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<mask><mask> (born May 1, 1956) is an American art historian, author, and non-profit executive, who currently serves as President of the Souls Grown Deep Foundation. Early life and education
The son of Columbia University's <mask> Professor <mask> and grandson of the Pulitzer Prize-winning playwright <mask>, he was born in 1956 in New York City and raised there, attending Collegiate School (New York) and graduating from The Dalton School. He received a B.A. from Dartmouth College in Hanover, New Hampshire in 1977 with highest distinction in Art History, and M.A. (1978) and Ph.D. (1981) degrees in the history of Art from Harvard University. Career

Museums
<mask> worked as a curatorial assistant at The Metropolitan Museum of Art and subsequently as assistant curator from 1981–87, and became director of the Michael C. Carlos Museum in Atlanta, Georgia (1987–1995). While in Atlanta he inaugurated a series of loan projects highlighting unpublished treasures from the storerooms of some of the world's leading museums in London, Paris, Rome, Mexico City, and elsewhere, looking for alternatives to buying antiquities from the illicit trade, expanded the Museum with architect Michael Graves, and greatly enlarged the permanent collection.As director of Toronto's Art Gallery of Ontario (1995–1998),  where he led the creation of a national exhibition indemnity program, restituted five 17th-century Italian drawings to the Berlin State Museums, which had been looted during the Second World War, initiated the illustrated web-based publication of the museum's collections, made significant acquisitions of European and Canadian art, and organized numerous exhibitions including The Courtauld Collection, one of the Gallery's five best-attended exhibitions in its history. <mask> served as the Alice Pratt Brown Director of the Whitney Museum of American Art in New York City (1998–2003). While at the Whitney, he initiated the first multinational art purchase, a work by Bill Viola today jointly owned by the Whitney Museum, the Pompidou, and the Tate, to cope with the large scale of many contemporary artworks in variable media, and created a seat for an artist on the Board of Trustees, with Chuck Close as its first incumbent. He established the Museum's first conservation program, introduced new media and architecture as collecting and programming areas, established an M.A. program in curatorial studies with Columbia University, and grew attendance to some 670,000 annually. In 2003, <mask> resigned from the Whitney over disagreements with Board leadership about the Museum's artistic direction, and became a Leadership Fellow at the Yale School of Management's Chief Executive Leadership Program, and subsequently joined a firm advising cultural institutions on planning and programming. In 2006, he resumed his career as a museum director as the Melvin & Bren Simon Director and CEO of the Indianapolis Museum of Art in Indianapolis, Indiana (2006-2011).At the IMA, the museum added over $30 million to its endowment through gifts and pledges, opened a 100-acre sculpture park as well as a conservation science laboratory, acquired the mid-century modern Miller House and Garden estate, and more than doubled museum attendance to reach some 450,000 visitors annually. <mask> left Indianapolis at the end of 2011 to become the Eugene McDermott Director of the Dallas Museum of Art in Dallas, Texas (2012–2015). His tenure at the Dallas Museum of Art included introducing free general admission, a novel loyalty program attracting over 100,000 members, a fifteen-year loan of a significant collection of Islamic art and a program in paintings conservation. He served as a board member of the NewCities Foundation beginning in 2011, and stepped into the role of Executive Director in 2015. He relinquished his position in 2017 and rejoined the Foundation's Board of Trustees. In 2016 <mask> was appointed president of the Souls Grown Deep Foundation, an Atlanta-based collection of African American art from the Southeast. Souls Grown Deep Foundation is the only non-profit organization dedicated to documenting, preserving, exhibiting and promoting the work of contemporary African American artists from the American South.A vital resource for this genre, the Foundation's holdings are extensive, with some 1,200 works by more than 160 artists—among them Thornton Dial, <mask> Holley, Joe Minter, Purvis Young, <mask>, Mary T. Smith, <mask>, and the quilt makers of Gee's Bend. Ranging from large-scale assemblages to works on paper, the Foundation is particularly strong in works dating from the death of <mask> King to the end of the twentieth century. <mask> introduced a multi-year program to transfer the majority of the Foundation's works in its care to the permanent collections of leading American and international art museums, which has led to acquisitions by multiple institutions, including the Fine Arts Museums of San Francisco, the High Museum of Art, the Ackland Art Museum, and the New Orleans Museum of Art. He has lectured and published widely on general issues of museum practice, especially on the ethical collecting of antiquities, institutional transparency, free expression, artists’ rights, and uses of new technologies. <mask> is a former president of the Association of Art Museum Directors, and a board member of the National Committee for the History of Art, the National Center for Arts Research, and a trustee of the American Federation of Arts. In 1990, he was decorated with the rank of Commendatore (Knight Commander) in the Order of Merit of the Italian Republic and in 2010 was awarded the French Republic's rank of Chevalier dans l’Ordre des Arts et des Lettres (Knight in the Order of Arts and Letters). Antiquities
<mask> has long worked in the field of antiquities, serving as an assistant curator in the Department of Greek and Roman Art at The Metropolitan Museum of Art from 1982–87, and holding teaching positions in the field of Roman art history at the University of Rome II, Princeton University, and Emory University.At the Michael C. Carlos Museum he negotiated several long-term loans of previously unpublished archaeological material to underscore the value of provenance. In 2007, while director of the Indianapolis Museum of Art, he recognized 1970 as a "bright line" when acquiring ancient art. He advocated changes in the acquisitions policies of the Association of Art Museum Directors as founding chair of its Task Force on Archaeological Materials & Ancient Art beginning in 2003, culminating in its 2008 adoption of a bright line of 1970 as well. In December 2016 Oxford University Press published his book "Antiquities: What Everyone Needs to Know"

New media
<mask> was one of the earliest proponents of using new media technologies to advance public interest in art. As Liaison for Information Technology of the AAMD and a Member of the Advisory Council of the Getty Art History Information Program (AHIP) he helped found the Art Museum Image Consortium (AMICO) in 1997 and the Art Museum Network in 1999. In 2008, he modeled museum transparency with the award-winning IMA Dashboard  and in 2009, he launched ArtBabble, a site for art museums worldwide to share video content. See also
 <mask>

References

External links
 www.maxwellanderson.com
 Souls Grown Deep Foundation

1956 births
Living people
Writers from New York City
Dartmouth College alumni
Dalton School alumni
Harvard Graduate School of Arts and Sciences alumni
Directors of museums in the United States
American nonprofit chief executives
Chevaliers of the Ordre des Arts et des Lettres
People associated with the Whitney Museum of American Art

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Maxwell L
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Julian Clarence Levi
Quentin Anderson
Maxwell Anderson
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Lonnie
Ronald Lockett
Joe Light
Martin Luther
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<mask> (April 8, 1943 – July 2, 1987) was an American musical theatre director, writer, choreographer, and dancer. He won seven Tony Awards for his choreography and direction of Broadway shows and was nominated for an additional eleven. <mask> choreographed Promises, Promises, Follies and Company. In 1976, he won the Tony Award for Best Direction of a Musical and the Tony Award for Best Choreography for the musical A Chorus Line. <mask>, under the aegis of producer Joseph Papp, created A Chorus Line based on a workshop process which he pioneered. He also directed and co-choreographed Dreamgirls with <mask>. Early life and career
<mask> was born <mask> in Buffalo, New York, the son of Helen (née Ternoff), a secretary, and Salvatore Joseph DiFiglia, a factory worker.His father was Italian American and his mother was Jewish. He studied dance and choreography in his teens and staged a number of shows in his local high school before dropping out to accept the role of Baby John in the US and European tours of West Side Story. <mask>'s career as a Broadway dancer began in the 1961 Betty Comden–Adolph Green–Jule Styne musical Subways Are for Sleeping, after which he appeared in Meredith Willson's Here's Love and the short-lived Bajour. In the mid-1960s he was a featured dancer on the NBC pop music series Hullabaloo, where he met fellow dancer Donna McKechnie. <mask> made his choreographic debut with A Joyful Noise (1966), which lasted only twelve performances, and in 1967 followed it with another failure, Henry, Sweet Henry (based on the Peter Sellers film The World of Henry Orient). Success finally arrived in 1968, when he choreographed the hit musical Promises, Promises on Broadway. With a contemporary pop score by Burt Bacharach and Hal David, a wisecracking book by Neil Simon and <mask>'s well-received production numbers, including "Turkey Lurkey Time", the show ran for 1,281 performances.Over the next few years, he earned praise for his work on the straight play Twigs with Sada Thompson and the musical Coco with Katharine Hepburn. These were followed by two Stephen Sondheim productions, Company, and Follies co-directed with Hal Prince. In 1973, <mask> was asked by producers Joseph Kipness and Larry Kasha to take over the ailing Cy Coleman–Dorothy Fields musical Seesaw. In replacing the director Ed Sherin and choreographer Grover Dale, he asked for absolute control over the production as director and choreographer and received credit as "having written, directed, and choreographed" the show. A Chorus Line and the 1980s
<mask>'s next project was A Chorus Line. The musical was formed out of twenty hours of taped sessions with Broadway dancers. <mask> was invited to the sessions originally as an observer but soon took charge.He co-choreographed and directed the production, which debuted in July 1975 off-Broadway. It won nine Tony Awards and the 1976 Pulitzer Prize for Drama. He later claimed that the worldwide success of A Chorus Line became a hindrance, as the many international companies of the musical demanded his full-time attention. <mask> would later become a creative consultant for the 1985 film version of the musical but left due to creative differences. He always sought creative control over his projects, but Hollywood producers were unwilling to give him the influence he demanded. There are some filmed records which testify to the show's initial power. Television talk-show host Phil Donahue devoted an entire program to the original cast, during which they reminisce and recreate some of the musical numbers.The 2008 feature-length documentary Every Little Step chronicles the casting process of the musical's 2006 revival, with re-created choreography by <mask>'s long-time associate Baayork Lee, and, in the course of the film, the saga of the original production is re-told as well, through the use of old film clips and revealing interviews from the original collaborators, including Lee, Bob Avian (who was the show's original co-choreographer with <mask> and the director of the revival), composer Marvin Hamlisch and the original's leading lady, Donna McKechnie. <mask>'s next musical was a project about late-life romance called Ballroom. Although financially unsuccessful, it garnered seven Tony Award nominations, and <mask> won one for Best Choreography. He admitted that any project that followed A Chorus Line was bound to be an anti-climax. <mask> had another hit in 1981 with Dreamgirls, a backstage epic about a girl group like The Supremes and the expropriation of black music by a white recording industry. In the early 1980s, <mask> worked on various projects, one of which was titled The Children's Crusade, based on a legendary story "Children's Crusade", but none of them reached the stage. In 1978, he purchased 890 Broadway and converted it for use as a rehearsal studios complex for dance and theatre.In 1986, he was forced to sell it for $15 million due to stress-induced angina and the financial losses of the property. Two tenants purchased the building, and it remains a rehearsal facility for American Ballet Theatre, Eliot Feld's Ballet Tech, Gibney Dance Company, and others. He always collaborated with his assistant Bob Avian, who was a lifelong friend. In 1985, <mask> abandoned the nearly-completed musical Scandal, by writer Treva Silverman and songwriter Jimmy Webb, which had been developing for nearly five years through a series of workshop productions. The show was sexually daring, but the conservative climate and the growing AIDS panic made it unlikely commercial material. He was then signed to direct the West End production of Chess but had to withdraw in January 1986 due to his failing health, leaving Trevor Nunn to complete the production using <mask>'s already commissioned sets. Analysis
Unlike his more famous contemporary Bob Fosse, <mask> was not known for a particular choreographic style.Instead, <mask>'s choreography was motivated by the form of the musical involved, or the distinct characters interpreted. In act 2 of Company, <mask> defied the usual choreographic expectations by deliberately taking the polish off the standard Broadway production number. The company stumbled through the steps of a hat and cane routine ("Side By Side") and thus revealed to the audience the physical limitations of the characters' singing and dancing. <mask> made the audience aware that this group had been flung together to perform, and that they were in over their heads. He intended the number to be not about the routine, but rather the characters behind it. The song "One" from A Chorus Line functions in a different way. The various phases of construction/rehearsal of the number are shown, and because the show is about professional dancers, the last performance of the song-and-dance routine has all the gloss and polish expected of Broadway production values.<mask>'s choreography also reveals the cost of the number to the people behind it. <mask> was influenced by the work of Jerome Robbins. "What <mask> perceived early in Robbins' work was totality, all the sums of a given piece adding to a unified whole". In Dreamgirls, <mask>'s musical staging was described as a "mesmerizing sense of movement":

