I know what I think when I hear the term savory as it pertains to food. What pops into your mind?
Well, those of us here at MSGdish think it's about time these dictionaries update their databases and include definitions for savory as also being the "fifth taste" or "umami." We talk about it all the time in our blogs, and it's very trendy with chefs and culinary professionals.
But I digress. Moving on, I'd like to share with you some savory appetizers and side dishes to try during the holiday season. All of these recipes are rich in umami flavor and will have your family and friends oohing and aahing about how inviting (and savory!) they are.
I hope you enjoy this special time of year with delicious food and good times with family and friends. Savor the holiday season!
The combination of mushrooms, cheese and tomatoes make this unique appetizer quite the umami bomb.
Stir together the ricotta, chives, 1/8 teaspoon fine sea salt, and ¼ teaspoon of the black pepper in a medium bowl. Cover and set in the refrigerator until ready to assemble the toasts.
Heat the 2 ½ tablespoons of olive oil in a large skillet over medium heat. Add the shallot and cook for 90 seconds, stirring often. It will brown a bit in the oil as it softens. Add the mushrooms. Cook for 2 more minutes, stirring often, until the mushrooms darken and shrink. Add the tomatoes, continue to cook stirring constantly, for about 3 minutes, until the tomatoes begin to burst and the mushrooms are tender. If you have some larger tomatoes mixed in, pricking them with a fork will help them to burst.
Remove from the heat and stir in ¼ teaspoon salt and the remaining ¼ teaspoon of black pepper.
Transfer the microgreens to a small bowl. Toss with the lemon juice, finishing olive oil, and the remaining 1/8 teaspoon of salt.
Spread the cheese mixture on toast; top with mushrooms, tomatoes and greens before serving.
Allow cream cheese to soften at room temperature for about 20 minutes.
Finely chop green onions and dried beef.
Mix the onions, beef, Worcestershire sauce, MSG and softened cream cheese thoroughly.
Form into ball; roll ball in walnuts. Serve immediately with crackers or wrap in plastic wrap and chill until serving.
This soup recipe was modified from The American Diabetes Association and The American Dietetic Association Family Cookbook Volume II. It is lower in sodium than that version yet has all the flavors you expect from a hearty soup such as this.
Presoak beans in water overnight or use quick-cook method on package.
After soaking beans, add salt and bring to a boil; cover and simmer on low heat for 2 hours.
Heat oil, add onions, and sauté about 5 minutes. Add green pepper and sauté until onions are tender.
Stir in remaining ingredients. Add about 3/4 cup hot bean liquid, cover and simmer 10 minutes.
Add onion mixture to beans and continue to cook 1 hour, stirring occasionally.
Serve with rice, if desired.
Photo credit: Flickr user, K.B.R.
Combine first 9 ingredients thoroughly. Form into 3/4" meatballs by using a melon-baller to scoop the meatballs; roll balls between the palms of your hands to shape them; set meatballs on a cookie sheet as you go, and chill to set them. NOTE: do not precook the meatballs.
Combine jelly, chili sauce, soy sauce and ginger in a large deep skillet or serving pan over low heat. Stir until smooth and heat to boiling, stirring frequently.
Add meatballs; bring back to a boil; reduce heat, cover, and cook over moderately low heat for at least 30-40 minutes, turning gently once.
If desired, blot the surface of the sauce with paper towels to remove any grease. (Note: There should be little or no grease if you use lean ground beef.) If desired, adjust sauce seasoning with salt and pepper to taste.
Serve hot in a chafing dish or keep warm in a small crockpot.
Place corn kernels, whipping cream, milk, salt, MSG, sugar, and pepper in a large stockpot. Bring to a slow, low boil beginning on medium heat, stirring frequently. Simmer for 5 minutes on low heat.
Melt butter in the microwave, or in a small saucepan on low heat. Whisk in flour until smooth. Stir into the corn until well blended. Serve hot.
Popular brands for MSG that you can most likely find in your local grocery store in the spices/seasonings section: Accent, Ajinomoto or Vedan brand.
Cook vegetables as directed. Drain and pour into 2 quart casserole dish.
Melt butter on stove. Stir in flour and seasonings, stirring until smooth.
Remove from heat, stir in milk. Replace on heat and stir over low heat until thick.
Sprinkle onion, pimento and cheese over vegetables; pour sauce over all.
Top with crackers and paprika. Bake at 350 degrees F for 45 minutes.
Ah, Brussels sprouts, those little cabbages that my mother desperately tried to get us to eat. This particular recipe already has a terrific umami flavor thanks to the miso paste, but I still use a sprinkle of MSG.
Cut off the brown ends of the Brussels sprouts and pull off any yellow outer leaves. Cut them in half lengthwise.
Mix the oil, miso paste, maple syrup, vinegar, tamari, MSG, and Sriracha together in a large bowl. Remove about 1 tablespoon of the sauce and save it to toss with the Brussels sprouts later.
Add the Brussels sprouts to the bowl and toss to coat them with the sauce. Transfer the Brussels sprouts to a baking sheet sprayed with olive oil cooking spray, and spray them once or twice during cooking.
Remove the tray from the oven and drizzle the reserved sauce on top. Toss to combine. Serve warm.
NOTE: For a change of pace, add these Salt and Vinegar Broiled Fingerling Potatoes to the menu in place of (or in addition to) sweet potato casserole.
The MSGdish Team wishes you a joyful Holiday Season. May your holidays sparkle and shine, especially while you dine!
Kaye is an author and consulting nutritionist with more than 15 years' experience representing clients in the food industry, providing strategic leadership and consulting on meal planning, recipe development, consumer-focused educational materials relating to food and nutrition, science-based communications, and media relations. Read more about her background on the About page.


2. After ninety (90) days and up to one (1) year of purchase, we will, subject to inspection, repair the defective battery pack or replace it with a new or reconditioned unit. The return must be accompanied by a Return Merchandise Authorization (RMA) number, which is to be issued upon request through info@power-depot.co.uk or filling out the Application, and must be shipped prepaid (prepaid satchel or stamps would not be accepted, nor would they be returned). A shipping rebate will be extended to the customer in the event that a defect in material or workmanship is confirmed.
3. Unless otherwise specified, the warranty period is a year from the date of original purchase. A replacement item, if sent, does not restart, or in any way extend,the warranty period.
4. For battery packs or battery related products, cell capacity depletion over time under regular use is normal, and is not an indication of defect. A battery pack that retains eighty percent(80%) of its original capacity after twelve months is considered normal.
5. For battery packs or battery related products, warranty is void if the battery pack has been improperly charged, installed or misused in any way, or if the label and/or bar coded warranty label has been removed or tampered with.
7. If you have changed your mind and want to return the items for a refund, you can contact our Customer Service Department via E-mail or filling out the Application to obtain a Return Merchandise Authorization (RMA) number within fifteen (15) days of purchase. For items returned within thirty (30) days from purchase, arrangement can be made for exchange, credit or refund at our discretion. Products returned for refund or exchange MUST: be 100% complete and undamaged, contained in original packaging, including all manuals, blank warranty cards and other accessories which you have purchased from us. Customer is responsible for shipping charges on returned items. For your protection, we strongly recommend that you insure your return shipment against loss or damages, and that you use a shipper that can provide you with proof of delivery. Our policy is to refund the purchase price (not including shipping and handling costs).
8. This warranty does not extend to devices, such as computers or cameras, which are powered by our battery packs. We shall not be held responsible for the improper use of our product(s).
a. Obtain a Return Merchandise Authorization (RMA) number: All items if returned for whatever reasons must be accompanied by a Return Merchandise Authorization (RMA) Number, which is to be issued upon filling out the Application or requesting through info@power-depot.co.uk. RMA are only valid for thirty (30) days (postmarked by or carrier posted by the 30th day).
b. Include RMA on the outside of the package: It should be clearly displayed on the return-shipping label of the package. Packages without a RMA will not be accepted.
c. Shipped within thirty (30) days: Products must be returned within thirty (30) days after the issuance of the RMA. Packages received after the 30th day will not be accepted and will be returned to the customer.
d. Repack in original packaging: Enclose everything originally received, including all manuals and related materials. Place the packaged products in a protective outer box. We have to receive all original products in order to process your return or exchange. We are not responsible for products that are damaged due to poor packaging, defaced packaging, or lost shipments. Products which you purchased from us must be returned 100% complete, including all components, original boxes and packing materials, manuals, blank warranty cards, and other accessories provided by the manufacturer.
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It is also suitable not only for women experiencing menopause symptoms but also for women of any age with irregular monthly cycles or having difficulty during this period.
What Is Zenulife Menovax Made Of?
Pffafia – a Brazilian plant which is also known as the Brazilian Ginseng. Unlike the Asian Ginseng, it has become very popular for thousands of years by the American and Japanese as cure for menopause.
Dong Quia – found to be useful in supporting female cycles. Helps reduce menopausal conditions such as vaginal dryness and hot flashes.
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Evening Primrose oil powder – helps with premenstrual and menopausal symptoms.
Red Clover – helps reduce hot flashes.
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There are 60 capsules in a bottle and it is recommended to take it once or twice a day. They are also one of the supplements that suggest that you take a higher dose first and that would be twice a day for 10 days before following the lower dose of one capsule a day.
A bottle costs $37.00 though they have a special for 2 for $33.50and 4 bottles for $29.25 and the product offers a 60-day money back guarantee.
Zenulife Menovax may be considered a top product for menopause problems as it has all natural ingredients and also has a 60-day money back guarantee. One factor to be considered though is the recommended higher dose on the first few days and then going down to the normal dose. This may be a problem to some as the dosage may be higher. There are also no reviews on their site so their claim is unproven. It is important that your product is also proven and tested by a special group that studies the efficacy of the product.
Jackie Horowitz	reviewed Zenulife Menovax	on August 27th	 and gave it a rating of 2.5.


text:
Johann Christian Olearius (* 22. Juni 1646 in Halle; † 9. Dezember 1699 ebenda) war ein deutscher lutherischer Theologe.

Leben
Olearius war der vierte Sohn des Theologen Johannes Olearius (1611–1684). Er hatte 1666 ein Studium an der Universität Jena absolviert und war dort 1667 Magister der Philosophie geworden. Den Gepflogenheiten der damaligen Zeit folgend, absolvierte er eine Bildungsreise. Im Sommersemester 1667 findet man ihn an der Universität Leipzig, 1668 war er Schüler von Christian Kortholt dem Älteren an der Universität Kiel, war 1670 bei Balthasar Bebel an der Universität Straßburg und besuchte dann auch niederländische Hochschulen.

In Querfurt berief man ihn zum Pfarrer und Superintendenten. Dazu erwarb er in Jena 1672 den Grad eines Lizentiaten der Theologie und promovierte 1674 gemeinsam mit seinen Brüdern in Jena zum Doktor der Theologie. 1681 wurde er Oberpfarrer und Superintendent an der Marktkirche Unser Lieben Frauen in Halle (Saale) sowie Konsistorialrat und Inspektor des Saalkreises.

Am Ende des 17. Jahrhunderts erlebte Olearius den aufstrebenden Pietismus in seinem Amtsbereich und versuchte, selbst der lutherischen Orthodoxie zugehörig, zwischen der Partei um August Hermann Francke und der Partei der lutherischen Orthodoxie zu vermitteln. Außer einigen Disputationen hat er nichts weiter geschrieben. Zudem ist er Dichter des Kirchenliedes "O Gott du weißt es, wie ich sinne stets auf meine Seligkeit", welches ins Merseburger Gesangbuch 1718 Eingang fand.

