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<mask>, (born 25 September 1947) is a South Korea conductor. In 1977, he was the first Korean to win the prize at the Herbert von Karajan Conductors' Competition in Berlin. He is currently general director and artistic director of the Seongnam Philharmonic Orchestra and Hankyung Philharmonic Orchestra. He is also the founder and artistic director of New World Philharmonic Orchestra. He currently serves as the Principal of Seoul Arts High School. However, according to a staff from Seoul Arts High School on August 16, he was recently decided to be dismissed, and a new principal will be inaugurated on August 28. <mask> spent 396 days, nearly 40% of his school working days, in Seongnam Philharmonic Orchestra, a private orchestra, for four years.He was audited by the Seoul Metropolitan Office of Education in early April, due to negligence in service and in violating the prohibition of double employment. Early life
<mask> was born in Busan, is the son of Suhyun <mask> who was a composer and music educator. He studied music at Seoul Arts High School and studied musical composition at Seoul National University. He also studied conducting at the Universität der Künste in Berlin under Prof. Hans-Martin Rabenstein. Career

In 1977, <mask> was one of the prize winners (4th prize) at the ‘Herbert von Karajan Conductor's Competition and was the first Korean conductor to be given an opportunity to conduct Berlin Philharmonic Orchestra. Since returning home in 1980, he was appointed as the conductor of KBS Symphony Orchestra for 12 years. In 1992, he moved to Suwon Philharmonic Orchestra.At that time Suwon Philharmonic Orchestra was a struggling ensemble and had difficulties attracting audiences to their concerts. Gum concentrated on improving the quality of the performance and on refreshing orchestra's image. While he was in Suwon, <mask> organized a series of special concerts with Suwon Philharmonic such as ‘7-hour Marathon Concert' and 'New Year's Eve Concert at Seoul Arts Center'. Also, Gum began a new educative concert series for young students in collaboration with Seoul Arts Center in 1994 titled, 'Young People's Concerts with Gum Nanse'. The concerts were particularly popular among young students and the concerts remained sold-out for six consecutive years from 1994 to 1999. During <mask>'s appointment as artistic director, Suwon Philharmonic's number of concerts increased from about 10 concerts per year to more than 60 concerts per year. Suwon Philharmonic Orchestra’s turnaround soon gathered media’s attention and in 1995, Samsung Electronics(headquartered in Suwon) built a new outdoor concert hall and rehearsal facilities for Suwon City and Suwon Philharmonic.Samsung Electronics also sponsored Suwon Philharmonic Orchestra for five years and its overseas tours in US, Canada, UK, Spain, Thailand (for 1998 Asian Games in Bangkok) for three years. Since 1997, <mask> has been primarily engaged in the activities of Euro-Asian Philharmonic Orchestra (now, New World Philharmonic Orchestra) which he founded. Apart from New World Philharmonic, he served as the Artistic Director of Gyeonggi Philharmonic Orchestra (2006-10) and Incheon Philharmonic Orchestra (2010-14) consecutively. In interviews, Gum often stresses that classical musicians should be "proactive and extend their talents to the audience regardless of venues". As an example, Gum gave a series of symphonic concerts in the lobby of POSCO Center(POSCO's main headquarters building in Seoul) since 1999. In the lobby of POSCO Center, <mask> and Euro-Asian Philharmonic gave concerts with programs that included complete Beethoven, Tchaikovsky and Brahms Symphonies. In recent years, <mask> has been active as a festival director.Notably he founded the 'Music Isle Festival in Jeju’ (since 2005) and the 'Manhattan Chamber Music Festival’ (since 2012). The 'Music Isle Festival in Jeju’ joined the European Festivals Association(EFA) in 2010. <mask> is Principal of Seoul Arts High School (Seoul Yego) and regularly conducts Korea United College Orchestra (KUCO) which consists of non-music major students from 25 universities nationwide. He also conducts Korea Young Dream Orchestra (KYDO) which consists of young, amateur music-loving adolescents from 25 small provincial towns once a year. Currently, Gum is artistic director of Seongnam Philharmonic Orchestra and Hankyung Philharmonic Orchestra. In September 2015, <mask> was also appointed as the Principal Guest Conductor of Slovak Radio Symphony Orchestra. As of now, Maestro <mask> Nanse holds the positions of below

 Artistic Director & Conductor of New World Philharmonic Orchestra - since 1997
 Artistic Director & Conductor of Seongnam Philharmonic Orchestra - since 2015
 Artistic Director & Conductor of Hankyung Philharmonic - since 2015
 Principal Guest Conductor of Slovak Radio Symphony Orchestra - since 2015
 President of Seoul Arts High School (Seoul Yego) - since 2013
 Artistic Director of Raum Art Center - since 2012
 Artistic Director of Manhattan Chamber Music Festival - since 2012
 Artistic Director of Jeju Music Isle Festival - since 2005
 Artistic Director of Busan Chamber Music Festival - since 2014
 Artistic Director of Euro-Asian Music Festival - since 2015
 Artistic Director of Korea United College Orchestra (KUCO) - since 2010
 Artistic Director of Korea Young Dream Orchestra (KYDO) - since 2011
 Chairman of Korea Orchestra Association (KOA) - since 2011

Awards and honors
 1977 Herbert von Karajan Young Conductor's Competition
 1995 Order of Culture Merit “Og-Gwan”
 1999 Grand Prize of Korea Music Critics Association
 2008 Honorary Doctorate Degree from Keimyung University
 2009 Grand Prize of Performing Arts Management Association of Korea
 2010 Hyoryung Prize – Cultural sector
 2011 Presidential Prize of Sejong Cultural Award – Cultural Sector

TV Appearances
 2010.5. 19 MBC <황금어장-무릎팍도사>
 2011 KBS Prime <Kids Classic Audition> / <키즈 클래식 오디션>
 2012 KBS <Qualifications of Men> - Family Choir / <남자의 자격> 시즌 3 - 패밀리 합창단
 2012. 12. 4 KBS <Kim Seungwoo's WinWin> - Episode 140 / <김승우의 승승장구> - 140회
 2014-2015 tvN <Always Cantare> Season 1, 2 / <언제나 칸타레> 시즌 1,2

Publications
 《나는 작은새, 금난새》 Design House, 1996-12-31
 《금난새의 클래식 여행》 Think Tree, 2003-9-30
 《금난새의 클래식 여행 1》 Think Tree, 2006-10
 《금난새의 클래식 여행 2》 Think Tree, 2006-10
 《내가 사랑한 교향곡》 Think Tree, 2008-12-23
 《모든 가능성을 지휘하라》 Yaekyung, 2015-3-2

References

1947 births
Living people
People from Busan
Seoul National University alumni
South Korean conductors (music)
21st-century conductors (music)

masks:
Gum Nanse
Gum Nanse
Gum
Gum
Gum
Gum
Gum
Gum
Gum
Gum
Gum
Gum
Gum


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<mask> (born <mask>; December 29, 1911 – November 23, 1973) was an American film actress. Life and work
<mask> was born on December 29, 1911, in Baxter, Iowa, to <mask>, a farmer whose family were early Jasper County pioneers, and his wife, Ethel Viola (née Cool) <mask>, daughter of Baxter Postmaster Peter J. Cool. Her parents married on June 28, 1911. The family moved frequently while she was growing up, living in Denver, Kansas City, Phoenix, St. Louis, and Missoula, Montana, among other places. Her parents separated in Montana. Young Dorothy went to California around 1927 where she worked as a model in Los Angeles and auditioned for minor film roles.While working as a model in Los Angeles, she was cast in a small part in Eddie Cantor's movie Whoopee!, which was produced by Florenz Ziegfeld. Ziegfeld offered <mask> a part in his next Broadway musical, Smiles. She joined the Ziegfeld Follies and moved to New York City, where she studied singing and dancing. After Smiles ended, she signed a five-year contract with Paramount Pictures. After acting in bit parts in several films, she was signed to a Warner Bros. contract by Darryl F. Zanuck. Some confusion has led to <mask>'s birthplace being listed as Des Moines, Iowa. Early in her career, <mask> applied for a passport in preparation for a trip to Europe, and was reported as saying she only knew she was born in Iowa.Whether an attempted bit of publicity, she wound up with plenty in her home state. "My early childhood is just a blur to me," she once said. "I don't remember a thing about Iowa, I'm sorry to say. I was so small when I left there." <mask> had numerous relatives who still lived in and around Baxter when her apparent memory lapse was reported in the Register & Tribune's Iowa News Service on April 29, 1935. Locals were in an uproar for a time, spurred on by newspaper editorials taking the incident as an insult to a small town in rural Iowa. Deputy Jasper County Clerk John B. Norris quickly sent a copy of her birth certificate to <mask> by registered mail to end the question.<mask> went on to work at Warner Brothers, Paramount and Universal studios in more than sixty films over a dozen years, from 1930-42. <mask> was usually type-cast as the "other woman", a femme fatale, siren, seductress, mistress, blackmailer, or other kind of schemer. But she also twice played secretary Della Street to Warren William's Perry Mason, in The Case of the Curious Bride (1935), and The Case of the Velvet Claws (1936). In the latter, <mask>'s character was the only incarnation of Della Street to ever wed Mason. One of her last films was  Abbott and Costello's In the Navy (1941). Family
<mask> was Hollywood's "mystery girl" in the 1930s -- a label she acquired because she was good at keeping her personal and professional lives separate. In 1931, <mask> married John Milton Strauss, an investment banker.She gave birth to her first child, Jon Michael Strauss (born 1936), which surprised much of Hollywood society as they did not even know she was married. The couple divorced in 1938. She retired from acting and married her second husband, H. Brand Cooper, in 1942. They had four children: a daughter (Austeene); and three sons (John T., Brand, and Peter). Death
She died at her home in Beverly Hills, California, from cancer, aged 61. She is buried in the Brand Family Cemetery on the grounds of the Brand Library and Art Center in Glendale, California. Partial filmography