The most thrilling breakthrough of the extraordinary show is that whereas in A Chorus Line <mask> choreographed the cast, in Dreamgirls he has choreographed the set. <mask>'s use of [the plexiglass towers that dominated the set] was revolutionary. The towers moved to create constantly changing perspectives and space, like an automated ballet. They energized the action, driving it forcefully along.It's why there were no set-piece dance routines in the show: dance and movement were organic to the entire action. But <mask> had made the mechanical set his dancers." Personal life
<mask> was bisexual. He had numerous affairs with both men and women. In his younger days, <mask> had a relationship with Larry Fuller, a dancer, choreographer and director. He had a long professional and personal relationship with the virtuoso dancer Donna McKechnie, who danced his work in both Promises, Promises and Company and won the 1976 Tony Award for Best Actress in a Musical in the role he had created for her in A Chorus Line. They married on December 4, 1976, but after only a few months they separated and eventually divorced in 1979.In the late 1970s he began an affair with Sabine Cassel, the then-wife of French actor Jean-Pierre Cassel. She left her family in Paris to live with <mask> in Manhattan, but the relationship soured. <mask>'s addictions to alcohol and drugs, notably cocaine and quaaludes, severely affected his ability to work and affected many of his professional and personal relationships. His paranoia grew as his dependency did. Worried by his celebrity and his father's Italian background, he began to suspect he might fall victim to a Mafia hit. <mask>'s last lover was Gene Pruit. In 1986 both Pruit and friend Bob Herr lived with <mask> for the last eight months of his life in Tucson, Arizona, where he received care at the Arizona Medical Center.<mask> died from AIDS-related lymphoma at the age of 44. He left a portion of his estate to fund research to fight the pandemic. <mask>'s memorial service took place at the Shubert Theatre in New York City (the home at that time of A Chorus Line) on September 29, 1987. Awards and nominations

Other media
A Class Act—A Musical About Musicals (2001). <mask> and lyricist Ed Kleban are portrayed in this partly fictionalized life story of Kleban, using some of Kleban's unpublished songs. A Chorus Line'''s number "One" is included in this musical. Notes

References

 Long, Robert Emmet (2001).Broadway, the Golden Years: Jerome Robbins and the Great Choreographer-directors: 1940 to the Present. Continuum International Publishing Group. .

 McKechnie, Donna (2006). Time Steps: My Musical Comedy Life. Simon and Schuster. .
 Shea, Tom (2004). Broadway's Most Wanted: The Top 10 Book of Dynamic Divas, Surefire Showstoppers, and Box Office Busts. Brassey's. .
 Webb, Jimmy (1999). Tunesmith: Inside the Art of Songwriting.Hyperion. .
 Zadan, Craig (1987). Sondheim & Co.. Pavilion Books. .

Further reading
 Chapin, Ted (2005). Everything Was Possible: The Birth of the Musical Follies. Applause Books. .
 Flinn, Denny Martin (1989). What They Did for Love: The Untold Story Behind the Making of "A Chorus Line". Bantam, . Hamlisch, Marvin (1992).The Way I Was (1st edition). Scribner's. .
 Stevens, Gary (2000). The Longest Line: Broadway's Most Singular Sensation: A Chorus Line. Applause Books. .
 Viagas, Robert (1990). On the Line: The Creation of A Chorus Line'' (2nd edition). Limelight Editions. . External links

 <mask> Papers.Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library, Yale University. 1943 births
1987 deaths
AIDS-related deaths in Arizona
American choreographers
American jazz dancers
American male dancers
20th-century American Jews
American musical theatre directors
American people of Italian descent
Broadway theatre directors
LGBT dancers
Drama Desk Award winners
LGBT theatre directors
LGBT Jews
LGBT entertainers from the United States
LGBT people from New York (state)
Artists from Buffalo, New York
Pulitzer Prize for Drama winners
Tony Award winners
Deaths from lymphoma
Bisexual men
Bisexual entertainers
Writers from Buffalo, New York
20th-century American dancers
Deaths from cancer in Arizona
20th-century LGBT people

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Michael Bennett
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Michael Peters
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Michael Bennett DiFiglia
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Bennett
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Michael Bennett
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Michael Bennett
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was a Japanese writer. Her married name was , but she wrote under her birth name. Her work was experimental and antirealist, questioning prevailing societal norms regarding sexual relations, violence, and social order. Her antinovels employed pastiche, parody, and other elements typical of postmodernist writing. Early life and education
<mask> was born in Kami, Japan, the eldest daughter of Toshio and Misae <mask>. Her godfather was Tokutomi Sohō, who knew her father. Her father was a family dentist in the town of Kami in Kōchi Prefecture on the island of Shikoku.After one year studying Japanese literature at the Kyoto Women's University, she moved under pressure from her father to Tokyo to obtain a certificate as a dental hygienist and for medical training. Following her completion of the requirements to take the state exam for medical practice, however, she instead entered the Department of French Literature at Meiji University, where she attended lectures by prominent Japanese post-war literary figures such as Mitsuo Nakamura, Kenji Yoshida, and Ken Hirano. During her university years, Kurahashi was enthusiastically introduced to the body of modern literature, reading Rimbaud, Camus, Kafka, Blanchot, and Valéry. Her thesis was devoted to an analysis of Sartre's treatise Being and Nothingness. <mask> and Kenzaburō Ōe have some biographical similarities: like <mask>, Ōe also was born in 1935, grew up on Shikoku, and moved to Tokyo, where he studied French literature, did graduate work on Sartre, and debuted in their student days with politically tinged short stories which drew the recognition of Ken Hirano. At a certain point, though, their paths diverge. Ōe went on to win the Nobel Prize in Literature while the path chosen by Kurahashi led to her ostracization by the Japanese literary world.Literary beginnings and controversy
While studying for her master's degree, <mask> made her literary debut in 1960 with the publication in the Meiji University literary magazine of the story The Party (パルタイ, Parutai), an acute satire on the communist left-wing sentiment commonplace among students at that time, as well as the bureaucratic dogmatism of the Japan Communist Party (JCP) (which was not named but strongly alluded to by the title). The story won a university-wide prize and was commended by the prominent literary critic Ken Hirano in his review in the Mainichi Shimbun. A controversy erupted when Hirano used his influence within the Bundan to have <mask>'s story reprinted in the prominent literary magazine Bungakukai. The so-called "Parutai Debate" (Parutai ronsо̄) broke out across several literary magazines as Japanese writers and critics debated whether <mask>'s story had "literary merit" and the propriety of Hirano's promoting it, in what became a proxy war for competing views on the influence of the Communist Party in the literary world. Historian Nick Kapur argues that the Parutai debate also reflected unspoken displeasure within the male-dominated Bundan that a critic as prominent as Hirano was promoting the work of a young female author, in their view at the expense of males. Although the Parutai controversy never reached any definitive conclusion, it won <mask> many spoken and unspoken enemies and would shadow her throughout her career. Also in 1960, <mask> published the short novel End of Summer (夏の終り, Natsu no owari), which was also championed by Hirano and was nominated for the Akutagawa Prize.Although <mask> did not win, she was considered, along with other new writers debuting at the same time - Takeshi Kaiko, Shintaro Ishihara, and Kenzaburō Ōe - to be ranked highly among the so-called "third wave" generation of young Japanese writers. <mask>'s 1961 novel (in fact antinovel) Blue Journeys (暗い旅, Kuroi tabi), written in the formal second person caused much controversy among critics and led Jun Etō to accuse her of plagiarism. In Etō's view, <mask>'s novel simply imitated the earlier novel La modification (Second Thoughts) by the French writer Michel Butor. A fierce debate broke out in the press; <mask>'s defenders were joined by . Whether influenced by the dispute or by the death of her father in 1962, after this Kurahashi left the graduate school. Later life and works
In 1964 <mask> married Tomihiro Kumagai, who was then working as a producer for the Japan Broadcasting Corporation. Despite significant health problems, in 1966 she went to study at the University of Iowa in the United States, where she spent about a year with a Fulbright scholarship.In 1969 <mask> published the phantasmagoric and dystopian novel Adventures of Sumiyakisto Q (スミヤキストQの冒険). A dramatic turnaround in her work was heralded by her novels such as Virginia (1970), Anti-Tragedies (反悲劇) (1971), and The Bridge of Dreams (夢の浮橋) (1971). While she continued to author both short and long stories such as A castle inside the castle (城の中の城) (1981), Symposion (シュンポシオン) (1985), and Popoi (1987), her Cruel Fairy Tales for Adults (大人のための残酷童話), and <mask>'s Short Ghost Stories (倉橋由美子の怪奇掌編) became her most popular works during her lifetime. In 1987 she was awarded the Izumi Kyōka Prize for Literature for her massive antiutopian work Journey to Amanon (アマノン国往還記). Final years
In her later years, despite her deteriorating health, Kurahashi authored several books, including Kôkan (交歓) (1989), Yume no Kayoiji (夢の通ひ路) (1989), The Gallery of Fantasy Art (幻想絵画館) (1991), Between the Earthly World and the Other World (よもつひらさか往還) (2002), and Cruel Fairy Tales for Old People (老人のための残酷童話) (2003). <mask> is also known for her translation of children's literature such as Shel Silverstein's The Missing Piece (ぼくを探しに) (1977) and The Missing Piece Meets the Big O (ビッグ・オーとの出会い : 続ぼくを探しに) (1982). Her last work was a new translation of Antoine de Saint-Exupéry's The Little Prince, which she finished one day before her death.<mask> <mask> died at the age of 69 of dilated cardiomyopathy. The disease was incurable, but <mask> consistently refused even those operations which could have prolonged her life. Works in English
 Adventures of Sumiyakista Q (スミヤキストQの冒険, 1969) translated by Dennis Keene. The Woman with the Flying Head and Other Stories translated by Atsuko Sakaki. "An Extraterrestrial ", "We Are Lovers", "The House of the Black Cat", "The Woman with the Flying Head", "The Trade", "The Witch Mask", "Spring Night Dreams", "The Passage of Dreams", "The Special Place", "Flower Abstraction", "The Long Passage of Dreams"
 "Partei" (1960) translated by Yukiko Tanaka and Elizabeth Hanson, in
 "To Die at the Estuary" (Kako ni Shisu, 1971) translated by Dennis Keene, in

