text:
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text:
"Smith, David, 1906-1965"
Sorted by Relevancy
371 documents - page 1 of 19
David Smith to Sheila Hori.
Smith, David, 1906-1965 Search this
Hori, Sheila Search this
1956 Mar. 12
(DSI-AAA)6324
See more items in:
Exhibition Momentum records, 1948-1964
Data Source:
EDAN-URL:
edanmdm:AAADCD_item_6324
David Smith letter to Elizabeth McCausland
McCausland, Elizabeth, 1899-1965 Search this
Smith, David Search this
Sculpture Search this
(DSI-AAA)16578
Elizabeth McCausland papers, 1838-1995, bulk 1920-1960
edanmdm:AAADCD_item_16578
Additional Online Media:
Letter from Samuel Wagstaff to David Smith with reply from David Smith
Wagstaff, Samuel J., 1921-1987 Search this
Boston City Hall Search this
Museum administration Search this
Samuel Wagstaff papers, 1932-1985
Stanley Twardowicz papers
Twardowicz, Stanley, 1917- Search this
Contemporary Arts (Gallery) Search this
John Simon Guggenheim Memorial Foundation Search this
Museum of Modern Art (New York, N.Y.) Search this
Ohio State Fair Search this
Whitney Museum of American Art Search this
Dodson, Lillian Search this
Kerouac, Jack, 1922-1969 Search this
Lichtenstein, Dorothy Search this
Lichtenstein, Roy, 1923-1997 -- Photographs Search this
Nicosi, Gerald Search this
Olitski, Jules, 1922-2007 Search this
Parker, Raymond, 1922- -- Photographs Search this
Smith, David, 1906-1965 -- Photographs Search this
Verzyl, Kim Greer Search this
1.1 Linear Feet
Collection descriptions
The papers of painter and photographer Stanley Twardowicz measure 1.1 linear feet and date from 1942-2009, with the bulk of the papers dating from 1942-1981. The papers contain biographical material, scrapbooks, letters, printed material, photographs, and audio and video recordings regarding the career of Stanley Twardowicz as a painter and photographer.
Scope and Content Note:
The papers of painter and photographer Stanley Twardowicz measure 1.1 linear feet and date from 1942-2009, with the bulk of the papers dating from 1942-1981. The papers contain biographical material, scrapbooks, letters, writings, printed material, photographs, and audio and video recordings regarding the career of Stanley Twardowicz as a painter and photographer.
Biographical material consists of various curriculum vitae, a list of exhibitions and awards from 1942-1954, and typed excerpts from reviews of Twardowicz's one-man shows at Contemporary Arts Gallery during 1951.
Writings include an unpublished hand-written 70 page memoir by Twardowicz entitled "A Life with No Tears" covering the artist's early life through 1970, a master's thesis "Stanley Twardowicz, Tracing the Roots of an American Modernist" by Kim Greer Verzyl written in 1978, and a 2008 writing by Gerald Nicoisa which describes his relationship with Twardowicz.
Scrapbooks are two disbound volumes organized by years. They contain the artist's collection of exhibition announcements, catalogs, and lists; press clippings; letters advising of awards and fellowships; and Ohio State Fair ribbons for excellence in fine art.
Printed materials and related items consist of chronological files that retain their original order. Found are printed materials relating to exhibitions, letters, and audio visual materials. Of particular interest is the 1956 letter advising Twardowicz that he has been awarded a John Simon Guggenheim Memorial Foundation Fellowship in creative painting.
Photographs include pictures of the artist and ones taken by Twardowicz. Twardowicz's photographs are of Roy Lichtenstein, David Smith, Jules Olitski, Roy Parker, Mike Kanemitsu, Betty Parsons, Lillian Dodson (the artist's wife), and Jack Kerouac. There also is a photograph by Dorothy Lichtenstein of Twardowicz, Parker, Dodson and Roy Lichtenstein and casual snapshots of the artist and friends and family.
The collection is arranged as 5 series:
Series 1: Biographical Material, 1951-2008 (Box 1; 1 folder)
Series 2: Writings, 1951-2008 (Box 1; 0.1 linear ft.)
Series 3: Scrapbooks, 1942-1951 (Box 1; 0.25 linear ft.)
Series 4: Printed Material and Related Items, 1946-2009 (Box 1; 0V 2; 0.6 linear ft.)