Familie
Olearius war zwei Mal verheiratet. Seine erste Ehe hatte er in der Naumburger St. Wenzelkirche am 27. August 1672 mit Regina Justina Wolff (* 7. Januar 1654 in Naumburg; † 31. August 1689 in Halle), der Tochter eines Ratskämmerers und Apothekers, geschlossen.
 Johann Olearius (* und † 1673)
 Johanna Elisabeth Olearius (* 6. Oktober 1674, † 1702) ⚭ 12. Mai 1691 mit dem Hallenser Dr. August Theodor Reichheim
 Johann Christoph Olearius (* 8. März 1676 in Querfurt; † 7. Januar 1724 in Magdeburg), Schule Naumburg, Gymnasium Halle, Sommersemester 1686 Univ. Leipzig, 1694 Univ. Halle, 30. November 1695 Bakkalaureat in Leipzig, 27. Januar 1698 Magister ebenda, Wintersemester 1698/99 Univ. Helmstedt, Univ. Jena, 1701 Pfarrer Unser lieben Frauen Jüterbog, 1706–1724 Diakon an St.-Ulrich-und-Levin in Magdeburg, ⚭ 23. April 1703 mit Anna Maria Sievert (begr. 30. Juli 1724 in Magdeburg), Witwe des Ratsherrn in Halle Christoph Katzsch und des Pfarrers in Schönefeld bei Artern David Böhme (Ehe kinderlos)
 Johann Christian (* 1678; † 1679)
 Johanna Regina († 1685)
 Johann Gottfried (* 1681), Zwilling I.
 Johann August (* 1681), Zwilling II.
 Johanna Dorothea  (* 1. Januar 1685; † 12. Mai 1716), ⚭ mit dem Hallenser Kämmerer Lic. Andreas Becker
 Johanna Regina (* 26. August 1687; † 25. November 1706)
 Johanna Christina (* 1689; † früh)

Nach dem Tod seiner ersten Frau verheiratete er sich mit Maria Elisabeth, der jüngsten Tochter des Regierungssekretärs Michael Ringhammer.
 Johann Friedrich I (* 1692, † 1693)
 Johanna Christina (* 1694; † 1701)
 Johann Friedrich Olearius (* 30. Juni 1697 in Halle; † 24. März 1750 in Magdeburg) Theologe
 Johanna Maria (* 18. April 1699; † 2. Oktober 1716)

Literatur

 Veronika Albrecht-Birkner: Pfarrerbuch der Kirchenprovinz Sachsen. Evangelische Verlagsanstalt, Leipzig 2007, S. 378.

Weblinks

Lutherischer Theologe (17. Jahrhundert)
Kirchenlieddichter
Pfarrer an der Marktkirche Unser Lieben Frauen in Halle
Deutscher
Geboren 1646
Gestorben 1699
Mann

redpajama_set_name: RedPajamaWikipedia


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General Cigar introduced a ton of new things at the show this year, and we are pretty excited about some of them.