 Our Blushing Brides (1930) as A Mannequin
 Whoopee!External links

1911 births
1973 deaths
Actresses from Iowa
American film actresses
Deaths from cancer in California
People from Jasper County, Iowa
Ziegfeld girls
20th-century American actresses

masks:
Claire Dodd
Dorothy Arlene Dodd
Dorothy Arlene Dodd
Walter Willard Dodd
Dodd
Dodd
Dodd
Dodd
Dodd
Dodd
Dodd
Dodd
Dodd
Claire Dodd
Dodd


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<mask> (January 28, 1926 — September 6, 2019) was a Ph.D. toxicologist and an emeritus professor of molecular and cell biology at the University of Arizona, a post he held beginning in 1975. He is also a former professor of pharmacology at the medical school at said university. He received his bachelor's degree in chemistry, at Brown University, 1948. He received a master's degree and a PhD in physiological chemistry at the University of Rochester, where he published some scientific studies about the synthesis of isoalloxazine ring-containing compounds. He did a postdoctoral with Nobel Laureate Arthur Kornberg in the department of biochemistry at Stanford University School of Medicine. He has done sabbatical scholar-in-residence at MIT and at the University of California at San Diego. He is best known for his pioneering work on Succimer and Unithiol in the treatment of arsenic, mercury, lead and other heavy metals leading to FDA approval of succimer in childhood lead poisoning at levels over 40 ug/dl.Previous posts he had held include at Vanderbilt, Tufts University, and the University of Maryland. His views about mercury in vaccines and in dental amalgams go against the consensus of the medical community and are controversial. Research
Aposhian's first academic appointment was to Vanderbilt University School of Medicine, and he was an instructor there from 1954 to 1956. Some of his research has been published in the Journal of Virology, and in the autism omnibus trial he testified that he was "the first one to show that a virus could transfer genetic information that was not in it originally." He also testified that he acted as a biochemical geneticist from 1959 until he went to teach at Tufts University in 1967, during which time he was affiliated with Stanford University. He would leave Tufts in 1970 to become department chair at the University of Maryland School of Medicine. He has published more than 100 peer-reviewed studies on heavy metal poisoning.In 1964, Aposhian, along with, notably Arthur Kornberg, both of whom were affiliated with Stanford University at the time, published "Enzymatic Synthesis of Deoxyribonucleic Acid" in the Journal of Biological Chemistry. Kornberg would go on to win the Nobel Prize for discovering the biological mechanism by which DNA is synthesized. His more recent research has focused on the metabolism of arsenic compounds, in particular, deciphering polymorphisms in the gene that codes for glutathione S-transferase, which is involved in arsenic detoxification. Some of this research he has authored along with his wife, Mary M<mask>, who died in 2009. Professor Aposhian has research experience and publications dealing with the toxicology of heavy metals, in particular arsenic and mercury. This has included the enzymology of arsenic biotransformation; the study of human populations in Chile, Inner Mongolia, Romania, Mexico and rural Southwest China as to their body burden of arsenic or mercury; the human metabolism of chelating agents; and biochemical genetics in particular gene transfer in mammalian cells. Views on mercury exposure
Aposhian has advocated for the view that thimerosal-containing vaccines cause autism, and testified before the Institute of Medicine in 2004 before they issued a review concluding that the evidence favors rejecting a vaccine-autism link.Cedillo v. Secretary of Health and Human Services
In the 2007 court case Cedillo v. Secretary of Health and Human Services, <mask> was the first witness called to the stand by the claimant's lawyers. In his testimony, Aposhian elaborated on a potential hypothesis as to how MMR and thimerosal-containing vaccines might have worked together to cause autism. The proposed mechanism involved something known as "mercury efflux disorder", and Aposhian testified that "The hypothesis was made less than three or four weeks ago." He also stated that efflux disorders have been documented before, and described them as "problems with getting a metal, in this case mercury, out of a cell", citing Wilson's disease as an example thereof. Aposhian also testified, with regard to the concept of a dose-response relationship, that "This is an ancient form of quotation that until recently we taught in medical schools, and in undergraduate school, and in graduate school. We now have to consider the hyper susceptibility of people." According to Arthur Allen, author of the book Vaccine, "On cross examination, Aposhian acknowledged there was no record of any child becoming autistic as a result of mercury exposures prior to the thimerosal theory."In the end, the special master decided that "The reports and advice given to the Cedillos by Dr. [Arthur] Krigsman and some other physicians, advising the Cedillos that there is a causal connection between Michelle’s MMR vaccination and her chronic conditions, have been very wrong. Unfortunately, the Cedillos have been misled by physicians who are guilty, in my view, of gross medical misjudgment". The decisions in the case implied that doctors who base their treatments on them are unscientific and unethical. Dental amalgam controversy
In addition to being opposed to mercury in vaccines, Aposhian has also voiced concern about the safety of mercury in dental amalgam fillings. On July 11, 1994, Aposhian was interviewed for a BBC program entitled "Poison in the Mouth." The host of the program, Tom Mangold, said that Aposhian's research had shown that two-thirds of the mercury in the body came from dental amalgam fillings. Additionally, when a meeting, "Mercury in Medicine: Are we taking unnecessary risks?", was held on July 18, 2000, Aposhian said, "The mercury amalgams in your mouth, the so-called silver fillings, contain 48 to 50 percent of elemental mercury. These fillings continuously emit mercury vapor, which will go to the brain and is converted to mercuric mercury….Certain fish contain methylmercury; again, very rapidly taken up from the GI tract, transported quickly to the brain, and converted very slowly to mercuric mercury….thimerosal which again will be taken up by the brain and quickly converted to mercuric mercury – all three forms are neurotoxic. By neurotoxic, we mean it will damage nerve and it will damage brain tissues." These concerns are supported by Aposhian's "research", which has concluded that there exists "a positive correlation between the amount of amalgam in the teeth and the amount of amalgam in the body" of subjects who were given the widely discredited "provoked testing" chelating agent 2,3-dimercapto-1-propanesulfonic acid. This method however has been proven to provide unreliable results which do not reflect the true "body burden" of heavy metals in the patient. Selected publications

Mercury

Arsenic

References

1926 births
2019 deaths
University of Arizona faculty
Brown University alumni
American toxicologists
University of Rochester alumni
Vaccinologists
Thiomersal and vaccines
American people of Armenian descent

masks:
Hurair Vasken Aposhian
. Aposhian
Aposhian


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<mask> (July 2, 1935November 13, 2021), sometimes publishing as Kingsley B. Bass Jr, was an American playwright. He won awards including the New York Drama Critics' Circle Award and several Obie Awards. <mask> was associated with the Black Arts Movement and the Black Panther Party, for which he was the minister of culture in the 1960s. Early life and education
<mask> was born on July 2, 1935, in Philadelphia, Pennsylvania, to Bertha Marie ( Queen) and <mask>. He was raised primarily by his mother. As a child, he attended a predominantly white elementary school and became involved with a gang. He attended Benjamin Franklin High School, where he was stabbed in a gang-related incident.Shortly thereafter, he dropped out of high school and joined the navy. During this period, he won a boxing championship, returned to Philadelphia, and enrolled in night school. He stayed in Philadelphia until moving to Los Angeles in 1958. He married poet and activist Pat Parker (then Patricia Cooks) in 1962. Parker accused him of violence and she and <mask> separated after four years. After completing his G.E.D., <mask> enrolled in Los Angeles City College and began writing short stories for Citadel, a magazine he started. In 1964, he moved to San Francisco and joined the creative writing program at San Francisco State College, where he started writing plays.Clara's Ole Man, which premiered on August 5, 1965, at San Francisco's Firehouse Repertory Theatre, is about an Ivy Leaguer who meets the titular Clara and several other "strange and unpleasant characters" who show her the "realities of ghetto life". It turns out that "Clara's ole man" is actually Clara's partner, a woman. Black House and Black Panthers
After seeing Amiri Baraka's play Dutchman, <mask> felt that Baraka's artistic purpose was similar to his own. He joined Baraka at Black House, the Black Arts Movement's cultural center, along with Sonia Sanchez, Huey Newton, Marvin X, and others. A 2005 history of the Black Arts Movement described <mask> as among the "leading … theater workers" of the Movement. The Black Panthers used Black House as their base in San Francisco, where <mask> was their minister of culture as of the 1960s. Black House eventually split into two opposing factions: one group, led by Eldridge Cleaver, considered art to be a weapon and advocated joining with "all oppressed people", including whites, to bring about a socialist revolution; while the other group, represented by Marvin X and Baraka, considered art to be a form of cultural nationalism.<mask> was part of the latter group. While in San Francisco, <mask> founded Black Arts/West, a theater collective inspired by Baraka's Harlem-based Black Arts Repertory Theatre project. New Lafayette Players
The director Robert Macbeth read <mask>' plays and asked him to join the New Lafayette Players, a theatrical group. The first production the New Lafayette Players performed was a trilogy called The Electronic Nigger and Others at The American Place Theatre. Electronic Nigger was about a Black man who imitates the views of the white majority. The trilogy earned <mask> a Drama Desk Award for 1968. The trilogy's title was later changed to <mask>ins Plays for what <mask> called "financial reasons".<mask> worked with the Lafayette Players until 1972, when the group ended due to lack of funding. During these years, ten of <mask>'s plays were produced by the Players, including In the Wine Time and Goin' a Buffalo. 1970s and later
<mask> returned to the East Coast in 1967. From 1973, he was playwright-in-residence at the American Place Theatre. He founded the Bronx-based Surviving Theatre, active from 1974 to around 1980. From 1975 to 1983, he was on staff at The Public Theater with the New York Shakespeare Festival's Writers' Unit. During these years, <mask> wrote two children's plays, titled I Am Lucy Terry and The Mystery of Phillis Wheatley.He also wrote the text for two musicals, titled Sepia Star (1977) and Storyville (1979). <mask> later returned to school, and received a bachelor's degree in English and playwriting from Antioch University in San Francisco. As of the late 1980s, <mask> taught drama at the City College of San Francisco. In 1995, he became a professor at Northeastern University. In addition to <mask>'s playwriting, he wrote short stories and novels, including The Hungered One and The Reluctant Rapist. The Reluctant Rapist features <mask>'s alter ego, Steve Benson, who appears in many of <mask>'s works. <mask> died aged 86 on November 13, 2021, in Roxbury, Boston, Massachusetts, due to complications from dementia.Themes
Samuel A. Hay, Bullins's biographer, writes that <mask> rejected models of theater advanced by Amiri Baraka, who wrote and promoted protest art, and Alain LeRoy Locke, who suggested that Black playwrights should condemn racism by producing "well-made plays". Instead, Hay argues, <mask>'s writing aimed to "get people upset by making them look at racism in totally new ways". By contrast, the critic W. D. E. Andrews argues that the distinction between Baraka and <mask> lies instead in <mask>'s efforts to describe Black lived experience, as opposed to referring to relations between Black and white people. Ishmael Reed has been quoted as saying of Bullins: "He was able to get the grass roots to come to his plays. ...He was a Black playwright who spoke to the values of the urban experience. Some of those people had probably never seen a play before." Awards
<mask> received numerous awards for his playwriting.He twice received the Black Arts Alliance Award, for The Fabulous Miss Marie and In the New England Winter. In 1971, <mask> won the Guggenheim Fellowship for playwriting. He received an Obie Award for The Taking of Miss Janie, which also received a New York Drama Critics Circle Award. Also in 1975, he won the Drama Desk Vernon Rice Award, four Rockefeller Foundation playwriting grants, and two National Endowment for the Arts playwriting grants. In 2012, <mask> received the Theatre Communications Group Visionary Leadership Award. Selected works