Series 5: Photographs, circa 1960-1979 (Box 1; 3 folders)
Biographical Note:
Stanley Twardowicz (1917-2008) was a painter, photographer and teacher. He is associated with the 1950's Abstract Expressionists of the Cedar Tavern in Greenwich Village, New York and with Beat Generation poet Jack Kerouac.
Twardowicz was born Stanley Jon Leginsky in July, 1917, but took his godfather's surname at age 20 when he married. After working at various jobs, in 1940 Twardowicz enrolled in Detroit's Meinzinger's Art School.
In 1946 Twardowicz was awarded a scholarship to the Skowhegan School of Painting and Sculpture in Maine, his first exposure to a creative arts community. There he met Yasuo Kuniyoshi, Jack Levine and Philip Guston. Through his associations at Skowhegan, Twardowicz obtained a teaching position at Ohio State University. He taught there until 1951, becoming friends with fellow instructor, Roy Lichtenstein. Twardowicz married (Ruth) Ann Mandel in 1949 and they lived in an artists' community near Guadalajara, Mexico. Twardowicz then travelled in Europe, his work edging towards an expressionist technique and mood. By 1953 Twardowicz painted in a fully abstract manner.
Upon his return to the States, Twardowicz frequented the Cedar Tavern in Greenwich Village, New York, where he met and was deeply influenced by Abstract Expressionists such as Willem de Kooning, Franz Kline and Jackson Pollock. During this time he had one-man shows and participated in group shows at the Whitney Museum of American Art, the Art Institute of Chicago, the Solomon R. Guggenheim Museum, and the Pennsylvania Academy of Fine Arts. He was represented in the Museum of Modern Art's travelling exhibition "Young American Painters."
In 1956 Twardowicz received a Guggenheim Fellowship in creative painting and moved to Northport, Long Island, where he befriended area artists Jules Olitski and George Grosz. Between 1958 and 1970 the Peridot Gallery in New York presented annual one-man shows of Twardowicz's work. Twardowicz also participated in numerous major group shows at institutions such as the Whitney Museum of American Art.
Twardowicz began his long teaching career at Hofstra University in 1964, where he met his third wife, Lillian Dodson, a fellow artist. Twardowicz's career as a photographer also prospered. Edward Streichen, then Director of Photography at the Museum of Modern Art, selected six of Twardowicz's photographs for the Museum's permanent collection. In June, 1967 Tardowicz took photographs of Jack Kerouac in his Lowell, Massachusetts home, which became the subject of an art book portfolio called Stashou and Yasho.
During the 1990's there was renewed interest in Twardowicz's work with a show at Mitchell Algus' Gallery in Soho, New York City. In 2001, the Phoenix Art Museum celebrated Twardowicz's contributions as a Color Field painter with a retrospective exhibition "Moving Color."
Twardowicz died on June 12, 2008 in Northport, Long Island.
The papers were donated to the Archives of American Art in 2010 by Lillian Dodson, widow of Stanley Twardowicz.
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
The Stanley Twardowicz papers are owned by the Archives of American Art, Smithsonian Institution. The donor, Lillian Dodson, has retained copyright to materials created by Twardowicz. Archives of American Art has been given a non-exclusive license to reproduce and display. The collection is subject to all copyright laws.
Photographers -- New York (State) Search this
Painters -- New York (State) Search this
Stanley Twardowicz papers, 1942-2009, bulk 1942-1981. Archives of American Art, Smithsonian Institution.
AAA.twarstan
Archival Repository:
ead_collection:sova-aaa-twarstan
Otto and Ilse Gerson papers
Gerson, Otto Search this
Gerson, Ilse, 1901-1980 Search this
Fine Arts Associates Search this
Galerie Dina Vierny Search this
Marlborough-Gerson Gallery Search this
Otto Gerson Gallery (New York, N.Y.) Search this
Lipchitz, Jacques, 1891-1973 Search this
Marcks, Gerhard Search this
Turner, J. M. W. (Joseph Mallord William), 1775-1851 Search this
Valentin, Curt, 1902-1954 Search this
Wotruba, Fritz, 1907-1975 Search this
3 Linear feet
The papers of New York art dealers and gallery owners Otto and Ilse Gerson measure 3 linear feet and date from 1933 to 1980. This collection includes biographical materials, correspondence, exhibition files, artists' files, collectors' files, business records, inventory and stock records, printed materials, and photographs.
