko
Toshiko
Takaezu
Toshiko
Takaezu
Toshiko
Toshiko
Toshiko
Toshiko
Toshiko
Toshiko


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<mask> (born 1950) is a 20th-century American photographer and artist, writer, and educator. She is particularly noted for her imagery and scholarship on queer desire and politics, as well as on the ideologies of American landscape photography. Her work is in the collections of the Smithsonian American Art Museum, the Fogg Art Museum, and the Whitney Museum of American Art. <mask>'s photographic projects have been exhibited internationally. Life and career
<mask> grew up in Washington, D.C. She received her M.F.A. from the University of Chicago in 1975. <mask> joined the faculty at the Rhode Island School of Design in 1989 with a joint appointment in History of Art and Visual Culture (HAVC) and Photography.She also served RISD in many other capacities, from department head to stepping in as Acting Dean of Fine Arts, until 2012 when <mask> left RISD to become chair of Fine Arts at the Pratt Institute. Since her retirement from Pratt, <mask> lives in Brooklyn, NY and has resumed painting queer abstractions. Artistic Works
<mask> is notable for her writing and photographic bodies of work on LGBT, queer, and women's right subject matter, as well as for her writing about and work of landscape photography. Gender and Sexuality

Dream Girls (1989-90)
<mask> first gained renown for her series called Dream Girls (1989–90), which challenged mainstream, heteronormative gender-sex identities propagated in Hollywood movies. Inspired by her adolescent fantasies, <mask> recreated iconic Hollywood movie scenes of the 20th century, inserting herself into film stills from the 1940s and 50s. She appears in place of such iconic romantic male leads as Spencer Tracy and Rock Hudson opposite their female counterparts, including Katharine Hepburn, in a fulfillment of lesbian desire that thematizes gender and LGBTQ+ subject matter. Being and Riding (1996-99)
While working on Dream Girls, <mask> also worked on a similarly themed photographic series called Being and Riding (1996–1999), which focuses on a common female childhood obsession with horses.The series featured provocatively framed plastic toy horses and female figures. In 2008, <mask> collaborated with other artists in an exhibition called Pink and Bent: Art of Queer Women. The exhibition took place at the Leslie-Lohman Museum of Gay and Lesbian Art on May 21-June 28, 2008 and was curated by Pilar Gallego and Cora Lambert. In the wake of the 2016 Presidential election of Donald Trump over Hillary Clinton, <mask> participated in the Nasty Women project (2017) along with other female artists. The exhibition took place at the Knockdown Center in Maspeth, Queens, New York

Non-photographic works
Between 2015 and 2017 after her retirement from Pratt, <mask> began creating a series of works using colored pencil and graphite on Bristol board. The five works, Whiskey Tango Foxtrot, Bad Moon Rising, My Egypt, Funkflash, and Night Radio, all work together to defy traditional gender norms. Landscape Photography

Battlefield Panoramas (1981-84)
<mask>'s 1983 work, Bloody Lane, The Battle of Antietam, was displayed at the Smithsonian in 1992.Bloody Lane consists of six 13x19 inch selenium toned silver prints, which are part of her Battlefield Panoramas series. The work was also displayed at the Siskind Center from September 10, 1993 – January 9, 1994. Crow Agency: Battle of the Little Big Horn is part of her Battlefield Panoramas series (1981–84), which references the nineteenth-century panorama photography tradition of Edweard Muybridge and William Henry Jackson. This color photography series represents a bodily immersion view of the battlefield from the perspective of those on the ground fighting rather than from the traditional landscape perspective from on high. The views are dominated by the tall grasses and draws of the Montana landscape. All That Is Solid
Her installation piece All that is Solid was displayed from 1992 to 2001 in five cities throughout the United States. She installed each piece based on their location; <mask> wanted the work to reflect the area's de-industrialization in addition to former industrial areas through the local details.Manifest Series
In <mask>'s Manifest series the artist explores agricultural enclosures and family heritage in New England symbolized by the omnipresent stone walls, and focuses on self definition and political enfranchisement centered on individual male property ownership. Her work was made around the same time as her All that is Solid piece in 2000–01. Glacial Erratic (2000-03)
From 2000 to 2003, <mask> created Glacial Erratic, which consists of nine photographs of Plymouth Rock at different tides and times of day, akin to Claude Monet's series of Cathedral and Haystacks 19th-century Impressionist paintings. For this body of work, <mask> photographed the rock in tight framing that reveals the iconic rock's containment within a metal fence and secured as a tourist site. The rock's difference from the surrounding geological landscape reveals its displacement. Publications

Edited Book

 The Passionate Camera: Photography and Bodies of Desire, 1st ed, Routledge, 1998. Articles and Scholarship Authored