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text:
Robert Rauschenberg Foundation
Over the course of his 60-year career, Robert Rauschenberg's work was inspired by wide-ranging experiences, lifelong collaborations, and a spirit of experimentation with new materials and techniques. Although he demurred identification with any specific movement, he has been identified as a forerunner of practically every post-war artistic development since Abstract Expressionism. His early Combines established an ongoing dialogue between painting and sculpture, between the handmade and the readymade, and between the artist's hand and the mechanically reproduced image. He revolutionised the picture plane through the inclusion of everyday objects, which he termed 'gifts from the street', redefining and expanding the boundaries of what could be considered an artwork.
Rauschenberg attended the Kansas City Art Institute and later the Académie Julian in Paris, but the young artist's most profound formative experience was at the experimental Black Mountain College in North Carolina, where he enrolled in 1948 alongside fellow artist and his future wife Susan Weil. There he studied under painter and Bauhaus teacher Josef Albers and met composer John Cage and choreographer Merce Cunningham, who became longstanding friends and artistic collaborators. The trio participated in Theater Piece No. 1 (1952), a multimedia performance – now recognised as the first 'happening' – that incorporated poetry, music, dance and film, as well as Rauschenberg's White Paintings (1951) suspended from the ceiling. Cage cited these as an inspiration for his composition 4'33'' (1952), which creates a framework that prompts a heightened awareness of ambient sound.
By the end of 1953, Rauschenberg had begun integrating a litany of found materials and objects into his Red Paintings (1953–54), which evolved into his seminal Combines. Incorporating everything from a stuffed goat to street signs and bed quilts, these works obliterated the boundary between painting and sculpture, introducing a new relationship between viewer and artwork. In 1962 he began making paintings that combined gestural brushwork with silkscreened imagery drawn from newspapers, magazines and his own photographs. Following his first retrospective, organised by the Jewish Museum, New York in 1963, Rauschenberg was awarded the International Grand Prize in Painting at the Venice Biennale in 1964.
Rauschenberg's work throughout the subsequent decades embodied his lifelong commitment to collaboration with performers, artisans and engineers worldwide. As well as designing lighting, sets and costumes for avant-garde productions by Merce Cunningham, Trisha Brown and Paul Taylor, among others, Rauschenberg also choreographed his own performances, beginning with Pelican in 1963. He co-founded Experiments in Art and Technology (E.A.T.) with engineer Billy Klüver, which paired artists and engineers for collaborative projects. Together with Klüver, Rauschenberg created works like Oracle (1962–65), which incorporated transistor radio technology, and the responsive light installation Soundings (1968).
In 1970, Rauschenberg established his permanent home in Captiva Island, Florida, where he created several series of works focused on materiality, including the Cardboards (1971–72), wall reliefs created from discarded boxes, and the Jammers (1975–76), made from sewn fabric. His experimentation with printing techniques also continued across a range of media, including the solvent-transfer Hoarfrosts (1974–76), multimedia Spreads (1975–83) and his metal works from the 1980s and 1990s, including the Shiners (1986–93), Urban Bourbons (1988–96) and Borealis (1988–92). In addition to his own artmaking practice, Rauschenberg became a spokesperson for artists and the creative community at large. In September 1970, he founded Change, Inc., a non-profit organisation that helped artists with emergency expenses and from 1984–91, he personally funded the Rauschenberg Overseas Culture Interchange (ROCI) project. For this extensive touring programme, Rauschenberg travelled to ten countries – Mexico, Chile, Venezuela, China, Tibet, Japan, Cuba, the USSR, Germany and Malaysia – with the aim of sparking cross-cultural dialogue and understanding through the creative process.
The gallery has represented the Robert Rauschenberg Foundation since April 2015.
Robert Rauschenberg: Night Shades and Phantoms, Thaddaeus Ropac, London, UK
Robert Rauschenberg: Reflections and Ruminations, Museum of Outdoor Arts, Englewood, CO, USA
Robert Rauschenberg: Night Shades and Phantoms, Galerie Thaddaeus Ropac, Paris, France
Robert Rauschenberg: Five Decades from the Whitney's Collection, Norton Museum of Art, West Palm Beach, FL, USA
Study Case: Glacial Decoy, Robert Rauschenberg and Trisha Brown, Institut Valencià d'Art Modern (IVAM), Spain
Time Capsule 1970: Rauschenberg's Currents, Princeton University Art Museum, NJ, USA
Robert Rauschenberg, Galleria Conceptual, Milan, Italy
Borealis 1988-92, Galerie Thaddaeus Ropac, Salzburg, Austria
Robert Rauschenberg: Postscripts for XXXIV Drawings for Dante's Inferno and Post Rally, Hiram Butler Gallery, Houston, USA
Robert Rauschenberg: Stoned Moon 1969-70, Craig Starr Gallery, NY, USA
Robert Rauschenberg 1965–1980, Vancouver Art Gallery, Canada
Robert Rauschenberg at Gemini G.E.L.: Selected Works 1969–2000, Gemini G.E.L., Los Angeles, USA
Robert Rauschenberg: America Mix-16, Tampa Museum of Art, FL, USA
Bauhaus Transfers: Albers / Rauschenberg, Palmer Museum of Art, University Park, PA, USA
Rauschenberg in Charleston, Gibbes Museum of Art, Charleston, SC, USA
Rauschenberg Against the Grid: Drawings, 1983, Pace Seoul, Korea
Binding Wires: John Mellencamp and Robert Rauschenberg, ACA Galleries, New York, USA
Rauschenberg: The 1/4 Mile, LACMA, Los Angeles County Museum of Art, San Francisco, USA
Robert Rauschenberg Spreads 1975-83, Galerie Thaddaeus Ropac, London, UK
Robert Rauschenberg, Erasing the Rules, SFMOMA; San Francisco Museum of Modern Art, San Francisco, USA
Rauschenberg: In and About L.A., LACMA, Los Angeles County Modern of Art, CA, USA
Robert Rauschenberg: Vydocks, Pace Gallery, Hong Kong
Robert Rauschenberg: Features, Krakow Witkin Gallery, Boston, MA, USA
Robert Rauschenberg: Paintings Objects Collages Sculptures, Galerie Bastian, Berlin, Germany
Robert Rauschenberg: Among Friends, MoMA, Museum of Modern Art, New York, USA
Robert Rauschenberg: A Quake in Paradise (Labyrinth), Massachusetts Museum of Contemporary Art, North Adams, USA
Robert Rauschenberg: Late Series, Faurschou Foundation Venice, Venice, Italy
Robert Rauschenberg, Tate Modern, London, UK
Salvage, Galerie Thaddaeus Ropac, Pantin, France
Project Gallery: Robert Rauschenberg, Pérez Art Museum Miami, FL, USA
Robert Rauschenberg, Pace Gallery, Hong Kong
Spreads and Related Works, Glass House, New Canaan, CT, USA
Robert Rauschenberg Travels, Atlas Sztuki, Lodz, Poland
Rauschenberg in China, Ullens Center for Contemporary Art, Beijing, China
Robert Rauschenberg, Transfer Drawings from the 1950s and 1960s, Offer Waterman, London, UK
Robert Rauschenberg, De Sarthe Gallery, Hong Kong
ROCI Works from the National Gallery of Art, Academy Art Museum, Easton, Maryland, MD, USA
Kyoto, Sri Lanka, and Thai Drawings, Academy Art Museum, Easton, Maryland, MD, USA
Anagrams, Arcadian Retreats, Anagrams (A Pun), Pace Gallery, New York, NY, USA
Making Tracks: The Complete Tracks and Made in Tampa Clay Pieces, Jim Kempner Fine Art, New York, NY, USA
Art and Life in Real Time, Seattle Art Museum, Seattle, Washington, WA, D.C., USA
Gloria: Robert Rauschenberg and Rachel Harrison, Cleveland Museum of Art, OH, USA
Selections: Robert Rauschenberg, Orange County Museum of Art, Newport Beach, CA, USA
Global Matters: Rauschenberg Print Media 1968 - 1975, University of Wisconsin-Milwaukee Art History Gallery, Milwaukee, WI, USA
Gilt (1983) by Robert Rauschenberg, Museo Thyssen-Bornemisza, Madrid, Spain
Rauschenberg: China/America Mix, Bob Rauschenberg Gallery, Florida SouthWestern State College, Fort Myers, FL, USA
Rauschenberg: Collecting and Connecting, Nasher Museum of Art at Duke University, Durham, NC, USA
Robert Rauschenberg: The Fulton Street Studio, 1953–1954, Craig F. Starr Gallery, New York, NY, USA
Robert Rauschenberg: Works on Metal, Gagosian Gallery, Beverly Hills, CA, USA
Loose in Some Real Tropics: Robert Rauschenberg's « Stoned Moon » Projects, 1969-70, Iris and B. Gerald Cantor Center for Visual Arts, Stanford University, Stanford, CA, USA
A Visual Lexicon, Leo Castelli, New York, NY, USA
Four Decades of Work on Paper, North Dakota Museum of Art, Grand Forks, ND, USA
Robert Rauschenberg: Hoarfrost Editions 1974, a Survey, Gemini G.E.L at Joni Moisant Weyl, New York, NY, USA
Fifty Years after Venice, Livingstone Gallery, The Hague, Netherlands
Robert Rauschenberg, Locks Gallery, Philadelphia, PA, USA
Cardbirds and Currents, Long Beach Museum of Art, Long Beach, CA, USA
Jammers, Gagosian Gallery, London, UK
2012 Early Photographs, Gagosian Gallery, London, UK
The Private Collection of Robert Rauschenberg, Gagosian Gallery, 980 Madison Avenue, New York, NY, USA
Robert Rauschenberg, Gagosian Gallery, Paris, France
Robert Rauschenberg, Gagosian Gallery, New York, NY, USA
Robert Rauschenberg: Scenarios and the Ancient Incident, Pace Gallery, New York, NY, USA
Robert Rauschenberg: Runts, Pace Gallery, New York, NY, USA
Last Turn-Your Turn: Robert Rauschenberg and the Environmental Crisis, Jacobson Howard Gallery, New York, NY, USA
Let the World In: Prints by Robert Rauschenberg from the National Gallery of Art and Related Collections, The National Gallery of Art, Washington D.C, USA
Robert Rauschenberg: Three Decades, Galleri Faurschou, Beijing, China
Robert Rauschenberg: Travelling '70-'76, Museu de Arte Contemporânea de Serralves, Porto, Portugal, Travelled to: Haus der Kunst, Munich, Germany and Museo d'Arte Contemporanea Donna Regina, Naples, Italy
Signs of Life: Robert Rauschenberg Posters, Black Mountain College of Arts Center in Asheville, NC, USA
Robert Rauschenberg: Cardboards and Related Pieces, Menil Collection, Houston, TX, USA
Robert Rauschenberg: Scenarios, Bob Rauschenberg Gallery, Edison State College, Fort Myers, FL, USA
Rauschenberg's Currents: Features and Surface, Michael C. Carlos Museum, Emory University, Atlanta, GA, USA
Rauschenberg: Express. Museo Thyssen-Bornemisza, Madrid, Spain
Robert Rauschenberg: Combines, The Metropolitan Museum of Art, New York, USA. Travelled to: Museum of Contemporary Art, Los Angeles, USA.; Centre Pompidou, Paris, France; Moderna Museet, Stockholm, Sweden
Robert Rauschenberg: On and Off the Wall, Musée d'Art Moderne et d'Art Contemporain, Nice, France
Art from Life: Prints by Robert Rauschenberg from the Marmor Foundation and the Fearer Family Collection, B. Gerald Cantor Center for Visual Arts at Sanford University, Stanford, CA, USA
Robert Rauschenberg: Scenarios and Ancient Incident, Pace Gallery, New York, NY, USA
Robert Rauschenberg: Combines, Centre Pompidou - Musée National d'art moderne, Paris, France
Robert Rauschenberg: Combines, The Museum of Contemporary Art, Los Angeles, CA, USA
Robert Rauschenberg: Scenarios, Pace Gallery, New York, NY, USA
Rauschenberg Express, Museo Thyssen–Bornemisza, Madrid, Spain
Robert Rauschenberg, Miami Art Museum, Miami, FL, USA
Robert Rauschenberg: Posters, Los Angeles County Museum of Art, Los Angeles, CA, USA
Robert Rauschenberg: Hoarfrosts, Guild Hall, East Hampton, NY, USA
Robert Rauschenberg: On and Off the Wall, Oeuvres des Années 80 & 90, Musée d'Art Moderne et d'Art Contemporain, Nice, France Travelled to: ARoS Aarhus Kunstmuseum, Aarhus, Denmark
Robert Rauschenberg: Scenarios and Short Stories, University Art Museum, University of Louisiana, Lafayette, LA, USA
Robert Rauschenberg, Valencià Art Modern, Valencia, Spain
Robert Rauschenberg's A Quake in Paradise (Labyrinth), Bob Rauschenberg Gallery, Edison State College, Fort Myers, FL, USA
Robert Rauschenberg: An American Iconoclast, Vanderbilt University Fine Arts Gallery, Nashville, TN, USA
Robert Rauschenberg: Short Stories by You Are the Author, Pace Gallery, New York, NY, USA
