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<mask> (in English language texts occasionally referred to as Jacob Sternberg; ; ; 1890, Lipcani, Bessarabia, Russian Empire – 1973, Moscow, USSR) was a Yiddish theater director, teacher of theater, playwright, avant-garde poet and short-story writer, best known for his theater work in Romania between the two world wars. Biography
<mask> grew up in the northern Bessarabian shtetl of Lipkany (Yiddish: Lipkon, now Lipcani in Moldova), which was famously termed "Bessarabian Olympus" by Hebrew and Yiddish poet Chaim Nachman Bialik and which in the second half of the 19th century produced several major figures of the modern Yiddish and Hebrew belle-lettres, among them Yehuda Shteinberg and Eliezer Steinbarg. He attended a Russian secondary school in Kamenets-Podolsky, where he was a classmate and close friend of the future Yiddish writer Moyshe Altman. Shternberg debuted in 1908 with a fairy tale in the newspaper Unzer Lebn (Odessa). He published poetry in Reizen's collections "Fraye Erd" (1910) and "Dos Naye Land" (1911). In the 1910s, he published poetry in the periodicals Hamer (Brăila), Frayhayt, Arbeter Tsaytung, and Dos Naye Lebm (all in Czernowitz), as well as Gut Morgn (Odessa),  (Warsaw), and Tsayt (New York). In 1914 Shternberg settled in Romania, at first in Czernowitz (Chernivtsi, Ukraine), and later in Bucharest.He became associated with the short-lived Yiddish-language magazine Likht ("Light"), four issues of which were published in Iaşi between December 1914 and September 1915. Likht called for a "renaissance of the Jewish stages in Romania" and condemned the "poor foundation" of Yiddish theater as a commercial institution: "The Yiddish stage ought to be a place of education, of drawing Jews closer together through the Yiddish word… we will fight against this [commercial] state of things." Israil Bercovici counts the "literary-musical" gatherings sponsored by that magazine as "the beginning of modern Yiddish theater in Romania", and sees <mask> as preparing the way for the Vilna Troupe, the Yiddish theater troupe that brought the ideas of Konstantin Stanislavski to Romania. Nonetheless, <mask> adopted as a slogan "Back to Goldfaden". Calling Abraham Goldfaden "the Prince Charming who woke up the lethargic Romanian Jewish Culture" when he founded professional Yiddish theater in 1876 (Iaşi), <mask> wrote, "The only milieu that attracts the great Jewish masses is a traditional-cultural theater. Not even a literary theater… From that I created a social-political theater, a theater… [of current events]… which I think was, then, the first of its kind in Yiddish". In 1917–18, <mask> and Jacob Botoshansky together founded a Yiddish revue theater in Bucharest, for which they wrote and produced nine short plays (revues), including Tsimes (named after the traditional pureed vegetable dish tsimes), Bukaresht-Yerusholaim ("Bucharest-Jerusalem"), In mitn drinen ("All of a sudden"), Grine bleter ("Green leaves"), Kukuriku, Sholem-Aleykhem ("Hello"), and Hershele Ostropoler ("Hershele of Ostropol").In 1917, in response to antisemitic violence at that time in Romania and elsewhere in Eastern Europe, he staged passages from Bialik. In 1920, he became the editor of "Der Veker", official organ of the Jewish section of the Romanian Socialist Party. In 1924–26, he was the director for the "Vilner trupe". The Romanian daily newspaper Adevărul wrote on August 23, 1924, shortly after the troupe's arrival in Bucharest, that "Such a demonstration of artistry, even on a small stage such as Jigniţa and even in a language like Yiddish ought to be seen by all who are interested in superior realization of drama." In 1930 he created a hugely successful studio theater BITS ("Bukareshter Yidishe Teater-Studiye"), housed in Bucharest's Jewish quarter Văcărești, that played a prominent role in the development of modern trends in European theater. BITS staged works of Osip Dymov (Yashke-muzikant – "Yashka the Musician"), Jacob Gordin, I.L. Peretz (Banakht afn altn mark – "A night at the old market"), Sholem Aleichem (Oytser – "Treasure", and most famously Der farkishefter shnayder – "The enchanted tailor"),  (Der Geler Shotn, 1935), Nikolai Gogol (Zhenit'ba – "The Marriage"), – mostly musical comedies with elements of grotesque, but also I.Y.Singer's Yoshe Kalb and his own play Teater in Flamen ("Theater in Flames") on the theme of the then-ongoing Spanish Civil War. Sidi Tal starred in many of these productions. The performances were popular with the Bucharest intelligentsia and Peretz's "Banakht Afn Altn Mark", for one, was played more than 150 times. During this time, <mask> published his first collection of poetry, in Bucharest (1938). As antisemitic, pro-fascist tendencies gained power in Bucharest, the theater left for a prolonged tour of major European cities and eventually <mask> moved to Czernowitz, where he continued his theatrical activities. In 1939, <mask> along with Moyshe Altman sneaked across the Dniester and became a Soviet citizen. A year later, when his native Bessarabia was annexed by the Soviet Union, he and most of his former troupe settled in Kishinev, where <mask> became artistic director of the Yiddish-language Moldovan State Jewish Theater and staged, among other works, M. Daniel's Zyamke Kopatsh and Sholom-Aleichem's Motl Peysi Dem Khazns ("Motl Peysi, the cantor's son") with Sidi Tal in the boys' roles.During the war, he and his theatre evacuated to Uzbekistan, where he worked for the Jewish Anti-Fascist Committee and was mobilized into a paramilitary construction unit. After the war, he returned to Kishinev and resumed his work at the Moldovan State Jewish Theater, where he staged his play Di Balade fun der Esesovke Brunhilde un ir hunt ("The ballad of the SS soldier Brunhilde and her dog") and published poetry in the almanac Heymland (1948). He was arrested at the height of the Stalin's campaign against "rootless cosmopolitans" (Jews) in the spring of 1949 and was sent to labour camps for 7 years. On his early return and rehabilitation 5 years later, <mask> settled in Moscow and worked as a translator of Romanian literary works into Russian. He began to publish literary essays and poetry in the newly founded Sovetish Heymland in 1961 and briefly became a member of its editorial board. Collections of his poetry were published in Bucharest and Paris, and in Hebrew translation by Shlionsky and Penn in Israel on the occasion of his 75th birthday. <mask> died of a heart attack in 1973 on the very day he received a permission to leave for Israel.His wife, the composer Otiliya Likhtenshteyn, who set his poems and those of other Soviet Yiddish poets (first of all Leib Kvitko) to music, died the same year. A collection of <mask>'s literary essays on theatrical topics was published posthumously in Israel. A committed socialist, <mask> wrote that, in the wake of the October Revolution, "we satirized bourgeois assimilation, struggled with the [Jewish] clergy, fought for progressive Jewish culture, for the emancipation of the Jews, for the rights of citizenship… for progressive Jewish literature." Books
 Shtot in profil. Lid un grotesk ("City in Profile. Poetry and Grotesque", Bucharest, 1935)
 Izbrannoe" ("Collected Poetry", in Russian, Moscow: Sovetskiy Pisatel', 1954)
 Lid un balade af di karpatn ("Songs and Ballads of the Carpathians", Paris: Afsnay, 1968)
 In krayz fun yorn (geklibene lider) ("At the Crossing of Years" (collected poems)", Bucharest: Kriterion, 1970)
 Veygn literatur un teater ("On Literature and Theater" (critical essays), Tel Aviv, 1987)

Notes and references

 Bercovici, Israil, O sută de ani de teatru evriesc în România'' ("One hundred years of Yiddish/Jewish theater in Romania"), 2nd Romanian-language edition, revised and augmented by Constantin Măciucă. Editura Integral (an imprint of Editurile Universala), Bucharest (1998). . 116–119 and 148.Also, 125–143 is an extensive discussion of the Vilner Trupe's activities in Bucharest. External links

1890 births
1973 deaths
People from Briceni District
People from Khotinsky Uyezd
Moldovan Jews
Bessarabian Jews
Yiddish-language poets
Yiddish theatre
Soviet writers
Moldovan writers
Moldovan male writers
Jewish Romanian writers
Jewish socialists
20th-century poets
20th-century Romanian male writers
Romanian Ashkenazi Jews

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<mask> (1904–1969) was an American art historian who specialized in the study of traditional symbolism. Life and career