Scope and Contents:
Biographical material consists of Otto and Ilse Gerson's naturalization certificates and Ilse Gerson's will.
Correspondence includes a mixture of personal and professional letters. There are a few scattered letters between Otto and Ilse Gerson as well as correspondence with clients, museums, dealers, and artists. Notable correspondents include art dealer Curt Valentin and the artist Gerhard Marcks. There is also correspondence with the Dina Vierny Gallery in Paris, France.
There is a small number of files on the Joseph Mallord William Turner exhibition at Gerson Gallery in 1960 which include correspondence, loan forms, and printed material.
Artists' files contain correspondence, estimates, inventories, sales records, and printed material for art work by five different artists such as Jacques Lipchitz, David Smith, and Fritz Wotruba.
Collectors' files include correspondence, invoices, photographs, and other material related to purchases by various art collectors.
Business records consist of purchase and sales records, audit reports, balance sheets, certificates of authenticity, a sales ledger, and legal documents regarding the business conducted by Fine Arts Associates and Otto Gerson Gallery, and legal agreements and contracts related to the Marlborough-Gerson Gallery merger.
Inventory and stock records include assorted art inventories, a stock book, and stock cards for artists.
Printed material includes a few Gerson Gallery exhibition catalogs and clippings of exhibition reviews.
Photographs consists of a few snapshots of Otto and Ilse Gerson and images of gallery installations.
The collection is arranged as 9 series.
Series 1: Biographical Material, 1933-1973 (0.1 linear feet; Box 1)
Series 2: Correspondence, 1937-1980 (0.5 linear feet; Box 1)
Series 3: Turner Exhibition Files, 1960-1961 (0.1 linear feet; Box 1)
Series 4: Artists' Files, 1950-1966 (0.3 linear feet; Boxes 1-2)
Series 5: Collectors' Files, 1956-1966 (0.3 linear feet; Box 2)
Series 6: Business Records, circa 1945-1964 (0.3 linear feet; Box 2)
Series 7: Inventory and Stock Records, 1946-1965 (1.3 linear feet; Boxes 2-3)
Series 8: Printed Material, 1951-1962 (0.1 linear feet; Box 3)
Series 9: Photographs, circa 1945-circa 1960 (2 folders; Box 3)
Biographical / Historical:
Otto Gerson was born in Germany and immigrated to the United States, where he met and married Ilse Goehler in 1939. They both became U.S. citizens and together they rose to prominence as art dealers in New York City, circa 1940-1962, bringing works by noted post-war European (and some American) artists to the American market.
The Gersons also owned and operated galleries in New York, including Fine Arts Associates and Gerson Gallery. The Gerson Gallery was located at 41 East 57th Street in New York City and later merged with another gallery to form the Marlborough-Gerson Gallery around 1963, shortly after Otto Gerson's death.
The Otto and Ilse Gerson papers were donated to the Archives of American Art in 1984 by Indian Head Bank North on behalf of Otto and Ilse Gerson.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
The Otto and Ilse Gerson papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Art galleries, Commercial -- New York (State) -- New York Search this
Art galleries, Commercial -- France -- Paris Search this
Art -- Collectors and collecting Search this
Gallery owners Search this
Art dealers Search this
Art, Modern -- 20th century Search this
Otto and Ilse Gerson papers, 1933-1980. Archives of American Art, Smithsonian Institution.
AAA.gersotto
ead_collection:sova-aaa-gersotto
David Smith interview, 1964 Oct. 25
Horosko, Marian Search this
Interviews Search this
Sculptors Search this
Sculpture, American Search this
(DSI-AAA_CollID)10478
(DSI-AAA_SIRISBib)213890
AAA_collcode_smitdavi
edanmdm:AAADCD_coll_213890
David Smith conversation with Emanuel Navaretta
Navaretta, Emanuel, 1914-1977 Search this
not after 1965
Audio recordings, circa 1960-1974
Thomas Hess papers
Hess, Thomas B. Search this
Mark Rothko Foundation Search this
Bess, Forrest, 1911-1977 Search this
Campbell, Lawrence Search this
De Kooning, Elaine Search this
De Kooning, Willem, 1904- Search this
Frankenthaler, Helen, 1928-2011 Search this
Gottlieb, Adolph, 1903-1974 Search this
Guston, Philip, 1913-1980 Search this
Kline, Franz, 1910-1962 Search this
Milles, Carl, 1875-1955 Search this
Newman, Barnett, 1905-1970 Search this
Noguchi, Isamu, 1904-1988 Search this
Reinhardt, Ad, 1913-1967 Search this
Rivers, Larry, 1925-2002 Search this
Rosenberg, Harold, 1906-1978 Search this
Rothko, Mark, 1903-1970 Search this
Schapiro, Meyer, 1904- Search this
Schuyler, James Search this
Still, Clyfford, 1904-1980 Search this
10 Linear feet
Illustrated letters
Cartoons (humorous images)
The papers of New York editor and art critic Thomas Hess measure 10.0 linear feet and date from 1939 to 1978. The collection includes biographical materials, correspondence, extensive writings and notes, artists and subject files that also include recorded conversations with artists and others, printed materials, photographic materials, and artwork.