“Michael Bishop and The Mystique of Mediocrity,” The New Art Examiner, April 1979.“Reconsidering the Stieglitz Era,” The New Art Examiner, March 1980. “By Arrangement,” The New Art Examiner, February 1981. “Transformations in Photography,” The New Art Examiner, July 1981. “Before Photography,” The New Art Examiner, June 1982. “Double-Edged Constructions: The Work of Barbara Crane,” Afterimage, October 1981. “Once Upon A Time In The West,” Afterimage, October 1984. “Many Are Called, Few Are Chosen,” Afterimage, Summer 1985."Of Mother Nature and Marlboro Men", An Inquiry Into the Cultural Meanings of Landscape Photography. Exposure 23.1 (1985). “Landscape As Photograph,” exposure, 25:1, 1987. “Public Projections and Private Images, Afterimage, May 1987. “The ‘Other Body’ of British Photography, Afterimage, November 1987. “Confusing My Students, Eating My Words,” exposure, 26:2/3, 1988. “Engendered Dilemmas,” Views, Spring 1989.“Paradise Recycled: Art, Ecology, and the End of Nature,” Afterimage, September 1990. “Wait Till Donald Trump Buys the Whitney,” Michigan Quarterly Review, 29:1, Winter 1990. "The Machine in the Garden Revisited: American Environmentalism and Photographic Aesthetics", Art Journal, vol. 51, no. 2, 1992, pp. 60–71. “Reactionary Modernism: Lee Friedlander’s Nudes for the Nineties,”Afterimage, January 1993.“Sex Wars: Photography on the Frontlines,” Exposure 29:2/3, 1994. “Exposing Family Values: Family Photography and Sexual Dissent,” A Family Affair (Christopher Scoates, ed. ), Atlanta: Atlanta College of Art Gallery, 1995. “Pictures, Perverts and Politics,” The Passionate Camera: photography and bodies of desire, Londonand New York: Routledge, 1998. The Passionate Camera: Photography and Bodies of Desire, 1st ed, Routledge, 1998. “Souvenirs of Progress: The Second Empire Landscapes,” The Photography of Adolph Braun, Providence: Museum of Art, Rhode Island School of Design, 1999. "Being and Riding", GLQ: A Journal of Lesbian and Gay Studies, vol.6, no. 3, 2000, pp. 479–488. "Horse Crazy", Horsetales: American Images and Icons, 2000, 22–31. “Back to Basics: The New Paintings of Julie Shelton Smith,” Rebuilding the Body: Julie Shelton Smith, Newport: Newport Art Museum, 2001. “Shopping the Leftovers: Warhol’s collecting strategies in Raid The Icebox I,” Other Objects of Desire, eds. Michael Camille and Adrian Rifkin, Oxford: Blackwell, 2001."Queer Plymouth", GLQ: A journal of Lesbian and Gay Studies, vol. 12, no. 2, 2006. “Photographing     Nature, Seeing Ourselves,” America in View: Landscape Photography 1865 to Now, Providence: RISD Museum of Art, 2012. Exhibition History

In 2006, <mask> showed in "Photography and the Feminine" at Senac University's Photography Gallery. In 2003, <mask> showed in "Only Skin Deep: Changing Visions of the American Self" at the International Center of Photography in New York. <mask>'s work Textual Landscapes was held at the Binghamton University Art Museum from March 17-April 17, 1988
In 1996, <mask> showed at the Robert B. Menschel Photography Gallery in Syracuse, N.Y., in an exhibition with Tetsu Okuhara, Liz Birkholz, and Márcio Lima.In 1992, <mask> showed at the Smithsonian American Art Museum in Washington, D.C. her landscape photograph which was accompanied by a book Between Home and Heaven: Contemporary American Landscape Photography
In 1990, <mask> showed in 4 photo feminisms, an exhibition featuring works by <mask>, Diane Neumaier, Martha Rosler, and Clarissa T. Sligh, organized by Leigh Kane and Diane Neumaier for Rutgers SummerFest and the Berkshire Conference on the History of Woman, taking place at the Walters Hall Gallery, Rutgers Art Center, New Brunswick, New Jersey. In 1987, <mask> showed at the Minneapolis College of Art and Design gallery in a two-person exhibition with Jeff Weiss. In 1985, <mask>'s photograph was included in exhibition called, Wide Perspectives: 9 Viewpoints, in the Museum of Contemporary Photographs which included artists, David Avison, Barbara Crane, Ron Gordon, Oscar Bailey, Phillip Galgiani, Sandra Haber, John Schlesinger, and JoAnn Verburg. In 1985, <mask>'s photography was featured in an exhibition called, Chicago Photographers Project, at the Museum of Contemporary Photographs

Awards
Purchase Award, Illinois State Museum, 1980
Artist Grant, Illinois Arts Council, 1983
National Endowment for the Humanities, 1985
Artist Grant, Illinois Arts Council, 1986
National Endowment for the Arts, 1988
David and Reva Logan Award, Photographic Resource Center, 1989
New Forms Grant, New England Foundation for the Arts,1992
Artist Grant, Art Matters, 1994
John R. Frazier Award for Excellence in Teaching, Rhode Is.

masks:
Deborah Bright
Bright
Bright
Bright
Bright
Bright
Deborah Bright
Bright
Bright
Bright
Deborah Bright
Bright
Bright
Deborah Bright
Bright
Bright
Bright
Bright
Bright
Bright
Bright
Bright
Bright
Bright
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<mask> (born 1951, Johannesburg, South Africa) is one of South Africa's foremost contemporary artists and regularly exhibits nationally and internationally. <mask> spent his childhood in Vanderbijlpark, which is a town located next to the Vaal River, located approximately seventy five kilometers south of Johannesburg. His father, Martiens, was a carpenter which allowed him to develop a love for working with wood. This had a large influence on his current technical expertise. <mask> is known primarily for his conceptual installations. The way he communicates his ideas and has a social responsibility is what makes Boshoff a conceptual artist. According to a book that was written by Ivan Vladislavić, he states that <mask> is "an artist who had been creating unusual art since the Seventies, although he came to widespread public attention with his installation The Blind Alphabet at the Johannesburg Biennale, Africus 95.” “Calling himself a ‘linguistic terrorist,’ Boshoff stresses not only that he has claimed all languages as a weapon in an artistic war against cultural hegemony, but also that his tactics are unconventional.”