References

Citations

Bibliography

Further reading

External links

 <mask> <mask> at J'Lit Books from Japan
 Synopsis of A Record of Travel to the Land of Amanon (Amanon koku okan ki) at JLPP (Japanese Literature Publishing Project)
 Brief biography and list of works

1935 births
People from Kōchi Prefecture
Writers from Kōchi Prefecture
Japanese writers
2005 deaths
20th-century Japanese translators
International Writing Program alumni
Japanese women writers

masks: Kurahashi Kurahashi Kurahashi Kurahashi Kurahashi Kurahashi Kurahashi Kurahashi Kurahashi Kurahashi Kurahashi Kurahashi Kurahashi Kurahashi Kurahashi Kurahashi Kurahashi Yumiko Kurahashi Kurahashi Yumiko Kurahashi


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<mask> (February 3, 1957 – April 5, 1994) was an American filmmaker, educator, poet, and gay rights activist. He produced, wrote, and directed several documentary films, including Ethnic Notions, Tongues Untied, Color Adjustment, and Black Is...Black Ain't. His films examine past and present representations of race and sexuality in the United States. The <mask> Collection is housed at Stanford University Libraries. Early life
<mask> was born in Fort Worth, Texas, on February 3, 1957. He was a child of civilian employees of the military and spent a great deal of his childhood traveling. He lived in Texas and Georgia before moving to West Germany at the age of 11 with his family.He was the son of Jean (mother) and <mask> (father) and also had a sibling named Sascha. Later in his life, <mask> recalled the ostracism and name-calling that he experienced at Hephzibah Junior High School in Hephzibah, Georgia. He stated that Black and white students alike called him a "punk," a "faggot," and "Uncle Tom." He felt isolated from everyone at the school: "I was caught between these two worlds where the whites hated me and the blacks disparaged me. It was so painful." <mask> excelled at Nurnberg American High School, where he played football and ran track, and was elected President of the Varsity Club while only a sophomore. He also performed a solo interpretive dance in the school's talent show depicting  American slaves' experiences from Africa through emancipation.From 1973 to 1974 <mask> attended Ansbach American High School's opening year in Katterbach, Germany. He was elected student body president at the military dependents school. In 1974, <mask> returned to the United States to attend college. As an undergraduate, he studied history at Harvard University and graduated magna cum laude in 1978. While a student at Harvard, <mask> realized that he was gay. Because there were no courses that supported the study of homosexuality, he petitioned the history department and received approval to pursue independent study of the portrayal of "male homosexuality in American fiction and poetry". As he began studying the history of American racism and homophobia, <mask> became interested in communicating his ideas about these subjects through film.After working for a local television station in Texas for about a year, he moved to Oakland, California, where he lived for 15 years with his life partner, Jack Vincent. <mask> entered graduate school and received his master's degree in journalism with a specialization in documentary film in 1981 from the University of California, Berkeley, having co-produced/co-directed with Peter Webster a master's thesis titled Long Train Running: The Story of the Oakland Blues, a half-hour video on the history of blues music in Oakland, California. Film career
Upon finishing graduate school, <mask> began working on many independent documentary productions in the Bay Area. He assisted documentary directors and producers initially as an assistant editor and later as a post-production supervisor, editor on documentaries about the American arms race, Nicaragua, Central America, sexism, and disability rights. Because of his proficiency in video technology, <mask> was the on-line editor for a video production company, Espresso Productions. In 1987, <mask> was hired as a part-time faculty member at the Graduate School of Journalism at Berkeley to teach documentary filmmaking. He became the youngest tenured professor at Berkeley.In 1987 he completed his first professional feature documentary Ethnic Notions. An independently produced documentary, the film received technical support (online editing) from KQED, a public television station in San Francisco, and aired on public television stations throughout the United States. In Ethnic Notions, <mask> sought to explore widespread and persistent stereotypes of Black people – images of ugly, savage brutes and happy servants – in American popular culture of the late 19th and early 20th centuries. Edited by Debbie Hoffmann, and Sound Design and Mix by Mark Escott, the film uses a narrative voice-over provided by African-American actress Esther Rolle in explaining striking film footage and historical stills which expose the blatant racism of the era immediately following the Civil War. The documentary also presents a set of contemporary[interviews with  historians George Fredrickson and Lawrence Levine, cultural critic Barbara Christian, folklorist Patricia Turner, and Black memorabilia collector Jan Faulkner, who discuss the consequences of historical African-American stereotypes. The 1989 film Tongues Untied was aired as part of the television series P.O.V. The three principal voices of Tongues Untied are those of <mask> as well as gay rights activists and men infected with HIV Essex Hemphill and Joseph Beam.Tongues Untied had political backlash; Republican Senator Jesse Helms famously argued to defund the arts after its release. In 1988, while working both on Color Adjustment and Tongues Untied, <mask> was diagnosed with HIV after undergoing treatment for near-fatal kidney failure at a hospital in Germany. Despite his deteriorating health, <mask> decided to continue to teach at Berkeley and make documentaries. In the short 1990 piece Affirmations, <mask> explored the African-American males' sexuality and relationship with the African-American community at large. Some of the men expressed the lack of acceptance within the African-American community and the divide their sexual orientation caused. In 1991, <mask> directed and produced Anthem, a short documentary about African-American male sexuality. In 1991, <mask> founded Signifyin' Works, a non-profit corporation that produces films about African-American history and culture.The 1992 documentary Color Adjustment was <mask>'s second film to air on the PBS television series P.O.V., focusing on the representation of African Americans in American television from Amos 'n' Andy to the Cosby Show. The film was produced with Vivian Kleiman, edited by Debbie Hoffmann, Sound Designed and Mixed by Mark Escott, and narrated by actress Ruby Dee. It includes an original music score by Mary Watkins. In 1992, <mask> directed the film Non, Je Ne Regrette Rien (No Regret), in which five gay Black men who are HIV-positive discuss how they are battling the double stigmas surrounding their infection and homosexuality. The series was screened in observation of World AIDS Day and Day Without Art. It included the participation of Phil Zwickler, David Wojnarowicz, Ellen Spiro, Vivian Kleiman, and others. In 1993, <mask> received an honorary doctorate from the California College of Arts and Crafts.The same year, <mask>'s experimental short Anthem was featured in a collection of short films entitled Boys' Shorts: The New Queer Cinema. Shortly after completing Color Adjustment, <mask> began work on what was to be his final film Black Is...Black Ain't, but he died at the age of 37 from complications caused by AIDS on April 5, 1994 before he could complete it. The project was completed posthumously by co-producer Nicole Atkinson, co-director/editor Christiane Badgley, Sound Designer and Mixer Mark Escott, and the board of directors of Signifyin' Works. <mask> also wrote poetry, and Tongues Untied contains several of his poems about his life experiences as a black gay man. Writings
<mask>'s writings were published during the late 1980s and early 1990s in various art and literary journals such as Black American Literature Forum, Art Journal, and High Performance as well as anthologies such as Brother to Brother: Collected Writings by Black Gay Men. In his essay "Black Macho Revisited: Reflections of a SNAP! Queen," <mask> discusses how representations of black gay men in the United States have been used to shape Americans' conceptions of race and sexuality.He argues that Americans' emphasis on the "black macho" figure – the warrior model of black masculinity based on a mythologized view of African history – signifies an exclusion of black homosexual males from the African-American community, which results in their dehumanization and rationalizes homophobia. Themes and style
<mask>'s films deal with representations of race and sexuality in the United States. <mask> was critical of American racism and homophobia. He used his films to show positive images of African-American culture as well as those of physical and emotional love between black men in order to challenge representations of African Americans and black gay men in popular culture. As a graduate student at Berkeley, <mask> was educated in journalism and conventional documentary filmmaking, which stresses objectivity and employing an academic stance. However his film style quickly evolved to be rather personal and emotional. Philip Brian Harper, an associate professor of English at New York University, stated that <mask> was an innovator of television programming in America: "<mask>'s work itself challenged television's generic boundaries.<mask> troubled broadcast convention, seen as implicitly under attack in the presentation of his work." Awards and recognition
<mask>'s documentaries have received much critical acclaim. <mask> received a national Emmy Award in 1987 for Ethnic Notions. Tongues Untied was awarded the Teddy Award at the Berlin Film Festival. The film received recognition from the Los Angeles Film Critics Association, the New York Documentary Film Festival, the American Film and Video Festival, and the San Francisco International Lesbian and Gay Film Festival. In 1992, <mask> was awarded the Maya Daren Lifetime Achievement Award from the American Film Institute. Additionally, Color Adjustment won the prestigious George Foster Peabody Award, Erik Barnouw Award from the Organization of American Historians, the International Documentary Association Outstanding Achievement Award, and a premiere screening the Sundance Film Festival."Color Adjustment" garnered a nomination for a national Emmy Award for Outstanding Individual Achievement in Research. <mask> received the Frameline Award from the San Francisco International Lesbian and Gay Film Festival for his film Non, Je Ne Regrette Rien (No Regret). Black Is...Black Ain't won the Golden Gate Award at the San Francisco International Film Festival and was praised by the Sundance Film Festival. In 1993, <mask> received an Honorary Doctorate from the California College of Arts and Crafts in Oakland. There is a section of a housing unit named The Marlon Riggs Apartments/Vernon Street located in Oakland, California. In 1996, a plaque with a picture of <mask> was hung inside of the building's lobby area. At the time, the housing unit was the first building constructed for low-income people with HIV/AIDS.This property is funded through The John Stewart Company and was awarded $2 million for its construction to help people living with HIV/AIDS have a stable environment. In 1996, two years after <mask>'s death, Karen Everett made a biographical documentary about him, titled I Shall Not Be Removed: The Life of <mask> <mask>. In 2006, <mask> was inducted into the NLGJA LGBTQ Journalists Hall of Fame. In 2014, Signifyin' Works challenged the University of California at Berkeley School of Journalism to match a donation of $100,000 and create the "Marlon T. Riggs Fellowship in Documentary Filmmaking." It was the first fellowship named for a documentary filmmaker at a university in the United States. That endowment reached $500,000 thanks to the support of the Ford Foundation and other individual donors. In 2019, Signifyin' Works received a grant from the Ford Foundation in support of "Tongues Untied@30," a year-long series of global screenings to honor the 30th anniversary of the release of Tongues Untied in 1989.Signifyin' Works President Vivian Kleiman and Brooklyn Academy of Music film curator Ashley Clark collaborated to launch the year with a retrospective Race, Sex & Cinema: The World of <mask> <mask>. Other screenings included: Los Angeles, Mexico City, Atlanta, London, Paris, Bogota, Istanbul, Mumbai, and beyond. In addition, the 78th Annual Peabody Awards recognized <mask> and Tongues Untied with a tribute presented by Billy Porter, writer and star performer of the FX Peabody Award-winning series, "Pose." Controversy
During the late 1980s and early 1990s, <mask>'s production Tongues Untied triggered a national controversy surrounding the airing of the video on American public television stations. Along with his own funds, <mask> had financed the documentary with a $5,000 grant from the Western States Regional Arts Fund, a re-granting agency funded by the National Endowment for the Arts, an independent federal agency that provides funding and support for visual, literary, and performing artists. The film received much contention due to its depiction of two men kissing. News of the film's airing sparked a national debate about whether or not it is appropriate for the federal government to fund artistic creations that offended some.Artists stressed their basic right of free speech, of representation on public airwaves, and vehemently opposed censorship of their art. However, several right-wing United States government policymakers and many conservative groups were against using taxpayer money to fund what they believed were repulsive artistic works. In the 1992 Republican presidential primaries, presidential candidate Pat Buchanan cited Tongues Untied as an example of how President George H.W. Bush was investing "our tax dollars in pornographic and blasphemous art." Buchanan released an anti-Bush television advertisement for his campaign using re-edited clips from Tongues Untied. The ad was removed from television channels after <mask> successfully demonstrated Buchanan's copyright infringement. Reverend Donald E. Wildmon, the president of the American Family Association, opposed PBS and the National Endowment for the Arts for airing Tongues Untied but hoped that the film would be widely released because he believed most Americans would find it offensive."This will be the first time millions of Americans will have an opportunity to see the kinds of things their tax money is being spent on," he said. "This is the first time there is no third party telling them what is going on; they can see for themselves." <mask> defended Tongues Untied for its ability to "shatter this nation's brutalizing silence on matters of sexual and racial difference." In his defense, <mask> claimed that "implicit in the much overworked rhetoric about "community standards" is the assumption of only one central community and only one overarching cultural standard to which television programming must necessarily appeal." In popular culture
<mask>’s name appears in the lyrics of the Le Tigre song "Hot Topic." The British musician Dev Hynes also known as Blood Orange incorporated an excerpt from <mask>'s documentary Black Is...Black Ain't in the 2016 song "With Him." Episode 6 of the second season of FX's Pose ends with a quote by <mask>.References