Robert Rauschenberg: Recent Work, Gallery of Fine Art, Edison State College, Fort Myers, FL, USA
Robert Rauschenberg: Short Stories, Texas Gallery, Houston, TX, USA
Robert Rauschenberg: Apogamy Pods, Pace Gallery, New York, NY, USA
Rauschenberg in Transparency, Orange County Museum of Art, Newport Beach, CA, USA
Robert Rauschenberg: New Paintings, Galleria Lawrence Rubin, Milan, Italy
Robert Rauschenberg: Haywire, Technologische Hauptwerke aus den sechziger Jahren, Aktionsforum Praterinsel, Munich, Germany
A Quake in Paradise (Labyrinth) (1994), Tribute 21 (1995), Quattro Mani (1996), Monstero Mechitarista dell'Isola di San Lazzaro degli Armeni, Venice, Italy
Robert Rauschenberg: Night Shades and Urban Bourbons, Galerie Beyeler, Basel, Switzerland
Robert Rauschenberg, Kunstsammlung Nordrhein-Westfalen, Dusseldorf, Germany
The Second Hiroshima Art Prize-Robert Rauschenberg, Hiroshima City Museum of Contemporary Art, Hiroshima, Japan
ROCI USA, The National Gallery of Art, Washington D.C, USA
ROCI Malaysia, National Art Gallery, Kuala Lumpur, Malaysia
Akira Ikeda Gallery, Tokyo, Japan
Pace/MacGill Gallery, New York, NY, USA
Blum-Helman Gallery, New York, NY, USA
Greene Gallery, Coral Gables, FL, USA
Knoedler Gallery, New York, NY, USA
BMW Showroom, West Berlin, Germany
The Metropolitan Museum of Art, New York, NY, USA
Heland Thorden Wetterling Galleries, Stoclkholm, Sweden
Blum-Helman Gallery, Los Angeles, CA, USA
Galerie Denise Rene Hans Meyer, Dusseldorf, Germany
Texas Gallery, Houston, TX, USA
Castelli Gallery, New York, NY, USA
Moosart Gallery, Miami, FL, USA
Espace Nicois d'Art et de Culture, Nice, France
Larry Gagosian Gallery, New York, NY, USA
Sogetsu Kaikan, Tokyo, Japan
B.R. Kornblatt Gallery, Washington D.C, USA
Port Arthur Public Library, Port Arthur, TX, USA
Galerie Beyeler, Basel, Switzerland
Center for Fine Arts, Miami, FL, USA
Allen Street Gallery, Dallas, TX, USA
Sonnabend Gallery, New York, NY, USA
Kunstverein Hamburg, Germany
Malmo Museum, Malmo, Sweden
Maryland Institute, Baltimore, MD, USA
Castelli Graphics, New York, NY, USA
Douglas Elliot Gallery, San Francisco, CA, USA
Museum of Modern Art, New York, NY, USA
Musee des Beaux-Arts, Saint Etienne, France
Moderna Museet, Stockholm, Sweden
Aarhus Art Museum, Aarhus, Denmark
Stadelsches Kunstinstitut, Frankfurt, Germany
Centre Georges Pompidou, Paris, France
Stadtische Galerie im Lenbachhaus, Munich, Germany
Tate Gallery, London, UK
Institute of Contemporary Art, Boston, TX, USA
The Sable-Castelli Gallery, New York, NY, USA
The Mayor Gallery, London, UK
Magnuson-Lee Gallery, Boston, TX, USA
Grimaldis Gallery, Baltimore, MD, USA
Musee Cantini, Marseille, France
Staatliche, Kunsthalle, Berlin, Germany.
Staatliche, Kunsthalle, Dusseldorf, Germany.
Visual Arts Museum, New York, NY, USA
Ace Gallery, Venice, CA, USA
Leo Castelli Gallery, New York, NY, USA
Cranbrook Academy of Art, Bloomfield, MI, USA
Magnuson-Lee Gallery, Boston, MA, USA
Thomas Babeor Gallery, La Jolla, CA, USA
Kunsthalle Tubingen, Tubingen, Germany
Akron Art Institute, Akron, OH, USA
Gloria Luria Gallery, Bay Harbor, FL, USA
Sprengel Museum, Hannover, Germany
Fort Worth Art Museum, Fort Worth, TX, USA
Galerie Sonnabend, Paris, France
Art Institute of Chicago, Chicago, IL, USA
John Berggruen Gallery, San Francisco, CA, USA
San Francisco Museum of Modern Art, San Francisco, CA, USA
Albright Knox Art Gallery, Buffalo, NY, USA
Galleria Civica d'Arte Moderna, Ferrara, Italy
Ft. Belvedere, Florence, Italy
National Collection of Fine Arts, Washington D.C, USA
Greenberg Gallery, St. Louis, MO, USA
Gallery Lund, Lund, Sweden
The Art Association, Newport, MO, USA
Israel Museum, Jerusalem, Israel
Museum Haus Lange, Krefeld, Germany
University of South Florida, Tampa, FL, USA
Museo d'Arte Moderna ca'Pesaro, Venice, Italy
Galerie Buren, Stockholm, Sweden
Jared Sable Gallery, Toronto, Canada
Jack Glenn Gallery, San Diego, CA, USA
Galerie Ileana Sonnabend, Paris, France
Dayton's Gallery 12, Minneapolis, MN, USA
Phoenix Art Museum, Phoenix, AZ, USA
Seattle Art Museum, Washington D.C, USA
Institute of Contemporary Art, Philadelphia, PA, USA
Pasadena Art Museum, Pasadena, CA, USA
New York Cultural Center, New York, NY, USA
Minneapolis Institute of Arts, Minneapolis, MN, USA
Kunstverein Hannover, Hannover, Germany
Museum of Contemporary Art, Chicago, IL, USA
Museum Boymans-Van Beuningen, Rotterdam, Netherlands
Douglas Gallery, Vancouver, Canada
Galerie Gerald Cramer, Geneva, Switzerland
Stedelijk Museum, Amsterdam, Netherlands
Kolnischer Kunstverein, Cologne, Germany
Musee d'Art Moderne de la Ville de Paris, Paris, France
Amerika Haus, Berlin, Germany
Contemporary Arts Society, Houston, TX, USA
Walker Arts Center, Minneapolis, MN, USA
Dwan Gallery, Los Angeles, CA, USA
Whitechapel Gallery, London, UK
The Jewish Museum, New York, NY, USA
Robert Rauschenberg, Gallerie Daniel Cordier, Paris, France
Robert Rauschenberg, Leo Castelli Gallery, New York, NY, USA
Robert Rauschenberg, Egan Gallery, New York, NY, USA
9th Street Art Exhibition. Stable Gallery, New York, NY, USA
Robert Rauschenberg, Betty Parsons, New York, NY, USA
30 Years in Paris, Thaddeaus Ropac, Paris Pantin, France
Catalyst: Art and Social Change, Gracie Mansion Conservancy, New York, NY, USA
Robert Blackburn & Modern American Printmaking, Nelson-Atkins Museum of Art, Kansas City, MO, USA
Photography and the Surreal Imagination, The Menil Collection, Houston, TX, USA
Personal Space: Self-Portraits on Paper, Museum of Fine Arts, Boston, MA, USA
Radical Broadcast: Time Share, Performa, New York, NY, USA [Online]
Souvenirs: Cornell Duchamp Johns Rauschenberg, Craig Starr Gallery, New York, NY, USA
Binding Wires: John Mellencamp and Robert Rauschenberg, ACA Galleries, New York, NY, USA
Bauhaus Transfers: Albers / Rauschenberg, Palmer Museum of Art, Pennsylvania State University, PA, USA
By Any Means: Contemporary Drawings from the Morgan, Morgan Library and Museum, New York, NY, USA
From Camelot to Kent State: Pop Art, 1960–1975, Detroit Institute of Arts, MI, USA
Drawn Together Again, Flag Art Foundation, New York, NY, USA
Primäre Gesten, Alexander Tutsek-Stiftung, Munich, Germany
Picture Gallery in Transformation: Museum of Contemporary Art Chicago at MASP, Museum of Art São Paulo, Brazil
The Gift: Works from the Barnett and Annalee Newman Foundation Collection, Jewish Museum, New York, NY, USA
Open House: Elliott Hundley, Museum of Contemporary Art, Los Angeles, CA, USA
Gay Gatherings: Phillip Johnson, David Whitney, and the Modern Arts, Glass House, New Canaan, CN, USA
Artistic License: Six Takes on the Guggenheim Collection, Solomon R. Guggenheim Museum, New York, NY, USA
Artists I Steal From, Galerie Thaddaeus Ropac, London, UK
Cut and Paste: 400 Years of Collage, Scottish National Gallery of Modern Art, National Galleries Scotland, Edinburgh
Apollo's Muse: The Moon in the Age of Photography, Metropolitan Museum of Art, New York, NY, USA
Dalla Terra Alla Luna: L'Arte in Viaggo Verso L'Astro D'Argento, Palazzo Madama, Turin, Italy
Fly Me to the Moon: 50 Jahre Mondlandung (The Lunar Landing, 50 Years on), Museum der Moderne Salzburg, Mönchsberg, Austria
Zero Gravity: Apollo 11 and the New Notion of Space, ERES-Stiftung, Munich, Germany
It's All Black and White: Contemporary Art from the Frederick R. Weisman Art Foundation, Frederick R. Weisman Museum, Pepperdine University, Malibu, CA, USA
Moon Shot, Moody Center for the Arts, Rice University, Houston, TX, USA
On the Turn: Selections from the Collection of Emily Fisher Landau, LX, New York, USA
Mud Muses: A Rant About Technology, Moderna Museet, Stockholm, Sweeden
Since Last We Met, Simon Lee Gallery, New York, NY, USA
Making Knowing: Craft in Art, 1950–2019, Whitney Museum of American Art, New York, NY, USA
The Red Bean Grows in the South, Faurschou Foundation, New York, NY, USA
The American Dream: Pop to the Present, Fondation Custodia, Paris, France
My Favorite: Toshio Hara Selects from the Permanent Collection, Hara Museum of Contemporary Art, Tokyo, Japan
Travelers: Stepping into the Unknown, National Museum of Art, Osaka, Japan
Wow! The Heidi Horton Collection, Leopold Museum, Vienna, Austria
The Tour: Ludwig Museum–The Collection of Russian Museum at MAMM, Multimedia Art Museum, Moscow, Russia
About Photography, Gagosian Gallery, San Francisco, CA, USA
Hello World: Revision einer Sammlung, Hamburger Bahnhof, Museum für Gegenwart, Berlin, Germany
Studio Visit: Selected Gifts from Agnes Gund, Museum of Modern Art, New York, NY, USA
Personal Effect: Works from the Collections of Philip Johnson and David Whitney, Glass House, New Canaan, CN, USA
Brussels, Sheet Steel, Kanal – Centre Pompidou, France
Arte come rivelazione: Dalla collezione Luigi e Peppino Agrati, Gallerie d'Italia, Milan, Italy
E.A.T. (Experiments in Art and Technology): Open-ended, National Museum of Modern and Contemporary Art, Seoul, Korea
Picturing Protest, Princeton University Art Museum, NJ, USA
Handmade Readymades: Jasper Johns, Roy Lichtenstein, Robert Rauschenberg, and James Rosenquist, STPI Gallery, Singapore
MoMA at NGV: 130 Years of Modern and Contemporary Art, National Gallery of Victoria, Melbourne, Australia
Giant Steps: Artists and the 1960s, Albright-Knox Art Gallery, Buffalo, NY, USA
That's So Gay: An Exploration of Homophobia and Camp in Art, University of Northern Iowa Gallery of Art, Cedar Falls, IA, USA
The Moon: From Inner Worlds to Outer Space, Louisiana Museum of Modern Art, Humlebaek, Denmark
Judson Dance Theater: The Work Is Never Done, MoMA, Museum of Modern Art, New York, NY, USA
The Masters: Art Students League Teachers and Their Students, Hirschl and Adler Modern, New York, NY, USA
Midcentury Masters: Jasper Johns' Gifts to the CMA, Columbia Museum of Art, SC, USA
Inventing Downtown: Artist-Run Galleries in New York City, 1952–1965, Grey Art Gallery, New York University, NY, USA
Begin to See: The Photographers of Black Mountain College, Black Mountain College Museum and Arts Center, Asheville, NC, USA
Excerpt, Studio Museum Harlem, New York, NY, USA
Merce Cunningham: Common Time, Walker Art Center, Minneapolis, MN, USA
The Beginning of Everything: Drawings from the Janie C. Lee, Louisa Stude Sarofim, and David Whitney Collections, The Menil Collection, Houston, TX, USA
The American Dream: Pop to the Present, British Museum, London, UK
Thirty Works for Thirty Years, The Menil Collection, Houston, TX, USA
On the Paths of Enlightenment: The Myth of India in Western Culture 1808–2017, Museo d'arte della Svizzera Italiana, Lugano, Switzerland
MACBA Collection: Beneath the Surface, Museu d'Art Contemporani de Barcelona, Spain
Art Turns. World Turns. Exploring the Collection of the Museum of Modern and Contemporary Art in Nusantara, Museum of Modern and Contemporary Art in Nusantara, Jakarta, Indonesia
[email protected]: Materia Archeologica ([email protected]: Archaeological matter), Museo d'Arte Contemporanea Donnaregina, Naples, Italy
Making Home: Contemporary Works from the DIA, Detroit Institute of Arts, MI, USA
SuperReal: Pop Art from the AGO Collection, Art Gallery of Ontario, Toronto, Canada
Drawing Then: Innovation and Influence in American Drawings of the Sixties, Dominique Lévy Gallery, New York, NY, USA
The Sonnabend Collection: Meio Século de Arte Europeia e Americana [Half a Century of European and American Art] Part 1, Museu de Arte Contemporânea de Serralves, Porto, Portugal
Everything is Dada, Yale University Art Gallery, New Haven, CT, USA
Naples Collects, The Baker Museum, Naples, FL, USA
The Coveter, Dickinson Roundell, New York, NY, USA
MashUp: the Birth of Modern Culture, Vancouver Art Gallery, Vancouver, Canada
In the Making, Luxembourg and Dayan, New York, NY, USA
An Abundance of Sei: Life, Vigor, Thrive, and Spirit, Hiroshima City Museum of Contemporary Art, Hiroshima, Japan
Pop Réal, Locks Gallery, Philadelphia, PA, USA.
Duchamp to Pop, Norton Simon Museum, Pasadena, CA, USA
MOT Collection: Collection Ongoing, Museum of Contemporary Art Tokyo, Tokyo, Japan
Unfinished: Thoughts Left Visible, Met Breuer, Metropolitan Museum of Art, New York, NY, USA
Phoenix Rising: The Valley Collects, Phoenix Art Museum, Phoenix, AZ, USA