<mask>'s academic career stretches beyond a span of twenty years.He trained as a teacher at the Johannesburg College of Art before pursuing a diploma in fine art, with an emphasis on printmaking, in 1980. He received a master's degree in sculpture from Technikon Witwatersrand in 1984. He made study trips to Austria and Germany in 1982, as well as to England, Wales, and Scotland in 1993. He received an honorary doctorate from the University of Johannesburg in 2008. <mask>, one of South Africa's most established artists, has joined the Department of Fine Arts as a mentor for postgraduate students. Prof. <mask>, whose work has been shown extensively in South Africa and internationally, will serve as mentor and resident artist in the department. Prof. <mask> made his mark at the university in 2011 when his Thinking Stone sculpture, one of sixteen artworks commissioned by the Sculpture-on-Campus project, was installed near the Main Building.The "Black Belfast " granite stone, situated next to the H vd Merwe Scholtz Hall, weighs approximately 20 ton and, to date,is the largest of the artworks funded by the National Lottery Distribution Trust fund. Mr Ben Botma, Head of the Department of Fine Arts, says Prof. <mask>, who is based in Gauteng, will work on the Bloemfontein Campus for certain months of the year. "As an artist he is extremely productive and has an impressive international exhibition programme. As a result he has a good overview of what happens in the most important museums and contemporary galleries. This information and insight can be shared with students with great success." Mr Botma says although the mentorship is aimed at postgraduate students, Prof. <mask>'s presence and obsessive work habits will also motivate and inspire undergraduate students. "<mask> is very popular as external examiner and moderator at other universities and he has a good perspective of what happens at the major universities".<mask> would eventually leave the University and focus on becoming a professional artist. His installations are frequently based on the exploration of language and are created in materials ranging from stone to paper to sand. <mask> has also worked with plant-related art pieces. He submitted a piece into the GrowBox Art Project that referenced the Biblical parable of the sower sowing seed on the rocky ground. Exhibitions
<mask>'s work was first exhibited in 1981, and in 1985 as part of a travelling group exhibition of South African Art in South Africa and to West Germany, titled 'Tributaries'. His work has subsequently been exhibited in numerous worldwide exhibitions, such as: the 1st Johannesburg Biennial (Africus), 1995; the 23rd International Biennial of São Paulo, 1996; the 2nd Johannesburg Biennial, 1997; 'Memory, Intimacy Traces' (Intimas Memorias Marcas) curated by Fernando Alvim at Pavilhãoa Branco, at the Museu da Cidade in Lisbon, Portugal and touring to the Museum of Modern Art, Antwerp, Belgium in 2000. In 1999, his installation 'Garden of words II' was exhibited at the 8th Floralies Internationales, Nantes, France and his work was also exhibited as part of a group show titled: 'Conceptualist Art: Points of Origin 1950s–1980s' at the Queens Museum of Art, New York and travelled to the Walker Art Center, Minneapolis in 2000.In the same year his work was exhibited at the Museum of Modern Art, Antwerp, Belgium; The White Box Gallery, Chelsea, New York; Havana Biennial, Cuba; Bildmuseet, Umea, Sweden; Via Cesare Correnti, Milan, Italy; Museo Nacional, Centro deArte, Reina Sofia, Madrid, Spain (as part of the exhibition: Visiones del Sur: No es sólo lo que ves: pervirtiendo minimalismo, curated by Gerardo Mosquera). In 2001 his work was shown at Den Frie Centre of Contemporary Art (Den Frie Udstillingsbygning), Copenhagen, Denmark; Museum Villa Stuck, Munich, Germany (as part of the group exhibition: 'Short Century: Independence and Liberation Movements in Africa') travelling to the Museum of Contemporary Art, Chicago, USA. His work was also seen at the 49th Venice Biennial as part of the exhibition Authentic/Ex-centric: Africa In and Out Africa curated by Olu Oguibe and Okwui Enwezor and at Museum Boijmans van Beuningen, Rotterdam as part of the curated exhibition: 'Unpacking Europe' by Salah Hassan and Iftikhar Dadi (13 December 2001 – 24 February 2002). In 2002, his installation: 'Garden of Words II' was exhibited at Vandskel Kunstcentret, Silkeborg Bad, Denmark; at Camouflage, Observatorio, Brussels and in Switzerland in 2003. In 2003 his work was also exhibited at Rose Art Museum, Brandeis University, Boston, USA; Galerie Asbæk, Copenhagen, Denmark as part of the exhibition: 'Sted/Place' and Musee departmental de la Haute-Saône Albert Demard, Champlitte, France. 2005 saw his work exhibited at the 'Textures' exhibition at the National Museum of African Art, Smithsonian Institution, Washington DC, USA and in 2008 his work formed part of an exhibition curated by Stichting Sonsbeek in Arnhem, Netherlands. In 2009 he presented a performance at Art Basel, titled: 'The Big Druid in his Cubicle'; in 2010 his work was exhibited at Kunsthalle, Göppingen, Germany in a group exhibition 'Happy End' curated by Annett Reckert; Daimler Contemporary Gallery, Berlin as part of 'Ampersand' curated by Christian Ganzenberg and an installation at Hyde Park Shopping Centre, London, UK.Notable Works