Anthologies
 Five Plays (Goin' a Buffalo; In the Wine Time; A Son, Come Home; The Electronic Nigger; Clara's Ole Man)
 Four Dynamite Plays (It Bees Dat Way; Death List; The Pig Pen; Night of the Beast). New York: William Morrow and Company, 1972.The Reluctant Rapist (novel) Harper & Row, 1973. The Theme Is Blackness (The Corner and other plays) [Dialect Determinism, The Helper, It Has No Choice, A Minor Scene, Black Commercial #2, The Man Who Dug Fish, The American Flag Ritual, One Minute Commercial, State Office Bldg. Curse]. New York: William Morrow and Company, 1973. The Hungered One (1971)

Individual plays
 Dialect Determinism; or The Rally (1965)
 How Do You Do (1965)
 Goin' a Buffalo (1966)
 The Helper (1966)
 It Has No Choice (1966)
 A Minor Scene (1966)
 The Corner (1967)
 The Electronic Nigger (1967)
 The Man Who Dug Fish (1967)
 A Son, Come Home (1968)
 We Righteous Bombers (as Kingsley B. Bass Jr) (1968)
 In New England Winter (1969)
 Ya Gonna Let Me Take You Out Tonight, Baby? (1969)
 Death List (1970)
 The Duplex: A Black Love Fable in Four Movements (1970)
 The Pig Pen (1970)
 Malcolm: '71, or, Publishing Blackness (1971)
 Night of the Beast (1971)
 The Psychic Pretenders (A Black Magic Show) (1972)
 House Party, a Soul Happening (1973)
 I Am Lucy Terry (1975)
 The Taking of Miss Janie (1975)
 Home Boy (1976)
 The Mystery of Phyllis Wheatley (1976)
 DADDY! (1977)
 C'mon Back to Heavenly House (1978)
Snickers (1985)
Dr. Geechee and the Blood Junkies (1986)
 A Sunday Afternoon (1987)
 Salaam, Huey Newton, Salaam (1993)
 High John da Conqueror: The Musical (1993)
 Boy x Man (1997)
 King Aspelta: A Nubian Coronation (2000)
 Blacklist
City Preacher
The Devil Catchers
The Gentleman Caller

Notes

Sources

Further reading

External links
 Ed Bullins papers (1940–2010) at Stuart A.Rose Manuscript, Archives, and Rare Book Library, Emory University Libraries

1935 births
2021 deaths
20th-century American dramatists and playwrights
African-American dramatists and playwrights
Northeastern University faculty
Writers from Philadelphia
Obie Award recipients
20th-century African-American writers
21st-century African-American people

masks:
Edward Artie Bullins
Bullins
Edward Artie Bullins
Edward Bullins
Bullins
Bullins
Bullins
Bullins
Bullins
Bullins
Bullins
Bullins
Bullins
Ed Bull
Bullins
Bullins
Bullins
Bullins
Bullins
Bullins
Bullins
Bullins
Bullins
Bullins
Bullins
Bullins
Bullins
Bullins
Bullins
Bullins
Bullins
Bullins


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<mask> (August 25, 1942 – June 11, 1975) was a Canadian social worker and prison classification officer who was killed during a hostage-taking at the B.C. Penitentiary in 1975. On June 9, 1975, Steinhauser was one of 15 people that were taken hostage by three inmates, Andy Bruce, Dwight Lucas and Claire Wilson, who were attempting a prison breakout. Prior to the hostage-taking and her death, Steinhauser was an outspoken advocate against solitary confinement. A bursary was opened in Steinhauser's name and benefits Simon Fraser University Aboriginal Undergraduate Students in Arts & Social Sciences. Personal life
<mask> was born in Duncan, British Columbia, Canada, on August 25, 1942. <mask> was the elder daughter of <mask> and Johanna Reisner's two children.<mask>'s father emigrated to Canada in 1925 from Ravensburg, Germany. He began farming in Edmonton, Alberta, and subsequently moved to Lake Cowichan, BC where he worked in the sawmill. <mask>’s mother immigrated to Canada in 1939 from Vienna, Austria. <mask>'s parents married in 1941. Steinhauser grew up in Lake Cowichan until age 5, when she moved with her family to Burton, British Columbia, a small town in the West Kootenays, where her parents had purchased a farm. Upon graduation from secondary school in Nakusp, BC, <mask> began her training as a psychiatric nurse at Essondale, BC. After working at Essondale for 2 years, she moved to Toronto, Ontario and worked for one year as a nurse at the Queen Street Mental Health Hospital.Following this, she returned to BC, taking up nursing duties at Tranquille School for the mentally handicapped in Kamloops for 2 years. Steinhauser then began work as a psychiatric nurse for the Matsqui Institution, a newly opened medium-security prison in Matsqui, BC. From 1967 to 1970, Steinhauser studied psychology and sociology at Simon Fraser University in BC, where she graduated  in 1971 with a BA (Honours) in Psychology and Sociology. Immediately after attaining her bachelor's degree, she began graduate studies at the University of British Columbia in social work; <mask> was awarded her Master of Social Work degree in May 1973. Hostage-taking incident
On the day in question, inmates Bruce, Lucas, and Wilson made an unsuccessful attempt to escape from prison and took 15 people hostage. Steinhauser, who was taken hostage at knifepoint, volunteered to be the principal hostage, which meant that she was held in a room outside the vault area where all the other hostages were kept. The three inmates demanded several things, including medical examinations for Lucas and Bruce, access to hot and cold water in isolation cells, and restoration of recreation yard privileges for segregated prisoners.They also demanded safe passage out of the country. The hostage stand-off lasted for 41 hours. During this time, the inmates kept their hostages in the penitentiary's vault, with the exception of <mask>. At approximately 1 A.M. on June 11, one of the hostages tried to overpower the inmates in an attempt to escape, after which point all of the hostages except Steinhauser retreated to the vault, where they locked themselves inside. Soon after, a tactical squad of prison officers attempted to rescue the hostages and fired upon the hostage-takers, fatally shooting Steinhauser, who was being held as a human shield in front of Bruce. Police Chief Rod Keary initially informed reporters that prior to her shooting, Steinhauser had been stabbed by the inmates, per reports from the other hostages. This was proven to be erroneous by the coroner's report, which stated that Steinhauser had received two bullet wounds and also had abrasions, bruising, and recent needle marks in both forearms.After the shooting an inquest was opened, which alleged that prison guard Albert Hollinger (who was identified by Bruce) was the officer who shot Steinhauser. The inquest also alleged that Hollinger had deliberately switched up the tactical team's guns in an attempt to keep from being identified as the shooter while claiming that he was collecting the guns in order to keep them away from prisoners. In January 1976, Andy Bruce appeared in a New Westminster provincial court where he gave his account of the hostage-taking situation to Judge Philip Govan. Bruce said that after the prison tactical squad arrived all of the hostages except for <mask>er shut themselves inside a vault in the penitentiary. According to Bruce, the other hostages "acted out of fear; their only concern was to get that vault door shut and keep it shut." Andy Bruce went on to allege that, after being shot twice in the jaw by a prison guard he identified as Albert Hollinger, <mask>er crawled in front him, where "she screamed, 'Don't shoot him.'" After this, according to Bruce's testimony, Hollinger shot and killed <mask>er.Government Response
In an interview on June 11, 1975, Canadian Prime Minister Pierre Elliott Trudeau commented on the hostage-taking incident. Trudeau stated how "very sorry" he felt about <mask>'s death and he discussed the federal government's commitment to not letting the inmates escape: "To make sure these guys wouldn't get off with anything...we would hound them wherever they were." Legal consequences
In July 1976 a jury ruled that the shooting was not intentional and that the guards, including Hollinger, were acting under the belief that Steinhauser's life was actively being threatened by the inmates. The jury further recommended that future, similar incidents be handled by outside teams that have been trained in hostage situations. In media
The play One Tiger to a Hill by Sharon Pollock is loosely based on the incident. The incident was fictionalized in Christian Bruyère's play Walls and its film adaptation Walls. The Steinhauer role in those works was given the name Joan Tremblay, and was played by Andrée Pelletier in the film.In 2014 a stage performance entitled Brave: The <mask> Legacy was held at the Terry Fox Theatre in Port Coquitlam. References

External links

1942 births
1975 deaths
Canadian social workers
People from Duncan, British Columbia
University of British Columbia School of Social Work alumni
Simon Fraser University alumni

masks:
Mary Steinhauser
Steinhauser
Mary
August Steinhauser
Mary Steinhauser
Mary Steinhauser
Mary
Mary
Mary
Mary
Mary Steinhaus
Mary Steinhaus
Mary Steinhaus
Mary Steinhauser
Mary Steinhauser