<mask> was born in Milwaukee, Wisconsin, to a prominent Jewish family. His gift for languages was evident from an early age as was an interest in puzzles, codes, and ciphers. These skills would later serve him well both as a scholar and as a cryptanalyst for the OSS during the Second World War. He received a B.A. (1927) and an M.A. (1930) from Harvard where he studied art history and oriental studies.A growing interest in traditional symbolism led him to Peking (1931–1933) where he spent three years studying with Baron Alexander Staël von Holstein, a Baltic refugee and distinguished scholar. It was during this period that he began collecting textile fragments and ventured on the first of his many field trips in search of specimens. His travels would eventually take him to some of the more remote parts of the world, photographing rock carvings, visiting small museums or private collections, and talking to missionaries, scholars, or anyone else who might have information he was seeking. <mask> returned to Europe to study at the University of Vienna with the noted art historian, Josef Strzygowski, and received his doctorate in 1934 in art history. He worked briefly as Assistant Curator of Chinese Art at the Philadelphia Art Museum but was soon back in China (1935–38) pursuing his researches and traveling until the Japanese invaded. <mask> was assisted in his researches by academic grants from the Harvard-Yenching Institute, the Bollingen Foundation, and the Guggenheim Foundation. His easy-going manner and gift for languages provided access to people and information not available to others.He collected and photographed specimens in his widespread travels, but he never wandered randomly. Nothing diverted him. He lived an almost ascetic life. In rural areas, he could readily satisfy hunger with a heaping bowl of fresh rice, which cost one cent. He never raised his camera to record Mao's Long March, though he witnessed it. Detained by Japanese soldiers in rural China, he recorded the event merely to explain why certain notes and negatives were missing. He literally walked through famine, revolution, and war.Some of his rare Chinese embroideries were purchased by George Hewitt Myers for the Textile Museum and another large group was given to the Field Museum in Chicago. He also donated a group of Chinese prints to the New York Public Library as well as a collection of Buddhist woodcuts. After World War II, he lived in Woodstock, New York, where he began to develop his ideas, publishing learned monographs on traditional design motifs. He generally placed these studies in specialized publications, whose readers, he hoped, would respond with more leads. Harvard University was on the verge of publishing a book, The Sun Bird, but he withdrew it at the last moment because he felt it contained errors. The American Museum of Natural History (AMNH) provided him with a desk and he spent much time there and in the New York Public Library. In 1945, the American Anthropological Association sponsored an exhibition of his photographs at the AMNH illustrating his ideas about how certain symbols were shared by widely separated cultures.Along with the artist Miguel Covarrubias, the curator Rene d'Harnoncourt, and the politician and philanthropist Nelson Rockefeller, <mask> was involved in the foundation of the Museum for Primitive Art (now part of the Michael Rockefeller wing of the Metropolitan Museum of Art). He continued to travel, attending conferences and doing fieldwork and to correspond with others who shared his interests. Scattered around the world, often in remote or unlikely places, were hundreds of self-trained scholars, who in response to some personal passion, sought to preserve the last remnants of fading, local traditions. They were primary sources: rigorously trained in other disciplines, self-taught in their special interests, totally dedicated in their researches. Many were far better scholars than the professionals who ignored them. Most had no one to talk to until <mask> arrived. They welcomed him; opened their records to him; corresponded with him.Long after his death, letters from isolated places continued to arrive, filled with data, drawings, and photographs. His archives contain incalculable riches from a world now forgotten. Schuyler Cammann (1912–1991), Professor of East Asian Studies at the University of Pennsylvania, first met <mask> in China in the 1930s and was greatly influenced by him. But <mask> was no mere follower; he was a pioneer in the realms of the mind. He constantly developed original ideas and experimented with linking various fields of scholarship in new and imaginative ways, always being careful to check his thoughts and his findings with the most rigorous scholarship before he shared them with others. <mask> never sought the spotlight and his work was generally ignored in academic circles where his approach was considered out of date. Privately, he was at the center of a vast network of scholars and other interested parties who shared ideas and sought his advice.Because he traveled so widely, he was well-known to scholars, museum curators, and congress-goers on five continents. He also served as an important link in international scholarship, not only through personal contacts during his research trips, but also because, from his home-base in Woodstock, N.Y., he conducted a kind of free information bureau for the exchange of questions and ideas among scholars and specialists in different fields, between whom he was the only direct link. There in Woodstock, he had very extensive files of notes and films, just the ordering of which was in itself a marvel of efficient organization. <mask>'s ability to gather, organize and evaluate data was extraordinary. In an age before the copier and the personal computer, he accumulated an archive comprising some 200,000 photographs, 800 rubbings (mostly of petroglyphs), 18,000 pages of correspondence in multiple languages, and a bibliography of 5670 titles filed by alphabet (Chinese, Cyrillic, Latin)—all meticulously cross-referenced. <mask> did not live to see his work completed. He died suddenly of cancer in 1969.The task fell to a friend, the anthropologist Dr. Edmund Carpenter, who agreed to write and publish his findings. The result of twenty years of labor was Materials for the Study of Social Symbolism in Ancient and Tribal Art: A Record of Tradition and Continuity, published privately in three volumes (1986–88) and distributed free of charge to scholars and libraries throughout the world. A much abbreviated version of this work was published in 1996 under the title Patterns That Connect, by Abrams Press. Schuster's archives, which contain unpublished material on a wide variety of subjects, are housed in the Museum der Kulturen in Basel, Switzerland. Those who knew him well, and were qualified to make judgments, uniformly spoke of his brilliance, his capacity to perceive what no one before had seen. His archives reveal this better than his publications. He was a lucid correspondent, but far too hesitant in publishing.His archives are his real legacy. His work
<mask>'s initial publications centered on traditional design motifs that he found preserved on textile fragments he had collected in western China during the 1930s. While the textiles themselves were not old, the designs were, having been preserved by endless imitation. Even where the motifs seemed specifically Chinese, like the return of the triumphant scholar (chuang yüan) on horseback, the oldest known prototypes were found in distant times and places. <mask> used the method employed by many art historians of identifying significant design motifs and then tracing their distribution and meaning in different cultural and historical contexts, looking for commonalities. He tried, where possible, to provide historical evidence for the movement of these ideas and images but this proved increasingly difficult as the trail moved backward in time. Writing later about the difficulty of providing historical support for the idea of cultural contact between Asia and the Americas in prehistoric times, he defended his methodology.However convincing some of these arguments for relationships appear to be, it is inevitable that they remain inconclusive in the absence of any historical documentation. It is the writer’s belief, nevertheless, that attempts at the comparative study of traditions, more especially artistic traditions, of the Old and New Worlds should not be abandoned because of the obvious difficulties of historical documentation, but should, on the contrary, be systematically pursued, on a frankly tentative or hypothetical basis, in an effort to assess the true extent and significance of existing similarities. <mask> was a believer in the comparative method. Like the great art historian, folklorist and metaphysician, Ananda Coomaraswamy — from whom he learned a great deal — he believed that traditional symbolism constituted a form of language that communicated the beliefs of ancient peoples from the earliest times. As in linguistics, where many languages can arise from a common ancestor, he sought the underlying patterns that provided the links between seemingly disparate art forms. Not unlike the early navigators in the Pacific, who used the deep ocean swells to find their way around vast stretches of unexplored ocean, <mask> looked for older meanings obscured or altered by the fashion-driven arts of the palace and the propaganda of the great world religions. We can conceive of popular tradition as an undercurrent which flows deeply beneath the reflecting surface of history, a movement of long duration and great force which, though generally hidden from academic view, comes to the surface occasionally in unexpected places, bringing with it memories of distant times and places.He learned to look for cross-relations between the arts, following the evidence where it led, across time periods and boundaries, both geographic and academic. He expressed some of his feelings about these matters in a letter to the ethnographer Heiner Meinhard in 1967. First in the natural sciences, and then to some extent in the humanities (eg in linguistics), empirical observations by individuals over decades established certain facts permitting certain conclusions. But in the study of the traditional arts, we are still in a pre-scientific age. Nobody seems to have any idea even how to go about learning what the world of traditional culture actually is: this can only be learned by the painstaking tracing of traditional forms on the widest possible comparative basis, empirically, without any arbitrary limits set by academic preconceptions and compartmentation. Much of his time was taken up in collecting and comparing the motifs he felt to be of particular importance. One gauge of antiquity was how widely dispersed these designs were.He became interested in the figure of the Sun Bird, and its earthly antagonist, a turtle, snake, or other reptile. This led him to a deeper understanding of traditional cosmologies and their relation to ideas about kinship and rebirth. An area that proved to be of primary importance was a study of joint marks, present in the arts of Asia, Oceania and the Far East. He gradually uncovered an ancient correlation between body joints and ancestors based on a metaphoric association of the human body with a plant or tree, with each limb representing a branching of the group or tribe. Indo-European and other language families preserve these ideas in the words used to describe kinship. He was systematically building up a picture of some of the earliest beliefs and practices of mankind. A list of the topics that he investigated would be too lengthy to include here, but many of them proved to be inter-related.Continuous-line drawings, including such related forms as string figures, mazes, and labyrinths. These art forms were related, in turn, to joint

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 marks. The design of fur garments using a technique of small, interlocking skins. The resulting designs were later transferred to other media where they formed a kind of primitive heraldry, serving to identify group membership and the social standing of the owner. Crossed figures (human or animal) engaged in primordial copulation at the center of the world, representing the foundation of society and the cosmos. The point of intersection of these figures was often indicated by hatching or a checkerboard pattern, used for divination and gaming in later periods. These ideas can be connected to the origin of writing systems and to early mathematical ideas.Y-posts, notched sticks, notched disks, rosaries, and other mnemonic devices, where the notching represented generations. These forms were related to counting systems and heavenly ladders which, in turn, were tied into the cosmological system as a means of returning to heaven by retracing one’s ancestry back to the First One. Finger amputation and cannibalism, which related to ideas of rebirth and kinship. It was <mask>'s study of joint marks that ultimately revealed an underlying system of genealogical iconography that he believed dated from Upper Paleolithic times. He expressed his growing excitement in a letter to a friend:

I have been undergoing a "change of life," in this sense: my work has suddenly branched out and is growing so rapidly and luxuriantly that it is simply becoming impossible to keep up with it and with everything else too. It is extremely exciting: I have at last begun excavating a vein of incalculable richness. To try to get down to earth: I have the clue, at last, to one of the central symbols of all human cultural history, which explains the survival of traditions from at least Upper Paleolithic times through all subsequent cultures.He published his initial findings in Brazil in 1956 under the title, “Genealogical Patterns in the Old and New Worlds.” Its goals seemed modest enough for a work of such importance. The purpose of this paper is to call attention to a type of design which occurs among various peoples in both hemispheres, and to offer an explanation of its form, which may at the same time account for its surprisingly wide distribution. Designs of this type are made up of a series of human bodies joined by their arms and legs in such a way as to form an endlessly repeating “all-over pattern” (Muster ohne Ende). <mask> believed that Paleolithic peoples developed a system for illustrating their ideas about genealogy. Not a kinship system — which depicts actual relations — but an idealized system linked to certain cosmological ideas. The resulting designs were used to decorate the body, clothing, and tools. Their function was to clothe the individual in his/her tribal ancestry.The basic units of the system were conventionalized human figures, linked like paper dolls, arm to arm to depict relation within the same generation, and leg to arm to depict descent. Linked together, these human bodies formed geometric patterns, often of astonishing complexity. (These figures are most familiar to us as decorative motifs like hourglass figures, diamonds, St. Andrew's crosses, meanders, and spiral patterns, which appear in the traditional art forms of many cultures throughout the world.) How did this iconography originate? Conceivably from robes of small animal skins, which resemble, by chance, human figures. These small furs were sewn together, with the fore-legs of one animal interlocked with the hind-legs of each adjacent, inverted animal. The use of split figures, emphasized by alternating colors, stressed the dual parentage that everyone enjoys, along with the concomitant notion that a human being is half male and half female, an idea which would have a long history.No examples of these furs survive from ancient times but the Tehuelche Indians of Patagonia made such robes as did other technologically simple hunting peoples. <mask> also found abundant evidence that these designs were reproduced on cave walls, pebbles, tools, and stone monuments where they represented the corporate identify of their owners, much like military insignia do today. Another significant aspect of the system is that descent is depicted as a fusion of the leg of an upper figure with the arm of a lower one. These common limbs represent bonds between generations. Many myths tell of human beings born from limbs – sometimes from arms or fingers, more commonly from legs, and most commonly from knees. The idea of birth from the limbs is based on an analogy with the plant world. Just as tree limbs can regenerate, so too, are human limbs seen as a source of potency.A human body becomes a living kinship chart with the ancestral spirits resident in the joints. Bibliography