Biographical material includes a certificate, architectural plans, investment information, invoices, publisher and loan agreements, will for Paul Stamm, and resumes. Correspondence is with members of Hess' family including his wife and children, Philip Guston, Meyer Schapiro, David Smith, James Schuyler, Forrest Bess, Elaine de Kooning, Barnett Newman, Larry Rivers, Clyfford Still, Ad Reinhardt, and others.
Writings and notes consist of manuscripts and drafts by Hess for Art News, Le Monde, Vogue, New York magazine, and other publications; Hess' senior essay and class notes; notes on Ingres, Italian artists, and travels abroad; notebooks on art and literature; and scattered writings by others.
Artists and subject files contain primarily photographs of artwork, artists, and colleaguesare mostly photographs of artwork, artists, and colleagues. Some of the files also contain printed materials, writings, notes, and other documentation. The file on Willem de Kooning includes a sound recording of a conversation between Hess, de Kooning, and Harold Rosenberg. There are also significant files on Elaine de Kooning, Helen Frankenthaler, Adolph Gottlieb, Franz Kline, Carl Milles, Barnett Newman, Isamu Noguchi, Ad Reinhardt, Mark Rothko and the Mark Rothko Foundation Inc.
Printed materials include brochures and flyers, clippings, magazines and newspapers, press releases, travel memorabilia, and a printed scarf. Photographs are of of Hess, his wife Audrey, other family members, works of art, travel, Larry Rivers and Ad Reinhardt, and other artists and colleagues. Artwork includes drawings, paintings, collages, cartoons, and holiday cards made by Hess and his children, along with artwork by others including Audrey and Lawrence Campbell, Ad Reinhardt, and unidentified artists.
Series 1: Biographical Materials, 1945-1977 (0.3 linear feet; Box 1, OV 15)
Series 2: Correspondence, circa 1945-1978 (1.0 linear feet; Box 1-2, OV 11)
Series 3: Writings and Notes, circa 1940-1978 (2.5 linear feet; Box 2-5, OV 12)
Series 4: Artists and Subject Files, circa 1946-1978 (4.5 linear feet; Box 5-9, OVs 13, 15-16)
Series 5: Printed Materials, 1943-1978 (0.5 linear feet; Box 9, OV 11)
Series 6: Photographic Materials, 1949-circa 1960s (0.8 linear feet; Box 9-10, OV14)
Series 7: Artwork, 1939-1978 (0.4 linear feet; Box 10, OV 11)
Thomas Hess (1920-1978) was an editor and art critic who worked in New York City. Hess wrote for Art News magazine for most of his career, serving as editorial associate, executive editor, and as managing editor from 1965-1972. .
Hess was born in Rye, New York to Gabriel Lorie Hess, a lawyer, and Helen Baer. He attended school in the United States and Switzerland. He continued his education at Yale University majoring in French art and literature. After graduating, Hess worked for a short period at the Museum of Modern Art under Alfred H. Barr and Dorothy Miller before entering World War II as a pilot. During this time, he married Audrey Hess with whom he eventually had three children, William, Philip, and Anne Helen.
After the war, Hess began working at Art News as an editorial assistant before becoming the magazine's managing editor from 1965 until 1972. Hess also worked as a correspondent for Le Monde and as an art critic for New York magazine.
Hess was a proponent of abstract expressionists, particularly Barnett Newman and Willem de Kooning with whom he was close friends. He wrote several books including Abstract Painting: Background and American Phase (1951), Willem de Kooning (1959), Barnett Newman (1969), and The Art Comics and Satires of Ad Reinhardt (1975).