Children of the Stars
Children of the Stars is a combination of two different themes: science and religion. <mask> uses the same concept from his art piece Circle of Knowledge. Engraving words into boulders in different languages. Circle of Knowledge
Kring van Kennis (mostly known as the Circle of Knowledge) is an art piece that consists of eleven black granite boulders with planed tops and rough-hewn sides. This was a commission given to the artist by the University of Johannesburg. Each granite boulder has engravings of the eleven official South African languages(including English). The phrases are engraved in a spiral formation on the planed top.Boshoff explains why using the South African languages is important in this piece. The Blind Alphabet
"The Blind Alphabet Project is a continuing work, designed primarily for blind people. It is a hands-on sculpture, its many pieces sculpted from a range of woods which are soft to the touch. Each word-sculpture is about the size of a rugby ball, easy to pick up, fondle and then pass on to others." Boshoff creates multiple art pieces and groups them to represent the different letters in the alphabet. The reason why Boshoff created this art piece is to make an installation that would be blind-friendly. The information about the pieces can be understood by reading the braille on them, giving the blind an advantage against those who are sighted."In the same privileged environment of the art gallery the Blind Alphabet enables the visually impaired to reverse the conventional set-up, by guiding the sighted and interpreting art for them." Panifice
Panifice is number of bread loafs on breadboards with the verse of the Gospel of Matthew inscribed on the board in an extant European language. There are also boards with an inscribed African language using the same verse. The breadboards are made of black granite and they are used to represent gravestones. This piece used to represent the idea of sharing meaning. "Is meaning encountered in the humane gesture of reaching out to the other in his or her otherness, enriching the self by the experience of the other, or is meaning dictated by casting the self in stone and exporting it to distant consumers, presumably in need of self like the one and only self?" <mask>'s art style is compared to Marcel Duchamp's, stating that Duchamp disenfranchises art as masterpieces while Boshoff disenfranchises art as connoisseurs of the finest things in life.Online reviews/listings
A feature on an artist in the public eye, Artthrob, by Sue Williamson, Issue 48, August 2001. Available online: http://www.artthrob.co.za/01aug/artbio.html
<mask> at the Goodman Gallery, 18 August – 24 September 2011, Artthrob, by Matthew Partridge. Available online: http://www.artthrob.co.za/Reviews/2011/08/Matthew-Partridge-reviews-SWAT-by-<mask>shoff-at-Goodman-Gallery.aspx
 The answer is under the rock, <mask>off interviewed by Johan Thom), Art South Africa Magazine, V4.5, 2006. Also available online: http://artsouthafrica.com/?article=76
 Inside Out: The Johannesburg Biennale, by Ruth Rosengarten, Frieze Magazine Issue 23 June – August 1995. Also available online: http://www.frieze.com/issue/article/inside_out1/

See also
Installation art
Sculpture
Concrete Poetry
List of concrete and visual poets

References

External links
https://movingcube.uj.ac.za/3d-gallery/blind-alphabet-letter-b-barbery-bigeminate/
https://movingcube.uj.ac.za/watch/blind-alphabet-documentary-series/brief-history-willem-boshoffs-blind-alphabet/
http://www.willemboshoff.com
"http://www.willemboshoff.com/documents/artworks/young_guns.htm." 1951 births
Living people
South African artists

masks:
Willem Boshoff
Boshoff
Boshoff
Willem Boshoff
Boshoff
Boshoff
Boshoff
Boshoff
Boshoff
Boshoff
Willem
Boshoff
Boshoff
Boshoff
Boshoff
Boshoff
Willem Boshoff
Willem Bo
Willem Bosh