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<mask> (born <mask>) (July 25, 1918 – May 31, 1986) was an American multidisciplinary artist, known as a painter, sculptor, mixed media artist, illustrator, and textile artist. Her landscape-like, mixed-media abstract paintings are included in public collections, including those of the Corcoran Gallery of Art, the Baltimore Museum of Art, and the Smithsonian American Art Museum. She studied with artists, Hans Hofmann and Norman Carlberg. Work
<mask> was a pupil of the painter, Hans Hofmann. She can be categorized stylistically as an abstract expressionist, but one who draws primary inspiration from the natural world, particularly landscape — landscape "as metaphor", she once explained. Her later painting refers more explicitly to aerial landscapes, while her sculpture tends toward minimalism. Chronologically and stylistically, <mask>'s work straddles both the modern and the contemporary (even postmodern) periods.She referred to her works generally as "inscapes". The early years

Training in commercial art

<mask> (when she was still <mask>thal) attended the progressive Park School and received her initial artistic training at the Maryland Institute of Arts and Sciences (now known as the Maryland Institute College of Art), earning in 1935 a diploma in commercial art and fashion illustration. She then acquired further training in New York City at what is now the Parsons School of Design (then called the New York School of Fine and Applied Art), from which she graduated in 1939. In New York, she also studied at the New Theatre School. Her schooling complete, she began working in advertising design and acting in summer stock theatre. From the sources, it is unclear whether she worked in these fields while still in New York, or only after returning to Baltimore. We do know, however, that she began painting seriously in 1940.Becoming a painter

In a letter to Thomas Yoseloff, she wrote (quoted in Yoseloff's Retrospective, 1975, p. 34) that "prior to 1940 my background had been entirely in commercial art" and that when she began painting seriously, she had to "put behind me everything I had so carefully learned in the schools". She began a study of the history of painting and "went through a progression of spatial conceptions" from cave painting through the Renaissance, then concentrating on Cézanne, Picasso, and De Kooning. "I was also much concerned with texture, and heavy paint", she adds. Marriage and family - and children's books

After returning to Baltimore, she married Herman Benjamin <mask> in 1941. According to the biography in "Baltimore County Women, 1930-1975" listed below, <mask> had previously been working as a commercial artist "for department stores and advertising agencies", but she "gave up her career in commercial art for marriage and a family" (p. 16). After marrying, she signed her works consistently as "<mask>", apparently never including a maiden name or middle initial. Her husband, a builder, constructed their home, including a studio for his wife.With the initial demands of a new marriage and family presumably beginning to relax a bit, <mask> returned seriously to painting in 1947 (according to Stanton, p. 9). In the following decade, while raising a family and rapidly developing as a serious painter, the young mother also illustrated three children's books. Monica Mink (1948), featured along with <mask>'s illustrations, a whimsical text by the artist herself, entirely in verse, relating a tale in which (according to the review published by the National Council of Teachers of English) "In rhyme the obstreperous Monica Mink 'who wouldn't listen and didn't think' is finally taught that 'all Mother Minks know best'." . Thomas Yoseloff's The Further Adventures of Till Eulenspiegel (1957, New York City), featured <mask>'s block prints, which already show a penchant for collage-like textural juxtapositions and strong diagonal composition. <mask>'s 1986 obituary in the Baltimore Sun mentions that she published a third children's book, entitled Eadie the Pink Elephant, with both text and pictures by the artist, and this is confirmed in an excerpt from Publishers Weekly available online . Health catastrophes and recovery

Art history professor emerita, Phoebe B. Stanton of Johns Hopkins University mentioned that twice in the 20 years after 1947, <mask> suffered from illnesses which "interrupted the work for long periods". The first of these catastrophes was a serious car accident in 1952, requiring multiple major surgeries and extensive convalescence, and the second was a "serious and potentially life-threatening illness" soon after her 1958 solo show at the Baltimore Museum of Art.The latter illness was so severe, according to Stanton, that it interrupted <mask>'s painting work for about two years. The latter 1950s to late 1960s

Encountering Hans Hofmann, and discovering a "sculptural landscape"

Health problems notwithstanding, the latter 1950s proved decisively fruitful for <mask> as a serious artist. Having fairly well recovered from her injuries in the traumatic 1952 accident, she studied for a period in 1956 with the great abstract expressionist painter Hans Hofmann in Provincetown, Massachusetts, and this mentoring gave her a jolt of inspiration and encouragement. She soon had solo exhibitions at the Baltimore Museum of Art (1958), the Corcoran Gallery of Art (1962), the Bodley Gallery in New York (1963) and Goucher College (1963), among others. She also, in 1962 (1961 according to some sources), won a Rinehart Fellowship, enabling her to study with Norman Carlberg at the Rinehart School of Sculpture at Maryland Institute College of Art. This might seem a sudden and late detour away from painterly pursuits, but it is  a logical step: the canvases in the 1962 Corcoran show, such as "Crags and Crevices" and "Rockscape II", already feature passages that are sculpturally "built up" with thick mounds of gesso (or "spackle", as Stanton tends to call it). <mask>'s preoccupation with space was evident even before her paintings became overtly "sculptural" in their use of mixed media.Of the paintings in the 1962 Corcoran Gallery show, she tells Phoebe Stanton: "I was trying to pit mass against void and make it look as though there were passages that went way back - that's why 'crevice' is in so many of the titles" (Stanton, p. 15). Indeed, "Crags and Crevices" (70"x 50", oil and spackle on canvas), completed in 1961, dominated the show. Combining diverse materials and techniques
Soon after the month-long Corcoran Gallery solo exhibition, <mask> began to apply not just spackle but a variety of other materials - sea-weathered or broken glass, charred driftwood, pebbles, what appears to be crushed graphite or silica, and even glued-on patches of separately painted and encrusted canvas (canvas collage) - to her jagged, abstract expressionist paintings. "I wanted work that was painterly but with an actual three-dimensional space", she later wrote (Yoseloff 1975, pp. 37–39). <mask>'s first solo show at New York City's Bodley Gallery (1963), as well as her 1965 solo show at Baltimore's International Gallery, featured many of these radically dense and variegated mixed media paintings. "Apertured", multiple-canvas paintings
Later she began making irregular holes  in the canvases ("apertures", as she called them: the earliest example is "Winter Windows", 1966–1967), disclosing deeper layers of painted canvas underneath (so-called "double canvases" - and sometimes triple canvases), with painted-on "false shadows", etc.- increasingly invoking the third dimension, creating tactile, sculptural effects while remaining within the convention of the framed, rectangular oil painting. The apertures also suggest a view into some sort of psychological interior, as though the second canvas - seen only partially, through the hole in the forward canvas - were some half-concealed secret, perhaps even another whole painting that we will never see. Stanton (p. 24) also notes that <mask> worked out a method - unspecified - of stiffening the apertures' often jagged edges so that they held their shape and flatness. These creations are a type of "shaped canvas", though very different from the shaped canvases of <mask> and others more commonly associated with this term. In much of her output before the late 1960s, <mask> seems less interested in color than in tonality and texture, often employing the grayscale to create a sense of depth or motion from light to dark, this frequently moving in a diagonal (as in "Winter's End", 1958), and otherwise employing one basic hue (as with the earthy reds in "Plum Point", 1964). However, the later, "windowed" paintings show a sharper interest in vivid color relationships: indeed, Yoseloff (p. 20) notes that with the later paintings "she has gone to bolder colors". This is especially true, as he notes, in the "aerial" paintings, of which an early and monumental example is "Aerial View no.1" (1968, 60 inches by 84 inches, collection of the Turner Auditorium complex at the Johns Hopkins School of Medicine, Johns Hopkins University). This was one of the artist's favorites, according to Baltimore County Women [see below]. Standing apart
While these highly complex and laborious constructions (she often called them "three-dimensional paintings") moved her well beyond the vocabulary of the improvisatory, so-called "action painting"  usually associated with American abstract expressionism, they also had virtually nothing to do with the pop art and minimalism which were then the rage of the 1960s New York art scene. Furthermore, they bore little resemblance to the serene "color field" paintings of Morris Louis, <mask>, or Mark Rothko. Whether brooding or exuberant, the (as it were) geologically deposited, erupted, eroded, and gouged canvases of <mask> stand apart from all else. Perhaps this style could be called "geomorphic abstraction" - though no such term can be found as a stylistic category in art history books. This standoffish aesthetic position, her chosen departure from the career-making New York City scene, and the fact that her overall output was not very large (by some standards at least), were factors that limited her career and her contemporary impact on the course of American art.Yet perhaps, as time goes on, present-day art lovers who get to know these pieces will agree with Professor Stanton that they are powerful and beautiful creations, worthy of contemplation and admiration on their intrinsic merits - regardless of what was supposedly fashionable in 1960-something:

{| border=0 style="background: white" align=center
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|{{cquote|..."Winter Windows" is perhaps sublime in Burke's use of the word for a kind of beauty which produces sensations of awe and helplessness.... Part of the power of these pictures is the result of their controlled design, for balance, color, texture, have been managed so economically that the least change would throw the whole out of key.}} |- align=right
|– Dr. Phoebe Stanton [The Sculptural Landscape of <mask>, p. 29]
|}