Articles
 International Studio, Vol. XCII, No. 381, February 1929, pp. 44–47. <mask> writing on decoration of Japanese sword guards (decorative tsubas)
 “Some Peasant Embroideries from Western China,” Embroidery Magazine, London, (Sept., 1935), pp. 88–89.“Das Vogelmotif in der Chinesischen Bauernstickerei,” (part of his PhD thesis) in J. Strzygowski, Spuren Indogermanischen Glaubens in der bildenden Kunst, Heidelberg, 1936, pp. 326–44. An English translation of this work was published under the title, “A Bird Motif in Chinese Peasant Embroidery,” 13 pages, Peking, 1936. “An Archaic Form of Chess in Chinese Peasant Embroidery.” Man (Sept. 1936), London, pp. 148–151. “A Prehistoric Symbol in Modern Chinese Folk Art” Man, vol. XXXVI (270-292), (Dec. 1936), pp.201–203. “A Comparative Study of Motives in Western Chinese Folk Embroideries” Monumenta Serica, vol. 2, fasc. 1, (1936), Peking. “Peasant Embroideries of China” Asia (Jan. 1937), pp. 26–31. “A Comparison of Aboriginal Textile Designs in Southwest China with Peasant Designs from Eastern Europe,” Man, vol.37, (July 1937), pp. 105–106. “The Triumphant Equestrian,” Monumenta Serica, vol. II, fasc. 2 (1937), Peking, pp. 437–440. “The Bird with S-Curves in Southwestern China,” Artibus Asiae, vol.IX, no. 4 (1946), pp. 321–322. “Some Comparative Considerations about Western Asiatic Carpet Designs,” Artibus Asiae, vol. IX, Ascona, Switzerland, (1946), pp. 68–92. “Some Artistic Parallels between Tanimbar, the Solomon Islands and Polynesia,” Cultureel Indië, vol.8, Leiden, (1946), pp. 1–8. “Prehistoric Stone Objects from New Guinea the Solomons,” Mankind, vol. III, No. 9, Sydney, Australia, (July 1946), pp. 247–251. Letter to A.F.C.A.van Heyset, on Chinese-made objects from the casque of the tropical hornbill, Cultureel Indië, vol. 8, (1946), Leiden, pp. 222–224. “A Perennial Puzzle: The Motive of Three Fish with a Common Head,” Art and Thought (Festschrift for Ananda K. Coomaraswamy), Luzac & Co., London, (1947), pp. 116–125. “Modern Parallels for Ancient Egyptian Tattooing,” Sudan Notes and Records, vol. 29, Khartoum, (1948), pp.71–77. “Stitch-Resist Dyed Fabrics of Western China,” Bulletin of the Needle and Bobbin Club, vol. 32, New York, (1948), pp. 10–29. “Traditional Designs Common to the Old and New Worlds,” Philadelphia Anthropological Society Bulletin, vol. 3, no. 4, (1950), pp.2–3. “An Ancient Chinese Mirror Design Reflected in Modern Melanesian Art,” The Far Eastern Quarterly, vol. 11, no. 1, (Nov. 1951), pp. 52–66. “Joint Marks: A Possible Index of Cultural Contact Between America, Oceania, and the Far East.” Koninklijk Instituut Voor de Tropen, Amsterdam, 1951. “Designs Incised on Pearl Shell from Northwestern Australia and Tanimbar,” Mankind, vol.IV, Sydney, (1951), pp. 219–220. “A Survival of the Eurasiatic Animal Style in Modern Alaskan Eskimo Art.” Indian Tribes of Aboriginal America, edited by Sol Tax, pp. 35–45, University of Chicago Press, 1952. “V-Shaped Chest Markings: Distribution of a Design Motive in and around the Pacific,” Anthropos, vol. 47, Fribourg, Switzerland (1952), pp. 99–118.“Head-Hunting Symbolism on the Bronze Drums of the Ancient Dongson Culture and in the Modern Balkans,” Actes du IVe Congrès International des Sciences Anthropologiques et Ethnologiques, Vienna (1952), tome II, pp. 278–282. “The Labyrinth Motive in the Old and New Worlds: Problems in the Diffusion of a Design." Communication to the 4th International Congress of Anthropological and Ethnological Sciences, Vienna, (1952). Mimeographed and distributed. “An Ancient Cultural Movement Reflected by Modern Survivals in the Arts of the Carpathians, the Caucasus Region, West China, and Melanesia, Dated by the Dongson Culture of Northern Indo-China,” Actes du IVe Congrès International des Sciences Anthropologiques et Ethnologiques, Vienna (1952), tome II, p. 283. “Human Figures in South American Petroglyphs and Pictographs as Excerpts from Repeating Patterns,” Anales del Museo de Historia Natural, 2nd series, vol.4, no. 6, Montevideo, Uruguay (1955), pp. 1–13. “Genealogical Patterns in the Old and New Worlds.” Revista Do Museu Paulista, Nova Série, vol. X  (1956/58), São Paulo, Brazil. This article was also printed separately as a booklet under the same title. “Human Figures with Spiral Limbs in Tropical America,” Miscellanea Paul Rivet, Octogenario Dicata, (Report of the 31st International Congress of Americanists); vol.II, Mexico (1958), pp. 549–561. “Skin and Fur Mosaics from Early Prehistoric Times to Modern Survivals,” Actes du VIe Congrès International des Sciences Anthropologiques et Ethnologiques, Paris (1960), tome II, pp. 631–632. “Some Geometric Designs of Upper Paleolithic Art Explained in Light of Survivals in Later Prehistoric Periods and Modern ‘Primitive’ Cultures,” 5th International Congress of Prehistoric and Protohistoric Science, Hamburg (1958), Berlin (1961), pp. 750-751. “Observations on the Painted Designs of Patagonian Skin Robes.” Essays in Pre-Columbian Art and Archaeology, Samuel Lothrop, ed.Harvard University Press, Cambridge, Mass., 1961, pp. 421–447. “Remarks on the Design of an Early Ikat Textile in Japan,” in Festschrift Alfred Bühler, Basel (1962), pp. 339–374. “Skin and Fur Mosaics in Prehistoric and Modern Times,” in Festschrift für Ad. E. Jenson, Munich (1964), pp. 559–610.“Speculations on the Similarity of some Notched Artifacts in the Folsom Culture and in the Old World Paleolithic." American Association for the Advancement of Science. Cleveland (1963). Mimeographed and distributed. “Kapkaps with Human Figures from the Solomon Islands,” Academiae Scientiarum Hungarica: Acta Ethnographia, tome 13, fasc. 1-4, Budapest (1964), pp. 213–279.“Pottery Vessels from South America in the Form of a Double-Headed Human Figures,” Folk, vol. 8/9, Copenhagen (1967), pp. 315–324. “The Ainu Inao; Some Comparative Considerations,” Proceedings, VIIIth Congress of Anthropological and Ethnological Sciences, Tokyo and Kyoto, Science Council of Japan (1968), pp. 86–98. “Pendants in the Form of Inverted Human Figures from Paleolithic to Modern Times." Proceedings of the 7th International Congress of Anthropological and Ethnological Sciences, (1964), pp.105–117, Moscow. “Incised Stones from Nevada and Elsewhere.” The Nevada Archaeological Survey Reporter, vol. II, no. 5 (May 1968). University of Nevada, Reno, NV. “V-Shaped Chest Markings Reconsidered: A Paleolithic Figurine as Explanation for Their Wide Modern Distribution,” Anthropos, vol. 63/64, Fribourg, Switzerland (1968/1969), pp.428–440. “Relations of a Chinese Embroidery Design: Eastern Europe and Western Asia, Southeast Asia (the Dongson Culture) and Melanesia.” Early Chinese Art and its Possible Influence in the Pacific Basin, edited by Noel Barnard and Douglas Fraser, vol. II, pp. 243–290, N.Y., 1972. “Comparative Observations on Some Typical Designs in Batak Manuscripts.” Catalog of Indonesian Manuscripts, Part 1 Batak Manuscripts, edited by P. Voorhoeve, pp. 52–85, The Royal Library, Copenhagen, 1975. Many of the articles listed above can be found at: https://edmundsnowcarpenter.com/2019/09/19/carl-schuster-1904-1969/.Manuscripts
Schuster, <mask>. The Sun Bird Book Reviews, Translations and Letters
 Review of Karl Hentze’s Objets Rituels, Croyances, et Dieux de

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 la Chine Antique et de l’Amérique (1936). Monumenta Serica, vol. IV (1939–1940), pp. 355–359. Review of Joseph Strzygowski's "Spuren indogermanischen Glaubens in der bildenden Kunst," Monumenta Serica, 2/2: 437-440, Peking. Translation of K. A. Nowotny's “A Unique Wooden Figure from Ancient Mexico,” American Antiquity, vol.15, no. 1, New York, (July 1951), pp. 57–61. “Antiquity-Survival” in Artibus Asiae, vol. 18, no. 2 (1955) p. 220. Letter offering material on parapegmata (peg calendars).Current Anthropology, vol. 1, nos. 5/6, 1960. .