External links

<mask> <mask> at the Video Data Bank
<mask> <mask> Critical Resource Page at California Newsreel

American documentary filmmakers
African-American film directors
1957 births
1994 deaths
Activists for African-American civil rights
African-American artists
Filmmakers from California
Gay artists
LGBT African Americans
LGBT film directors
LGBT artists from the United States
LGBT rights activists from the United States
LGBT people from Texas
AIDS-related deaths in California
Harvard University alumni
People from Fort Worth, Texas
UC Berkeley Graduate School of Journalism alumni
Activists from Texas
Activists from California
20th-century African-American activists
20th-century American artists
American gay writers
Film directors from Texas
20th-century LGBT people

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Marlon Troy Riggs
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{{Infobox comics creator
| image         = 10.10.10GeorgesJeantyByLuigiNovi1.jpg
| imagesize     =
| caption       = Jeanty at the 2010 New York Comic Con
| birth_name    = <mask>
| birth_place   = Brooklyn, New York
| death_place   =
| nationality   = Dominican Republic and Haiti
| cartoonist    =
| write         =
| art           =
| pencil        = y
| ink           =
| edit          =
| publish       =
| letter        =
| color         =
| alias         =
| signature     =
| notable works = Buffy the Vampire Slayer Comic Books The American Way
| awards        =  Eisner Award
| website       = http://KabaLounge.com
| sortkey       = <mask>, <mask>
| subcat        = American
}}

<mask> is an American comic book penciler illustrator best known for his work on The American Way, an eight-issue American comic book limited series produced under DC Comics' Wildstorm imprint, and the Buffy the Vampire Slayer: Season Eight comic book series published by Dark Horse Comics. Various issues of Serenity (comics). Early life
<mask> was born in Brooklyn, New York, and raised in Miami Beach, Florida. After attending courses in the Fine Arts, at Miami-Dade College, he considered a career in acting, but decided to use his artistic talent to pursue a career as a commercial artist. Inspired by the comic books he read while growing up, featuring 70’s comic book superhero icons like Luke Cage, and classic superhero comics like Fantastic Four and Saga of the Swamp Thing - Jeanty made comic books his focus. Jeanty specifically credits Frank Miller's Daredevil #183, as pivotal in his decision to pursue a career in comics. His artist influences include American comic book artists John Byrne, Michael Golden, and Alan Davis, as well as European comic book artist legends Milo Manara and Jean Giraud (Moebius).Career

Early career
<mask>’s first break into comics was Paradigm #1 (1994) published by Caliber Comics. Soon after, he worked on the "bad girl" comics for London Night Studios, featuring various characters like Poizon, Stryke, and Razor. Moving to Atlanta in 1999, <mask> joined the ranks of Atlanta-based Gaijin Studios. After breaking in at DC Comics, on titles like Green Lantern, Superboy, and Superman, Marvel Comics offered Jeanty his first regular ongoing monthly series- Bishop: The Last X-Man (1999). <mask>'s Marvel work also included Gambit, Deadpool, Weapon X, and the X-Men Legends II: Rise of Apocalypse mini-comic for the Activision video game. During this time, in 2003, <mask> left Gaijin Studios and after a year, formed Atlanta-based Studio Revolver, with Dexter Vines, Tom Feister, Brian Reiber, and Tariq Hassan. In 2006, DC Comics’ imprint, Wildstorm Comics paired Jeanty with Hollywood screenwriter John Ridley, for The American Way, an eight-issue comic book mini-series that presented a skewed parallel history of the civil unrest during 1960s America, where the United States Government created its own "superheroes" and "villains" and arranged fake fights to influence public opinions.Buffy the Vampire Slayer
While completing The American Way, Jeanty was contacted by Dark Horse Comics' Senior Managing Editor, Scott Allie, who asked if he was interested in working on a Buffy the Vampire Slayer Season Eight comic book. Buffy's creator, Joss Whedon, who had been a fan of Jeanty's work since Bishop: the Last X-Man, specifically asked for him. This was not the movie and television character's first foray into comics, between 1998 and 2004, Dark Horse Comics published various Buffy comics when the television show was on air, but not all the comics were considered canon. However, this new comic book series was to be the canonical continuation of the popular television series that aired for seven years, hence its name. Jeanty started penciling the first issue of Season Eight immediately after completing The American Way, working closely with Joss Whedon in bringing the television series to the comic book world. In doing this, Whedon strictly wanted "comic book stylized" versions of the Buffy characters, that carry the essence of their television counterparts, without looking like redrawn picture stills. Much attention to detail still goes into rendering these stylized versions, Jeanty saying, "It takes me 30% more time to do a Buffy page than, say, a Gambit page, because of the likenesses.But how hard is my job when I get to sit around all day and draw Sarah Michelle Gellar, Alyson Hannigan, or Michelle Trachtenberg?" Over the course of Season Eight, Jeanty also worked with alumni Buffy writer Jane Espenson, and comic book writers Brian K. Vaughn, Jeph Loeb, and Brad Meltzer. Jeanty also created variant covers for most of the comic book series, which would go on to be nominated for the 2008 Eisner Award for Best New Series. The complete series was later collected into seven trade paperbacks which were regularly listed on The New York Times Graphic Books Best Seller List. Critical response to the series
<mask>'s artwork on Season Eight received praise for successfully capturing the essence, excitement, and humor of the television show, without looking like a media tie-in. Mathew Springer stated, "He brings these people to life not as drawings of actors and actresses, but as fully realized comic book characters in their own right." Buffy creator, Joss Whedon, stated that while looking for an artist for Buffy Season Eight, he desired someone that was "good at capturing the likenesses [of the characters], but did not draw a weak... non-comic that reeks of licensing."And that, "<mask> mixes both abilities with a grace and power not seen since Superman vs. Muhammad Ali." Mark Stoddard complimented Whedon's choice of Jeanty, saying, "his layouts and storytelling are clear, he handles the action sequences pretty well, and the character likenesses are excellent, retaining a sense of artistic individuality, rather than simply generating portraits or rehashing television stills". There was also some initial debate among Buffy fans and critics over Joss Whedon's art style choice. Keith McDuffee thought Jeanty's pencils "have a bit to be desired" compared to the photo-realistic artwork on the covers. However, Richard George of IGN praised Jeanty's work as a happy medium between real life and comics, urging readers not to compare Jeanty's interior art to Jo Chen's photo-realistic cover style, and that "Both styles have their place". Motion and online comics
Fox Home Entertainment produced motion comics based on the first 19 issues of Buffy the Vampire Slayer: Season Eight. The first motion comic debuted on Amazon Video on Demand and iTunes on July 19, 2010.The Blu-ray and DVD of the motion comic series was released on January 4, 2011. <mask> pencilled an 8-page Spike story written by Jane Espenson that will be available as an online comic book from Dark Horse Comics. During WonderCon 2011, Dark Horse Comics officially announced that <mask> will return as regular artist for Buffy The Vampire Slayer: Season Nine. Joining him, as inker, will be <mask>'s former studio mate from Studio Revolver, Dexter Vines. Serenity: Leaves on the Wind
In Jan 2014, Dark Horse Comics released Serenity: Leaves on the Wind, a six-issue comic book series with art by Jeanty that continues the story of Joss Whedon's cult television show Firefly, and its subsequent film adaptation Serenity. The comic is written by Zack Whedon and executive produced by Joss Whedon, and continues the story roughly 39 weeks after the events of the film. A self-confessed fan of the Firefly television show, <mask> told an interviewer that his work on the Serenity series borrows its inspiration from films with a "rustic futuristic feel" and has discussed the challenge of transitioning from the Buffy series to a series with a much darker tone in both visual content and in story content.Personal life
He was raised by his mother in Miami Beach, Florida along with 3 younger siblings. In early 2011, <mask> left Studio Revolver in Atlanta, and relocated to Long Beach, California but has since returned to Atlanta, Georgia. Awards
Nominated: 2008 Eisner Award for Best New Series, for Buffy The Vampire Slayer: Season Eight''