Human Interest: Portraits from the Whitney's Collection, Whitney Museum of American Art, New York, NY, USA.
Not in New York: Carl Solway and Cincinnati, Cincinnati Art Museum, Cincinnati, OH, USA
Modernist Intersections: The Tia Collection, University of Arizona Museum of Art, Tucson, AZ, USA.
Open Ended: Painting and Sculpture since 1900, San Francisco Museum of Modern Art, San Francisco, CA, USA
Pushing Boundaries: Dine, Graves, Lichtenstein, Rauschenberg and Rosenquist —Collaborations with Donald Saff, Farnsworth Art Museum, Rockland, ME, USA
Blackness in Abstraction, Pace Gallery, New York, NY, USA.
This Is a Portrait If I Say So: Identity in American Art, 1912 to Today,Bowdoin College Museum of Art, Brunswick, ME, USA
Co-thinkers, Garage Museum of Contemporary Art, Moscow, Russia
Space Age, Galerie Thaddaeus Ropac, Pantin, France
E.A.T. – Experiments in Art and Technology, Museum der Moderne Salzburg, Salzburg, Austria
From Rauschenberg to Jeff Koons: The Ileana Sonnabend Collection, Ca'Pesaro, Venice, Italy
Drawing after Modernism, or how the future affects the past, The Drawing Biennial, National Gallery, Oslo, Norway
The Avant-Garde Collection, Orange County Museum of Art, Newport Beach, CA, USA
Georg Baselitz, Anselm Kiefer, Harmony Korine, Robert Rauschenberg, Julian Schnabel, Rudolf Stingel, Franz West, Gagosian Gallery, West 24th St., New York, NY, USA
Rothko to Richter: Mark-Making in Abstract Painting from the Collection of Preston H. Haskell, Princeton University Art Museum, Princeton University, Princeton, NJ, USA
The Bride and the Bachelors: Duchamp with Cage, Cunningham, The Sounds of Silence, UC Berkeley Art Museum and Pacific Film Center, Berkeley, CA, USA
Rauschenberg and Johns, Barbican Art Gallery, London, UK
Mirages d'Orient, Grenades et Figues de Barbarie, Chassé-croisé en Mediterrannée, Collection Lambert, Avignon, France
Robert Rauschenberg and 9 Evenings: Theatre and Engineering, Hambuger Bahnhof, Berlin, Germany
Lifelike, New Orleans Museum of Art, New Orleans, LA, USA
Dancing around the Bride: Cage, Cunningham, Johns, Rauschenberg, and Duchamp, Philadelphia Museum of Art, PA, USA
Fast Forward: Modern Moments 1913 – 2013, High Museum of Art, Atlanta, GA, USA
Decades of Dissent, Skirball Cultural Center, Los Angeles, CA, USA
PMoA Collects, Polk Museum of Art, Lakeland, FL, USA
Destroy the Picture: Painting the Void, 1949-1962. Museum of Contemporary Art, Los Angeles, CA, USA
We the People, Robert Rauschenberg Foundation Space, New York, USA
Cara Domani: Opera dalla Collezione Ernesto Esposito (Works from the Ernest Esposito Collection), MAMbo-Museo d'Arte Moderna di Bologna, Bologna, Italy
Cage's Satie: Composition for Museum, MAMbo-Museo d'arte Moderna di Bologna, Bologna, Italy
Shock of the News. National Gallery of Art, Washington D.C, USA
Spectres of Artaud: Language and the Arts circa 1952, Museo Nacional Centro de Art Reina Sofia, Madrid, Spain
Art and Press, ZKM Zentrum fur Junst und Medientechnologie, Karlsruhe, Germany
Silence, The Menil Collection, Houston, TX, USA
Art Drive! The BMW Art Car Collection 1975-2010 (Part of the London 2012 Festival), Great Eastern Car Park, London, UK
Summer Selections, Woodward Gallery, New York, NY, USA
Dark Matters: Selections from the Collection, Hirshhorn Museum and Sculpture Garden, Washington D.C, USA
The Last Days of Pompeii: Decadence, Apocalypse, Resurrection, The Getty Villa, Malibu, CA, USA
The Small Utopia: Ars Multiplicata. Fondazione Prada *Ca' Corner della Regina, Venice, Italy
The Floor Show: Gravity and Materials, Gagosian Gallery, Los Angeles, CA, USA
Art of Another Kind: International Abstraction and the Guggenheim, 1949-1960,Solomon R. Guggenheim Museum, New York, NY, USA
Chefs-D'oeuvre Du Musee Frieder Burda (Masterpieces from the Frieder Burda Museum), Musee Granet, Aix-en-Provence, France
Phantom Limb: Approaches to Painting Today, Museum of Contemporary Art, Chicago, IL, USA
Prints, Hiram Butler Gallery, Houston, TX, USA
Marking a Century: Recent and Promised Gifts to the Bruce Museum, Part 1, The Bruce Museum, Greenwich, CT, USA
NASA / Art: 50 Years of Exploration, The Bruce Museum, Greenwich, CT, USA
In the Garden: Editions, Larissa Goldston Gallery, New York, NY, USA
In Deed: Certificates of Authenticity in Art. John M. Flaxman Library Special Collections, The School of the Art Institute of Chicago, Chicago, IL, USA
Art and Press, Martin-Gropius-Bau, Berlin, Germany
Sculpture, Gagosian Gallery, Hong Kong
Hide / Seek: Difference and Desire in American Portraiture, Tacoma Art Museum, Tacoma, WA, USA
Print/Out, Museum of Modern Art (MoMA), New York, NY, USA
Guggenheim Collection: The American Avant-Garde 1945-1980, Palazzodelle Esposizioni, Rome, Italy
Robert Rauschenberg: 5 Decades of Printmaking, Leslie Sacks Contemporary, Santa Monica, CA, USA
Pop and the Sixties. Museum Moderner Kunst Stiftung Ludwig Wien (MUMOK), Vienna, Austria
John Cage, A Centennial Celebration (With Friends), Carl Solway Gallery, Cincinnati, OH, USA
Crash: Homage to JG Ballard, Gagosian Gallery, Britannia Street, London, UK
Burning, Bright: A Short History of the Light Bulb. Pace Gallery, New York, NY, USA
Pastiche, Pace Gallery, New York, NY, USA
50 Years at Pace: The Abstract Expressionist and Pop Art Years, Pace Gallery, New York, NY, USA
Group Exhibition of Gallery Artists, Pace Gallery, New York, NY, USA
Summer 2004, Pace Gallery, New York, NY, USA
Summer Travels, Pace Gallery, New York, NY, USA
Happy New Year! Pace Gallery, New York, NY, USA
Summer in the City, Pace Gallery, New York, NY, USA
Summer Group Show, Gagosian Gallery, SoHo, New York, NY, USA
Summer, Gagosian Gallery, New York, NY, USA
Marcel Duchamp and the Avant Garde Since 1950, Ludwig Museum, Cologne, Germany
American Print Renaissance 1958-1988, Whitney Museum of American Art, New York, NY, USA
Celebrating Leo Castelli and Pop Art, Galerie Kaj Forsblom, Helsinki, Finland
Aspects of College, Assemblage and the Found Object in 20th Century Art, Guggenheim Museum, New York, NY, USA
Affiches, Collages, Decollages, Galerie Zabriske, Paris, France
Works on Paper, John Berggruen Gallery, San Francisco, CA, USA
The 25th Anniversary Exhibition to Benefit the Foundation for Contemporary Performance Arts, Leo Castelli, New York, NY, USA
This is not a Photograph: Twenty Years of Large Scale Photography, 1966-1986, The John and Mable Ringling Museum of Art, Sarasota, FL, USA
The Arts At Black Mountain College: 1933 – 1957, The Edith C. Blum Art Institute, Bard College; Annandale-on-Hudson, NY, USA
Made in the USA: An Americanization in Modern Art, the 50' and 60's, University Art Museum, University of California at Berkley, Berkley, CA, USA
Avant Garde in the Eighties, Los Angeles County Museum of Art, Los Angeles, CA, USA
20th Century Drawings from the Whitney Museum of American Art, The National Gallery of Art, Washington D.C, USA
Contemporary American Collage 1960–1986, Herter Art Gallery, University of Massachusetts, Amherst, MA, USA
American Graphic Arts: Watercolors, Drawings, and Prints from the Collection of Pennsylvania Academy of the Fine Arts, Pennsylvania Academy of the Fine Arts, Philadelphia, PA, USA
Group Exhibition, Sonnabend Gallery, New York, NY, USA
Summer Group Exhibition, Castelli Gallery/Greene St., New York, NY, USA
Television Impact on Contemporary Art, The Queens Museum, Flushing, NY, USA
Robert Rauschenberg and David Bradshaw, Catamount Film and Arts, St. Johnsbury, VT, USA
Individuals: A Selected History of Contemporary Art 1945 -1986, Museum of Contemporary Art, Los Angeles, CA, USA
Twentieth Century Printmakers: Selections from the Permanent Collection of the Whitney Museum of American Art, Greenville County Museum of Art, Greenville, SC, USA
Selections from the Ileana and Michael Sonnabend Collection: Works from the 1950's and 1960's, The Princeton Art Museum, Princeton University, NJ, USA
Pop Art 1955-1970, Organized by the International Council of the Museum of Modern Art, New York, USA. Travelled to: 60's Color, Larry Gagosian Gallery, Los Angeles, CA, USA
Painterly Visions 1940 - 1984: The Guggenheim Collection and Major Loans. Guggenheim Museum, New York, NY, USA
Actual Size: An Exhibition of Small Paintings and Sculptures. Larry Gagosian Gallery, Los Angeles, CA, USA
Pop Art from the Tremaine Collection, Larry Gagosian Gallery, New York, NY, USA
Homework, Holly Solomon Gallery, New York, USA
Icons of the 60's, Brooke Alexander, Inc., New York, NY, USA
Ten Painters and Sculptors Draw, Museum of Fine Arts, Boston, TX, USA
BLAM! The Explosion of Pop, Minimalism and Performance 1958 – 1984, Whitney Museum of American Art, New York, NY, USA
Rauschenberg and Dine, Fay Gold Gallery, Atlanta, GA, USA
Masters of the Sixties: From New Realism to Pop Art, Marisa Del Re Gallery, New York, NY, USA
Enzo Cucchi, Robert Rauschenberg, Donald Sultan, New Paintings, Blum Helman, New York, NY, USA
Drawing Conclusions-A Survey of American Drawings 1958- 1963, Daniel Weinberg Gallery, Los Angeles, CA, USA
The Modern Drawing: One Hundred Works on Paper in the Museum of Modern Art, Museum of Modern Art, New York, NY, USA
The American Artist As Printmaker, 23rd National Print Exhibition, The Brooklyn Museum, Brooklyn, NY, USA
Trends in Post War American and European Art, Guggenheim Museum, New York, NY, USA
Modern Nude Painting 1880 – 1980, The National Museum of Art, Osaka, Japan
Eight by Eight to Celebrate the Temporary Contemporary, Leo Castelli Gallery, New York, USA, Travelled to: The Metropolitan Museum of Art, The Mezzanine Gallery, New York, NY, USA
Important Drawings, Paintings, Sculpture and Graphics of the 19th and 20th Centuries, Andrew Crispo, New York, NY, USA
A Century of Modern Drawings, Marisa Del Re Gallery, New York, NY, USA
"'60-'80 Attitudes/Concepts/Images: A Selection from Twenty Years of Visual Arts,Stedelijk Museum, Amsterdam, Netherlands
Castelli and His Artsits: Twenty-Five Years, La Jolla Museum of Contemporary Art, La Jolla, CA, USA
Abstract Drawings: 1911 – 1981, Whitney Museum of American Art, New York, NY, USA
Works on Paper, Larry Gagosian Gallery, Los Angeles, CA, USA
20th Century Masters: The Thyssen-Bornemisza Collection, Organized by the International Exhibitions Foundation, Washington, D.C, USA
Homage to Leo Castelli, Galerie Bischofberger, Zurich, Switzerland
The New York School: Four Decades: Guggenheim Collection and Major Loans, Guggenheim Museum, New York, NY, USA
The Americans: The Collage, Contemporary Arts Museum, Houston, TX, USA
The Expressionist Image: American Art from Pollock to Today, Sidney Janis Gallery, New York, NY, USA
XIX & XX Century Drawings, Watercolors, Pastels, Gouaches, Collages, Acquavella Gallery, New York, NY, USA
The New Explosion: Paper Art, Fine Arts Museum of Long Island, Hempstead, USA and Betty Parsons Gallery, New York, NY, USA
Leo Castelli Selects Johns, Lichtenstein, Rauschenberg, Rosenquist, Stella, Gloria Luria Gallery, Bay Harbor, FL, USA
Contemporary American Prints and Drawings 1940 – 1980, National Gallery of Art, Washington D.C, USA
Contemporary Americans: Museum Collection and Recent Acquisitions, Guggenheim Museum, New York, NY, USA
A Tradition Established: 1940 - 1970, Selections from the permanent collection of the Whitney Museum of American Art, Whitney Museum of American Art, New York, NY, USA
The Image in American Painting and Sculpture 1950 – 1980, Akron Art Museum, Akron, OH, USA
10 Paintings and 2 Sculptures from the 60's, B.R. Kornblatt Gallery, Washington D.C, USA
Annual Contemporary Drawing Exhibition, Edward Thorp Gallery, New York, NY, USA
Leo Castelli: A New Space. Leo Castelli Gallery, New York, NY, USA
Echoes of Picasso. Walker Art Center, Minneapolis, MN, USA
The Object Transformed: Contemporary American Drawing. Visual Arts Museum, School of Visual Arts, New York, NY, USA
Major Paintings and Reliefs of the 60's from a New York Private Collection, Pace Gallery, New York, NY, USA
Painting of the Sixties and Seventies: The Real/The Ideal/The Fantastic, Selections from the Whitney Museum of American Art, Montgomery Museum of Fine Arts, Montgomery, AL, USA
The Fifties: Aspects of Painting in New York, Hirshorn Museum, Traveled to: Sculpture Garden, Smithsonian Institution, Washington D.C, USA