 Books
 <mask> and Edmund Carpenter, Materials for the Study of Social Symbolism in Ancient and Tribal Art. Based on the research and writings of <mask>. 3 vols, Rock Foundation, 1986-89. Privately printed. Available in print-on-demand and e-book format from Ingram/Lightning Source.<mask> and Edmund Carpenter, Patterns That Connect. Based on the research and writings of <mask>. Abrams Press, New York, 1996. See also
 Tichelman, G.L., "Dr. <mask> on Bird-Designs in the Western Pacific: Indonesia-Melanesia-Polynesia," Cultureel Indië, 1: Leiden (1937), pp. 232–235. (Written partly by <mask>.) Levi-Strauss, Claude.“Huxley Memorial Lecture: The Future of Kinship Studies.” In Proceedings of the Royal Anthropological Institute of Great Britain and Ireland. No. 1965 (1965), pp. 13–22. Carpenter, Edmund. “Excerpt from <mask>’s Researches and Writings” in RES: Anthropology and Aesthetics, no. 6 (Autumn 1983), pp.32–46. Carpenter, Edmund. “Biography of <mask>” in RES: Anthropology and Aesthetics, no. 24 (Autumn 1993), p. 44. Siegeltuch, Mark. The Thread-Spirit. The Symbolism of Knotting and the Fiber Arts.Fons Vitae Press, 2010. Siegeltuch, Mark. Lunar Calendars or Tribal Tattoos? Alexander Marshack's ideas re-evaluated. PDF posted on Academia.edu. Siegeltuch, Mark. The Social Symbolism of Horns.PDF posted on Academia.edu. Siegeltuch, Mark. The Water Symbol. PDF posted on Academia.edu. Siegeltuch, Mark. Birth from the Knee. PDF posted on Academia.edu.Siegeltuch, Mark. The Heavenly Ladder. PDF posted on Academia.edu. Siegeltuch, Mark. The Continuous Line. PDF posted on Academia.edu. Siegeltuch, Mark.The Shameless Woman. The Origin and Meaning of an Ancient Motif. PDF posted on Academia.edu. Siegeltuch, Mark. Handprints and Finger Amputation. PDF posted on Academia.edu. Siegeltuch, Mark.Inversion: The Upside-Down World of the Dead. PDF posted on Academia.edu. Siegeltuch, Mark. What is Geometric Art? PDF posted on Academia.edu. Siegeltuch, Mark. Review of <mask>'s " Skin and Fur Mosaics in Prehistoric and Modern Times " An Overlooked Study that Provides an Essential Clue to the Origin and Meaning of Paleolithic Symbols.PDF posted on Academia.edu. Baker, Muriel, and Lunt, Margaret. Blue and White. The Cotton Embroideries of Rural China. Charles Scribner and Sons, New York, 1977. Ch'i-Lu, Ch’en. “The Aboriginal Art of Taiwan and Its Implication for the Cultural History of the Pacific,” in Early Chinese Art and its possible influence in the Pacific Basin.Volume Two, Asia,” Intercultural Arts Press, New York, 1972, pp. 395-430
 Cammann, Schuyler. “Ancient Symbolism in Modern Afghanistan” in Ars Orientalia, vol. 2 (1957), p. 5-34. Prins, Harald. Review of Patterns That Connect in American Anthropologist, New Series, vol. 100, no.3 (Sept. 1998). Siegeltuch, Mark. Review of Patterns That Connect in Gnosis, no. 45 (Fall 1997), pp. 70–71. Webber, Alika Podolinsky. "Ceremonial Robes of the Montagnais-Naskapi" in American Indian Art Magazine, Winter (1982), pp.60–77. Hinojosa, David Rettig. "Union Y Descendencia en Boca de Poterillos, Nuevo Leon: Elementos Graficos Transmitidos por el Hacer Rutinario," in Arte Rupestre del Noreste, edited by William Breen Murray. Fondo Editorial de Nuevo, Leon, Mexico, (2007) pp. 259–296. Messmer, Matthias. Jewish Wayfarers in Modern China: Tragedy and Splendor pp.135–136. Two pages on <mask>'s travels in China. The author's comments about the relationship of <mask>'s work to structuralism are not accurate. Article on <mask>'s Guggenheim grant for research in China. Article on <mask>'s research in the Solomon Islands. Pacific Islands Monthly, Vol. IX.No. 4 (Nov. 15, 1938). Click on picture above. Holmgren, Robert and Spertus, Anita. Early Indonesian Textiles from Three Island Cultures: Sumba, Toraja, Lampung,  Metropolitan Museum of Art, p. 62. Dallas Museum of Art. . Indonesian textile. See "Additional Information".Solheim, Wilhem G., "A Look at L'Art Prebouddhique de la Chine et de l'Asie du Sud-Est et Son Influence en Oceanie'' Forty Years After". pp. 177–179. Hamell, George. "Of Hockers, Diamonds and Hourglasses. Some Interpretations of Seneca Archeological Art." Paper delivered at the Iroquois Conference at Albany New York (1979).Available on Academia.edu. Archeology Related
 Gramly, Richard. “Abstract Stone Sculptures of Ancestors: Examples from Prehistoric North America.”
 Bostrom, Peter A.” Gault Site Engraved Stones.”
 Dennis C. Curry and Maureen Kavanagh. "A Carved Bone Figure". Deb Twigg. "Grid Stone Found at Spanish Hill". Excavations started in 1991 at the Blombos Cave site on the Southern coast of South Africa unearthed a 75,000-year-old piece of ocher engraved with hourglass figures, patterns that <mask> identified as basic units of a graphic system used to depict genealogical relations.If the dating is accurate, this would more than double the known age of this symbolism. Collections
 Field Museum, Chicago: Schuster Chinese Textile Collection
 NY Public Library: Chinese Prints collected by <mask>. A group of Chinese prints, including some important early Buddhist woodcuts and some 250 Chinese popular prints. Australian opossum skin cloak in the Smithsonian Museum

Schuster Archive
Museum der Kulturen
Münsterplatz 20
Entrance: Augustinergasse 8
4051 Basel, Switzerland. References

Cultural anthropologists
American art historians
1904 births
1969 deaths
Harvard University alumni
20th-century American historians
American male non-fiction writers
20th-century American male

masks:
Carl Schuster
Carl Schuster
Carl Schuster
Carl Schuster
Carl Schuster
Carl Schuster
Karl Schuster
Carl Schuster
Carl Schuster
Schuster
Schuster
Schuster
Schuster
Schuster
Carl Schuster


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<mask> (16 June 1878 – 6 February 1948) was a German military commander of occupied France during the Second World War. Arrested by Allied authorities after the war, he committed suicide in prison in 1948. Career
<mask> was born on 16 June 1878 in Berlin. He was a member of the Stülpnagel family. He pursued a military career in keeping with his family's long tradition of military service. Commissioned in 1898 and accepted as a member of the Imperial General Staff, he received several decorations for distinguished service on the western front during World War I. Nominated for the Pour le Mérite, Stülpnagel survived personnel cuts mandated by the Treaty of Versailles.Dismayed by accusations of German atrocities, he published an angry defence of German military conduct in a popular book entitled Die Wahrheit über die deutschen Kriegsverbrechen (The Truth about German War Crimes) (1921). Promoted to the rank Generalleutnant (lieutenant general) in 1931, Stülpnagel played a leading role in the Reichswehr in conjunction with <mask> Schleicher and Erich Freiherr <mask> Bussche-Ippenburg during the Weimar era. Transferred to the fledgling Luftwaffe in 1934, Stülpnagel eventually took charge of the air force academy before falling from favour and retiring in March 1939. Days before the German invasion of Poland, Hitler recalled Stülpnagel to active service and placed him in charge of a military district in Austria (Wehrkreise XVII), and he held the latter post for fourteen months. Military Commander in France
On 25 October 1940, German army high command transferred  Stülpnagel to France and placed him in charge of a military government with the title of Militärbefehlshaber in Frankreich (MBF; "Military Commander in France"). Not without controversy, this last assignment defined Stülpnagel's career. Orders from Hitler placed the army and the MBF in charge of "security" but allowed other state and Nazi party agencies to exercise a degree of influence in Occupied France.The German ambassador in Paris, <mask>, first supervised and later controlled diplomatic relations between France and Germany, but that power amounted to little in practice. Hitler would not allow his ambassador to trade concessions for French cooperation, and formal negotiations between the Third Reich and Vichy France came to nought. With control of the flow of vital raw materials, food, and people across the demarcation line that separated occupied from unoccupied France, Stülpnagel could reward French cooperation by allowing people and goods to cross military checkpoints, or he could seal the borders and bring the French economy to a grinding halt. Control over both the demarcation line inside France and borders with Germany and Belgium gave the MBF considerable influence over German policy and French affairs. Thus Stülpnagel played a major role in Franco-German relations between October 1940 and January 1942. Determined to support the Nazi war effort by placing French industrial resources at the disposal of the German war economy, Stülpnagel discouraged all activities that did not advance the German war effort. The latter goal placed him at loggerheads with Nazi party stalwarts who viewed World War II as a struggle against Jews and their alleged Communist allies.Days after German troops occupied Paris, agents of the Reichsleiter Rosenberg Taskforce and German embassy staff began to confiscate the art collections of prominent French Jews. Upset by the apparent seizure of France's artistic patrimony, the French government complained to German diplomats and the MBF. Eager to maintain cordial relations with the Vichy regime, <mask> and his staff condemned the confiscations through a series of protests that eventually reached Hitler's desk, but to no avail. Hitler eventually exempted the Einsatzstab from military control and sanctioned the wholesale theft of Jewish art collections. Conflict with the SS followed a similar pattern. Forced to accept an advisory role at the start of the Occupation, the SS complained of the alleged danger of the so-called 'Jewish menace' and pressed MBF to launch an active campaign against "racial opponents" in France, but lacked the authority to act independently. After French Resistance groups shot Colonel Karl Friedrich Hotz in Nantes on 20 October and  in Bordeaux on 21 October 1941, Hitler ordered Stülpnagel to execute 100-150 French hostages for each attack.The MBF immediately condemned Hitler's policy through official channels, treated both attacks as a single incident, and shot a total of 98 hostages. Determined to preserve French cooperation, Stülpnagel condemned large-scale executions. In contrast, the SS demonstrated its enthusiasm for Hitler's war against the so-called Jewish conspiracy by bombing seven synagogues in Paris on the night of 2/3 October 1941. Embarrassed by the attacks, Stülpnagel complained to superiors in Berlin, but his repeated protests only reiterated tepid support for Nazi racial policy. Suspecting the MBF of Francophilia, Field Marshal Wilhelm Keitel, the head of Oberkommando der Wehrmacht (OKW; Armed Forces High Command) grew tired of Stülpnagel's complaints. On 2 February 1942, he directed the MBF to answer all acts of resistance with "sharp deterrents, including the execution of a large number of imprisoned Communists, Jews, or people who carried out previous attacks, and the arrest of at least 1,000 Jews or Communists for later evacuation." Stülpnagel, who had executed 95 hostages on 15 December 1941, refused to go any further in the implementation of the retaliation policy.He promptly submitted a bitter letter of resignation. Succeeded by his cousin Carl-<mask> Stülpnagel, Stülpnagel may have suffered a nervous breakdown. He spent the remainder of the war with his wife in Berlin. Imprisonment and death

Arrested by Allied authorities after Germany's surrender, Stülpnagel was moved to a French military prison. Charged with war crimes by French authorities, Stülpnagel committed suicide in Cherche-Midi Prison on 6 February 1948. He is buried in the Champigny-Saint-André German war cemetery. References
Secondary sources
 Walter Bargatzky, Hotel Majestic: Ein Deutscher im besetzten Frankreich (Freiburg: Verlag Herder, 1987, ).Thomas Laub, After the Fall: German Policy in Occupied France, 1940-1944 (Oxford: Oxford University Press, 2010). Allan Mitchell, Nazi Paris: The History of an Occupation (New York: Berghahn, 2008). François Marcot, Dictionnaire Historique de la Résistance (Paris: Robert Laffont, 2006). Archival sources
 BAMA, N 5 (Depot Stülpnagel)/26/11, 26–29;

Other sources
 <mask> <mask>, Die Wahrheit über die deutschen Kriegsverbrechen (Berlin: Staatspolitischer Verlag, 1921). 1878 births
1948 suicides
Generals of Aviators
German military governors of Paris
German untitled nobility
German military personnel who committed suicide
People indicted for war crimes
Military personnel from Berlin
People from the Province of Brandenburg
Suicides in France
German people who died in prison custody
People who committed suicide in prison custody
Prisoners who died in French detention
Prussian Army personnel
German military personnel of World War I
Lieutenant generals of the Reichswehr
German World War I pilots
Recipients of the Hanseatic Cross (Bremen)
Recipients of the Hanseatic Cross (Lübeck)
Generals of the German Army (Wehrmacht)
Generals of Infantry (Wehrmacht)
Burials at Champigny-Saint-André German war cemetery
Von Stülpnagel family
1948 deaths

masks:
Otto von Stülpnagel
Otto von Stülpnagel
Kurt von
von dem
Otto Abetz
Stülpnagel
Heinrich von
Otto von
Stülpnagel