After 1967: sculptures, and further development of the "apertured" paintings

Sculpture: depths and shadows, reflections and refractions
In the late 1960s, <mask> turned her energies toward the creation of free-standing sculpture, i.e., sculptures properly speaking, as opposed to "sculptural paintings" or mixed media works on canvas. The sculptures, with their clean lines and surfaces, often in sleek lucite or aluminium, completely dispense with the earthy, gritty qualities of those "sculptural landscape" canvases. Busch (1974) quotes <mask> as saying: "I begin [working] from a drawing or cardboard mockup. I give my welding and aluminium  pieces to a machinist with whom I work quite closely". There were more solo exhibitions, at venues including New York City's Bodley Gallery again in 1967, Morgan State University (1967), Goucher College (for the second time) in 1968, London's Alwin Gallery in 1971, the Galerie de l'Université, Paris (1972), the Philadelphia Art Alliance (1975), and a major retrospective at Towson State College (now Towson University) in 1975. She also won the Sculpture Prize at the 1983 Maryland Artists Exhibition (source: Watson-Jones).Aerial landscape paintings
Even after 1967, when <mask> began making sculptures, grappling with new media such as plastics and metals, she maintained her ever-evolving production of mixed media paintings on canvas, virtually until the end of her life. Continuing her exploration of the possibilities of multiple-canvas, "apertured" paintings, she began to create her "Aerial Series" pieces, which came more and more explicitly to suggest landscapes seen from above. Especially noteworthy and striking are the "Night Landings" paintings, such as "Night Landings: Sambura" (1970), with the city grid glinting below like a dark jewel in a deep, nocturnal blue river valley. The 1975 Yoseloff retrospective catalogue listed below is very illuminating on these latter developments, and the color plates (which include images of some of the sculptures) are of higher quality than those in the Stanton book. Several sources note that <mask> also designed rugs and tapestries; a color photograph showing detail from one of these textile works is reproduced in the Ann Avery book listed below. <mask> died on Saturday, May 31, 1986. In some sources, her place of residence is listed as Owings Mills, Maryland, which is a near suburb of Baltimore.The 1986 Watson-Jones book's entry on <mask> states her address as "1300 Woods Hole Road, Towson, Maryland 21204". Towson is another near suburb of Baltimore. Discussion of <mask>'s work

Phoebe Stanton writes that "landscape" is for <mask> a way of conveying ideas which (to Stanton) recall Heidegger's definition of poetry, which included "the recreation of the experience of standing 'in the presence of the gods and to be exposed to the essential proximity of things' ". According to the jacket notes of the Stanton book, Pictures on Exhibit magazine commented in a similar vein, saying that these landscapes are "to a compellingly strong degree, poetic evocations of communion with Nature's basic essentials". We are in direct contact with the primal forces, exposed and profoundly alone. These works are at once sensually compelling and incorporeal — "out-of-body", so to speak. And as Julia M. Busch points out, even the sculptures avoid reference to anything recognizably, bodily human.Stating that <mask>'s sculptures are "environmental", Busch goes on to define this term in a way that points to their "beyond-human" quality:

"Environmental sculpture is never made to work at exactly human scale, but is sufficiently larger or smaller than the scale to avoid confusion with the human image in the eyes of the viewer." Also, the canvases of the 1960s, for all their landscape-like qualities, usually avoid anything that can be read as a horizon or a sky: we literally don't know which way is up; for as Stanton

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 (p. 12) points out,  <mask> - starting with "Winter's End" (1958) - avoids horizontal orientation in favor of strong diagonals. Furthermore, in this painting, as in many others of the next decade, the scale is undecidable. Stanton, again speaking of "Winter's End", writes:

"One is given no indication of the size of the scene; the way through which winter passes could be either a mountain gorge or a minute water course". Plenty of cues are there that this is some sort of landscape, and <mask> herself avows it:

"The beginning of my efforts to make my own statement, I would trace to my first visit to the Phillips Gallery.... Landscape was a natural metaphor, and so it is still for me today, in my three-dimensional double canvases". Summing up the ambiguous position of <mask>'s work on canvas with respect to both landscape art and pure abstraction, a reviewer for The Art Gallery magazine wrote of her 1971 solo show at London's Alwin Gallery: "Her richly textured canvases evoke a world of crags and forests, rivers and plains, in terms which are entirely non-representational." The catalogue of the 1963 Bodley Gallery show contains a long essay by the artist, and the following three quoted passages capture many of the concerns described here:

(1) On constructing her metaphorical landscape vocabulary: "I prefer to create my own landscapes or vocabulary of shapes and patterns.However, it is rock and mineral substances, their veins and surfaces, projections and infinite hollows, which spark my particular fantasy - also beach wood, well worn with time, that is to be found on the water's edge. Issues of space have always been one of my prime concerns, and these substances seem to relate most closely to this concern. These then are the metaphor..."

(2) On the quality of interiority in her works: "It is also an attempt to penetrate the surface of an object, presenting not only the outside but what occurs within - the essence or core." (3) On the essential aloneness of her vision: "The artist must create his own space, of his own time and personal vision. The result is not a unique image for the sake of 'newness', but rather for the sake of the artist, who must be concerned with it daily. These days are spent quite alone." These pieces of the late 1950s and 1960s never lapse into the complaisantly decorative: there is a certain deliberate instability, often even violence, that prevents that.This quality comes through in another remark from Dr. Stanton's book. She's speaking of "Crags and Crevices", but it fits many of the works: "Nothing in the painting is still, for the big forms seem to hover in mid-air, colliding as they fall. There are provocative and startling contrasts between passages of thin, transparent paint and thick impasto, filled with striatures left by the palette knife." Even 1968's "Aerial View No. 1", despite the spatial hint of the title, is far from literal. Certain features of structure and color render a literal interpretation of this image as an aerial landscape difficult or even impossible. The attempt at interpretation is both invited and repulsed.But by about 1970, with the "Night Landings" paintings, there was a definite shift away from the previous decade's stubbornly refractive attitude. The "Night Landings" offer a much more definite sense of scale and viewpoint, especially with the aid of the titles. "Night Landings: Nairobi" is not disorienting in the least: we know where we are; we know we're in a plane, we know the plane is landing, and we even know roughly what time it is: we are looking down, and we see vividly the city named in the title, with the surrounding land and water. Furthermore, the fact that we see a city down there means that - at least implicitly - there are people in this painting. Yoseloff, in his 1975 "Retrospective" book, enthuses:

"Perhaps the ultimate achievement in the direction in which Mrs. <mask> has been tending is her series of "night landings".... Now, more than ever, the viewer is deeply involved, and he can feel himself carried downward into the landscape that is the canvas before him"

A staunch modernist might scoff that with the "Night Landings" of 1970 <mask>'s art begins to "go gentle into that good night" (perhaps even lapsing into "postmodernism"). But if these more literal aerial landscapes - created in 1970 and after - lose some of the tension that gives the earlier paintings their distinctive power, they nevertheless address, with an intensely intimate delight, a perspective on reality which we must remember was still quite young in 1970, at least as a painterly subject. In "Aerial Perception" (1985), author Margret Dreikausen sees <mask>'s aerial landscapes as sharing the spirit of the work of artists such as Georgia O'Keeffe, Susan Crile, and others, in creating images which "reflect contemporary interest in reality", experienced from a historically new vantage point.Dreikausen insists that this art "does not merely show landscape from the air" but incorporates the "earthbound vision" into "remembered images from both spaces". Dreikausen also sees <mask>'s aerial paintings as consisting of two basic types: the "day scenes" (such as "Ledge of Light") and the "night landings" (such as "Night Landing: Sambura"). The day scenes show a fascination with the play of actual shadows and false, painted ones, "inviting the viewer more closely to inspect the textures on the canvas and its 'reality' ". In the night landings, by contrast, the city is the focus, nestled in the canvas's aperture, like a precious jewel in a dark velvet box, with its "enticing twinkling lights", suggesting "the anticipation of the unknown, mysterious city.... The use of beads and glitter, partially covered with paint, conveys a sense of personal landscape". The 1999 Benezit book's entry on <mask> takes it as a given that her works on the  canvas may be summarized as semi-abstract aerial views: "Sa peinture, abstraite, fait cependant reference a un paysagisme aerien, comme vu d'avion." ("Her paintings, though abstract, nevertheless make reference to aerial landscapes, as viewed from an airplane.")Collections
<mask>'s paintings and mixed media works on canvas are in the collections of the Corcoran Gallery of Art ("Amber Ambience", 1964), the Smithsonian American Art Museum, the Baltimore Museum of Art ("Winter's End", 1958), the Herbert F. Johnson Museum of Art at Cornell University ("Red Painting", 1966), the Arkansas Arts Center in Little Rock ("Web Of Rock", 1960), and the Evansville Museum ("Quarry III", 1963). Her works are in many other public, academic, corporate, and private collections. Her sculptures can be found in public collections including at Towson State University. References