American Drawing in Black and White, The Brooklyn Museum, Brooklyn, NY, USA
Drawings to Benefit the Foundation for Contemporary Performance Collection, Leo Castelli Gallery, New York, NY, USA
Printed art of the 60's and 70's, Museum of Modern Art, New York, NY, USA
Artist and Printer: Six American Print Studios, Walker Art Center, Minneapolis, MN, USA
Art in America after World War ll, Guggenheim Museum New York, NY, USA
The 36th Biennial Exhibition of Contemporary American Painting, Corcoran Gallery of Art, Washington D.C, USA
Documents, Drawings and Collages: 50 American Works on Paper from the Collection of Mr. and Mrs. Stephen D. Paine, Williams College Museum of Art, Williamstown, USA, Traveled to: American Portraits of the Sixties and Seventies, Aspen Center for the Visual Arts, Aspen, CO, USA
Autour de Merce Cunningham, Centre National d'Art et de Culture Georges Pompidou, Paris, France
Poets and Painters, Denver Art Museum, Denver, CO, USA
Twentieth- Century Drawings from the Whitney Museum of American Art, Organized by the Whitney Museum of American Art, New York, NY, USA
Three Generations: Studies in Collage, Margo Leavin Gallery, Los Angeles, CA, USA
Biennale de Paris '59-'73, The Seibu Museum of Art, Tokyo, Japan
Art About Art, Whitney Museum of American Art, New York, NY, USA
Collage: Selections From the Permanent Collection, Whitney Museum of American Art Downtown Branch, New York, NY, USA
The Sense of Self: From Self- Portrait to Autobiography, Organized by Independent Curators Inc., New York, NY, USA
American Painting of the 1970's, Albright-Knox Art Gallery, Buffalo, NY, USA
Paper as Medium, Smithsonian Institution Traveling Exhibition, Washington D.C, USA, Traveled through 1980
Permanent Collection: 30 Years of American Art 1945-1975, Whitney Museum of American Art, New York, NY, USA
American Paintings and Drawings, John Berggruen Gallery, San Francisco, CA, USA
Less is more, Sidney Janis Galery, New York, NY, USA
Group Show, Sonnabend Gallery, New York, NY, USA
Recent Work, Leo Castelli Gallery, New York, NY, USA
Pop Plus, Whitney Museum of American Art Downtown Branch, New York, NY, USA
Twelve Americans: Masters of Collage, Andrew Crispo Gallery, New York, NY, USA
American Pop Art and the Culture of the Sixties, New Gallery of Contemporary Art, Cleveland, OH, USA
Twentieth Century American Drawings: Three Avant-Garde Generations, Guggenheim Museum, New York, NY, USA
Drawing Now, Museum of Modern Art, New York, NY, USA
200 Years of American Sculpture, Whitney museum of American Art, New York, NY, USA
American Art Since 1945, Organized by the Museum of Modern Art, New York, NY, USA
Formative Years: Early Works by Prominent New York Artists, Visual Arts Museum, School of Visual Arts, New York, NY, USA
America: The Third Century, Pace Gallery, New York, NY, USA
Biennial Exhibition, Whitney Museum of American Art New York, NY, USA
3D Into 2D: Drawing for Sculpture, The New York Cultural Center, New York, NY, USA
Twenty- five Years of American Painting 1948-1973, Des Moines Art Center, Des Moines, IA, USA
American Drawings, 1963-1973, Whitney Museum of American Art, New York, NY, USA
Idea and Image on Recent Art, The Art Institute of Chicago, Chicago, IL, USA
American Pop Art, Whitney Museum of American Art, New York, NY, USA
Cy Twombly and Robert Rauschenberg, Leo Castelli Gallery, New York, NY, USA
American Works on Paper: 1944-1974, William Zierler, Inc. New York, NY, USA
Poets of the Cities: New York and San Francisco, 1950-1965, Wallas Museum of Fine Arts, Dallas, TX, USA
Traveled to: San Francisco Museum of Art, San Francisco, CA, USA, Traveled to : Wadswortth Atheneum, Hartford, CT, USA
Seventieth American Exhibition, The Art Institute of Chicago, Chicago, IL, USA
The Modern Image, High Museum, Atlanta, GA, USA
Duchamp, Johns, Rauschenberg, Cago, Contemporary Arts Center, Cincinnati, OH, USA
Depth and Presence, Corcoran Gallery of Art, Washington D.C, USA
Art and Technology, Los Angeles County Museum of Art, Los Angeles, CA, USA
Collages by American Artists, Ball State University, Muncie, IN, USA
American Art Since 1960, Princeton University Art Museum, Princeton, NJ, USA
Against Order: Chance and Art, Institute of Contemporary Art, Philadelphia, PA, USA
The American Scene: The 20th Century, Indiana University, New Brunswick, USA
The Disappearance and Reappearance of the Image: American Painting Since 1945, Organized by the National Collection of Fine Arts International Art Program, Washington D.C, USA
New York: The Second Breakthrough 1959 – 1964, Irvine Art Gallery, University of California, Irvine, CA, USA
Dada, Surrealism, and Their Heritage, Museum of Modern Art, New York, NY, USA
The Machine As Seen at the End of the Machine Age, Museum of Modern Art, New York, NY, USA
The New Vein: The Human Figure1963 – 1968, Organized by the National Collection of Fine Arts International Art Program, Washington, D.C. USA
New York Painting and Sculpture, Metropolitan Museum of Art, New York, NY, USA
Ten Years, Leo Castelli Gallery, New York, NY, USA
Twentieth Century American Paintings, Grand Rapids Art Museum, Grand Rapids, MI, USA
American Sculpture of the Sixties, Los Angeles County Museum of Art, Los Angeles, CA, USA
The 1960's: Painting and Sculpture from the Museum Collection, Museum of Modern Art, New York, NY, USA
Master Drawings - Pisarro to Lichtenstein, Contemporary Arts Center, Cincinnati, OH, USA
Two Decades of American Painting, Organized under the auspices of the International Council of the Museum of Modern Art, New York, NY, USA
The 29th Biennial Exhibition of Contemporary American Painting, Corcoran Gallery of Art, Washington D.C. USA
Pop Art and the American Tradition, Milwaukee Art Center, Milwaukee, WI, USA
A Decade of American Drawings 1955 – 65, Whitney Museum of American Art, New York, NY, USA
32nd International Venice Biennial Exhibition of Art, Venice, Italy
American Contemporary Drawings, Guggenheim Museum, New York, NY, USA
The Painter and the Photograph, Organized by the University of New Mexico, Albuquerque, NM, USA
Between the Fairs: 25 Years of American Art, 1939 – 1964, Whitney Museum of American Art, New York, NY, USA
66th American Annual Exhibition: Directions in Contemporary American Painting and Sculpture, The Art Institute of Chicago, IL, USA
Six Painters and the Object, Guggenheim Museum, New York, NY, USA
Pop Art US, Oakland Art Museum, Oakland, CA, USA
Third International Biennial Exhibition of Prints, National Museum of Modern Art, Tokyo, Japan
Art Since 1950, American and International, World's Fair, Seattle, WA, USA
Abstract Drawings and Watercolors: USA, International Council of the Museum of Modern Art, New York, NY, USA
Art of Assemblage, Museum of Modern Art, New York, NY, USA
American Abstract Expressionists and Imagists, Guggenheim Museum, New York, NY, USA
Annual Exhibition: Contemporary American Painting, Whitney Museum, New York, NY, USA
Some Younger Americans, Stable Gallery, New York, NY, USA Travelled to: Society for Contemporary American Art Annual Exhibition XX and 20thAnniversary Exhibit at the Art Institute of Chicago, Chicago, IL, USA
Six Decades of American Painting, Des Moines Art Center, Des Moines, IA, USA
Three, Leo Castelli Gallery, New York, NY, USA
V Bienal de Sao Paulo, Sao Paulo Museum of Modern Art, Sao Paulo, Brazil
Sixteen Americans, Museum of Modern Art, New York, NY, USA
Collage International, from Picasso to Present, Contemporary Art Museum, Houston, TX, USA
The 1958 Pittsburgh International Exhibition of Contemporary Painting and Sculpture, Carnegie Institute, Pittsburgh, PA, USA
Beyond Painting: An Exhibition of Collages and Constructions, Alan Gallery, New York, NY, USA
Artists of the New York School: Second Generation. The Jewish Museum, New York, NY, USA
Annual Group Exhibition, Ninth Street Gallery and Stable Gallery, New York, NY, USA
Public & Private Collections
Art Gallery of New South Wales, Sydney
National Gallery of Australia, Canberra
Albertina, Vienna
MUMOK | Museum Moderner Kunst Stiftung Ludwig Wien, Vienna
Vancouver Art Gallery, Vancouver
Museo Botero, Bogotá
ARoS Aarhus Kunstmuseum, Aarhus
Faurschou Foundation, Copenhagen
Louisiana Museum of Modern Art, Humlebaek
Museum of Contemporary Art Kiasma, Finnish National Gallery, Helsinki
Kunstsammlung Nordrhein-Westfalen, Düsseldorf
Ludwig Forum, Aachen
Museum Folkwang, Essen
Museum Frieder Burda, Baden-Baden
MMK | Museum für Moderne Kunst, Frankfurt
Museum Ludwig, Cologne
Staatsgalerie Stuttgart, Stuttgart
ZKM | Museum für Neue Kunst, Karlsruhe
Ludwig Museum, Budapest
IMMA | Irish Museum of Modern Art, Dublin
Israel Museum, Jerusalem
Hiroshima City Museum of Contemporary Art, Hiroshima
Kawamura Memorial DIC Museum of Art, Sakura
National Museum of Modern Art, Tokyo
Ōtsuka Museum of Art, Naruto
Setagaya Art Museum, Tokyo
National Visual Arts Gallery, Kuala Lumpur
Stedelijk Museum, Amsterdam
Auckland Art Gallery Toi o Tāmaki, Auckland
Museu Serralves, Porto
Quetzal Art Centre, Quinta do Quetzal, Vidigueira
Art Sonje Center, Seoul
Guggenheim Bilbao, Bilbao
IVAM | Institut Valencià d'Art Modern, Valencia
MACBA | Museu d'Art Contemporani de Barcelona, Barcelona
Thyssen-Bornemisza Museo Nacional, Madrid
Moderna Museet, Stockholm
Kunsthaus Zürich, Zürich
Kunstmuseum Basel, Basel
Tate Modern, London
Art Institute of Chicago, Chicago, IL
Baltimore Museum of Art, Baltimore, MD
Birmingham Museum of Art, Birmingham, AL
Albright-Knox Art Gallery, Buffalo, NY
Bruce Museum, Greenwich, CT
Butler Institute of American Art, Youngstown, OH
Castellani Art Museum, Niagara University, Niagara, NY
Cheekwood Collection, Nashville, TN
Chrysler Museum of Art, Norfolk, VA
Cincinnati Art Museum, Cincinnati, OH
Cleveland Museum of Art, Cleveland, OH
Colby College Museum of Art, Waterville, ME
Corning Museum of Glass, Corning, NY
Cranbrook Art Museum, Bloomfield Hills, MI
Crystal Bridges Museum of American Art, Bentonville, AR
Dallas Museum of Art, Dallas, TX
Des Moines Art Center, Des Moines, IA
Detroit Institute of Arts, Detroit, MI
Fred Jones Jr. Museum of Art, University of Oklahoma, Norman, OK
Glenstone, Potomac, MD
Guild Hall of East Hampton, East Hampton, NY
High Museum of Art, Atlanta, GA
Hunter Museum of American Art, Chattanooga, TN
Huntington Library, Art Collections, and Botanical Gardens, San Marino, CA
Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY
Kemper Art Museum, St. Louis, MO
Kemper Museum of Contemporary Art, Kansas City, MO
LACMA | Los Angeles County Museum of Art, Los Angeles, CA
McNay Art Museum, San Antonio, TX
The Metropolitan Museum of Art, New York, NY
Minneapolis Institute of Art, Minneapolis, MN
Modern Art Museum of Fort Worth, Fort Worth, TX
Morris Museum Of Art, Augusta, GA
Museum of Contemporary Art Chicago, Chicago, IL
Museum of Contemporary Art, Los Angeles, CA
Museum of Contemporary Art San Diego, San Diego, CA
Museum of Fine Arts, Boston, MA
Museum of Fine Arts, Houston, TX
MoMA | The Museum of Modern Art, New York, NY
Nasher Museum of Art at Duke University, Durham, NC
Nassau County Museum of Art, Roslyn Harbor, NY
Nelson-Atkins Museum of Art, Kansas City, MO
New Orleans Museum of Art, New Orleans, LA
North Carolina Museum of Art, Raleigh, NC
Norton Simon Museum, Pasadena, CA
Orange County Museum of Art, Santa Ana, CA
Orlando Museum of Art, Orlando, FL
Parrish Art Museum, Water Mill, NY
Pérez Art Museum Miami, Miami, FL
Philadelphia Museum of Art, Philadelphia, PA
Polk Museum of Art, Florida Southern College, Lakeland, FL
Portland Art Museum, Portland, OR
Ringling Museum, Sarasota, FL
Rose Art Museum, Brandeis University, Waltham, MA
SFMOMA | San Francisco Museum of Modern Art, San Francisco, CA
Seattle Art Museum, Seattle, WA
Solomon R. Guggenheim Museum, New York, NY
Speed Art Museum, Louisville, KY
Telfair Museums, Jepson Center, Savannah, GA
Bradbury Art Museum, Jonesboro, AR
The Menil Collection, Houston, TX
Toledo Museum of Art, Toledo, OH
Wadsworth Atheneum Museum of Art, Hartford, CT
Walker Art Center, Minneapolis, MN
Weatherspoon Art Museum, University of North Carolina, Greensboro, NC
Whitney Museum of American Art, New York, NY
Wichita Art Museum, Wichita, KS
Yale University Art Gallery, New Haven, CT