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<mask>  (born 11 October 1937), known as <mask>, is an English former footballer who played either as a midfielder or a forward. Considered one of the greatest players of all time, he was a member of the England team that won the 1966 FIFA World Cup, the year he also won the Ballon d'Or. He played almost all of his club football at Manchester United, where he became renowned for his attacking instincts, his passing abilities from midfield and his ferocious long-range shot, as well as his fitness and stamina. He was cautioned only twice in his career; once against Argentina in the 1966 World Cup, and once in a league match against Chelsea. His elder brother Jack, who was also in the World Cup-winning team, was a former defender for Leeds United and international manager. Born in Ashington, Northumberland, <mask> made his debut for the Manchester United first-team in 1956, and over the next two seasons gained a regular place in the team, during which time he survived the Munich air disaster of 1958 after being rescued by Harry Gregg. <mask> is the last surviving person of the crash.After helping United to win the Football League First Division in 1965, he won another First Division title with United in 1967. In 1968, he captained the Manchester United team that won the European Cup, scoring two goals in the final to help them become the first English club to win the competition. He was named in the England squad for four World Cups (1958, 1962, 1966 and 1970), though did not play in the first. At the time of his retirement from the England team in 1970, he was the nation's most capped player, having turned out 106 times at the highest level. (As of November 2019, this record had been surpassed by six players.) <mask> was both Manchester United's and England's long-time record goalscorer, and United's long-time record appearance maker, as well as briefly England's, until <mask> overtook his 106 caps in 1973. His appearance record of 758 for United took until 2008 to be beaten, when Ryan Giggs did so in that year's Champions League final.With 249 goals, he is currently United's second-highest all-time goalscorer, after his record was surpassed by Wayne Rooney in 2017. He is also the second-highest goalscorer for England, after his record of 49 goals which was held until 2015 was again surpassed by Rooney. He left Manchester United to become manager of Preston North End for the 1973–74 season. He changed to player-manager the following season. He next accepted a post as a director with Wigan Athletic, then became a member of Manchester United's board of directors in 1984. Early life
<mask> was born in Ashington, Northumberland, England on 11 October 1937 to coal miner Robert "Bob" <mask> (24 May 1909 – April 1982) and Elizabeth Ellen "Cissie" <mask> (née Milburn) (11 November 1912 – 25 March 1996). He is related to several professional footballers on his mother's side of the family: his uncles were Jack Milburn (Leeds United and Bradford City), George Milburn (Leeds United and Chesterfield), Jim Milburn (Leeds United and Bradford Park Avenue) and Stan Milburn (Chesterfield, Leicester City and Rochdale), and legendary Newcastle United and England footballer Jackie Milburn, was his mother's cousin.However, <mask> credits much of the early development of his career to his grandfather Tanner and his mother Cissie. His elder brother, Jack, initially worked as a miner before applying to the police, only to also become a professional footballer with Leeds United. Club career
On 9 February 1953, then a Bedlington Grammar School pupil, <mask> was spotted playing for East Northumberland schools by Manchester United chief scout Joe Armstrong. <mask> went on to play for England Schoolboys and the 15-year-old signed with United on 1 January 1953, along with Wilf McGuinness, also aged 15. Initially his mother was reluctant to let him commit to an insecure football career, so he began an apprenticeship as an electrical engineer; however, he went on to turn professional in October 1954. <mask> became one of the famed Busby Babes, the collection of talented footballers who emerged through the system at Old Trafford in the 1940s, 1950s and 1960s as Matt Busby set about a long-term plan of rebuilding the club after the Second World War. He worked his way through the pecking order of teams, scoring regularly for the youth and reserve sides before he was handed his first team debut against Charlton Athletic in October 1956.At the same time, he was doing his National service with the Royal Army Ordnance Corps in Shrewsbury, where Busby had advised him to apply as it meant he could still play for Manchester United at the weekend. Also doing his army service in Shrewsbury at the same time was his United teammate Duncan Edwards. <mask> played 14 times for United in that first season, scoring twice on his debut and managing a total of 12 goals in all competitions, and including a hat-trick in a 5–1 away win over Charlton Athletic in February. United won the league championship but were denied the 20th century's first "double" when they controversially lost the 1957 FA Cup Final to Aston Villa. <mask>, still only 19, was selected for the game, which saw United goalkeeper Ray Wood carried off with a broken cheekbone after a clash with Villa centre forward Peter McParland. Though <mask> was a candidate to go in goal to replace Wood (in the days before substitutes, and certainly before goalkeeping substitutes), it was teammate Jackie Blanchflower who ended up between the posts. Charlton was an established player by the time the next season was fully underway, which saw United, as current League champions, become the first English team to compete in the European Cup.Previously, the Football Association had scorned the competition, but United made progress, reaching the semi-finals where they lost to holders Real Madrid. Their reputation was further enhanced the next season as they reached the quarter-finals to play Red Star Belgrade. In the first leg at home, United won 2–1. The return in Yugoslavia saw Charlton score twice as United stormed 3–0 ahead, although the hosts came back to earn a 3–3 draw. However, United maintained their aggregate lead to reach the last four and were in jubilant mood as they left to catch their flight home, thinking of an important League game against Wolves at the weekend. Munich air disaster