Books
 American Association of University Women, (Towson, Maryland, Branch), "Baltimore County Women, 1930-1975", (Baltimore: The Sunpapers, 1976) [Please note: the 1981 Ann Avery book listed below mentions this book and credits George Rogers with the editorship, either of the book or perhaps only of the <mask> article - it is not clear. The book is a collection of profiles of forty Baltimore County women "who distinguished themselves" in diverse fields (including opera singer Rosa Ponselle and golfer Carol Mann), compiled as part of a project celebrating the 1976 United States Bicentennial. The full-page <mask> article includes a photo of the artist in her studio.] Avery, Ann (ed.), "American Artists of Renown, 1981-1982" [includes one color plate image of a <mask> work, along with a bio] (Wilson Publishing Co.: Gilmer, Texas, 1981) ;
 Benezit, E. (ed. ), "Dictionnaire critique et documentaire des peintres, sculpteurs, desinateurs, et graveurs de tous les temps et tous les pays" ["Critical and Documentary Dictionary of Painters, Sculptors, Draftsmen, and Engravers of All Times and All Countries"], (Gründ, Paris, 1999) [Please note: in 2006, an English language edition of the Benezit Dictionary of Artists became available for the first time.] [see Benezit Dictionary of Artists]
 Busch, Julia M., "A Decade of Sculpture: the New Media in the 1960s"  [contains three color and two b&w images of <mask>'s sculptures, as well as some discussion of the work and several quotations from the artist] (The Art Alliance Press: Philadelphia; Associated University Presses: London, 1974)
 Chiarmonte, Paula, "Women Artists in the United States: a Selective Bibliography and Resource Guide  on the Fine and Decorative Arts" (G. K. Hall & Co., Boston, 1990) [entry on <mask> is on page 606]. Creps, Bob ;  and Howard Creps; Biographical encyclopedia of American painters, sculptors & engravers of the U.S. : Colonial to 2002 (Land O'Lakes, Florida : Dealer's Choice Books, 2002) [in two volumes: <mask> bio on p. 475 of first volume]
 Davenport, Ray, "Davenport's Art Reference and Price Guide, Gold Edition" (Ventura, California, 2005) ;
 Dreikausen, Margret, "Aerial Perception: The Earth as Seen from Aircraft and Spacecraft and Its Influence on Contemporary Art" (Associated University Presses: Cranbury, NJ; London, England; Mississauga, Ontario: 1985) [includes color plate images of two of Jane Frank's aerial paintings]. Dunbier, Lonnie Pierson (Ed. ), "The Artists Bluebook: 34,000 North American Artists to March 2005" (Scottsdale, Arizona, 2005) [Please note: Worldcat lists Roger Dunbier as the editor of this work, whereas the Askart.com website - which publishes the book - names Lonnie Pierson Dunbier (presumably married to Mr. Dunbier) as editor.]<mask>, <mask>. <mask> (pub. New York, N.Y. : Bodley Gallery, 1963) [catalogue for solo exhibition, with dates given as Oct. 22 - Nov. 9]. [Also available in MICA library vertical file; see 'External links' for access help. Additionally, Worldcat has another listing for a book, in the holdings of the Museum of Fine Arts, Boston, by "<mask>" and entitled <mask>; there is no mention of the Bodley Gallery, but under "Details," Worldcat has "Contents: Sculptural paintings : <mask>". Presumably this is the same 1963 catalogue; or perhaps it is the catalogue of <mask>'s 1967 show at the Bodley (. <mask>, <mask>; Arthur Mayer; Alwin Gallery.The Sculptural Landscape of <mask> [catalogue for exhibition at Alwin Gallery, 56 Brook Street, London, Jan. 5-29, 1971.] Here is a link to the catalogue record of the copy at the National Art Library, Victoria and Albert Museum, London: . The book is also available in the MICA library vertical file on <mask>; see 'External links' for access help. This catalogue (confusingly taking the same title as the Stanton book) amounts nearly to a full monograph on the artist, with many images of the artist and the work, lists of exhibitions and other career summary material, and an extensive critical essay by Arthur Mayer. The Victoria and Albert Museum library description reads: "Catalogue of an exhibition held at the Alwin Gallery, London, 5 Jan. - 29 Jan. 1971. Text By Arthur Mayer." <mask>, <mask>, "Monica Mink" (Vanguard Press, New York City, 1948) [children's book authored and illustrated by <mask>]
 International Gallery.<mask>: sculptural paintings (Baltimore : International Gallery, 1965) [solo exhibition catalogue]  (Also available in the "<mask> Frank" vertical file at the MICA library)
 Jacques Cattell Press, ed., "Who's Who in American Art", 1980 (New York City : R.R. Bowker, 1980) [Jane frank entry pp. 240–241]
 Jacques Cattell Press, ed., "Who's Who in American Art", 1984 (New York City ; London : R.R. Bowker, 1984) [Jane frank entry p. 303]
 Meissner, Gunter, "Allgemeines Kunstlerlexikon: Die Bildenen Kuntsler aller Zeiten und Volker" ["Complete Dictionary of Artists of all Times and All Peoples"] (Pub. Saur: Munich, Leipzig, 2005) [34-line Jane Frank entry on page 46, vol. 44]
 Opitz, Glenn B., ed.,  "Mantle Fielding's Dictionary of American Painters, Sculptors, and Engravers" (Poughkeepsie, NY : Apollo, 1983)
 Opitz, Glenn B., ed., "Dictionary of American Sculptors" (Poughkeepsie, NY: Apollo, 1984)
 Yoseloff, Thomas, "The Further Adventures of Till Eulenspiegel" [children's book with block print illustrations by <mask>] (New York City : Thomas Yoseloff 1957) [Library of Congress Catalogue Card Number 57-6892]
 Yoseloff, Thomas, "<mask> Frank: A Retrospective Exhibition" [This exhibition catalogue amounts to another full monograph on the artist, with very high quality color and b&w plates, extensive textual discussion and quotation of the artist, and much specific and detailed information on Jane Frank's life, career, and individual artworks: 51 pp.] (A. S. Barnes: New York City and London, 1975)

Other readings (articles, etc.)Lisa Roney. "Contemporary American Women Sculptors" [review of book: Watson-Jones, Virginia. Contemporary American Women Sculptors. Oryx Press, 1986.] Woman's Art Journal, Vol. 8, No. 1, 54.Spring - Summer, 1987. Roney notes that the volume celebrates a rich variety of creations, including "works that amuse (Viola Frey, b. 1932), threaten (Joan Danzinger, b. 1934), or maintain an abstract cool (<mask>, b. 1918)" [p. 54]. Link to JSTOR record of the review here. Footnotes

External links
 Smithsonian American Art Museum: <mask>(the museum's page on <mask>)
 Access to Smithsonian Institution artist file folder on <mask> (Simply type 'jane frank' into search box and click; on next page, click the name again for more detail): "Folder(s) may include exhibition announcements, newspaper and/or magazine clippings, press releases, brochures, reviews, invitations, illustrations, resumes, artist's statements, exhibition catalogs."Maryland Institute College of Art, Decker Library, vertical file listings. In a special archive, MICA maintains approximately 400 vertical files on "people affiliated with MICA such as alumni, faculty, visiting artists, and staff and administrators, as well as local art institutions and MICA-related items of history." Listed here is a file on <mask>. The web page includes information on how to access file contents. This vertical file includes essential materials such as <mask>'s 1986 obituary in the Baltimore Sun and the catalogue of her 1963 exhibition at the Bodley Gallery in New York, as well as the catalogue of her 1971 solo exhibition at London's Alwin Gallery. French art criticism archive page (at www.archivcriticart.org), listing an art review in the French journal Les lettres françaises'' for 27 September 1972, in  the section called "In the Galleries" ("Dans les galeries")

1918 births
1986 deaths
Abstract expressionist artists
American women painters
American contemporary painters
Contemporary sculptors
20th-century American sculptors
Mixed-media artists
Jewish American artists
Jewish painters
Jewish sculptors
Landscape artists
Painters from Maryland
Parsons School of Design alumni
Artists from Baltimore
Postmodern artists
American women sculptors
20th-century American painters
20th-century American women artists
Sculptors from Maryland
Park School of Baltimore alumni
20th-century American

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<mask> (; Srbovac, Ottoman Empire, 1874 – Thessaloniki, Greece, 30 July 1917) was a Serb activist, an organizer of the Serbian Chetnik Organization and one of the founders of the Black Hand. He was a leading civilian activist of the Pan-Serb movement in the early 20th century. In a letter to the Serbian government, dated 27 October 1909, he tells about the dangers faced by the population of Kičevo and Prilep because of Arnaut incursions, and asks for approval of the troops of Gligor Sokolović and Dane Stojanović to solve the problem. Biography
Born in 1874 in Srbovac, a village in the municipality of Zvečan, then part of the Ottoman Empire (and now Kosovo, still a contentious international political zone to this day). As a university graduate and a tonsured monk with a chosen name Vasilije, he became a secretary to the Serbian Orthodox Metropolitanate of Skopje. In this influential post, he had numerous contacts with his people and consulates of Serbia, Russia, and France. Among the clergy, he was known as Vasilije (<mask>) and among the laity simply <mask>.<mask> <mask> was a member of the Serbian Committee of Skopje and the main organizer of the Serbian Chetnik action in the Ottoman Empire. He was an intermediary between the Serbian consulate and the Chetnik organization and their supporters. During 1905 the Turkish authorities caught a farmer who after being tortured revealed that <mask> was the president of the Serbian Committee in Skopje. At the Skopje trial, the farmer recanted citing that his testimony was extracted by force and <mask> was ultimately acquitted. <mask> was a friend of Milan Rakić, then Serbia's vice-consul in Skopje, with whom he conferred confidential operational plans of the Chetnik organization. Milan Rakić at the time began writing a poem called "On Gazimestan" that became popular even before the Balkan War of 1912. Founding of the Serb Democratic League
The Serb Democratic League in the Ottoman Empire (Serbian: Српска демократска лига у Отоманској царевини) was an Ottoman Serb political organisation established on August 13, 1908, at the First Serb Conference (August 10–13), immediately after the Young Turk Revolution.Some 26 most distinguished Serbs in the Ottoman Empire attended and <mask> <mask> was selected to head the "Temporary Central Board of the Organization of Ottoman Serbs" in July 1908. Bishop Vicentije Krdzić of the Serbian Orthodox Eparchy of Skopje headed the clergy and <mask> <mask> the lay membership of the  "Assembly of Ottoman Serbs in Skopje", held on Sretenje in 1909. These organizations included the Serb elite of Old Raška, Kosovo and Metohija, and Vardar Macedonia and Aegean Macedonia. [1] It included many members of the Serbian Chetnik Organization as well. They were: <mask> <mask>; Aleksandar Bukvić; Gligorije "Gliša" Elezović; Vasa Jovanović; Milan Čemerikić; Sava Stojanović; David Dimitrijević; Đorđe Hadzi-Kostić; Velimir Prelić and Jovan Šantrić. With the founding of the Serb Democratic League, it became the first political party to represent the interests of the Serbs in the Ottoman Empire. The Serbian Democratic League sent to Thessaloniki <mask> <mask>, Jovan Šantrić and Đorđe Hadži-Kostić to negotiate with the Central Young Turk Board.The Serbian demands were as follows:for the three non-Muslim “ethnic groups” – Serbian, Greek and Bulgarian – to get equal number of
seats in the Ottoman Parliament. But the Young Turks refused that concept and they conditioned the electoral agreement with the Serbs with having an agreement on broader bases that would not have a national
background. In 1910 as a representative of the party, he was sent to Istanbul where he urged the Turkish authorities to stop using their troops (Bashi-bazouk) to terrorize the Serbian population in Gjilan. The Sublime Porte denied the violence in Kosovo claiming that it was a fabrication. Yet to the Albanians are credited many of the outrages that have been committed in Old Serbia, where Turkish troops are alleged to have massacred more than 60,000 Christians. Black Hand
<mask> and a few others, particularly Colonel Dragutin Dimitrijević, were the initiators of the creation of the "Unification or Death" organization, better known as the Black Hand, in 1911. Along with Ljuba Čupa and Vojislav Tankosić,  <mask> wrote the constitution of the "Unification or Death" organization, which was modelled on similar German secret nationalistic associations and the Italian Carbonari.Bishop
After bishop Nićifor Perić of Raška-Prizren withdrew from his office (1911), owing to disagreement with the Serbian diplomacy, the Patriarchate of Constantinople appointed Bishop Gavrilo Dožić as successor, as the Serbian diplomacy wanted. There was a conflict within the Serbian Church regarding the appointment of Gavrilo; the "Old Serbs" (clergy from Kosovo and Old Serbia) wanted their candidate, the previous secretary of the Eparchy of Skoplje, monk Vasilije (<mask>) <mask>. While waiting for the Ottoman government approval, the Serbian government changed the decision and ordered through the consuls that Ottoman Serbs request that <mask> be appointed instead. However, Gavrilo ended up being chosen. Meanwhile, <mask> became a founder of the Black Hand conspiracy group. Secret Mission in Korçë
After the occupation of Serbia in late 1915 by the Germans, Austrians, Hungarians and Bulgarians, <mask> <mask> withdrew through Montenegro, Albania to the island of Corfu, where he was temporarily hospitalized with tuberculosis. When his condition improved somewhat he was sent to Athens and from there to Korçë County in eastern Albania.There he stayed until  August 1916 when a surprise Bulgarian invasion took place and he was forced to flee. He was almost caught while escaping but eventually managed to reach Thessaloniki, where the Serbian Supreme Command was stationed. Weak, suffering from tuberculosis after the harrowing escape from Korçë, he was advised by his doctor to go to Egypt where the climate may improve his condition. Nikola Pašić, however, purposefully delayed his departure until his condition worsened. High Military Court
The Serbian Supreme Command on 15 March 1917 sent a warrant for <mask> <mask>'s arrest, though the main accused was Dragutin Dimitrijević, better known as Apis, and his associates. <mask> was sentenced to death for allegedly plotting against the prince regent Aleksandar Karadjordjević and Nikola Pašić, the head of the Serbian government-in-exile, even though there was no concrete evidence that could link him to such an outrageous plot, not him nor Dimitrijević and others. <mask> <mask> died of tuberculosis in a prison hospital in Thessaloniki, Greece on 30 July 1917.Years later it was revealed that Nikola Pašić fabricated the story to rid himself of Dragutin Dimitrijević and other Serbian nationalists that may pose a threat after the war during election time. All the accused were vindicated, but many years later. See also
 List of Chetnik voivodes