References

External links

Year of birth missing (living people)
Living people
American comics artists

masks:
Georges Michael Jeanty
Jeanty
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Georges Jeanty
Georges Michael Jeanty
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Georges Jeanty
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<mask><mask> (born 1956) is the Nicholas deB. Katzenbach Professor of Law at Yale Law School. <mask>'s writing draws on legal history to explore questions of law and inequality, and to analyze how courts interact with representative government and popular movements in interpreting the Constitution. She is currently writing on the role of social movement conflict in guiding constitutional change, addressing this question in recent articles on reproductive rights, originalism and the Second Amendment, the "de facto ERA," and the enforcement of Brown. Her publications include Processes of Constitutional Decisionmaking (with Brest, Levinson, Balkin & Amar, 2014); The Constitution in 2020 (edited with Jack Balkin, 2009); and Directions in Sexual Harassment Law (edited with Catharine A. MacKinnon, 2004). Professor <mask> received her B.A., M.Phil, and J.D. from Yale University, clerked for Judge Spottswood Robinson on the D.C.Circuit, and began teaching at the University of California at Berkeley. She is a member of the American Academy of Arts and Sciences, and is active in the American Society for Legal History, the Association of American Law Schools, the American Constitution Society, in the national organization and as faculty advisor of Yale's chapter. She was elected to the American Philosophical Society in 2018. Scholarship
One of her most notable works is "She the People: The Nineteenth Amendment, Sex Equality, Federalism, and the Family," 115 Harv. L. Rev. 947 (2002), which argues that the history leading up to the enactment of the Nineteenth Amendment to the United States Constitution, guaranteeing woman suffrage, should serve as the foundation for a more robust jurisprudence of sex equality. Siegel's most recent work focuses on popular constitutionalism and Section Five of the Fourteenth Amendment to the United States Constitution, how social movements shape constitutional law, the rise of the New Right, and the popularization of antiabortion arguments that focus on protecting women.Career
<mask> graduated from Yale Law School in 1986, where she was an editor of The Yale Law Journal. She joined the Yale faculty in 1994 after teaching at the Boalt Hall School of Law. She serves on the boards of the American Society for Legal History, the Center for WorkLife Law, and the Harvard Law & Policy Review. She is an active member of the American Constitution Society and faculty advisor to the ACS chapter at Yale Law School. Selected works

Articles
 Conscience Wars in Transnational Perspective: Religious Liberty, Third-Party Harm, and Pluralism in THE CONSCIENCE WARS: RETHINKING THE BALANCE BETWEEN RELIGION, IDENTITY, AND EQUALITY (Susanna Mancini & Michel Rosenfeld eds., Cambridge Univ. Press 2017) (with Doug NeJaime)
 Casey and the Clinic Closings: When "Protecting Health" Obstructs Choice, 125 YALE L.J. 1428 (2016) (with Linda Greenhouse)
 Democratic Constitutionalism, National Constitution Center White Paper (2015) (with Robert Post)
 Conscience and the Culture Wars, American Prospect, Summer 2015 (with Doug NeJaime)
 Conscience Wars: Complicity-Based Conscience Claims in Religion and Politics, 124 YALE L.J.2516 (2015) (with Doug NeJaime)
 Compelling Interests and Contraception, 47 CONN. L. REV. 1026 (2015) (with <mask>)
 Contraception as a Sex Equality Right, 124 YALE L.J.F. 349 (2015) (with <mask>)
 How Conflict Entrenched the Right to Privacy, 124 YALE L.J.F. 316 (2015)
 Meador Lecture: Race-Conscious, But Race-Neutral? The Constitutionality of Disparate Impact in the Roberts Court, 66 ALA. L. REV. (2015)
 Harris Lecture: Abortion and the "Woman Question": Forty Years of Debate, 89 IND. L.J.1365 (2014)
 Dignity and the Duty to Protect Unborn Life in UNDERSTANDING HUMAN DIGNITY (Christopher McCrudden ed. 2014)
 The Supreme Court, 2012 Term—Foreword: Equality Divided, 127 HARV. L. REV. 1 (2013)
 Equality Arguments for Abortion Rights, 60 UCLA L. REV. DISC. 160 (2013) (with <mask>)
 Backlash to the Future? From Roe to Perry, 60 U.C.L.A.L. REV. DISC. (2013) (with Linda Greenhouse)
 Equality's Frontiers: How Congress's Section 5 Power Can Secure Transformative Equality, 122 YALE L.J. ONLINE 267 (2013)
 Equality and Choice: Sex Equality Perspectives on Reproductive Rights in the Work of Ruth Bader Ginsburg, 25 COLUM. J. GENDER & L. 63 (2013)
 The Constitutionalization of Abortion, in Michel Rosenfeld and Andras Sajo, eds., THE OXFORD HANDBOOK OF COMPARATIVE CONSTITUTIONAL LAW 1057 (Oxford: Oxford University Press 2012), reprinted in ABORTION LAW IN TRANSNATIONAL PERSPECTIVE: CASES AND CONTROVERSIES (Rebecca J. Cook, Joanna Erdman & Bernard H. Dickens 2014)
 Dignity and Sexuality: Claims on Dignity in Transnational Debates Over Abortion and Same-Sex Marriage, 10 INTL. J. CON.L. 335 (2012)
 Before (and After) Roe v. Wade: New Questions About Backlash, 120 Yale L.J. 2028 (2011) (with Linda Greenhouse)
 From Colorblindness to Antibalkanization: An Emerging Ground of Decision in Race Equality Cases, 120 YALE L.J. 1278 (2011)
 Roe Roots: The Women's Rights Claims that Engendered Roe, 90 B. U. L. Rev. 1875 (2010)
 Struck By Stereotype: Ruth Bader Ginsburg on Pregnancy Discrimination as Sex Discrimination, 59 DUKE L.J. (2010) (with <mask>)
 Pregnancy and Sex-Role Stereotyping, From Struck to Carhart, 70 OHIO ST. L.J. (2009) (with <mask>)
 Dignity and Reproductive Rights. SELA (The Seminario en Latinoamérica de Teoría Constitucional y Política – the Seminar in Latin America on Constitutional and Political Theory), June 2009 (Asunción, Paraguay)
 Heller and Originalism's Dead Hand - In Theory and Practice, 56 U.C.L.A.L. REV. 1399-1424 (2009)
 Introduction: The Constitutional Law and Politics of Reproductive Rights, 118 YALE L.J. 1312-17 (2009)
 Dead or Alive: Originalism as Popular Constitutionalism in Heller, 122 HARV. L. REV. 191 (2008)
 Dignity and the Politics of Protection: Abortion Restrictions Under Casey/Carhart , 117 YALE L.J. 1694-1800 (2008)
 2007 Brainerd Currie Lecture. The Right's Reasons: Constitutional Conflict and the Spread of Woman-Protective Antiabortion Argument, 57 DUKE L.J.1641 (2008)
 Roe Rage: Democratic Constitutionalism and Backlash, 42 HARV.C.R.-C.L. L. Rev. 373 (2007) (co-authored with Robert Post)
 Sex Equality Arguments for Reproductive Rights: Their Critical Basis and Evolving Constitutional Expression, 56 EMORY L. J. 815 (2007)
 2006 Baum Lecture. The New Politics of Abortion: An Equality Analysis of Woman-Protective Abortion Restrictions, 2007 U. ILL. LAW REV 991 (2007)
 Originalism As a Political Practice: The Right's Living Constitution, 75 FORDHAM L. REV. 546-74 (2006) (co-authored with Robert Post)
 2005-06 Brennan Center Symposium Lecture, Constitutional Culture, Social Movement Conflict and Constitutional Change: The Case of the de facto ERA, 94 CAL. L. REV.1323-1419 (2006)
 Mommy Dearest? : Woman-Protective Antiabortion Argument, AMERICAN PROSPECT (October 2006) (with Sarah Blustain)
 Democratic Constitutionalism: A Reply to Professor Barron, 1 HARV. L. & POL'Y REV. (Online) (Sept. 18, 2006) (co-authored with Robert Post)
 "You've Come A Long Way, Baby": Rehnquist's New Approach to Pregnancy Discrimination in Hibbs, 58 STAN. L. REV. 1871-98 (2006)
 Principles, Practices, and Social Movements, 154 U. PENN. L. REV.927-50 (2006) (co-authored with Jack M. Balkin)
 Questioning Justice: Law and Politics in Judicial Confirmation Hearings, YALE LAW JOURNAL (THE POCKET PART), Jan. 2006, (co-authored with Robert Post)
 Roe as Sex Equality Opinion in WHAT ROE SHOULD HAVE SAID (J.M. Balkin ed. NYU Press 2005)
 The Jurisgenerative Role of Social Movements in U.S.Constitutional Law (for publication with the papers of the Seminario en Latino América de Teoria Constitucional y Politica (SELA), June 10–12, 2004, Oaxaca, México)
 Popular Constitutionalism, Departmentalism, and Judicial Supremacy, 92 CALIF. L. REV. 1027-43 (2004) (co-authored with Robert Post)
 Gender and the United States Constitution: Equal Protection, Privacy, and Federalism, in CONSTITUTING WOMEN: COMPARATIVE PERSPECTIVES (eds. Ruth Rubio-Marin & Beverley Baines, Cambridge Press 2004)
 Equality Talk: Antisubordination and Anticlassification Values in Constitutional Struggles Over Brown, 117 HARV. L.  REV. 1470-1547 (2004)
 The American Civil Rights Tradition—Anticlassification or Antisubordination?, in ISSUES IN LEGAL SCHOLARSHIP, THE ORIGINS AND FATE OF ANTISUBORDINATION THEORY: A SYMPOSIUM ON OWEN FISS'S "GROUPS AND THE EQUAL PROTECTION CLAUSE," reprinted in 58 U. MIAMI L. REV.9 (2004)
 Legislative Constitutionalism and Section Five Power: Policentric Interpretation of the Family and Medical Leave Act, 112 YALE L.J.1943-2059 (2003) (co-authored with Robert Post)
 Protecting the Constitution from the People: Juricentric Restrictions on Section Five Power, 78 IND. L.J. 1-45 (2003)  (co-authored with Robert Post)
 She the People: The Nineteenth Amendment, Sex Equality, Federalism, and the Family, 115 HARV. L. REV. 947-1046 (2002)
 Text in Contest: Gender and the Constitution from a Social Movement Perspective, 150 U. PENN. L. REV. 297-351 (2001)
 Equal Protection By Law: Federal Antidiscrimination Legislation After Morrison and Kimel, 110 YALE L.J.441-526 ( 2000) (co-authored with Robert Post)
 Discrimination in the Eyes of the Law: How "Color Blindness" Discourse Disrupts and Rationalizes Social Stratification, 88 CALIF. L. REV. 77-118 (2000), reprinted in Prejudicial Appearances (Duke Press 2001)
 Collective Memory and the Nineteenth Amendment: Reasoning About "the Woman Question" in the Discourse of Sex Discrimination in HISTORY, MEMORY, AND THE LAW (Austin Sarat & Thomas R. Kearnes eds. 1999)
 The Racial Rhetorics of Colorblind Constitutionalism: The Case of Hopwood v. Texas in RACE AND REPRESENTATION: AFFIRMATIVE ACTION (Robert Post & Michael Rogin eds.1998)
 Valuing Housework: Nineteenth-Century Anxieties about the Commodification of Domestic Labor, in Special Issue: Changing Forms of Payment, 41 AMERICAN BEHAVIORAL SCIENTIST 1437-51 (1998)
 Civil Rights Reform in Historical Perspective: Regulating Marital Violence in REDEFINING EQUALITY (Neil Devins & David Douglas eds.1998)
 Why Equal Protection No Longer Protects: The Evolving Forms of Status-Enforcing State Action, 49 STAN. L. REV.1111-1148 (1997)
 "The Rule of Love": Wife Beating as Prerogative and Privacy, 105 YALE L.J. 2117-2206 (1996)
 In the Eyes of the Law: Reflections on the Authority of Legal Discourse in LAW'S STORIES: NARRATIVE AND RHETORIC IN THE LAW (Peter Brooks & Paul Gewirtz eds., 1996)
 Modernizing Wife Beating in YALE LAW REPORT (Fall 1996)
 Abortion in A COMPANION TO AMERICAN THOUGHT (R. Fox & J. Kloppenberg eds., 1995)
 Abortion As a Sex Equality Right:  Its Basis in Feminist Theory in MOTHERS IN LAW: FEMINIST THEORY AND THE LEGAL REGULATION OF MOTHERHOOD (Martha Fineman & Isabel Karpin eds., 1995)
 The Modernization of Marital Status Law:  Adjudicating Wives' Rights to Earnings, 1860–1930, 82 GEO. L.J. 2127-2211 (1995)
 Home As Work:  The First Woman's Rights Claims Concerning Wives' Household Labor, 1850–1880, 103 YALE L.J.1073-1217 (1994)
 Reasoning From the Body:  An Historical Perspective on Abortion Regulation and Questions of Equal Protection, 44 STAN. L. REV. 261-381 (1992)
 Book Review, 3 Berkeley Women's L.J. 171 (1988) (reviewing S. LEHRER, ORIGINS OF PROTECTIVE LABOR LEGISLATION FOR WOMEN, 1905 - 1915 (1987))
 Employment Equality Under the Pregnancy Discrimination Amendment of 1978, 94 YALE L.J. 929 (1985)