The aeroplane which took the United players and staff home from Zemun Airport needed to stop in Munich to refuel. This was carried out in worsening weather, and by the time the refuelling was complete and the call was made for the passengers to re-board the aircraft, the wintry showers had taken hold and snow had settled heavily on the runway and around the airport.There were two aborted take-offs which led to concern on board, and the passengers were advised by a stewardess to disembark again while a minor technical error was fixed. The team were back in the airport terminal for barely ten minutes when the call came to reconvene on the plane, and a number of passengers began to feel nervous. <mask> and teammate Dennis Viollet swapped places with Tommy Taylor and David Pegg, who had decided they would be safer at the back of the plane. The plane clipped the fence at the end of the runway on its next take-off attempt and a wing tore through a nearby house, setting it alight. The wing and part of the tail came off and hit a tree and a wooden hut, the plane spinning along the snow until coming to a halt. It had been cut in half. <mask>, strapped into his seat, had fallen out of the cabin; when United goalkeeper Harry Gregg (who had somehow got through a hole in the plane unscathed and begun a one-man rescue mission) found him, he thought he was dead.Nevertheless, he grabbed both <mask> and Viollet by their trouser waistbands and dragged them away from the plane, in constant fear that it would explode. Gregg returned to the plane to try to help the appallingly injured Busby and Blanchflower, and when he turned around again, he was relieved to see that <mask> and Viollet, both of whom he had presumed to be dead, had got out of their detached seats and were looking into the wreckage. <mask> suffered cuts to his head and severe shock, and was in hospital for a week. Seven of his teammates had perished at the scene, including Taylor and Pegg, with whom he and Viollet had swapped seats prior to the fatal take-off attempt. Club captain Roger Byrne was also killed, along with Mark Jones, Billy Whelan, Eddie Colman and Geoff Bent. Duncan Edwards died a fortnight later from the injuries he had sustained. In total, the crash claimed 23 lives.Initially, ice on the wings was blamed, but a later inquiry declared that slush on the runway had made a safe take-off almost impossible. Of the 44 passengers and crew (including the 17-strong Manchester United squad), 23 people (eight of them Manchester United players) died as a result of their injuries in the crash. <mask> survived with minor injuries. Of the eight other players who survived, two of them were injured so badly that they never played again. <mask> was the first injured survivor to leave hospital. Harry Gregg and Bill Foulkes were not hospitalised, for they escaped uninjured. He arrived back in England on 14 February 1958, eight days after the crash.As he convalesced with family in Ashington, he spent some time kicking a ball around with local youths, and a famous photograph of him was taken. He was still only 20 years old, yet now there was an expectation that he would help with the rebuilding of the club as Busby's aides tried to piece together what remained of the season. Resuming his career
<mask> returned to playing in an FA Cup tie against West Bromwich Albion on 1 March; the game was a draw and United won the replay 1–0. Not unexpectedly, United went out of the European Cup to A.C. Milan in the semi-finals to a 5–2 aggregate defeat and fell behind in the League. Yet somehow they reached their second consecutive FA Cup final, and the big day at Wembley coincided with Busby's return to work. However, his words could not inspire a side which was playing on a nation's goodwill and sentiment, and Nat Lofthouse scored twice to give Bolton Wanderers a 2–0 win. Further success with Manchester United came at last when they beat Leicester City 3–1 in the FA Cup final of 1963, with Charlton finally earning a winners' medal in his third final.Busby's post-Munich rebuilding programme continued to progress with two League championships within three seasons, with United taking the title in 1965 and 1967. A successful (though trophyless) season with Manchester United had seen him take the honours of Football Writers' Association Footballer of the Year and European Footballer of the Year into the competition. Manchester United reached the 1968 European Cup Final, ten seasons after Munich. Even though other clubs had taken part in the competition in the intervening decade, the team which got to this final was still the first English side to do so. On a highly emotional night at Wembley, Charlton scored twice in a 4–1 win after extra time against Benfica and, as United captain, lifted the trophy. During the early 1970s Manchester United were no longer competing among the top teams in England, and at several stages were battling against relegation. At times, Charlton was not on speaking terms with United's other superstars George Best and Denis Law, and Best refused to play in Charlton's testimonial match against Celtic, saying that "to do so would be hypocritical".<mask> left Manchester United at the end of the 1972–73 season, having scored 249 goals and set a club record of 758 appearances, a record which Ryan Giggs broke in the 2008 UEFA Champions League Final. His last game for Manchester United was against Chelsea at Stamford Bridge on 28 April 1973, and before the game the BBC cameras for Match of the Day captured the Chelsea chairman handing him a commemorative cigarette case. Chelsea won the match 1–0. Coincidentally, this day also marked his brother Jackie's last appearance as well (for Leeds). <mask>'s final goal for the club came a month earlier, on 31 March, in a 2–0 win at Southampton, also in the First Division. He was the subject of This Is Your Life in 1969 when he was surprised by Eamonn Andrews at The Sportsman's Club in central London. International career

<mask>'s emergence as the country's leading young football talent was completed when he was called up to join the England squad for a British Home Championship game against Scotland at Hampden Park on 19 April 1958, just over two months after he had survived the Munich air disaster.<mask> was handed his debut as England romped home 4–0, with the new player gaining even more admirers after scoring a magnificent thumping volley dispatched with authority after a cross by the left winger Tom Finney. He scored both goals in his second game as England beat Portugal 2–1 in a friendly at Wembley; and overcame obvious nerves on a return to Belgrade to play his third match against Yugoslavia. England lost that game 5–0 and <mask> played poorly. 1958 World Cup