References

 Translated and adapted from Serbian Wikipedia:
Богдан Раденковић

Sources
 Вучетић, Биљана (2018). Богдан Раденковић: судбина једног српског националисте. Београд: Историјски институт. p. 355.(Vucetic, Biljana (2018) <mask> Radenkovic, Destiny of a Serbian Nationalist. Belgrade: Institute of History, p. 355) . External links

Date of birth missing
20th-century Serbian people
Serbian nationalists
Politicians from Mitrovica, Kosovo
People from the Kingdom of Serbia
Serbian Chetnik Organization
Black Hand (Serbia)
Military personnel from Mitrovica, Kosovo
1874 births
1917 deaths
Serbs of the Ottoman Empire
People from Kosovo vilayet

masks:
Bogdan Radenković
Radenković
Bogdan Radenković
Bogdan
Radenković
Radenković
Radenković
Radenković
Bogdan
Radenković
Bogdan
Radenković
Bogdan
Radenković
Bogdan
Radenković
Radenković
Radenković
Bogdan
Radenković
Radenković
Radenković
Bogdan
Radenković
Bogdan
Radenković
Radenković
Bogdan
Radenković
Bogdan


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<mask> (born 6 August 1982) is a former Australian rules footballer who played for the Sydney Swans and Adelaide Crows in the Australian Football League (AFL). He was traded to Sydney from the Crows in October 2007 in exchange for draft pick number 28. <mask> grew up in a small town called Ki Ki, which is 150 kilometres south-east of Adelaide. In the year he was elevated off Adelaide's rookie list (2002), <mask> was having to travel up to Adelaide twice a week to train and play football for Sturt. Prior to joining Sydney, he was Adelaide's leading tackler for the 2005 and 2006 seasons. In the 2006 season, <mask> missed out on two games due to a calf injury. He retired midway through the 2013 AFL season, succumbing to his ongoing hip injury.He took up a coaching role with the Sydney Swans as a development coach until the end of the 2015 season. In October 2015, <mask> was announced as the head coach of Sturt. <mask> is one of the few players to win a SANFL Premiership as a player, a SANFL Premiership as a coach and an AFL Premiership as a player. AFL career
<mask> grew up in the tiny southeast South Australian town of Ki Ki. He attended Coomandook Area School and played some junior football with the Peake and Districts Football Club. He then sought to further develop his game and progressed to play with the Imperial Football Club in 1997, and later Sturt, until he was recruited to the Adelaide Football Club for the 2002 season, off of the rookie list. 2002–2003

Debuting with Adelaide as a 19-year-old, <mask> began his career slowly.After being elevated from Adelaide's rookie list at the start of the 2002 season, he played just seven games for the year. One of his best performances was a game against Geelong where he laid 13 tackles, a feature of his game that he had become noted for. He picked up 11 disposals in his first game, and then 13 disposals in a win over St Kilda. He averaged eight disposals a match over his seven games, and had an impressive average of just over three tackles a game. Much was the same the next year, with coach Gary Ayres displaying a tendency to not play his younger players unless a senior player was injured. He was able to play ten games in the 2003 season, averaging nine disposals a match, including 21 in a game against the Kangaroos, in the same game as he kicked his first goal. <mask> during these two years was still young, and was playing well for his local SANFL club Sturt, regularly gathering 20 or more disposals a match as well as laying many bone-crunching tackles.In the 2002 SANFL season, the Double Blues won the premiership over Central District and <mask> was listed among the best players in the Grand Final. Sturt's end of season trip was to Bali. Team members were caught up in the 2002 Bali bombings and fellow player Josh Deegan and club official Bob Marshall were killed. 2004–2005
During the 2004 season, <mask> was seen to improve in a number of areas – averaging eleven disposals and playing 16 matches for the year. Midway through a disappointing season for the team (where the Crows missed the finals), new coach Neil Craig gave <mask> more opportunity than previous coach Ayres, which helped Mattner grow as a player, another feature becoming noticeable was his run through the midfield. His new coach also played him more through the wing than Gary Ayres did, giving him more opportunity as a player. At that time, he had a career equaling 21 disposals in a game against Melbourne, and failed to miss a match after his inclusion in round 7 which shows how well he was performing.In 2005, <mask> came of age and so did a younger Crows outfit. He played all but one match for the season and failed only once to gather more than ten disposals in a disappointing effort against Melbourne. His average of 16 disposals per game seeing him as an important cog in Adelaide's midfield. He also had 98 tackles, which was the highest of any Crows player in the season. His long left-foot kicking, often described as "raking" and "accurate" by television commentators, was vital in setting up many of Adelaide's forward thrusts. He missed just one game in the season, which was in round 22, but failed to have a 15 disposal plus game in any of the Crows' three finals. Adelaide was knocked out of the finals race by West Coast in the preliminary final.2006
In 2006, <mask> started to play on a half-back flank, keeping a smaller player relatively quiet and gaining many possessions of his own. This was suggested by former Crows coach Malcolm Blight, as he did with Andrew McLeod and Simon Goodwin in 1997 and 1998. At the end of the season, he had only missed out on two games due to a calf injury. He had a career high 27 disposals against St Kilda, and followed that performance with 25 disposals against Geelong playing on the likes of Gary Ablett and Jimmy Bartel. Also in the game against St Kilda, <mask> had a career high number of kicks and marks playing further in the midfield. He continued to play well during the season, picking up 21 disposals against Fremantle in round 19 and again against Melbourne three weeks later in round 22. He picked up 12 Brownlow Medal votes, beating the likes of veterans Simon Goodwin, Andrew McLeod and Mark Ricciuto.In the season, he only failed to pick up 10 disposals or more in a game three times (twice against eventual premiers West Coast), and failed to lay a tackle twice. He kicked five goals for the season, including a career high two goals in a game against the Bulldogs in round 5. He has been praised by coach Neil Craig after he wanted him to take some parts of his game to a higher level. He is now considered an "automatic selection" player – that is, he will always get into the starting squad unless he is injured. 2007
<mask> managed 19 of 23 games for Adelaide in 2007, though his statistics were well down on previous years. Despite being a naturally attacking player, Mattner was consistently played in defence, rather than on a wing which would be his preferred position. This is often offered as an explanation to his drop in form, and subsequent trading away from the Crows.2008–2012

<mask> was traded to the Sydney Swans at the end of the 2007 season and quickly found his feet in the Swans' backline. He had a terrific first year at his new club and consequently placed 3rd in the Bob Skilton Medal (Sydney's Best and Fairest Award) behind Jarrad McVeigh and Brett Kirk. His second game for the Swans was his 100th AFL game overall, played against . Since then, <mask> has played some very consistent football in defence and has established himself as a clear best 22 player in Sydney. 2009 and 2010 saw solid form from <mask> while he has started the 2011 season in as strong form as has been seen from him at the club. <mask> has only missed one game in his time at the Sydney Swans, that being round 15, 2010 against North Melbourne. 2011 was one of <mask>'s most consistent years in the AFL.He didn't see as much ball rebounding from the back half but, as a pure defender, he produced some of his best football. <mask> played his 200th AFL game in round 9, 2012, against . He went on to play in the Swans' side that won the club's fifth premiership with a victory over . He played an important role in the team, including a ferocious run down tackle on Hawthorn's Grant Birchall in the dying minutes. 2013

<mask> played the first seven rounds of the season in reasonable form however was sidelined for 3 rounds midway through the season. Just prior to round 11, <mask> announced his retirement effective immediately, due to a degenerative hip condition that had caused him constant pain for several years. <mask> stated that to continue playing football would aggravate the injury and could lead to a life of crippling pain.Coaching career