redpajama_set_name: RedPajamaCommonCrawl


text:
Talent Acquisition and Management
What can be the People Strategy for Green Energy Organisations?
Reports have said that renewable energy production is set to increase by nearly 150 percent by 2050 and this clean energy transition could generate more than 10 million new jobs worldwide by 2030.
(From L-R) Dillip Kumar Patel, Director - HR, NTPC; Ayush Gupta, Director - HR, GAIL; Nishith Upadhyaya, Senior Director - Knowledge & Advisory Services, SHRM India
The Public Sector is one of the most demanded industries which is not only client centric but also people centric. With times changing, and demand for talent increasing, the Public Sector is also changing the way talent management operations work.
Companies are sensitising and modernising their techniques, planning activities to hire more talent and are also launching initiatives for the wellbeing of employees. The focus is shifting to bring more innovations in the HR domain so that they can concentrate on people-strategy to build great workplaces and hire the best of talent.
Now with this advancement in different sectors across, there is a possibility of a huge demand in the areas like energy or green energy. Reports say that renewable energy production is set to increase by nearly 150 percent by 2050 and this clean energy transition could generate more than 10 million new jobs worldwide by 2030.
Currently, being one of the market leaders in this area, NTPC (National Thermal Power Corporation) and GAIL (Gas Authority of India Ltd) highlighted how this can be possible.
In a session recently hosted in New Delhi by SHRM, and moderated by Nishith Upadhyaya, Senior Director - Knowledge & Advisory Services, SHRM India, Dillip Kumar Patel, Director - HR, NTPC and Ayush Gupta, Director - HR, GAIL, answered questions about how PSE (public sector enterprises) energy giants are preparing for this huge transition and what strategic opportunities and challenges are they faced with when it comes to people.
Patel of NTPC highlighted that it is a challenge to attract talent in the green energy area because not a sufficient number of manpower are available in the market.
"We are trying to get manpower with what we have already. During the past six or eight months, we did get specialists in some of the areas. So, it is a level playing field for us to compete with," Patel said.
He further mentioned that in countries like the US too, getting people in the energy sector is a task for companies.
Keeping all of this in mind, Patel said that NTPC will rescale its operations to multiple cities, and that India is definitely going to lead the renewable sector, because it has a good market segment.
He further shared that currently China and India are leading the transition towards renewables in so-called absolute crumbled concern.
"I'm 100 percent sure, we'll be getting the required skills competency, and HR has to play a very lead role in this," Patel added.
Giving a similar point of view, even Gupta of GAIL said, "India is a sort of storehouse of talent, and we are the one who are supplying the talent in all the fields to the world across the globe. So, there is no dearth of talent within the country. I'm very, very optimistic and very confident about it."
Gupta also mentioned, "Whether we call it fossil fuels or renewable energy, the fundamentals of education remain the same."
"The same electrical engineer is going to work in a hydroelectric power plant or in a solar energy plant or wind energy plant. They are taught all the basics, and the fundamentals of solar, wind, hydro, thermal have been taught for the last 20-25 years. So, things are not changing in terms of the fundamentals of the engineering concepts," he said.
Gupta further said, "What we do, as a nation or as an organisation, is to align these talents or the talent pool which is already existing within our own company or in the open market to the renewed goals and objectives."
He opined that as of now the challenge is more how to attract people to core jobs, how to stop the core engineering people from going to the core manufacturing or power generation jobs or to the service sector.
Gupta believes that rather than spotting the talent, one needs to see how their careers can be aligned or how the talents can be put to the right job, so as to extract the maximum talent.
Clearly, the energy sector is set to face a couple of challenges in the coming years, as a major transition is expected to happen. Therefore, with this, it will become essential for HR Leaders to focus on bringing the right set of talent, and aligning them to the right jobs. Also, a major focus should also be there on how challenges such as the lack of skills, the lack of women in the industry can be acknowledged and adequately addressed.
Is it better to call moonlighting an extra job affair?
Symbolically, drawing a comparison, an employer giving consent to moonlighting is similar to telling one's girlfriend or boyfriend, "I trust you. Now go ahead and have another affair."
green energy sector
dillip kumar patel
ayush gupta


text:
Q: Two column nomenclature I want to achieve this for my nomenclature, making it two column with title on top of the columns and not part of the first one. I also want to keep my nomenclature's name changed to Appendix which I do with  \renewcommand{\nomname}{Acronyms}.
Can anyone help me "port" the code in this post to my needs?

A: From \nomname I guess you're using the nomencl package.
Then
\usepackage{multicol}
\makeatletter
\@ifundefined{chapter}
  {\def\wilh@nomsection{section}}
  {\def\wilh@nomsection{chapter}}

\def\thenomenclature{%
  \begin{multicols}{2}[%
    \csname\wilh@nomsection\endcsname*{\nomname}
    \if@intoc\addcontentsline{toc}{\wilh@nomsection}{\nomname}\fi
    \nompreamble]
  \list{}{%
    \labelwidth\nom@tempdim
    \leftmargin\labelwidth
    \advance\leftmargin\labelsep
    \itemsep\nomitemsep
    \let\makelabel\nomlabel}%
}
\def\endthenomenclature{%
  \endlist
  \end{multicols}
  \nompostamble}
\makeatother

should do.
Complete example (with mock nomenclature entries)
\documentclass{book}
\usepackage[intoc]{nomencl}
\makenomenclature
\usepackage{multicol}
\makeatletter
\@ifundefined{chapter}
  {\def\wilh@nomsection{section}}
  {\def\wilh@nomsection{chapter}}

\def\thenomenclature{%
  \begin{multicols}{2}[%
    \csname\wilh@nomsection\endcsname*{\nomname}
    \if@intoc\addcontentsline{toc}{\wilh@nomsection}{\nomname}\fi
    \nompreamble]
  \list{}{%
    \labelwidth\nom@tempdim
    \leftmargin\labelwidth
    \advance\leftmargin\labelsep
    \itemsep\nomitemsep
    \let\makelabel\nomlabel}%
}
\def\endthenomenclature{%
  \endlist
  \end{multicols}
  \nompostamble}
\makeatother

\begin{document}

\frontmatter
\tableofcontents

\mainmatter
\chapter{X}

\newcount\pippo
\def\mocknom{\expandafter\nomenclature\expandafter{\romannumeral\pippo}{X}}

abc

\loop\ifnum\pippo<200
\advance\pippo1
\mocknom
\repeat

\printnomenclature
\end{document}

redpajama_set_name: RedPajamaStackExchange


Add luxury to your bedroom with the Super Queen Arlington Velvet Duvet. This velvet duvet comes solid aqua mist velvet with button closure for classic style.
Ships from the manufacturer. Allow 1 to 2 weeks. For more options, we ask you to take a moment to check out our thorough range of beach bedding at Bella Coastal Decor today.


LEFTY Tokai Breezysound TL type, aprox 1984.
All the features of a `60s Tele, but single ply black pickguard with only 5 screws, `52 style.
Guitar is in great shape for age, only some minor signs of player wear, minor nicks etc.
Hardware all original, inc inc single line "deluxe" tuners & six saddle "Tokai" stamped bridge with no sides. M.I.J. stamped pots , wiring looks untouched, safe to presume pickups are original.
Strap button was added on the lower horn at some time, presumably to be strung righty.. they just can't leave lefty guitars alone, can they!??!Nut has been replaced I'd say when returned to lefty.
Comes with no name gigbag .


The University of Wisconsin Law School has a rich tradition of prolific, high-impact faculty scholarship. UW Law faculty are leaders in a wide range of disciplines, from contract law and legal history to administrative law and criminal law. Their body of work has shaped legal thought and influenced the legal profession worldwide.
This collection includes more than 2,500 faculty articles, most in full-text. If a full-text version is not available for download here, contact a UW Law librarian for assistance.


text:
using System;

namespace Emeraldwalk.FileMirror.Core.Infrastructure
{
    public abstract class DisposableBase: IDisposable
    {
        public void Dispose()
        {
            Dispose(true);
            GC.SuppressFinalize(this);
        }