<mask> was

masks:
Sir Robert Charlton
Bobby Charlton
Charlton
Charlton
Charlton
Bobby Moore
Charlton
Charlton
Charlton
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Charlton
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 selected for the squad which competed at the 1958 World Cup in Sweden, but he did not play. In 1959 he scored a hat-trick as England demolished the US 8–1; and his second England hat-trick came in 1961 in an 8–0 thrashing of Mexico. He also managed to score in every British Home Championship tournament he played in except 1963 in an association with the tournament that lasted from 1958 to 1970 and included 16 goals and 10 tournament victories (five shared). 1962 World Cup
He played in qualifiers for the 1962 World Cup in Chile against Luxembourg and Portugal and was named in the squad for the finals themselves.His goal in the 3–1 group win over Argentina was his 25th for England in just 38 appearances, and he was still only 24 years old; but his individual success could not be replicated by that of the team, which was eliminated in the quarter-final by Brazil, who went on to win the tournament. By now, England were coached by Alf Ramsey who had managed to gain sole control of the recruitment and team selection procedure from the committee-based call-up system which had lasted up to the previous World Cup. Ramsey had already cleared out some of the older players who had been reliant on the loyalty of the committee for their continued selection. A hat-trick in the 8–1 rout of Switzerland in June 1963 took Charlton's England goal tally to 30, equalling the record jointly held by Tom Finney and Nat Lofthouse; Charlton's 31st goal against Wales in October the same year gave him the record alone. Charlton's role was developing from traditional inside-forward to what today would be termed an attacking midfield player, with Ramsey planning to build the team for the 1966 World Cup around him. When England beat the USA 10–0 in a friendly on 27 May 1964, he scored one goal, his 33rd at senior level for England. His goals became a little less frequent, and indeed Jimmy Greaves, playing purely as a striker, overtook his England tally in October 1964.Nevertheless, <mask> was still scoring and creating freely, and as the tournament was about to start he was expected to become one of its stars and galvanise his established reputation as one of the world's best footballers. 1966 World Cup
England drew the opening game of the tournament 0–0 with Uruguay. Charlton scored the first goal in the 2–0 win over Mexico. This was followed by an identical scoreline against France, allowing England to qualify for the quarter-finals. England defeated Argentina 1–0. The game was the only international match in which Charlton received a caution. They faced Portugal in the semi-finals.This turned out to be one of Charlton's most important games for England. Charlton opened the scoring with a crisp side-footed finish after a run by Roger Hunt had forced the Portuguese goalkeeper out of his net; his second was a sweetly struck shot after a run and pull-back from Geoff Hurst. Charlton and Hunt were now England's joint-highest scorers in the tournament with three each, and a final against West Germany beckoned. The final turned out to be one of Charlton's quieter days; he and a young Franz Beckenbauer effectively marked each other out of the game. England won 4–2 after extra time. Euro 1968
Charlton's next England game was his 75th as England beat Northern Ireland; 2 caps later and he had become England's second most-capped player, behind the veteran Billy Wright, who was approaching his 100th appearance when Charlton was starting out and ended with 105 caps. Weeks later he scored his 45th England goal in a friendly against Sweden, breaking the record of 44 set the previous year by Jimmy Greaves.He was then in the England team which made it to the semi-finals of the 1968 European Championships where they were knocked out by Yugoslavia in Florence. During the match <mask> struck a Yugoslav post. England defeated the Soviet Union 2–0 in the third place match. In 1969, <mask> was appointed an OBE for services to football. More milestones followed as he won his 100th England cap on 21 April 1970 against Northern Ireland, and was made captain by Ramsey for the occasion. Inevitably, he scored. This was his 48th goal for his country – his 49th and final goal followed a month later in a 4–0 win over Colombia during a warm-up tour for the 1970 World Cup, designed to get the players adapted to altitude conditions.Charlton's inevitable selection by Ramsey for the tournament made him the first – and still, to date, only – England player to feature in four World Cup squads. 1970 World Cup
Shortly before the World Cup, <mask> was involved in the Bogotá Bracelet incident in which he and <mask> were accused of stealing a bracelet from a jewellery store. Moore was later arrested and detained for four days before being granted a conditional release, while <mask> was not arrested. England began the tournament with two victories in the group stages, plus a memorable defeat against Brazil. <mask> played in all three, though was substituted for Alan Ball in the final game of the group against Czechoslovakia. Ramsey, confident of victory and progress to the quarter-final, wanted Charlton to rest. England reached the last eight where they again faced West Germany.Charlton controlled the midfield and suppressed Franz Beckenbauer's runs from deep. England took a 2–0 lead in the 50th minute after goals from Alan Mullery and Martin Peters. In the 69th minute, Beckenbauer pulled a goal back for the Germans and Ramsey soon replaced Charlton with Colin Bell, who further tested the German goalkeeper Sepp Maier and also provided a cross for Geoff Hurst, who missed a chance to score. West Germany, who had a habit of coming back from behind, eventually scored twice – a back header from Uwe Seeler made it 2–2. In extra-time, Geoff Hurst had a goal mysteriously ruled out after which Gerd Müller's goal won the match 3–2. England were out and, after a record 106 caps and 49 goals, <mask> decided to end his international career at the age of 32. On the flight home from Mexico, he asked Ramsey not to consider him again.His brother Jack, two years his senior but 71 caps his junior, did likewise. Charlton's caps record lasted until 1973 when <mask> overtook him; he currently lies seventh in the all-time England appearances list behind Moore, Wayne Rooney, Ashley Cole, Steven Gerrard, David Beckham and Peter Shilton, whose own England career began in the first game after Charlton's had ended. Charlton's goalscoring record was surpassed by Wayne Rooney on 8 September 2015, when Rooney scored a penalty in a 2–0 win over Switzerland in a qualifying match for UEFA Euro 2016. Management career and directorships