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<mask> (born June 12, 1991) is a former American football quarterback and current coach who is an offensive assistant for the Houston Texans of the National Football League (NFL). He played college football at Montana State University. Early years
An online feature on McGhee stated he was born in Mississippi, and for the first nine years of his life, he lived with his grandmother and aunt. Then he went to live with his mother for three years, and eventually moved down to Texas to live with his father. His father is a hero in McGhee's eyes since he worked for the sheriff department. McGhee's father was able to be there for him and help mold him to be the person he is today. McGhee attended Trinity Trojan High School in Euless, Texas.According to MSU Bobcats 2011 football roster, in his senior year he received All-District 5-5A and honorable mention, and he also led his team to the 5A Division 1 championship game. There, he earned MVP and the John Reddell Sportsmanship Award. In high school, he was not only an outstanding football player, but also participated in basketball, baseball, and track. College career

Freshman Year
In his freshman year, <mask> started as a redshirt. He played outstandingly his first year in college football and had one of the best seasons by a Bobcat quarterback. <mask> led the Bobcats to nine wins, the second highest in the school's history. He earned the Big Sky Offensive MVP and was voted the league's top newcomer, and was named National Freshman of the year by College Football Performance Awards and MSU's Sonny Holland Offensive MVP.He had the third-best season in the school's history and threw 3,163 yards. According to ESPN, in the “NCAA Division I-A Player Passing Statistics of 2011,” he would be in 29th right behind Russell Wilson of Wisconsin, who threw 3,175 yards. McGhee helped turn around the team and lowered the teams turnovers. In an article in the Billings Gazette, Greg Rachac said, “The Bobcats are off to their best start since 1978. And I believe McGhee is the reason for the renaissance.”
When McGhee was a freshman, Brian Wright said, “DeNarius would be the first to admit he had plenty of areas in which to improve.”   He knows he still has to grow, even though he had a superb and successful year as a quarterback for the Bobcats. Sophomore Year
McGhee improved as an athlete from his freshman year to his sophomore year. Eastern Washington University's defensive coordinator John Graham said, “Nothing seems to rattle him, and I think he’s maybe even staying in the pocket longer and not panicking and taking off running as much as he did as a freshman.”
The fall of his sophomore season, the team voted him one of the three captains.One of McGhee's best games of his sophomore season was against Portland State. His statistics were good; he completed 15 of his 22 passes, and had no turn overs. After that game against PSU, <mask> was awarded Big Sky Offensive Player of the Week. He was also in the running for the Walter Payton Award and was in the final 20, along with 9 other quarterbacks. <mask> led MSU to its first playoff win since 2006 when it beat New Hampshire 26–25 in Bozeman. <mask> ran for two touchdowns and threw for another as the Bobcats advanced to the FCS quarterfinals. Junior Year
<mask> had another solid campaign in 2012 as he again led the Bobcats to a Big Sky Conference title and helped advance the team to the quarterfinals of the NCAA FCS playoffs where they defeated Stony Brook 16–10 in the first playoff night game at Bobcat Stadium to advance to the quarterfinals of the FCS playoffs for the second straight season.<mask> attempted (436) and completed more passes (288) and at a higher completion percentage (66.0) than in his previous two seasons at MSU. He earned first team All-America by the American Football Coaches Association (AFCA), his second BSC Offensive Player of the Year award and was first team All-BSC at quarterback. He ran his record as MSU's starting quarterback to 30–8 to become the all-time leader in wins in MSU history. He needs just four more wins to become the winningest quarterback in Big Sky Conference history. In the spring, <mask> was initiated into the Pi Kappa Alpha fraternity, where he became a highly active member. Eventually, he would live at the fraternity his senior year and would assume high level leadership positions within the organization. Senior Year
<mask> suffered a separated shoulder on the last play of the second game of the season at Southern Methodist University.Playing near his hometown McGhee helped lead the Bobcats to a 22-5 first half lead and MSU still led 30–19 in the third quarter before SMU rallied and scored a touchdown with :12 seconds to play. MSU ran the hook-and-ladder for its last desperation attempt and <mask> completed a pass to Tanner Roderick, then got the ball back and was driven out of bounds landing on his right shoulder. <mask> returned to the field three weeks later, playing in 10 games. He finished the 2013 season completing 175 of 265 passes for 2087 yards and 8 touchdowns. He rushed for 248 yards in 83 attempts. Professional career
In October 2014, <mask> was signed to the practice roster of the Saskatchewan Roughriders of the Canadian Football League, but was cut later that month. Coaching career
Also in 2014, <mask> worked as a graduate assistant on the staff of the Florida Atlantic University college team.In 2015 and 2016, he was a graduate assistant for the North Carolina State University team. It was announced in December 2016 that <mask> would return to Montana State to serve as the Bobcats' quarterbacks coach. In 2018 he became the running backs coach. In January 2020, <mask> was hired by the Houston Texans as an offensive quality control coach. He was retained by the new coaching staff on March 10, 2021. References

1991 births
Living people
All-American college football players
American football quarterbacks
Montana State Bobcats football players
People from Euless, Texas
Players of American football from Texas
Montana State Bobcats football coaches
Houston Texans coaches

masks:
DeNarius Devon McGhee
McGhee
McGhee
McGhee
McGhee
McGhee
McGhee
McGhee
McGhee
McGhee
McGhee
McGhee
McGhee
McGhee
McGhee
DeNarius


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<mask> (18 March 1952 – 10 November 2015) was an Irish flat racing jockey and horse trainer. He rode three winners of The Derby, and was Champion Jockey on eleven occasions. He rode the winners of 4,632 British flat races, a figure exceeded only by Sir Gordon Richards. Background

<mask> was born in Newbridge, County Kildare, less than 2 miles from the Curragh Racecourse, and his birth was registered in Dublin. He was the fifth child of <mask>, a jockey who rode Panaslipper to win the Irish Derby in 1955, and Josephine (the daughter of jockey Jack Moylan). His brother, Paul, also went on to become a jockey. He attended the Patrician Brothers' Primary School in Newbridge and when the family later moved to Blackrock, the Oatlands Primary School in Stillorgan.Riding career
Since early childhood, <mask>'s most frequent dreams were to be the champion jockey and winning the Derby. Eddery began his career as an apprentice jockey in Ireland with the stable of Seamus McGrath. In 1967 he moved to England where he was apprenticed to Frenchie Nicholson and recorded his first success on Alvaro at Epsom Downs Racecourse on 24 April 1969 after riding more than one whole season without a single winner. The same horse was to give Eddery 6 wins in succession during the 1969 season. While still riding as an apprentice he won the Wokingham Handicap and the Timeform Gold Cup in 1969, the Northumberland Plate in 1970 and the Goodwood Stakes in 1971, a year in which he won the title of Champion Apprentice Jockey. Before formally out of apprenticeship, Eddery won the Ascot Gold Cup in 1972 after the disqualification of Roc Roi. Nicknamed Polyfilla in his early career, <mask> was described as a seal in water on horseback in for a long swim.Throughout his riding career he clinched 11 championship titles, two batches coming in four consecutive seasons (1974–1977; 1988–1991). But for his joining the Vincent O'Brien stable in autumn 1980 that took him out of all main Saturday meetings in England, he would certainly have recorded more champion titles, though he did become the Irish Champion in 1982. His last champion title in 1996 was his determination to regain what he had lost when the English racing season switched over in the early 1990s to multi-purpose track racing starting in November, a time when Eddery was customarily riding for other overseas retainers since the early 1970s. Eddery's first championship title in 1974 saw the youngest English flat racing champion emerging after World War II, a record not since broken by subsequent champions. He was also first voted the Jockey of the Year in 1974 by the Horserace Writers' Association. He finished his retainer with Peter Walwyn in 1980 after two seasons of aquine virus acutely affecting the Walwyn stables. He then joined forces with the greatest racing conglomerate of that time – the Ballydoyle stables under Irish compatriot Vincent O'Brien.When in the mid-1980s the Arab owners began to dominate the British racing scene, Eddery was retained globally  by the owner of Juddmonte stables, Arab prince Khalid Abdullah, a position he held until 1994, after which he rode as freelance jockey until his retirement from the saddle at the end of 2003. Eddery's riding style was not elegant by normal standards, owing to his habit of bouncing up and down in the saddle as he urged his mounts on at the final finishes, but was undeniably effective. Frenchie Nicholson said that he regretted the fact that his protegee abandoned the "quiet, refined" style he had been taught but admitted that the young jockey stood out as being "in total harmony" with the horses he rode. Eddery rode for the Newmarket trainer Geoffrey Barling in 1972 before taking over as the stable jockey for Peter Walwyn later that year. For Walwyn he won his first two classic races on Polygamy and Grundy and was Champion Jockey in four consecutive seasons from 1974 to 1977. While under retainer with Walwyn, he clinched his first title at the record young age of 22. In 1975 he rode Grundy to victory over Bustino for the King George VI and Queen Elizabeth Diamond Stakes at Ascot Racecourse in what became known as Britain's "Race of the Century".Well known for riding champion horses like Sadler's Wells, Danehill (the grand sires on the sire and dam side of Frankel), etc., Eddery was also famed for riding for big owners as well as champion trainers. Apart from the later illustrious associations with Robert Sangster, Arab giant owners Prince Khalid bin Abdullah, Wafic Saïd and Maktoum al-Maktoum, he rode to winners in the then Colony of Hong Kong on the first ever race horse to be owned by tycoon Li Ka Shing, called 'Golden Victory' and trained by English trainer John Brown to whom Eddery rode for many seasons in winter in Hong Kong since 10 November 1973. In the following decade, Eddery became associated with the Irish Ballydoyle stable of Vincent O'Brien and gained further classic success on Kings Lake, Lomond, Golden Fleece, Assert and El Gran Senor. In 1986, on the choice of the horse's owner, he took over from Greville Starkey as the rider of Dancing Brave. He partnered Dancing Brave to victory in the King George VI and Queen Elizabeth Stakes and the Prix de l'Arc de Triomphe and became the worldwide retained jockey of the colt's owner, Khalid Abdullah. While the press played up in the course of years the controversy between Starkey and Eddery, Eddery had been most reticent and underplayed the apparent falling out. Major winners in the Abdullah colours included Zafonic, Quest for Fame, Warning and Toulon.He was Champion Jockey a further seven times in eleven years between 1986 and 1996. His epic battle for championship in 1987 with American Steve Cauthen was particularly intense, with Cauthen winning the title with 197 and Eddery coming close at 195, and but for an objection from the third horse after the last definitive race in which Eddery won against Cauthen making the Championship a tie, the title would have been a shared one. In the year 1988, Eddery completed 183 winners from 480 odd rides – which was a great strike rate, and regained the title. Eddery also rode several major winners outside Europe including Jupiter Island in the 1986 Japan Cup and Pebbles in the 1985 Breeders' Cup Turf In North America he also won the Arlington Million on Tolomeo, the Canadian International Stakes on French Glory and the Breeders' Cup Sprint on Sheikh Albadou. An active racing ambassador overseas since his early years, Eddery joined forces with Lester Piggott, Joe Mercer and French champion Freddie Head and Yves Saint-Martin in a group of riders to take part in a series of challenge races under the 'Ritz Club Challenge Trophy' at Singapore and other Asian cities starting in 1983 for several years. Eddery's overseas winners, tallying with his British winners, exceeded well over 6,000. In 1990 he was the winner of the inaugural Lester Award for Flat Jockey of the Year, which he again won in 1991 and 1996, sharing on the latter occasion with Frankie Dettori.He also received two Flat Jockey Special Recognition awards in 2002 and 2003. He retired from the saddle at the end of the 2003 flat season and stated that he had no intention of becoming a trainer. For the most part of his ultra-successful riding career, and spanning a quarter of a century, <mask>'s booking agent was his brother-in-law Terry Ellis, from the time Eddery was under retainer with Peter Walwyn until 1999 when he was riding as freelance. They parted ways after Eddery underwent a slipped-disc operation in 1999, with Ellis helping out the other riding members of the Eddery family. Eddery summed up his attitude to the sport by saying, "That's all part of the game, going to the Folkestones and the smaller tracks, because it's not Royal Ascot every day. You've got to be out there every day working those muscles, riding in every race if you want to be at your best. There may be more money for a Derby than a seller but that doesn't make you try any harder.A winner is a winner." In his autobiography, he admitted that his primary and sole motive as jockey was to ride winners, and any one saying that he does not wish to win is either a liar or a fool