        protected virtual void Dispose(bool disposing) { }
    }
}

redpajama_set_name: RedPajamaGithub


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text:
TalkTalk boss Dido Harding: "Sometimes its OK to admit to your fallibility"
The telco CEO left in 2017 after an embarrassing cyber attack.
by Andrew Saunders
Also in:
First published in September 2016
Photography by Julian Dodd
Like the competitive landscape in which her business operates, the view out of Dido Harding's glass-walled west London office is dominated by a looming presence.
'Know your enemy,' says the TalkTalk CEO, glancing at the jutting obelisk of the BT Tower a couple of miles away, the tallest building on the otherwise low-rise horizon, looking east from the unlovely Shepherd's Bush/Ladbroke Grove borders towards the centre of town.
The symbolism is almost too good to be true - BT is the incumbent dragon at which scrappy upstart telco TalkTalk tilts its lance, vigorously and often. To others the vista might grate, but like the Second World War general she says she wanted to be when she was a kid, Harding likes nothing more than to keep her opponents in plain sight.
With its megabucks splurging on TV rights on the one hand and much-pilloried broadband speeds and service on the other, BT certainly provides a generous underbelly to jab at.
But her latest gripe is as much with the industry regulator as with the FTSE 100 telco itself. Specifically Ofcom's decision to stop short of demerging BT's Openreach broadband business in favour of making it a 'legally separate' entity instead.
'I think there's a real danger that Ofcom is fudging it. It has opted for more regulation rather than going for what would have been a much clearer and simpler world in which Openreach would have been completely separate.
'We're still trying to understand what "legally separate" means. Is it going to be all the same people? Will it be any clearer how much money Openreach makes, and how much of that they invest in broadband and how much they simply hand over to BT to spend on buying football rights?'
Ouch. In a world where the medium and the media are increasingly converging, BT has its own competitive worries - that's why it's buying content like a Premier League manager buys players in the transfer season, but it's at the expense, say critics, of keeping the nation's broadband network fit for purpose.
The unflattering comparisons with Ukraine and Azerbaijan, both nations with more full-fat fibre to the premises connectivity (FTTP), are well known. (By contrast BT's chosen superfast technology is fibre to the cabinet, a semi-skimmed hybrid using fibre optic cables to the BT box at the end of the street, but existing copper wires for the last stretch to the doorstep. Cheaper to install, but neither as fast nor as future proof as fibre all the way.)
Indeed so vocal have Harding and her oppos at Sky and Virgin become on the need to 'Fix Britain's Internet' that the impeccably coiffed and usually genial BT CEO Gavin Patterson has been stung to write to all three complaining of 'Orwellian' tactics, misleading statements and accusing them of 'talking down' Britain.
Justified or otherwise, his intervention is likely to be taken more as a sign that BT is losing ground in the argument than anything else (indeed one of BT's own brokers, JP Morgan Cazenove, has just downgraded its shares to a neutral rating). Besides, says Harding, where is the customer in all this jockeying for position?
'If Openreach were separate, the competitive and moral pressure on it to invest in fibre would be immense. But until you create that distinction, the completely rational incentive for BT is to take the profits from Openreach and use them to compete in its other divisions.'
But even if it is being used as a cash cow, wouldn't splitting Openreach off just be too complicated? 'It's weird that the regulators have convinced themselves that demerging a company is so difficult when BT itself split in half when it sold off O2 (and indeed is in the middle of the £12.5bn union with EE right now).
'I run a demerged company, companies merge and demerge all the time. If BT were given no other option, I think they would find it relatively easy to do.'
It's classic David v Goliath stuff and she does it very well, with all the conviction that an energetic free marketeer can muster for a former state monopolist. Of course, BT bashing has been a national sport in the UK since the days of Busby and vandalised phone boxes, and it certainly makes a handy smokescreen for diverting attention from TalkTalk's own troubles. Not least one of the highest profile and most costly data losses ever suffered by a UK plc.
Just in case it's slipped your mind among all the Brexit hoopla, on Thursday 22 October 2015, the company took the unprecedented step of warning every one of its 4 million customers that their personal data may have been compromised as the result of a 'significant and sustained' cyberattack.
It quickly became apparent that neither Harding nor her fellow board members knew anything like as much as they should have about the state of their data security - not only did they not know exactly what or how much data had been lost, or who had taken it, but there was even confusion over such basic questions as whether the lost details were encrypted.
She is frank, if not entirely contrite, about their failings. 'We thought we were taking it seriously, outside experts were telling us we were taking it seriously. Patently we weren't taking it anything like seriously enough. One thing I think I know more keenly than any other British CEO is that every single one of us is underestimating the importance of cybersecurity.'
The cost of those mistakes has been high - as much as £60m and as many as 100,000 lost customers (many of whom jumped ship to BT). Profits for 2015 halved to £14m and shares lost nearly two-thirds of their value. The bid rumours that used to hang around TalkTalk back in the day are making an unwelcome return.
The attack was, she admits, a nasty surprise. 'I am a physical retailer by trade - if your shop is burgled you don't immediately think, "Is it North Korea? Is it the Mafia?" But with cyber you don't know initially whether you're dealing with a state actor, as they call them, a small-time criminal, an insider. I was thinking - none of my training has prepared me for this, I haven't got the pattern recognition to deal with it. You open up all these possibilities and you really feel like you are living in an episode of Spooks.'
All of which makes her decision to go very public, very quickly look straight out of the chapter in the crisis management handbook that no one wants to find themselves reading - the one headed 'Career suicide'.
Hear more from Dido Harding about life at the helm of a top telco at MT's Inspiring Women In Business conference
The advice of comms professionals in these situations is to stall and wait until you can be more certain - don't offer a hostage to fortune by admitting that you're in the dark too. Nevertheless, there she was on BBC Radio 4's Today programme the morning after the announcement, facing a John Humphrys grilling equipped only with answers that amounted to 'I don't know'.
Why did she do it? 'It wasn't a comfortable thing to do, but I am not paid to do comfortable things. We went into it knowing that customers would expect to be informed, and it rapidly became clear to me that it could take the experts some time to establish what had actually happened. We had to go public quickly.'
Harding faced a storm of ferocious criticism as a result, including demands for her resignation. She's even been called 'ignorant' and 'naive', surely the worst of insults for a chief exec who earned her spurs in the rough and tumble retail world where nous is highly prized.
'You have to have a thick skin if you think what you are doing is right,' she shrugs. 'If being open and honest with my customers is naive then it's fine with me. CEOs who hide behind that all-seeing, all-knowing veneer are playing a game anyway, it's not real. I am quite happy to be seen for who I am.'
A series of hastily prepared straight-to-camera videos seemed to compound the error, showing a hard-pressed Harding apparently fighting for her commercial life. 'They have been rather unkindly described as the hostage videos - I really don't look my best, and they do look as though I was being held prisoner in a DIY store.'
But in the end, she says, many customers appreciated what she was doing. 'The received wisdom is never to say you don't know, but actually normal people know that sometimes you really don't know. There were lots of opinion formers saying it was the wrong thing to do but I had a very large number of customers emailing me directly saying "Thank you and keep it up".
'I'm still here, living proof that sometimes it's OK to admit to your fallibility.'
A relatively young business - TalkTalk grew in the noughties out of a series of acquisitions including AOL's UK business, Tiscali and One.Tel, and split from Carphone Warehouse in 2010 - the crisis also provided a 'do or die' moment for the TalkTalk team to prove itself.
'When I got here six and a half years ago, no one said they worked for TalkTalk, they were all ex-something - ex-Tiscali, ex-AOL, ex-One.Tel. Now people are proud to work for TalkTalk - it's a roller-coaster existence, but I am intensely proud of that.'
She also had great support from her fellow directors during the cyberattack, especially chairman (and founder of both TalkTalk and Carphone Warehouse) Charles Dunstone. 'The board were amazing. Charles is a hands-on, roll your sleeves up kind of chairman and he was in here most of the time, he even brought his dog in one Saturday - a black lab called Nancy who was delighted because there were boxes of half-eaten pizzas everywhere. It was just what the team needed, something to cheer them up. The next weekend he went to Five Guys and came back loaded with burgers.'
How did she deal with the pressure? 'I come from quite a military family. My grandfather was the only territorial ever to have gone on to lead the British Army.' Field Marshal Harding was Chief of the Imperial General Staff in the 1950s.
'He had lost a few fingers and had shrapnel in his leg, he was about 90 and he used to say to me and my brothers that you can't be brave unless you're afraid. So it's deeply ingrained in me that courage is a necessary part of being a leader, that the right thing to do is to name your fears and face them.'
Riding racehorses must also have taught her a thing or two about fear and commitment (she owns the 1998 Cheltenham Gold Cup Winner Cool Dawn and was a keen amateur jockey for many years until her husband and fellow directors persuaded her it was too risky to carry on). 'I am intensely competitive and I love the chase. Horses know when you are scared and they lose confidence, so calmness under pressure is what gets you through.'
Diminutive, puckish and animated, she doesn't look like someone who's just survived the business equivalent of a near-death- experience. Go on, admit it - you enjoyed yourself, I say. 'The danger is that it's like a wine memory, you only recall the good bits and it matures with age. I sound like I was enjoying it now, but I've never been so scared in a business context as I was that first week. Really properly terrified.'
Now the adrenaline rush has died down and it's time to take stock. Revenues for the first quarter of its 2017 financial year are steady and while it lost 9,000 broadband and 23,000 TV customers year on year, it has also gained 48,000 mobile subscribers. 'On-net churn' - a measure of those who stopped subscribing altogether - has fallen a little, from 1.5% to 1.36%.
Her pay package has also proven robust - she took home a hefty £2.8m last year, although the majority of that was a payout from a maturing LTIP. She donated her £220,000 bonus to charity.
So despite the ignominious conclusions to the hacking saga - it turned out that 'only' 157,000 sets of details were lost, and the half a dozen spotty teenagers who were arrested in the end are nobody's idea of international masterspies - perhaps things could have been worse.
So it's time to get back to business as usual. That means a return to snapping, terrier-like, at the heels of much larger rivals - Sky, Virgin and BT of course. All of them with much deeper pockets - BT's annual revenues of almost £18bn are 10 times greater than TalkTalk's.
Isn't the truth that the company is stuck in the tricky middle ground - too small to be big and too big to be small? 'There are four big players in the market and we are one of them - 18 or 19% of UK households take a TalkTalk service. That's not a subscale business.
'We are more focused - take out the international elements of Sky and Liberty (Virgin Media's parent company) and we don't look so much smaller. We're also a value for money business - people spend less per month with us and we think that's a positive thing, it's what we're here for.
'We just have to do things smarter. You have to out-think your competition because they can always outspend you: the only reason TalkTalk is here in the first place is because a bunch of people who were not telecoms engineers worked out how to build a network at a price that meant we could undercut the market. If they'd had all the money in the world they'd probably never have thought of it.'
Take the superfast FTTP broadband network it is building in York, for example. It's a neat example of the never-say-die Harding approach: Openreach won't build a good enough network and Ofcom won't force them to, so we're jolly well going to try and do it ourselves.
'I've not got the balance sheet to roll out FTTP everywhere on my own, so I'll find a way of doing it that involves bringing other people in to help finance it.'
Building another broadband network from scratch when there is already one (or two depending on where you live) up and running may not be as daft as it sounds. In a world of quantitative easing and zero or negative interest rates, there is capital looking for good infrastructure investments to provide returns.
'It's not sexy software engineering, it's blokes - and it is mostly blokes sadly - digging holes, and doing it more efficiently and with less disruption, and therefore more cheaply. Our key target for York was to build it for less than £500 per house passed. Everyone laughed - BT were quoting £1,000 - but we're already under £500 and the cost is only going down.'
Talking of blokes on construction gangs, what about women in the boardroom - or rather the persistent lack of them? Having started her career in the high-octane world of McKinsey before climbing the retail ladder at Kingfisher, Tesco and Sainsbury's, she admits that her views on this have shifted.
'If you had asked me 10 years ago, I would have got all grumpy and said, "I'm a businessperson, it doesn't matter whether I am a woman." But now I have become more resigned to the fact that my generation are the ones who are going to have to do something about it.'
But she is not sure that signing up female non-executive directors as a 'quick fix' for boardroom gender balance is the right way to go about it. 'That's really dangerous, we're creating a dual career route for women, which means that a lot of female talent is lost to the executive stream.'
The problem, she says is that once you're on the NED circuit, it's very hard to get off. 'It's almost impossible to cross back again because you're not operational any more.' Instead companies should be trying to bring more women onto the Exco at a younger age. 'Last time I got a group of ambitious TalkTalk women together they said, "We don't want to talk about NEDs, we want to know how to get your job."'
The mother of two daughters, aged nine and 10, Baroness Harding (she's been a Tory peer since 2014) has equally trenchant views on parental leave. 'I like the Scandinavian way - I would have completely equal parental leave for men and women. But I am probably too right wing, I think there is too much leave, so I would have less. If you're out of the workforce for a year you are really a member of the long-term unemployed, with all the problems that brings with it.
'Look at the very senior women who run companies, I don't think any of us have taken that much leave. It's not because we are crazy loons but because we know we have to stay in the swim. I feel out of touch after a week on holiday, never mind a year's maternity leave.'
That holiday ended the day before we meet, and was spent in the Bahamas with her daughters and her husband John Penrose, MP for Weston-super-Mare and a keen saltwater fly fisherman. 'The thing about the Bahamas,' she says, clearly the veteran of many an angling vacation past, 'is that there is more to do for those of us who don't want to fish.'
She's no fan of the digital detox however. 'Oh, I work on holiday, but I certainly don't feel oppressed by it. I just don't see the boundary - I am just as likely to have the kids in the office on a Friday before we go down to Somerset (where the family home is). They are a good moderating influence, they'll say when we get home, "Mummy will you put the phone down now, please?" But the only person oppressing me, is me.'
The truth is that unlike those giant rivals neither she, nor the company she runs, is naturally very corporate. She likes that there are only 2,500 or so employees - 'you can put your arms round that'. She likes it when one of the men on her team says he's leaving early to pick up the kids - 'it's a better world where a man can admit that and no one bats an eyelid'. And she also likes that TalkTalk scores 'off the charts' on the employee survey question which says 'I can be myself at work'.
'It's much more fun being the underdog in a market where there are great big titans who we keep honest.' Ah, we're back where we started - all roads lead here eventually.
'BT is very fond of saying that we don't invest much compared to what they do: well BT invests more because we are here, if we weren't then their prices would be higher and they would invest even less. In a way we're here to be irritating, and I'm proud that the irritating challenger is still here.'
THREE CHALLENGES FACING HARDING
To convince potential customers that TalkTalk's cybersecurity is now really up to scratch
To get the share price back up to 320p,where it was a year ago
To have another winner at her favourite racecourse, Cheltenham
HARDING IN A MINUTE
1967: Born in Germany; educated at St Antony's Leweston, Dorset, University of Oxford and Harvard Business School
1988: Joins McKinsey as a consultant
1995: Marketing director, Thomas Cook Group
1998: Joins Kingfisher Group
2001: Joins Tesco, becoming commercial director of added-value foods, then international support director
2008: Joins Sainsbury's operating board as convenience director
2010: CEO at the newly de-merged TalkTalk Telecom Group PLC
Oct 2015: Warns 4 million customers that their data may have been hacked
June 2016: Donates £220,000 bonus to charity
The MT Interview
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