<mask> became the senior coach of Sturt in the South Australian National Football League (SANFL) in 2016. After finishing eighth out of ten in 2015, Sturt won the premiership in his first season as coach, and won its second consecutive premiership in 2017. <mask> joined the Adelaide Football Club post 2018 SANFL season with Sturt and took up an assistant role, <mask> will be in charge of the defenders with Adelaide. After departing Adelaide in 2020 due to reduction in coaching panel sizes, <mask> successfully returned as the coach of the Sturt Football Club in 2021. Statistics

|- style="background-color: #EAEAEA"
! scope="row" style="text-align:center" | 2002
|style="text-align:center;"|
| 39 || 7 || 0 || 1 || 32 || 22 || 54 || 10 || 22 || 0.0 || 0.1 || 4.6 || 3.1 || 7.7 || 1.4 || 3.1
|-
! scope="row" style="text-align:center" | 2003
|style="text-align:center;"|
| 39 || 10 || 1 || 2 || 51 || 38 || 89 || 17 || 26 || 0.1 || 0.2 || 5.1 || 3.8 || 8.9 || 1.7 || 2.6
|- style="background-color: #EAEAEA"
!scope="row" style="text-align:center" | 2004
|style="text-align:center;"|
| 39 || 16 || 3 || 4 || 93 || 86 || 179 || 44 || 49 || 0.2 || 0.3 || 5.8 || 5.4 || 11.2 || 2.8 || 3.1
|-
! scope="row" style="text-align:center" | 2005
|style="text-align:center;"|
| 39 || 24 || 4 || 9 || 194 || 188 || 382 || 80 || 98 || 0.2 || 0.4 || 8.1 || 7.8 || 15.9 || 3.3 || 4.1
|- style="background:#eaeaea;"
! scope="row" style="text-align:center" | 2006
|style="text-align:center;"|
| 39 || 22 || 5 || 5 || 180 || 164 || 344 || 96 || 66 || 0.2 || 0.2 || 8.2 || 7.5 || 15.6 || 4.4 || 3.0
|-
! scope="row" style="text-align:center" | 2007
|style="text-align:center;"|
| 39 || 19 || 1 || 2 || 143 || 148 || 291 || 83 || 44 || 0.1 || 0.1 || 7.5 || 7.8 || 15.3 || 4.4 || 2.3
|- style="background:#eaeaea;"
! scope="row" style="text-align:center" | 2008
|style="text-align:center;"|
| 29 || 24 || 4 || 6 || 257 || 190 || 447 || 108 || 116 || 0.2 || 0.3 || 10.7 || 7.9 || 18.6 || 4.5 || 4.8
|-
! scope="row" style="text-align:center" | 2009
|style="text-align:center;"|
| 29 || 22 || 12 || 3 || 209 || 154 || 363 || 90 || 95 || 0.5 || 0.1 || 9.5 || 7.0 || 16.5 || 4.1 || 4.3
|- style="background:#eaeaea;"
! scope="row" style="text-align:center" | 2010
|style="text-align:center;"|
| 29 || 23 || 6 || 2 || 232 || 153 || 385 || 93 || 64 || 0.3 || 0.1 || 10.1 || 6.7 || 16.7 || 4.0 || 2.8
|-
!scope="row" style="text-align:center" | 2011
|style="text-align:center;"|
| 29 || 24 || 3 || 1 || 206 || 120 || 326 || 77 || 106 || 0.1 || 0.0 || 8.6 || 5.0 || 13.6 || 3.2 || 4.4
|- style="background:#eaeaea;"
! scope="row" style="text-align:center" | 2012
|style="text-align:center;"|
| 29 || 24 || 1 || 3 || 205 || 122 || 327 || 81 || 74 || 0.0 || 0.1 || 8.5 || 5.1 || 13.6 || 3.4 || 3.1
|-
! scope="row" style="text-align:center" | 2013
|style="text-align:center;"|
| 29 || 7 || 0 || 0 || 49 || 27 || 76 || 23 || 19 || 0.0 || 0.0 || 7.0 || 3.9 || 10.9 || 3.3 || 2.7
|- class="sortbottom"
! colspan=3| Career
! 222
! 40
! 38
!1851
! 1412
! 3263
! 802
! 779
! 0.2
! 0.2
!8.3
! 6.4
! 14.7
! 3.6
! 3.5
|}

References
Publications
Gleeson, Michael. AFL 2002 – The Official Yearbook. Sydney:Harper Collins Publishers, 2002.Notes & Web references

External links

Adelaide Football Club players
Sydney Swans players
Sydney Swans Premiership players
Sturt Football Club players
1982 births
Living people
Australian rules footballers from South Australia
Sturt Football Club coaches
One-time VFL/AFL Premiership players

masks:
Martin Mattner
Mattner
Mattner
Mattner
Mattner
Martin Mattner
Mattner
Mattner
Mattner
Mattner
Mattner
Mattner
Mattner
Mattner
Mattner
Mattner
Mattner
Mattner
Mattner
Mattner
Mattner
Mattner
Mattner
Mattner
Mattner
Mattner
Mattner
Mattner
Mattner


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<mask> (born 1977) is an American software developer and investor. He is the commissioner of the Texas Education Agency. Prior to joining the agency, he served as a trustee for the Dallas independent school District, where he advocated for school reform and home-rule. Morath began his career in the technology sector. Early life
<mask> was born in 1977 and was raised, for a time, in a coal mining town close to Western Virginia. His family moved to North Texas, where he attended Garland High School, a public school in Garland, a suburb of Dallas, Texas. Morath had an interest in software development as early as age six when he wrote his first computer program.In high school, he developed a program to analyze his high school football team's offensive play-calling strategy. After graduating from Garland High School in 1995, Morath attended George Washington University. He joined Alpha Phi Alpha, a mostly African-American fraternity and was a part of the Black Student Union, serving as director of communications. He graduated from George Washington with a degree in business administration, completing his bachelor's in two-and-a-half years. Career
After George Washington, Morath formed a software startup company that eventually failed. He then founded Minute Menu Systems, a company that provided technical and logistical support to child care programs as it relates to a federal food assistance program for low-income families. Board of trustees
In 2011, Morath ran unopposed for a seat on the Board of Trustees to the Dallas independent school District (DISD), representing District 7, which includes North Dallas and Lakewood.He decided to resign his position as CEO of Minute Menu Systems. In May 2011, he joined the board of what is the second-largest school district in Texas. As a trustee in 2013, Morath advocated allowing the district to the funnel savings gained from a proposed voluntary accelerated three-year graduation plan for high school students to keep full-day pre-kindergarten programs funded. The programs were facing a return to a half-day schedule as a result of a 2011 state legislation that cut a combined $200 million from the school's budget. Morath was re-elected as a board member for District 2 representing parts of North and East Dallas. He was initially opposed by Sabrina Martinez Harrison, who withdrew on March 3, 2014. Morath entered the May 10 election unopposed.At some point during his tenure as a trustee, Morath sold his company, Minute Menu, and formed Morath Investments. Morath was also the originator of a home-rule movement in the DISD that began in early 2014. His idea was to use a never-before used provision in Texas' charter school legislation to the convert the school district into a "home-rule charter" system, allowing DISD more autonomy and self-governance. Although intended to allow the district the freedom to enact reforms, the idea drew criticism from some, especially the local teacher's unions, Texas State Teachers Association and Alliance AFT, who opposed the possibility of "fewer safeguards for teachers' jobs, lower pay or longer school years without a pay increase." The idea, as originally envisioned by Morath, never became realized. In November 2015, Governor Greg Abbott named Morath the presiding officer on the new Texas Commission on Next Generation Assessments and Accountability. The commission was created by the Texas Legislature and consisted of a total of ten people.Besides Morath, the commission also includes three additional people appointed by the governor, three by Lieutenant Governor Dan Patrick and three by Speaker Joe Straus. The commission is tasked with proposing "changes to the state's method of student assessment and school accountability." A month later, on December 14, the governor named Morath to replace Michael L. Williams, who retired, as Texas Commissioner of Education, the head of the Texas Education Agency. His appointment to the position was criticized by those that opposed his attempt to establish home rule control over the DISD. Commissioner
In January 2016, <mask> left his position on the DISD board to become the Commissioner of Education. He was sworn in on January 4, to lead the agency that is responsible for the state's 1,200 school districts. As commissioner, Morath has, in several instances, exercised his power to intervene in the governance of under-performing school districts.In February 2016, he appointed Judy Castleberry as conservator of the South San Antonio independent school District. In March, following an investigation by the agency, Morath appointed Sharon Doughty as conservator of the Edgewood independent school District in San Antonio. He also announced that this would be followed by appointments to replace the vacant superintendent position and a board of managers to replace the elected members of the board of trustees. The new board of managers and superintendent were sworn in on May 24. In the case of the Hearne independent school District in May 2017, however, Morath reversed his own decision, made earlier in the year to appoint a replacement for the school board, allowing them to stay in power. Morath has used his authority to intervene in the governance of Houston ISD or attempted to do so for several years. A state-appointed conservator has monitored the state's largest district since September 2016 and was given expanded authority in March 2019, stopping the district's elected board from completing their search for a permanent superintendent.Low performance in one of over 200 schools in HISD also resulted in Morath deciding to pursue appointing a board of managers, one of the options allowed under state law, despite the district's relatively high B rating. A state judge blocked Morath from replacing the district's elected board in January 2020. Following a 2018 finding by the U.S. Department of Education that Texas violated federal law regarding treatment of students with disabilities, TEA investigators in September 2020 again recommended state oversight after finding problems in the district's special education department. In early 2016, following a glitch that erased the answers students inputted as part of a computerized state assessment test, Morath warned that the agency could reconsider its contract with the company, Educational Testing Service (ETS), which administers the State of Texas Assessments of Academic Readiness (STAAR). Calling the error "unacceptable," Morath announced his agency will impose a $20.7 million fine on ETS. He also announced that the test will not be used to determine whether students can advance to the fifth or eighth grades, as per usual. In June 2020, Morath's decision to permit schools to reopen during the COVID-19 pandemic and not mandate face coverings was criticized by Zeph Capo who, as president of the Texas American Federation of Teachers, represents 65,000 teachers and staff at the state's schools.Personal life
At the time of his election to the board of trustees of the DISD in 2011, Morath was engaged to Laura Vondra, an optometrist. They are now married and have four children. References

Living people
Political office-holders in Texas
People from Virginia
School board members in Texas
Texas Education Agency
1977 births

masks:
Mike Morath
Morath
Morath