Training career
Despite his earlier statements and on the suggestion of wife Carolyn, in July 2005, Eddery was granted a training licence and set up a stable of 40 horses at Musk Hill Stud in Nether Winchendon, near Aylesbury. His brother, <mask>, was Assistant Trainer and his Racing Manager was Simon Double who also co-founded Pat Eddery Racing, the racehorse syndication company which provided the opportunity for people to own shares in racehorses. Eddery's first runner as a trainer was Perez, who finished second in an all-weather maiden race at Wolverhampton in December 2005. His first training success was with the horse Visionist in a handicap race at Kempton Park in April 2006. His first winner on turf was the two-year-old filly Cavort in a maiden 6 furlong race at Goodwood. His trainer career culminated with Hearts Of Fire winning Italy's Group 1 Gran Criterium in 2009.He sent out his final runner in the week before his death. In 2005, he was awarded an honorary OBE, which he described as "a great honour". In 2012, he acted as a judge in the Godolphin Stud and Stable Staff Awards, giving up his free time generously in support of the industry he was so successful in. Family
One of the twelve living children of <mask> and Josephine Moylan, the other four of the five male siblings of <mask>y are horse-riders in one way or the other: Michael, Robert, Paul and David. His uncle Robert Moylan also rode successfully. <mask> married in November 1978 Carolyn, the daughter of flat jockey Manny Mercer, niece of jockey Joe Mercer, and granddaughter of jockey Harry Wragg. They had two daughters, Nichola and Natasha, and a son Harry.Eddery had another son, Toby Atkinson, who also became a jockey. The marriage broke down in 2008 and the couple formally divorced in 2009. Death
<mask> died on 10 November 2015, aged 63 at Stoke Mandeville Hospital due to a heart attack, but suffered a long battle with alcoholism. His funeral was held on 8 December 2015 and he was cremated at Oxford after the funeral, with his ashes to be scattered on his family compound according to his last wishes.

masks:
Patrick James John Eddery
Eddery
Jimmy Eddery
Pat Eddery
Pat
Pat Eddery
Paul Eddery
Jimmy Eddery
Pat Edder
Pat Eddery
Eddery


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<mask>-Mei (, born 1949) is a Chinese classical pianist and teacher, now based in Paris, France. Biography
<mask>-Mei was born in Shanghai in 1949. Her music studies started early, and she played on Beijing radio and television by the age of 8. Two years later, she entered into the National School of Music for gifted children, and also attended the Central Conservatory of Music. Brief Info: <mask>, was born in Shanghai in 1949 , and currently teaches at Conservatoire Supérieur de Paris, living by the river side of the Seine in Paris, France. She maintains a low-key life style and is one of the most talented and respected Chinese pianists of the century. "1957-1975"  Early Years:  Cultural Revolution Survivor

Coming from an artistic family, she stepped onto the stage of Radio channels in Beijing to play piano at the age of 8.She graduated with excellent academic achievement from the high school affiliated with the Central Conservatory of Music in 1962. During the "Cultural Revolution" period, <mask> was dispatched to Zhangjiakou, Hebei Province for reeducation through a Maoist Labor Camp for 5 years. Despite this unfortunate experience, she kept her longing for art and an ideal future alive and well during the years of national chaotic madness. She even found a piano with broken strings on which she could practice in secret. She returned to Beijing in 1975. When China resumed the College Entrance Exam policy, <mask>'s age only allowed her to be enrolled in the class of advanced studies at the Central Conservatory of Music. She then started to teach piano lessons at Beijing Dancing Academy."1979"  Master's Degree in Piano Music -The New England Conservatory of Music. Her major life-changing event was when the famous American violinist Isaac Stern visited China in 1979, which eventually contributed to <mask>'s study in the United States (also with the great help of prestigious pianist/educator Zhou Guang-Ren). She began to study at the New England Conservatory of Music in Boston in 1980, and got her Master's Degree in Piano Music there. During her years of study in the United States, she worked hard through part time jobs to support her study and it was a difficult time. She even did housecleaning for the principal female flutist of the Boston Symphony Orchestra in exchange for practicing piano at her home, which was greatly appreciated by the flutist, according to one of her interviews. "1985"  Move to Paris, France

Just when she was losing hope in the States, <mask> got the chance to pursue her dream in Paris, France in 1985, just 2 days before her U.S. visa expired. At the beginning, she could barely make ends meet, but with the admiration and generous help of one professor in the Conservatoire Supérieur de Paris, she was offered a teaching position in the school and a budget accommodation in which to live.She had 7 different places where she could practice piano for free. With the help of friends, her stunning piano skills started to draw attention both from Europe and South America, leading to several music concerts & recitals in those areas. "80s-90s"  Golden Years: the Big Takeoff

Without an agent's proper promotion, she still managed to make her impact in the classical music circle one step at a time, focusing her interest on a handful of composers of whom she was particularly fond. During her takeoff years playing piano in Paris, every single one of her recitals was sold out. Then she started to go on tours in Europe, North America, South America, Asia and even Australia. Her records/albums were great hits and have been admired by some major record companies since then. Mirare had published many of her records.Her interests include the Goldberg Variations, Domenico SCARLATTI, Joseph HAYDN, MOZART, BEETHOVEN, SCHUBERT and SCHUMANN, but it is BACH who remains at the heart of her music universe. And she is now widely recognized as one of his leading exponents. Of Thomas Kantor's keyboard works, she has already recorded The Well-Tempered Clavier, the Partitas, The Art of the Fugue, the Inventions and Sinfonias and the Goldberg Variations. Her first album was completed at the age of 50. One of the legendary stories is that when <mask> played the Goldberg Variations at a family concert in Paris, an old lady was so deeply impressed and touched by her way of interpreting BACH's music, that she offered a riverside apartment to <mask> at an extremely low price. The apartment was close to Musee du Louvre and Notre Dame de Paris with an amazing view of the River Seine. Visitors said there was almost nothing in <mask>'s apartment except her piano and bed.She has lived a low profile and simple life all these years ever since she arrived in Paris. "1994-2014" Highlights of her career

In 1994, <mask> was invited to perform a piano recital in Théatre de la Ville, which was also her first public performance as a pianist in Paris. Ever since then, her concerts have all sold out and until this day she keeps performing in Théatre de la Ville once a year. Her first appearance in Théatre des Champs Elysées was a huge success. Being a perfectionist as she is , <mask> turned down the offer from the famous Théatre des Champs Elysées - an invitation to perform there every year. Overexposure of herself is frowned upon by <mask>-Mei, as she only wants the audience to enjoy the pureness of her music rather than her life story. Unlike most artists that aim to get more opportunities by exposing themselves in front of cameras, she limits her public appearances as she only wants to perform for responsive audiences who love real classical music.On June 21, 2014, <mask> was invited to perform in the St. Thomas Church, Leipzig, where J.S BACH had worked for 23 years. The recital was held just in front of BACH's grave , <mask> was the first pianist to perform in this church, "The concert started at 10:30pm and ended at 1:30am. It was a special musical experience." <mask> said, who played BACH's music for almost all her life. The DVD and CD of this recital have received a Special Achievement Award at the International Classical Music Awards. Documentary

The peace and quietness, and real balance that she finds in Bach's music is actually the highest level of traditional Chinese philosophy and wisdom – Taoism, the concept of which is explained in a more detailed manner in her documentary "Une Chinoise avec Bach", directed by Michel Mollard. The short film briefly tells the story of <mask>-Mei's life -long passion with J.S BACH and is a very beautiful artwork indeed.Recent Updates

She performed in China for the first time in 2014, after an absence of 35 years, While she received the title of Professor Emeritus at the Beijing Conservatory, the same year she was honored with the title of "Chevalier of Ordre des Arts et des Lettres" by The Ministry of Culture, France . She currently has two major projects in hand: First her recording of BACH's keyboard works and second, her help for a younger generation of musicians. Her own generation having known not only a loss of liberty accompanied by material hardship but also what she regards as the worst of all privations: the closure of schools and universities and the actual denial of an education. Her autobiography, The Secret Piano: From Mao's Labor Camps to BACH's Goldberg Variations was published by Robert Laffont in 2007 and won the 2008 Grand Prix des Muses. It has been translated into many other languages. Fan Page

Facebook Fan Page:  search page "<mask>-Mei"

References

zhuxiaomei's website

References

1949 births
Living people
Chinese classical pianists
Chinese women pianists
Music educators
Piano pedagogues
Central Conservatory of Music alumni
New England Conservatory alumni
Conservatoire de Paris faculty
Chinese emigrants to the United States
Chinese emigrants to France
Sent-down youths
Musicians from Shanghai
Musicians from Paris

masks:
Zhu Xiao
Zhu Xiao
Zhu Xiao Mei
Zhu
Zhu
Zhu
Zhu
Zhu
Zhu
Zhu
Zhu
Zhu
Zhu Xiao
Zhu
Zhu
Zhu
Zhu Xiao
Zhu Xiao