Books
 Processes of Constitutional Decisionmaking (6th ed., 2014) (with Paul Brest, Sanford Levinson, Jack Balkin, and Akhil Amar)
 Before Roe v. Wade: Voices that Shaped the Abortion Debate Before the Supreme Court's Ruling (Kaplan Publishing, 2010) (with Linda Greenhouse). The Constitution in 2020 (forthcoming) (edited with Jack Balkin), including an essay by Professors <mask> and Balkin on Remembering How to Do Equality and an essay co-authored with Robert Post on Democratic Constitutionalism
 Directions in Sexual Harassment Law, co-edited with Catharine A. MacKinnon (Yale University Press, 2004). Collection of 40 essays, including authored introductory essay, A Short History of Sexual Harassment

References

External links
 <mask> <mask> faculty profile

American women lawyers
American legal scholars
Feminist studies scholars
1956 births
Living people
Yale Law School alumni
Yale Law School faculty
Members of the American Philosophical Society
Women legal scholars
Harvard Law School people
American women academics
21st-century American women

masks:
Reva B
. Siegel
Siegel
Siegel
Siegel
Neil Siegel
Neil Siegel
Neil Siegel
Neil Siegel
Neil Siegel
Siegel
Reva
Siegel


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<mask> (born 11 November 1935) is a South African artist from the Ndebele nation. She is known for her bold large-scale contemporary paintings that reference her Ndebele heritage. <mask> was conferred with an honorary doctorate (Philosophiae Doctor honoris causa) by the University of Johannesburg, 9 April 2018. Early life
<mask> was born on 11 November 1935 in a farm located outside of Middelburg, Mpumalanga, South Africa, and belongs to the South Ndebele people. Mahlangu began painting at 10 years of age, and was taught the skill of mural painting by her mother and grandmother, following a tradition of her native South Ndebele people for women and girls to paint the exterior of houses. It is in this cultural tradition where Mahlangu began her artistic journey. She had eight younger siblings, which was made up of six boys and three girls (including her).She and her husband had 3 sons. Later on, she lost her husband and two out of her three sons. Artistic career
Mahlangu's art references patterns found in clothing and jewellery of the Ndebele people. The patterns she uses are typically very colourful and geometric. Her paintings are large in scale. Mahlangu first gained international attention in 1989 at a European art exposition titled Magiciens de la terre (Magicians of the World). Later in 1991, she was commissioned by BMW to create an art car, as other BMW Art Car creators had done before (including Andy Warhol, David Hockney and Frank Stella).The car, a BMW 525i, was the first "African Art Car" and was painted with typical motifs of the Ndebele tribe. She was the first non-Western person and female to design one of these art cars. The car was later exhibited at the National Museum of Women in the Arts in Washington, DC in 1994. It was also exhibited at the British Museum, London in 2017. Between 1980 and 1991 she was a resident at the Botshabelo open-air museum, which presents Ndebele culture to visitors. Her designs were also reproduced in 1997 on the tails of British Airways planes and more recently the same technique was used by the artist to paint on the new Fiat 500 on the occasion of the exhibition "Why Africa?" (2007, Turin).Mahlangu is one of the African artists whose art is often exhibited internationally. Her works are in major private collections including that of The Contemporary African Art Collection (CAAC) of Jean Pigozzi and in many Western museums. Despite being an internationally recognized artist, <mask>ngu lives in her village in close contact with her culture. Themes
Mahlangu follows a local tradition through which this particular type of painting technique is handed down in the family, communicated, learned and transmitted only by women (in the past). These paintings are closely connected with the ancient tradition of decorating the houses on the occasion of the rite of passage for boys. Between 18 and 20 years of age, the youth of the tribe go to "a school of circumcision", the ritual that confirm their passage to adulthood. To celebrate this event the women completely repaint the inside and the outside of their houses with a preparation of cow dung and natural pigments.Brightly coloured acrylic paints are also applied in designs outlined by black lines. Although seemingly simple, the geometric abstraction that is revealed by these paintings is underscored by the constant repetition and symmetry of such simple shapes that make the whole work quite complex. The art of <mask>u highlights the tension between local and global, between the anchor and detachment. Despite continuing to use the same "artistic vocabulary" closely tied to her traditions, Mahlangu has applied the designs to various objects including canvas, sculpture, ceramics, automobiles and airplanes. She has also collaborated with various brands like BMW, Fiat, EYTYS, Melissa's, Beleverde, the British Museum and Rolls Royce. Present day

<mask>'s 1991 BMW Artcar was on view at the British Museum as part of 'South Africa: the art of a nation', from 27 October 2016 - 27 February 2017. The new BMW Individual 7 series with unique internal wooden trims painted by her was exhibited at Frieze Art Fair 2016 with accompanying exhibition of work co-curated by BMW and 34FineArt.She recently completed a special edition premium Belvedere Vodka bottle design (50% of all profits to help fight HIV/AIDS in Africa). As an artist in residence, Mahlangu was commissioned in 2014 by the Virginia Museum of Fine Arts to create two large works of art. Mahlangu directs a school which teaches young girls not only painting but also the technique of painting designs on particular compositions of beads. The tradition is not a static entity. As the work of the same Mahlangu suggests, "tradition" is a mobile field, future-oriented and ready to incorporate diverse stimuli. In fact, although South Africa is now one of the African States which is able to facilitate and promote the work of their artists both nationally and internationally with the likes of the biennial event in Johannesburg, the work of <mask>u is even more courageous because she was born and grew up in political and social turmoil. <mask>u has worked tirelessly exposing and developing her talent travelling around the world, and she is very passionate about sharing her knowledge with the younger generation so that she leaves a legacy that lives on for generations to come.References

External links

<mask>u 80 Exhibition online 2015
Contemporary African Art Collection, Geneva
 <mask>angu 2003 Exhibition catalogue 2003
Mam' <mask>angu: the Ndebele Picasso, Ayiba Magazine, December 2015
"In conversation with <mask>u" , ARTsouthAfrica (2015)

1935 births
Living people
People from Middelburg, Mpumalanga
Southern Ndebele people
South African women painters
Recipients of the Order of Ikhamanga
20th-century South African painters
21st-century South African painters
20th-century South African women artists
21st-century South African women artists

masks:
Esther Mahlangu
Esther Mahlangu
Esther Nikwambi Mahlangu
Esther Mahala
Esther Mahlang
Esther Mahlangu
Esther Mahlang
Esther Mahlang
Esther Mahlang
Esther Mahl
Esther Mahl
Esther Mahlang


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<mask>, M.D. (September 23, 1852 – September 7, 1922) was a US surgeon who emphasized strict aseptic technique during surgical procedures, was an early champion of newly discovered anaesthetics, and introduced several new operations, including the radical mastectomy for breast cancer. Along with <mask> (Professor of Medicine), Howard Atwood Kelly (Professor of Gynecology) and <mask>. Welch (Professor of Pathology), <mask> was one of the "Big Four" founding professors at the Johns Hopkins Hospital. His operating room at Johns Hopkins Hospital is in Ward G, and was described as a small room where medical discoveries and miracles took place. According to an intern who once worked in Halsted's operating room, <mask> had unique techniques, operated on the patients with great confidence and often had perfect results which astonished the interns. He was later called the Father of Modern Surgery. Throughout his professional life, he was addicted to cocaine and later also to morphine, which were not illegal during his time.As revealed by Osler's diary, <mask> developed a high level of drug tolerance for morphine. He was "never able to reduce the amount to less than three grains daily" (approximately 200 mg). <mask>'s addictions resulted from experiments on the use of cocaine as an anesthetic agent that he performed on himself. Early life