Charlton became the manager of Preston North End in 1973, signing his former United and England teammate Nobby Stiles as player-coach. His first season ended in relegation, and although he began playing again, he left Preston early in the 1975–76 season after a disagreement with the board over the transfer of John Bird to Newcastle United. He was appointed a CBE that year and began a casual association with BBC for punditry on matches, which continued for many years. In early 1976, he scored once in three league appearances for Waterford United.He also made a handful of appearances for Australian clubs Newcastle KB United, Perth Azzurri and Blacktown City. He joined Wigan Athletic as a director, and was briefly caretaker manager there in 1983. He then spent some time playing in South Africa. He also built up several businesses in areas such as travel, jewellery and hampers, and ran soccer schools in the UK, the US, Canada, Australia and China. In 1984, he was invited to become member of the board of directors at Manchester United, partly because of his football knowledge and partly because it was felt that the club needed a "name" on the board after the resignation of Sir Matt Busby. He remained a director of Manchester United into the late 2010s, and his continued presence was a factor in placating many fans opposed to the club's takeover by Malcolm Glazer. Personal life and retirement
<mask> met his wife, Norma Ball, at an ice rink in Manchester in 1959 and they married in 1961.They have two daughters, Suzanne and Andrea. Suzanne was a weather forecaster for the BBC during the 1990s. They now have grandchildren, including Suzanne's son Robert, who is named in honour of his grandfather. In 2007, while publicising his forthcoming autobiography, <mask> revealed that he had a long-running feud with his brother, Jack. They rarely spoke to each other after a falling-out between his wife Norma and his mother Cissie (who died on 25 March 1996 at the age of 83). <mask> did not see his mother after 1992 as a result of the feud. Jack presented him with his BBC Sports Personality of the Year Lifetime Achievement Award on 14 December 2008.He said that he was 'knocked out' as he was presented the award by his brother. He received a standing ovation as he stood waiting for his prize. <mask> helped to promote Manchester's bids for the 1996 and 2000 Olympic Games and the 2002 Commonwealth Games, England's bid for the 2006 World Cup and London's successful bid for the 2012 Summer Olympics. He received a knighthood in 1994 and was an Inaugural Inductee to the English Football Hall of Fame in 2002. On accepting his award, he commented: "I'm really proud to be included in the National Football Museum's Hall of Fame. It's a great honour. If you look at the names included I have to say I couldn't argue with them.They are all great players and people I would love to have played with." He is also the (honorary) president of the National Football Museum, an organisation about which he said "I can't think of a better museum anywhere in the world." On 2 March 2009, Charlton was given the freedom of the city of Manchester. He stated: "I'm just so proud, it's fantastic. It's a great city. I have always been very proud of it." Charlton is involved in a number of charitable activities, including fund raising for cancer hospitals.<mask> became involved in the cause of land mine clearance after visits to Bosnia and Cambodia and supports the Mines Advisory Group as well as founding his own charity Find a Better Way which funds research into improved civilian landmine clearance. In January 2011, <mask> was voted the fourth-greatest Manchester United player of all time by the readers of Inside United and ManUtd.com, behind Ryan Giggs (who topped the poll), Eric Cantona and George Best. He is a member of the Laureus World Sports Academy. On 6 February 2012 <mask> was taken to hospital after falling ill, and subsequently had a gallstone removed. This prevented him from collecting a Lifetime Achievement Award at the Laureus World Sports Awards. On 15 February 2016, Manchester United announced the South Stand of Old Trafford would be renamed in honour of Sir <mask>. The unveiling took place at the home game against Everton on 3 April 2016.In October 2017, <mask> had a pitch named after him at St George's Park National Football Centre in Burton-upon-Trent. In November 2020, it was revealed that <mask> had been diagnosed with dementia. In popular culture
In the episode "Taking Liberties" of the sitcom Frasier, Daphne Moon (Jane Leeves) mentions that one of her uncles tried fanatically to get <mask>'s autograph, "until <mask> cracked him over the head with a can of lager. Twelve stitches, and he still has the can!" In the 2011 film United, centred on the successes of the Busby Babes and the decimation of the team in the Munich crash, <mask> was portrayed by actor Jack O'Connell. In the episode "Munich Air Disaster" of the air crash documentary Mayday, he was interviewed as a survivor in the show, alongside Harry Gregg. players
Association football midfielders
BBC Sports Personality Lifetime Achievement Award recipients
Ballon d'Or winners
Bangor City F.C.players
Blacktown City FC players
Commanders of the Order of the British Empire
English autobiographers
English footballers
England international footballers
England under-23 international footballers
English expatriate sportspeople in Australia
English expatriate sportspeople in Ireland
English expatriate sportspeople in South Africa
English expatriate footballers
English Football Hall of Fame inductees
English Football League players
English Football League representative players
English football managers
Expatriate association footballers in the Republic of Ireland
Expatriate soccer players in Australia
Expatriate soccer players in South Africa
FA Cup Final players
FIFA 100
FIFA Century Club
FIFA World Cup-winning players
Association football people awarded knighthoods
Knights Bachelor
Laureus World Sports Awards winners
League of Ireland players
Manchester United F.C. players
Newcastle KB United players
People educated at Bedlingtonshire Community High School
Preston North End F.C. managers
Preston North End F.C. players
Recipients of the Order of the Rising Sun, 4th class
Royal Army Ordnance Corps soldiers
Sportspeople from Ashington
Survivors of aviation accidents or incidents
UEFA Champions League winning players
UEFA Euro 1968 players
Waterford F.C. players
Wigan Athletic F.C. managers
Footballers from

masks:
Charlton
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Bobby Moore
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