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<mask>  (; born 28 April 1958) is a former Australian politician and trade unionist. He was Secretary of the Australian Council of Trade Unions between 1999 and 2007. He was elected member for the New South Wales Federal seat of Charlton for the Australian Labor Party at the 2007 election and was immediately appointed Parliamentary Secretary for Defence Procurement in the First Rudd Ministry on 3 December 2007. <mask> was the Minister for Climate Change, Industry and Innovation in the Second Gillard Ministry before announcing his resignation from the ministry on 26 June 2013 following Julia Gillard's defeat in a leadership ballot. He previously served as Parliamentary Secretary for Climate Change, when Penny Wong was the Minister. He retired from politics at the 2013 election. In 2020, <mask> was appointed to the National COVID-19 Coordination Commission to "provide strategic and policy advice" for the Morrison Coalition Government.Early life
<mask> was born in Sydney and attended Eastern Creek Primary school, then Rooty Hill High School from years 7 to 10. He completed his secondary education at Baulkham Hills High School. He was later educated at the University of New South Wales where he studied mining engineering, and then graduated from the University of Sydney with a Bachelor of Economics, and a Graduate Diploma in Labour Relations and the Law. He was a project officer for the New South Wales Tenants' Union, before working for the Lidcombe Workers' Health Centre. In 1987, he was employed by the Waterside Workers' Federation, now part of the Maritime Union of Australia. Union activity
Combet's association with the Australian Council of Trade Unions (ACTU) began in 1993 when he became a Senior Industrial Officer. In 1996 he was elected Assistant Secretary and in 1999 following the retirement of Bill Kelty, he became Secretary.Over his time at the ACTU, <mask> has co-ordinated many union campaigns, and rose to prominence during the 1998 Australian waterfront dispute. Combet also led successful campaigns to secure entitlements and compensation for the staff of the collapsed airline Ansett Australia and asbestos victims of the James Hardie company. In his capacity as Secretary of the ACTU, Combet led the Rights at Work campaign against the Howard Government's WorkChoices industrial relations law changes. Parliament

On 4 May 2007 <mask> announced his intention to run for the safe Labor seat of Charlton in Newcastle, New South Wales. The sitting member for Charlton, Kelly Hoare, expressed anger at losing preselection for her seat, and for a time considered running as an independent. <mask> stood down as ACTU Secretary to campaign full-time in Charlton in the lead up to the federal election. On 14 June 2007 Jeff Lawrence, National Secretary of the Liquor, Hospitality and Miscellaneous Union (LHMU) was elected unopposed as the next Secretary of the ACTU.<mask> was elected as the new member for Charlton on 24 November 2007 as part of the ALP's victory in the 2007 Australian federal election, achieving a two party preferred swing of 4.47 per cent, winning 62.87 per cent of the two party vote. Following the election, Prime Minister Kevin Rudd appointed <mask> as Parliamentary Secretary for Defence Procurement in the First Rudd Ministry. He was sworn in on 3 December 2007. In February 2009, <mask> was appointed Parliamentary Secretary for Climate Change, with a focus on emissions trading, to assist Climate Change Minister Senator Penny Wong. As a result of the resignation of Defence Minister Joel Fitzgibbon and the subsequent ministerial reshuffle, <mask> was promoted to the ministry on 6 June 2009, as Minister for Defence Personnel, Materiel and Science and Minister Assisting the Minister for Climate Change. Combet's portfolio was amended into April 2010 to Minister Assisting the Minister for Climate Change and Energy Efficiency and Minister for Defence Materiel and Science and to help him focus on the Government's energy efficiency programs, he axed part of this scheme—Home Insulation Program (HIP) in late April due to the safety risks and the blow-out in funding. <mask> was re-elected to Charlton at the 2010 federal election, suffering a post-redistribution two party swing of 0.24 per cent, winning 62.67 per cent of the two party vote.After Labor was returned to government in this election, <mask> entered Cabinet, succeeding Wong as Minister for Climate Change and Energy Efficiency. Following the passage of the government's Clean Energy Bill, the portfolio of Industry and Innovation was added to Combet's responsibilities. <mask> had decided to step down over health concerns prior to Prime Minister Gillard's defeat in a leadership spill on 26 June 2013, but brought this decision forward and announced he would step down as minister and not contest his seat in the upcoming election. The seat of Charlton was subsequently won for the ALP by <mask>'s former advisor and chief-of-staff Pat Conroy. Subsequent activities

Since leaving parliament, <mask> has worked as a consultant to unions, governments and business and as a company director. Combet works primarily with industry superannuation funds and in December 2018 became chair of Industry Super Australia and Chair of IFM Investors, a global asset management business owned by the industry superannuation funds. In 2020, in response to the COVID-19 Pandemic, Combet was appointed to "provide strategic and policy advice" for the Liberal Morrison Government.<mask>, writing in The Guardian in late‑2021, describes Australia's failed climate policies and argues that a sensible energy transition is indeed possible. Personal life
On 12 June 2006, Combet was appointed a Member of the Order of Australia for service to industrial relations and through advocacy for the improved health and safety of workers, including people affected by asbestos-related diseases, and to the community. Combet is separated from his second wife and in 2012 began a relationship with ABC-TV newsreader Juanita Phillips. Combet is the son of a winemaker and grew up on the Penfolds Minchinbury Estate in western Sydney. He is well known for breeding Gouldian finches. In 2014, Combet published his autobiography The Fights of My Life. In the 2007 ABC-TV series Bastard Boys, dramatising the 1998 Australian waterfront dispute, in which Combet was heavily involved, the role of Combet was played by Daniel Frederiksen.See also
 First Rudd Ministry
 First Gillard Ministry
 Second Gillard Ministry

References

External links

Profile at NSW Labor Party

<mask> at OurCampaigns.com
Profile at ABC News
The Hon <mask>t AM MP speech to the National Press Club of Australia
 Profile at ACTU
 Your Rights At Work

1958 births
Living people
Australian Labor Party members of the Parliament of Australia
Australian mining engineers
Australian trade unionists
Government ministers of Australia
Members of the Australian House of Representatives
Members of the Australian House of Representatives for Charlton
Members of the Cabinet of Australia
Members of the Order of Australia
People educated at Baulkham Hills High School
People from Sydney
University of New South Wales alumni
University of Sydney alumni
21st-century Australian politicians

masks:
Gregory Ivan Combet
Combet
Combet
Greg Combet
Combet
Combet
Combet
Combet
Combet
Combet
Combet
Combet
Combet
Combet
Combet
Combet
Combet
Greg Combet
Greg Combe


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<mask> (1911-2005) was a culturally influential American artist of Italian descent, known for his scatter sculpture and figurative abstractions, and the debate he fostered among the 20th century's most important art thinkers. A founder of the New York School of Abstract Expressionism, he "did much to shift the epicentre of Modernism from Paris to New York," both as founding organizer of The Club and as founder, editor and publisher of the short-lived but influential art journal It Is: A Magazine for Abstract Art. Reference to the magazine appears in the archives of more than two dozen celebrated art figures, including Picasso, Peggy Guggenheim, and art critic Clement Greenberg. The Club is credited with inspiring art critic Harold Rosenberg’s influential essay “The American Action Painters" and the historic 9th Street Show. Sculpture

<mask>'s spent two years studying architecture at Yale, before transferring to the Art Students League of New York in 1931 where he met life-long friend, fellow abstract expressionist Jackson Pollock. For the next few years, <mask> alternated between art studies in New York and traveling studies in Europe. In 1937, he finally settled in New York City permanently.Soon after, he was hired as WPA Federal Art Project artist, which he later described as an invaluable training ground for himself and for friends and contemporaries like Willem de Kooning, Landes Lewitin, Franz Kline, Jack Tworkov. The experience solidified their discipline and their dialogue, while also giving them ready access to others with a daily practice of making, and therefore thinking about, art. By 1946, <mask> had started to show professionally, but he was, according to the Times, "something of a loner in his work, and arguably more of an original than some of his better-known contemporaries." As a result, <mask>'s first major show was in the 1960s, and featured "tumbling blocks of coloured stone that echoed the effects de Kooning had achieved in his paintings, and which are perhaps," the Times underscored, "underrated for their originality." In a 1971 article for the New York Times, <mask> explained his work this way:I like to get light to come out of the stone—that's the beauty of it.... I try to carve so as to convey the feel of the light simmering up along the piece and down,” he continued. “Color and light make the marble real, otherwise it looks just like a balustrade.When I'm finished, the three pieces should go around like a carrousel, like one big shaft.Best known for his large-scale abstract assemblages, <mask> also created figurative pieces. His most monumental work been installed on the grounds of several major public sites. In 1971, he was one of four chosen to help sculpt 10 pieces for New York City's first Sculpture Symposium at the Cooper Hewitt Museum of Design. In 1973, he showed a six-foot-tall bronze head of President Kennedy at the Metropolitan Museum of Art. Other major installations included the 10-foot-high marble abstraction Wind, Sand and Stars, installed at New York's Cloisters Museum, and the Ides of March, which stood on Sixth Avenue, outside of the New York Hilton, for nearly 25 years. The Times described the latter piece as "four large, rough-hewn diamond shapes whose edges appeared to follow the viewer wherever he walked." <mask>'s marble scatter sculpture "East Pediment, Sun-up" was exhibited at the National Gallery of Art in Washington, D.C. in 1966, before traveling to the San Francisco Museum of Modern Art, the Solomon R. Guggenheim Museum and its permanent home at the UB Art Galleries in Buffalo, New York in 2020.<mask> also created large-scale abstract figuration, including "imaginary portraits of many members of The Club" in 1982. John Russell, writing for the New York Times, describes them as "... remarkably ''like,'' without being merely descriptive, and when the light falls on their polished surfaces, the sitters really look like people who are growing old in the service of art." In <mask>'s final show, in 2005, he exhibited "12 colossal terracotta heads, executed in a menacingly primitive style [that] drew comparisons with the work of Giacometti." The Club

Called an "outspoken avant-garde thinker" by the Boston Globe, <mask> founded The Club in 1948, envisioning regular debate among artists, writers and thinkers about issues in art during twice-weekly lectures, members-only panel conversations and other events. Established shortly after the war, The Club was, in part, a response by American artists intimidated by the modernists who had taken refuge in New York after the war: "[T]here were geniuses walking in the streets, you know. About 30 of them," <mask> told the New York Times in 2002. "They included Piet Mondrian, Max Ernst, Josef Albers, Marcel Breuer, Yves Tanguy, André Breton and Marcel Duchamp.Matisse came for a visit and everybody lined up to see him.... Eventually, the refugees moved uptown, and the Americans decided to take them on." "''The Club'' was a schoolhouse of sorts," writes Devin M. Brown, reviewing Pavia's Club archives, "but it was also a theater, a gallery space, and a dancehall.... [T]he collection demonstrates how various media constantly overlapped whether simply through discussion or in performance. Concerts, dances, and theatrical pieces were all hosted there. Poets, composers, painters, sculptors, filmmakers, and critics all rubbed elbows and argued with each other about aesthetics at The Club’s many panel discussions...." Over time, Pollock rejected surrealism and Jungian imagery, then de Kooning followed suit. After a series of Club lectures on expressionism and abstraction, ideas from both started to merge, and America's first major home-grown abstract art movement was on its way. "There was just blood on the floor every night," Pavia said once, describing the art fights that would result from panel debates.Debate topics spanned both art and philosophy, and frequently included "non-members like Hannah Arendt, Joseph Campbell and John Cage," while bringing together abstractionists and expressionists, which helped lend currency to the term "abstract-expressionism." Artists like Elaine de Kooning, Willem de Kooning, Barnett Newman, Robert Motherwell, Landes Lewitin, Aristodimos Kaldis, and Leo Castelli would attend meetings too. Devin M. Brown also cites Club Without Walls: Selections from the Journals of <mask>, when recalling <mask>'s observation, “If it wasn’t for our persistent gatherings, I am sure we would have all become loners and faded away.”