<mask><mask> was born on September 23, 1852 in New York City. His mother was Mary Louisa Haines and his father <mask> <mask>, Jr. He was the oldest of four children. His father was a businessman with Halsted, Haines and Company which was an organization that supplied dry goods.<mask>, Jr. was very involved in the community. <mask><mask>'s family was of English heritage and was very wealthy with two homes in the state of New York. One of their homes was on Fifth Avenue in New York City and the other was an estate in Westchester County, New York. Though raised a Presbyterian, <mask> was an agnostic by adulthood. <mask> was educated at home by tutors until 1862, when he was sent to boarding school in Monson, Massachusetts at age ten. He didn't like his new school and even ran away at one point. He was later enrolled at Phillips Academy in Andover, Massachusetts, where he graduated in 1869.<mask> entered Yale College after a year of studying at home. At Yale, <mask> was captain of the football team, played baseball and rowed on the crew team, but his academic achievements were below average. One of his social setbacks was in his senior year when he wasn't accepted into the prestigious Skull and Bones Secret Society. At the end of his senior year at Yale, a newfound interest in medicine seemed to arise. <mask> attended medical lectures at Yale Medical School and studied books on the subjects of anatomy and physiology. Medical education
Upon graduation from Yale in 1874, <mask> entered Columbia University College of Physicians and Surgeons. Historians are not certain why <mask> attended medical school.Some believe he was inspired by his father's involvement with medical organizations. Others think he couldn't imagine himself in the family business. Once he entered medical school, he left his early academic difficulties behind him. Physicians central to his emergence as a medical scholar include Henry B Sands, a well-known surgeon, who was Halsted's tutor during this time. <mask> served as assistant to Professor of Physiology John Call Dalton, another influence. During medical school, <mask> worked in a pharmacy in his free time. After two years of medical school, <mask> started to burn out.He complained about his memory not working correctly among other things so during the summer of his second year he went to Block Island in Rhode Island. Here, he studied while participating in activities like fishing and sailing. He then took a competitive exam to apply for an internship at Bellevue Hospital in New York even though this program was only open to students with medical degrees. <mask> did very well on the exam and was awarded the internship for House Surgeon at Bellevue where he remained for a year. <mask> spent most of his internship in the medical wards but also helped with some surgical operations. The conditions in the hospital were very unsanitary; bleeding patients was a common practice during this time, and surgical tools weren't as well cared for as they are modernly. Interns ran around the hospital with buckets full of pus from the patients.During the internship, <mask> was introduced to the use of antiseptic through physicians using Joseph Lister's technique created in 1867. This sparked an interest in <mask>, and he helped with the issue of infections at Bellevue during the rest of the internship. He ended his academic career in the top ten of his medical school class. He then participated in a competition that placed him at the top of his class. He graduated in 1877 with a Doctor of Medicine degree. Medical career
After graduation, <mask> joined the New York Hospital as house physician in April 1878, where he introduced the hospital chart which tracks the patient's temperature, pulse and respiration. It was at New York Hospital that <mask> met the pathologist <mask>. Welch, who would become his closest friend.He left New York Hospital in October 1878. <mask> had exhausted all of the medical training opportunities the United States had to offer in his position, for there was no program to train recent medical school graduates for a career in medicine at this time. <mask> then went to Europe to study under the tutelage of several prominent surgeons and scientists, including Edoardo Bassini, Ernst von Bergmann, Theodor Billroth, Heinrich Braun, Hans Chiari, Friedrich von Esmarch, Albert von Kölliker, Jan Mikulicz-Radecki, Max Schede, Adolph Stöhr, Richard von Volkmann, Anton Wölfler, Emil Zuckerkandl. He became especially close to Anton Woelfler among others which gave him unlimited access to resources. The relationships <mask> forged with these future leaders in their fields would last a lifetime. During this time in Europe, cancer was just starting to be studied more widely, making the timing of his arrival ideal. This experience inspired him with multiple new medical ideas and practices that he would contribute to in the United States.<mask> returned to New York in 1880 and for the next six years led an extraordinarily vigorous and energetic life. Like when <mask> visited Europe, it was an opportune time for <mask>'s involvement because surgery was on the brink of various important discoveries. He operated at multiple hospitals including the Chambers Street Hospital, College of Physicians and Surgeons where he was Assistant Demonstrator in Anatomy, Charity Hospital, Bellevue Hospital and Roosevelt Hospital (currently Mount Sinai West) where he was a visiting physician at all three, and Emigrant Hospital where he was Surgeon-in-Chief. At Bellevue Hospital, he convinced the hospital to erect a tent that was used as his surgical area where he could practice the idea of antiseptic surgery. This project cost $10,000 at the time. <mask> also started teaching, but he greatly strayed from classical teaching methods. He reformed the classroom by creating a more hands-on experience coupled with theory for his students who were generally at the top of their classes.He was an extremely popular, inspiring and charismatic teacher due to this. In 1882 he performed one of the first gallbladder operations in the United States, a cholecystotomy performed on his mother on the kitchen table at 2 am in which he removed seven gallstones. His mother completely recovered. <mask> also performed one of the first emergency blood transfusions in the United States. He had been called to see his sister after she had given birth. He found her moribund from blood loss, and in a bold move withdrew his own blood, transfused his blood into his sister, and then operated on her to save her life. Because of these operations, <mask> became known for being bold, and his reputation as a surgeon was gradually increasing.In 1884, <mask> read a report by the Austrian ophthalmologist Karl Koller, describing the anesthetic power of cocaine when instilled on the surface of the eye. <mask>, his students, and fellow physicians experimented on each other, and demonstrated that cocaine could produce safe and effective local anesthesia when applied topically and when injected. <mask> would also inject himself with the drug to test it before using it on his patients during surgeries. In the process, <mask> and some of his other colleagues became addicted to the drug. <mask> and Dr. Richard Hall were the only colleagues who became addicted that would survive their cocaine problems. <mask> maintained an active career while dealing with his addiction for five years. However, there were some clues to his condition during this time.<mask> published an article in 1885 in the New York Medical Journal, and it was incoherent. This showcased what state <mask> was in with his addiction to cocaine. His close friend Harvey Firestone recognized the gravity of the situation, and arranged for <mask> to be abducted and put aboard a steamer headed for Europe. In the two weeks it took to complete the voyage, <mask> underwent an early, crude form of detoxification. Upon his return to the United States he became addicted again, and voluntarily admitted himself to Butler Sanatorium in Providence, Rhode Island, where they attempted to cure his cocaine addiction with morphine. He was there for seven months. Even though he remained dependent upon morphine for the remainder of his life, he continued his career as a pioneering surgeon; many of his innovations remain standard operating room procedures.However, his addiction to cocaine ended his medical career in New York City. Following his discharge from Butler in 1886, <mask> moved to Baltimore, Maryland, to join his friend <mask> in organizing and launching the new Johns Hopkins Hospital. <mask> began working in Welch's experimental laboratory, and he presented a paper at Harvard Medical School. Soon thereafter, he was readmitted to Butler Hospital and remained there for nine months. He returned to Baltimore thereafter. When Johns Hopkins University Hospital opened in May 1889, he became Head of the Outpatient Department, acting Surgeon to the hospital, and Associate Professor of Surgery after being recommended by Welch when the first choice for the position fell through. These lesser positions alluded to the fact that the administration was still worried about <mask>'s past cocaine addiction.In 1890, he was appointed Surgeon-in-Chief of the hospital. In 1892, <mask> joined Welch, <mask>, and Howard Kelly in founding the Johns Hopkins School of Medicine, and was appointed its first Professor of Surgery. Compared to his teaching in New York, <mask>'s teaching was declining. He would pay attention to specific students and ignore the rest. But, he would also give certain residents that worked under him unprecedented learning experiences because of the amount of responsibility he awarded them. During these years at Johns Hopkins, he is credited with multiple achievements in the surgical world. Achievements
<mask> was credited with starting the first formal surgical residency training program in the United States at Johns Hopkins.He based this mainly on the ideas that he obtained in Europe, especially those of the Germans, Austrians, and Swiss. This was the foundation for the residency training programs in place today. The program began with an internship of undefined length (individuals advanced once <mask> believed they were ready for the next level of training), followed by six years as an assistant resident, and then two years as house surgeon. This program was also developed to create role models and teachers for the next generation of surgeons. <mask> trained many of the prominent academic surgeons of the time, including <mask> Cushing and Walter Dandy, founders of the surgical subspecialty of neurosurgery; and Hugh H. Young, a founder of the specialty of urology. His methods of training surgeons spread, first to the rest of Baltimore and then throughout the United States. Many prominent figures in medical surgery were affected and influenced by his new system of training, and it has had a profound impact on American medicine.<mask> held the belief that cancers spread through the bloodstream, which led him to think that sufficient local removal of the tumor would cure the cancer. This belief led him to perform  the first radical mastectomy for breast cancer in the U.S. at Roosevelt Hospital in New York in 1882; an operation first performed in France a century earlier by Bernard Peyrilhe (1735-1804). <mask> had observed a German surgeon perform increasingly aggressive surgeries to remove cancerous tumors from the breast, but the patients still relapsed even with this more aggressive surgery. An English surgeon, Charles Moore, believed that even more breast tissue should be removed and doctors who were trying to save women from disfigurement were doing them a disservice. <mask> took this to the next level, eventually resorting to removing the pectoralis major, lymph nodes near the collar bone, and lymph nodes near the armpit. Some surgeons in Europe even removed ribs from women with breast cancer. This caused great disfigurement of the women operated on.<mask> presented his findings at the American Surgical Association conference in New Orleans in 1898, concluding that the procedure significantly decreased the percentage of local reoccurrence. He also presented more findings in 1907, showing the same results. Although, the radical mastectomy throughout the years has come under fire. It is now known that survival from breast cancer is more closely related to how much the cancer has spread before surgery than how much is removed during surgery. <mask> created multiple techniques for surgery so damage to tissues and blood supply would be minimized. Some of these new advances included different types of forceps, sutures, and ligatures. Besides working on breast cancer, <mask> also contributed to the surgical treatment for other diseases including vascular aneurysm, inguinal hernia, and a certain kind of primary carcinoma of the ampulla of Vater.In addition, he helped develop anesthesia, an integral part of modern surgery. As one of the first proponents of hemostasis and investigators of wound healing, <mask> pioneered <mask>'s principles, modern surgical principles of control of bleeding, accurate anatomical dissection, complete sterility, exact approximation of tissue in wound closures without excessive tightness, and gentle handling of tissues. <mask> was also involved in the introduction of rubber gloves into the operating room for surgery in 1889. The main reason for the introduction of rubber gloves was to protect the hands of scrub nurse Caroline Hampton. She suffered from contact dermatitis and painful eczema as a result of the antiseptics used, so <mask> arranged for Goodyear Rubber Company to make "bespoke" rubber gloves for her. Caroline Hampton would later give up her job as a nurse to become <mask>'s wife. Although, the use of gloves wasn't originally championed for sanitary reasons, such gloves drastically increased the cleanliness of operations, as was later demonstrated by Joseph Colt Bloodgood.Other achievements included advances in thyroid, biliary tract, hernia, intestinal and arterial aneurysm surgery. H.L. Mencken considered <mask> the greatest physician of the whole Johns Hopkins group, and Mencken's praise of his achievements when he reviewed Dr. MacCallum's 1930 biography is a memorable tribute. "His contributions to surgery were numerous and various. He introduced the use of local anesthetics, he was the first to put on rubber gloves, and he devised many new and ingenious operations. But his chief service was rather more general, and hard to describe. It was to bring in a new and better way of regarding the patient.Antisepsis and asepsis, coming in when he was young, had turned the attention of surgeons to external and often extraneous things. Fighting germs, they tended to forget the concrete sick man on the table. Dr. <mask> changed all that. He showed that manhandled tissues, though they could not yell, could yet suffer and die. He studied the natural recuperative powers of the body, and showed how they could be made to help the patient. He stood against reckless slashing, and taught that a surgeon must walk very warily. Dr. <mask>, one of the cofounders of the Mayo Clinic, once commented that Dr. <mask> took so long to perform procedures that the patients usually healed before he had a chance to close the incision.Though, like most men of his craft, he had no religion, he yet revived and reinforced the ancient saying of Ambroise Paré: 'God cured him; I assisted.' Above all, he was a superb teacher, though he never formally taught. The young men who went out from his operating room were magnificently trained, and are among the great ornaments of American surgery today." Personal life
In 1890, <mask> married Caroline Hampton, the niece of Wade Hampton III, a former general in the Confederate States Army and also a former Governor of South Carolina. They purchased the High Hampton mountain retreat in North Carolina from Caroline's three aunts. There, <mask> raised dahlias and pursued his hobby of astronomy; he and his wife had no children. He died on September 7, 1922, 16 days short of his 70th birthday, from bronchopneumonia as a complication of surgery for  gallstones and cholangitis.Eponyms
<mask>'s law: transplanted tissue will grow only if there is a lack of that tissue in the host
<mask>'s operation I: operation for inguinal hernia
<mask>'s operation II: radical mastectomy for breast cancer
<mask>'s sign: a medical sign for breast cancer
<mask>'s suture: a mattress suture for wounds that produced less scarring
<mask> mosquito forceps: a type of hemostat
Halsted ligament (Costoclavicular ligament): it is formed from dense condensation of clavipectoral fascia