Hess became the consultative chairman for the Metropolitan Museum of Art's Department of 20th-Century Art a few months before his death from a heart attack in 1978 at the age of 58.
Materials on legacy microfilm reel 5028 related to Barnett Newman are photocopies. The originals are located at the Barnett New Foundation in New York City.
The Thomas Hess papers were donated in multiple increments from 1985 to 1987 by Hess' children, Anne Helen, William, and Philip Hess, except for a file on Barnett Newman donated by Newman's widow, who presumably had borrowed it from Hess. In 2014, additional correspondence, writings, photographs, printed material, and cartoons, including some by Ad Reinhardt, were donated by Elizabeth Wolff, Hess' sister.
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.
The Thomas Hess papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Artists -- Italy Search this
Art critics -- New York (State) -- New York Search this
Editors -- New York (State) -- New York Search this
Thomas Hess papers, 1939-1978. Archives of American Art, Smithsonian Institution.
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund.
AAA.hessthom
ead_collection:sova-aaa-hessthom
Clement Greenberg papers
Greenberg, Clement, 1909-1994 Search this
American Committee for Cultural Freedom Search this
Avedisian, Edward, 1936-2007 Search this
Bannard, Walter Darby, 1934- Search this
Baziotes, Ethel Search this
Bush, Jack, 1909- Search this
Caro, Anthony, 1924- Search this
Connolly, Cyril, 1903-1974 Search this
Davis, Gene, 1920-1985 Search this
Diebenkorn, Richard, 1922-1993 Search this
Dorazio, Piero, 1927- Search this
Dzubas, Friedel, 1915- Search this
Emmerich, André Search this
Feeley, Paul, 1910-1966 Search this
Francis, Sam, 1923-1994 Search this
Fuller, Peter, 1947-1990 Search this
Goodnough, Robert, 1917- Search this
Hofmann, Hans, 1880-1966 Search this
Hosaisson, Philippe Search this
Kainen, Jacob Search this
Krauss, Rosalind E. Search this
Moffett, Kenworth Search this
Motherwell, Robert Search this
Noland, Kenneth, 1924- Search this
O'Faolin, Nuala Search this
Pepper, Beverly Search this
Sander, Ludwig, 1906- Search this
Smith, Kimber, 1922-1981 Search this
Solomon, Deborah Search this
Still, Clyfford, 1904- Search this
Truitt, Anne, 1921-2004 Search this
Waddington, Leslie Search this
Wisenski, Kurt Search this
The papers of art critic, author, and lecturer Clement Greenberg measure 8.6 linear feet and date from 1937 to 1983. The bulk of the collection consists of letters from art critics, artists, family, friends, galleries, and museums. Notable correspondents include Jack Bush, Anthony Caro, Richard Diebenkorn, Friedel Dzubas, Helen Frankenthaler, Adolph Gottlieb, Hans Hofmann, Morris Louis, Robert Motherwell, Charles Pollock, Jules Olitski, David Smith, and Anne Truitt among others. Also found are biograpical materials, personal business and financial records, an etching by Kurt Wisneski, printed materials, and two reports by Greenberg concerning his travels.
The papers of influential New York art critic Clement Greenberg measure 8.6 linear feet and date from 1937 to 1983. The bulk of the papers (7 feet) consists of letters from art critics, artists, family, friends, galleries, and museums, with some letters from Greenberg. Correspondents include Edward Avedisian, Darby Bannard, Ethel Baziotes, Jack Bush, Anthony Caro, Gene Davis, Richard Diebenkorn, Piero Dorazio, Friedel Dzubas, Andre Emmerich, Paul Feeley, Sam Francis, Helen Frankenthaler, Robert Goodnough, Adolf Gottleib, Hans Hofmann, Philippe Hosiasson, Jacob Kainen, Rosalind Krauss, Robert Motherwell, Ken Moffett, Barnett Newman, Kenneth Noland, Jules Olitski, Beverly Pepper, Ludwig Sander, David Smith, Kimber Smith, Clyfford Still, Anne Truitt, and Leslie Waddington.
Biographical materials include a transcript of an interview with Greenberg conducted by Deborah Solomon in 1983. Greenberg's personal business and financial records include correspondence regarding his lectures and seminars, requests for his writings, student queries, documents regarding his television and radio appearances, royalty statements, and receipts for gifts of works of art. Also found within business records are documents relating to Greenberg's testimony at the Mark Rothko Trial in 1974.