It is. A Magazine for Abstract Art

In 1956, <mask> resigned from The Club and, in the spring of 1958, published the first edition of the short-lived but influential art journal It is. A Magazine for Abstract Art, as another way to exchange ideas in the Arts. The magazine was used as a forum to discuss ideas of the day, and to champion both emerging artists, such as Allan Kaprow, Robert Rauschenberg, Helen Frankenthaler, and John Chamberlain and already established ones. As a self-described "partisan publisher," Pavia also used it as a platform to advocate for neglected forms of art.For example, in 1959, in an open letter to Leslie Katz, the new publisher of Arts Magazine, he wrote:I am begging you to give the representational artist a better deal. The neglected representational and near-abstract artists, not the abstractionists, need a champion these days.Numerous high-profile artists supported the project, including Elaine de Kooning who spread word of the publication while serving as a judge on an art show and with local museums in New Mexico. Brooklyn Rail critic Phong Bui described the magazine's influence this way: "Although there were only six issues in its  entirety — with a circulation of 2,000 in the first five and 8,000 copies in the last, which was solely devoted to sculpture — It is is considered to be an indispensable document of American art of that period." Interviews

 Bui, Phong. "The Club IT IS: A Conversation with <mask>." Feb-March 2001: The Brooklyn Rail. De Antonio, Emile."Painters Painting" (1973, 116 min). Hooten, Bruce. "Oral history interview with <mask>, 1965 Jan. 19." Archives of American Art. Potter, Jeffrey. "Meet Your Neighbor."Springs, NY, 1989. LTV Public Access Archives, East Hampton, New York. (1989, 29 min). Tatge, Catherine. "Robert Motherwell & The New York School: Storming the Citadel." (1991, 55 min). Public Collections

 Albright-Knox Art Gallery
 Hofstra University Museum Outdoor Sculpture Collection
 National Academy of Design, The
 Metropolitan Museum of Art
 Museo dei Bozzetti (Pietrasanta, Italy)
 Museo della Scultura Contemporanea Matera (MUSMA, Italy )
 Renwick Gallery at the Smithsonian American Art Museum.Whitney Museum of American Art

Awards and Honors

 Honorary doctorate, Pennsylvania Academy of Painting and Sculpture, 1995
 Selected as one of the Artists of the Millennium for an exhibition at the United Nations, 1999
 Pollack-Krasner Foundation Grant, 2000
 Artists Equity Honoree, 2002
 Guggenheim Award for Sculpture, 2004

Personal life
<mask> was married to the painter, art critic and writer Natalie Edgar. The couple had two sons: His elder son Luigi died in 2012. His younger son Paul is also a sculptor. References

External links
 Artsy
 Smithsonian American Art Museum
 Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University: <mask> and Natalie Edgar archive of abstract expressionist art, 1913-2005

1911 births
2005 deaths
21st-century American sculptors
American male sculptors
21st-century male artists
Artists from Connecticut
Abstract expressionist artists
People of the New Deal arts projects
Federal Art Project artists
Art Students League of New York alumni
Yale University alumni
21st-century publishers (people)
American magazine publishers (people)
American magazine founders

masks:
Philip Pavia
Pavia
Pavia
Pavia
Pavia
Pavia
Pavia
Pavia
Pavia
Pavia
Pavia
Pavia
Philip Pavia
Pavia
Pavia
Philip Pavia
Philip Pavia
Pavia
Philip Pavia


text_chunks:
<mask> (born February 26, 1976) is a former American football wide receiver in the National Football League (NFL). He played college football at Brown. He was drafted by the New England Patriots in the seventh round of the 1999 NFL Draft. Morey also played for the Philadelphia Eagles, Pittsburgh Steelers and Arizona Cardinals. He earned a Super Bowl ring with the Steelers in Super Bowl XL against the Seattle Seahawks. Early years
Morey graduated from Marshfield High School of Marshfield, Massachusetts in 1994. Because of his light weight, Morey did not receive a scholarship offer from his dream school Boston College and had a partial scholarship offer from Northeastern University, so he decided to attend Hebron Academy.At Hebron, Morey led the football team to win the New England Prep School Class D Championship in 1994. He would win All-Evergreen League Team, Evergreen League MVP, and Class D New England Player of the Year while playing football for Hebron. He played both wide receiver and defensive back while in high school. College career
After graduating from Hebron Academy, he attended Brown University, where he finished with an Ivy League record 251 receptions for 3,850 yards and 40 touchdowns, and was voted Ivy League player of the year in 1997 — when he caught 74 passes for an Ivy League-record 1,434 yards and 15 touchdowns. <mask> was one of seven Brown players selected as First-Team All-Ivy League in 1998, including Stephen Campbell (WR), Zack Burns (TE), Tim Hevesy (C), James Perry (QB), Alex Pittz (CB) and Ephraim "Fry" Wernick (DL). <mask> finished his career second in all-time receiving yards in Division I-AA behind only Jerry Rice. After his stunning career, <mask> was the first Brown player to have his number retired.He also earned a degree with honors in organizational behavior and management. Morey won the Ivy League Bushnell Cup in 1997. Professional career

New England Patriots
Morey was originally selected with the 35th pick of the seventh round of the 1999 NFL Draft by the New England Patriots. He remained with the Patriots until the end of the 2000 season, with the majority of his time being spent on the practice squad. <mask> caught Tom Brady's first career pass. Philadelphia Eagles
In 2001 Morey joined the Philadelphia Eagles where he would become 2003 Special Teams MVP. That same year he was nominated for Dr. Z's (Sports Illustrated) All-Pro team as a special teams player.Also in 2003, <mask> became the 12th player in NFL Europe history to catch 3 touchdown passes in a game while playing for the Barcelona Dragons. Pittsburgh Steelers
The Steelers acquired Morey September 6, 2004 as an unrestricted free agent. He was captain of special teams for Pittsburgh. <mask>'s role for the Steelers was mostly special teams; he did not usually line up at wide receiver. In 2006, <mask>'s role expanded because of injuries to wide receivers Hines Ward and Cedrick Wilson. He finished the season with just 2 receptions (bringing his career total to 3), but also contributed with his blocking and with his work on special teams. He collected a team-high 21 special teams tackles while also returning eight kickoffs for 202 yards (25.3 yard avg.).In a Week 11 24-20 victory over the Browns, he had a 76-yard kickoff return. Arizona Cardinals
The Arizona Cardinals signed <mask> on March 15, 2007 to a three-year free agent contract. Morey rejoined ex-Steeler coaches Ken Whisenhunt (head coach), Russ Grimm (assistant head coach / offensive line) and Kevin Spencer (special teams) in Arizona. The Cardinals released <mask> on March 17, 2008, but re-signed him on March 26. Morey blocked a punt in overtime against the Cowboys on October 12, 2008 that was run in by teammate, Monty Beisel, for the game-winning touchdown. It was the first time in NFL history that a game was ended in overtime by a blocked punt that resulted in a touchdown. Morey was selected to the Pro Bowl in 2008 as a special teamer.Seattle Seahawks
Morey signed with the Seattle Seahawks on March 29, 2010. He never played a game for them, however, announcing his retirement due to concussions just hours before the start of training camp on July 31. Coaching

In February 2014, Morey accepted the head coach position for the Sprint Football team at Princeton University. For the two previous years, he was a Department of Athletics Fellow for general administration at Princeton. Princeton shut down the sprint football team after two seasons with Morey as coach; Morey failed to win a single game as coach of the Tigers, continuing a 16-year-long losing streak. Now, Morey is a high school football coach at the prestigious Lawrenceville School. He has played a pivotal role in turning the program around, and works with the DB's and special teams.Concussion Activism
In May 2014, Morey, along with a group of plaintiffs, filed a formal objection to the National Football League Players' Concussion Injury Litigation and Proposed Settlement being overseen by US District Court Judge Anita Brody. The objection sought to highlight what some players see as a narrow scope of the settlement, claiming, among other things, that "The settlement would have compensated only a small subset of [mild-traumatic-brain-injury-related] injuries to the exclusion of all others." Personal
His wife, Cara formerly played defense for the Brampton Thunder of the  Canadian Women's Hockey League in Ontario after starting at Brown in ice hockey and field hockey. His father, Dennis, was also a semi-pro football player with several teams, including the Brockton, MA Pros, his grandfather, Joe, and his great uncle, Dick, both have been inducted to the Bridgewater State Hall of Fame for basketball. He has three daughters, Devan, Kathryn "Kate", and Shea "Piper". Morey was featured on an episode of the Canadian sports/comedy program Cabbie on the Street, where it was revealed he lives in Toronto during the offseason. Morey appeared in Sports Illustrated'''s "Faces in the Crowd" feature in the magazine's January 12, 1998 issue.<mask> and his wife Cara were featured in a November 2007 episode of the HGTV show Divine Design''. In October 2010, <mask> was named co-chair of the NFL Players Association's newly formed Concussion and Traumatic Brain Injury Committee. Morey suffered more than twenty concussions in his career. <mask>'s committee has two main goals: the diagnosis, treatment, and prevention of concussions and traumatic brain injuries in active players and research into the long-term cumulative effects of such injuries on NFL players. On January 31, 2014, <mask> and his wife were interviewed about traumatic brain injury in football players by Melissa Block on NPR's "All Things Considered." See also
Living former players diagnosed with or reporting symptoms of chronic traumatic encephalopathy

References

External links
<mask> at pro-football-reference
Arizona Cardinals bio

1976 births
Living people
People from Marshfield, Massachusetts
Sportspeople from Plymouth County, Massachusetts
Players of American football from Massachusetts
American football wide receivers
Brown Bears football players
National Conference Pro Bowl players
New England Patriots players
Barcelona Dragons players
Philadelphia Eagles players
Pittsburgh Steelers players
Arizona Cardinals players
Seattle Seahawks players
Concussion activists
Hebron Academy alumni

masks:
Sean Joseph Morey
Sean
Sean Morey
Sean
Sean Morey
Morey
Morey
Morey
Morey
Morey
Morey
Morey
Morey
Morey
Sean Morey