See also
The Knick

References

Further reading

Garrison, Fielding H. "<mask>," American Mercury, v. 7, no. 28 (April 1926) 396–401. First mention of rubber gloves in the operating room. External links
  An interview with Gerald Imber, author of Genius on the Edge, and an excerpt from the book. A documentary on the life of Dr. <mask> recently aired on the public broadcasting station WETA
National Academy of Sciences Biographical Memoir

1852 births
1922 deaths
Phillips Academy alumni
American agnostics
American surgeons
Burials at Green-Wood Cemetery
Columbia University College of Physicians and Surgeons alumni
Wade Hampton family
Johns Hopkins Hospital physicians
Yale College alumni

masks:
William Stewart Halsted
William Osler
William H
Halsted
Halsted
Halsted
Halsted
William S
. Halsted
William Mills
Halsted
William Halsted
William S
. Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
William H
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
William Welch
Halsted
Halsted
Halsted
William Osler
Halsted
Halsted
Halsted
Halsted
Harvey Williams
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
William Mayo
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
Halsted
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Halsted
Halsted


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<mask> is an American lawyer, diplomat, mediator and author who is a former United States Representative to the Association of Southeast Asian Nations (“ASEAN”) with the rank of Ambassador Extraordinary and Plenipotentiary. He was nominated by President Barack Obama in November 2010 and confirmed by the U.S. Senate in March, 2011. He resigned his post in December 2013. <mask> was a partner at Jones Day, an international law firm, where he was, at various times, the Partner in Charge of the firm's Asian offices and practices, the head of its International Securities practice, and the head of Litigation in its New York office. Legal career
<mask> began his legal career in the Chicago office of Kirkland & Ellis, where he was in the Litigation Department. While at Kirkland, Carden was a member of the team that represented Amoco in connection with the oil spill that resulted from the grounding of the Amoco Cadiz. <mask> was a partner in the Chicago law firm of Coffield Ungaretti, before joining the Chicago office of Jones Day in 1990.In 2000 <mask> moved from Chicago to the firm’s New York office. <mask> led Jones Day’s New York Trial Practice department, which included its Intellectual Property and Labor practices. <mask> later became Co-Chair of the Jones Day’s worldwide Securities Litigation and Enforcement Practice. While at Jones Day, <mask> was responsible for representing clients in some of the largest securities fraud cases ever litigated, including those concerning Enron, Parmalat and AIG. Carden defended cases concerning derivatives, collateralized debt obligations,  credit default swaps, currencies, commodities, options, various direct investments and more traditional financial products. Carden also coordinated the defense of litigation brought in the courts of numerous foreign countries, including the United Kingdom, France, Switzerland, Luxembourg, the Netherland Antilles, Thailand, Italy and Barbados, and defended and prosecuted claims and conducted investigations for and against entities in numerous countries, including Indonesia, Singapore, China, Saudi Arabia, Lebanon and Syria. <mask> was recognized by Chambers, New York Super Lawyers and The New York Times “Super Lawyer Section” for his accomplishments defending securities litigation.He also was listed as being one of Lawdragon’s “Lawyers You Need to Know in Securities Litigation”. Mediation
<mask> currently is serving as a mediator in commercial disputes in the United States and is on the board of the Weinstein International Foundation, a non-profit foundation that provides training and promotes the mediation of non-commercial, public interest disputes abroad. Involvement with Indiana University
<mask> currently is Ambassador-At-Large at Indiana University, where, among other responsibilities, he is Chairman of the Advisory Board for The Center for Rural Engagement. According to the CRE’s website, the goal of the CRE is to improve the lives and opportunities of the citizens of Indiana “by working with partners to discover and deploy evidence-based, data informed and scalable solutions to common challenges facing rural communities.”

Involvement in politics
<mask> has been a friend and golf partner of President Barack Obama’s for over twenty years and was an early supporter of his political career. He was an initial member of the National Finance Committee for the Obama 2008 Presidential Campaign. He and his wife, Rebecca Riley, were among the 2008 Campaign’s top bundlers, raising over $500,000. Ambassadorship
As U.S.Ambassador, <mask> oversaw the broadening engagement of the United States in Southeast Asia, which included the Obama Administration's 2011 "pivot" or "rebalance" to the region. Based in the U.S. Mission to ASEAN in Jakarta, he traveled throughout ASEAN's 10 member states and Asia. His responsibilities included supporting ASEAN as it moves toward economic integration in 2015 and advocating for the systemic changes necessary to promote peaceful and prosperous growth in the region. Under his leadership, the U.S. Mission addressed the issues inherent in realizing ASEAN's aspirations, including economic development, trade liberalization, intellectual property protection, developing the rule of law and more effective governance, pandemic prevention and preparedness, providing more effective responses to natural disasters, advancing health care and educational opportunities, addressing human and wildlife trafficking, terrestrial and maritime environmental protection, managing the region's fisheries and natural resources, responding to deforestation and climate change, food and water security, advancing programs to increase the resilience of ASEAN's people and institutions, promoting historical and cultural preservation, and focusing on sustainable cities. He worked to build alliances in the region, including facilitating efforts by the embassies of countries in the European Union and Latin America in their engagement with ASEAN. The U.S. Mission to ASEAN, which tripled in size during <mask>'s tenure, encouraged better decision making in both the ASEAN Member States and in the region. To this end, he hired the first ever science advisor to be posted in an American embassy or mission and advocated successfully for the creation of an ASEAN Fulbright Scholarship Program.The Mission also created an ASEAN-U.S. Science and Technology Fellows Program. Honors and awards
In recognition of his efforts, Ambassador <mask> was given the U.S. Department of State's Superior Honor Award. The Award was given in December 2013. In May, 2014 he received the Thomas Hart Benton Mural Medallion from Indiana University in recognition of his relationship and contributions to the University and for his public service. In 2016 and 2017, Ambassador <mask> was in Residency at the Rockefeller Foundation’s Bellagio Center, where he was working on a book. Speaking Engagements
<mask> has maintained an active speaking schedule since his departure from his post as the Ambassador to ASEAN, including presentations at the Milken Global Conference and the Milken London Summit, the In House World Counsel Summit, the US Japan South East Asia Workshop, the ASEAN Business and Investment Summit and the CIFOR Forestry Conference, among others. In 2012, Ambassador Carden gave the commencement addresses at Indiana University for students graduating from its graduate programs and the law school.Books, Articles and Other Writings
Ambassador <mask> is the author of Mapping ASEAN: Achieving Peace, Prosperity and Sustainability in Southeast Asia, Indiana University Press, 2019. He also has authored articles on foreign and domestic policy, including the following: To Save Democracy, America Needs a Mandatory Public Service Program, Foreign Policy, 2021; Concepts of Ownership Shouldn’t Apply to the Parthenon Marbles, ekathimerini, 2021; Finding Common Ground: The Effect of Geography on Domestic and Foreign Policy, The SAIS Review of International Affairs, 2021; To Pay for the Pandemic, Dry Out the Tax Havens, Foreign Policy, 2020; My Solution to the Parthenon Marbles Row: a Museum for the 21st Century, The Guardian, 2020; From Climate Change to the Coronavirus, Complex Adaptive Systems Thinking is Key to Handling Crises, South China Morning Post, 2020; Why We Need a New Approach to North Korea, Politico, 2018; Why Asian Trade is a National-Security Issue (with Ambassador <mask>. Adelman), Politico, 2015; and Sustaining ASEAN’s Science and Technology Future, (with Dr. Montira Pongsiri), The Strategic Review, 2015

Board Memberships

Ambassador <mask> is the Chairman of the Advisory Board for The Center for Rural Engagement at Indiana University. He also is on the Board of the Weinstein International Foundation, a non-profit foundation that provides training and promotes the mediation of non-commercial, public interest disputes abroad. Family and personal life
<mask> was born in Indiana. He graduated magna cum laude from DePauw University and from the Indiana University Maurer School of Law, where he was Order of the Coif. Carden is married to Rebecca Riley, a former Vice President of the John D. and Catherine T. MacArthur Foundation. In 1997, Riley arranged for Obama to speak in Chicago at a Valentine’s Day gathering of the “Futures Committee”, a civic leadership group created by the Local Initiatives Support Corp.The speech has been reported to have been “the speech that launched Obama.”

See also
Ambassadors of the United States

References

External links

Year of birth missing (living people)
Living people
Ambassadors of the United States to ASEAN
American expatriates in Indonesia
New York (state) lawyers
DePauw University alumni
Indiana University Maurer School of Law alumni
Kirkland & Ellis alumni

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