Artwork consists of one etching by Kurt Wisenski entitled "Spring." The papers contain very few of Greenberg's writings about art. Found are lists of artists, and reports written by Greenberg on the state of art in Japan and India in 1967, likely related to his membership in the American Committee for Cultural Freedom. Printed material includes scattered clippings concerning art and exhibition announcements.
One series of ACCESS RESTRICTED papers contains documents relating to Greenberg's role as a trustee in the David Smith estate; correspondence between Greenberg with Andre Emmerich and Peter Fuller, Nuala O'Faolain, and the Greenberg family; and some financial materials regarding the sale and loan of Greenberg's art collection.
Series 1: Biographical Information, circa 1950s-1983 (Box 1; 2 folders)
Series 2: Business and Financial Records, 1940-1983 (Box 1; 12 folders)
Series 3: Correspondence, 1937-1983 (Boxes 1-8; 7 linear feet)
Series 4: Artwork, 1973 (Box 8; 1 folder)
Series 5: Writings and Notes, 1967-1983 (Box 8; 3 folders)
Series 6: Printed Material, 1950-1982 (Box 8; 2 folders)
Series 7: Restricted Material, 1963-1983 (Boxes 9-11; 1.2 linear feet)
Clement Greenberg was a highly influential art critic working in New York City from the 1940s through the 1960s. He was an advocate of modern art, particulary the abstract expressionist movement, and one of the first critics to recognize the significance of Jackson Pollock's work.
Greenberg was born in 1909 to Russian immigrants in Bronx, New York. After graduating from Syracuse University in 1930, he married and had a child, David. He settled in New York City while working at the United States Customs Department as an appraiser.
In the late 1930s, Clement Greenberg attended a meeting of the U.S. Works Progress Administration and heard Hans Hofmann speak of avant-garde art. In 1939, he wrote one of his first important critical pieces "Avant-Garde and Kitsch" for the Partisan Review. Greenberg argued that the avant-garde art movement rose out of the need to defend and maintain high art standards against the decline in taste brought about by America's consumerism and capitalist culture.
In 1940, Greenberg joined Partisan Review as an editor. He became art critic for the Nation in 1942, and was associate editor of Commentary from 1945 until 1957. In December 1950, he joined the CIA-fronted American Committee for Cultural Freedom.
Throughout the 1940s through the 1960s Greenberg continued to write and, in his essays and articles, he promoted the work of Abstract Expressionists, among them Jackson Pollock, Willem de Kooning, Hans Hofmann, Barnett Newman, and Clyfford Still. He particularly championed Jackson Pollock. Greenberg wrote several seminal essays that defined his views on art history in the 20th century. "Greenberg on Collage" was one one of his most important.
Greenberg's views on pop art were mixed. He also became less enamored with Abstract Impressionism, particularly the second generation. However, he became very interested in the Color-Field and Hard-Edge painters.
Through the 1960s Greenberg's views informed a younger generation of art critics including Michael Fried and Rosalind E. Krauss. Some writers maintain that Greenberg's views were so well-respected that he had too much of an influence on the world of art. In time, Greenberg's antagonism to Postmodernist theories and other modern art movements caused him to lose much of his credibility among both artists and art critics.
Greenberg died at the age of eighty-five in 1994.
Since his death, letters edited by his widow, Janice Van Horne and a re-evaluation of his writings have helped to restore his reputation within the art world.
The Portland Art Museum holds Clement Greenberg's private art collection as well as a library of exhibition catalogs.
Separated Material:
The Archives of American Art also holds material lent for microfilming (reels N69-91, N70-7, and N737). Most, but not all, of these papers were later donated by Greenberg. Loaned materials not donated at a later date remain with the lender and are not described in the container listing of this finding aid.
Clement Greenberg initally lent material for microfilming in 1968-1969. He donated most of this material with additional papers in several accretions between 1984 to 1991.
Use of original papers requires an appointment. Some of the collection is ACCESS RESTRICTED: documents relating to the estate of David Smith; some correspondence with Peter Fuller, Nuala O'Faolain, and the Greenberg family; and sale and loan agreements. Contact the reference staff for more information about permission to use this portion of the collection.
The Clement Greenberg papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Art criticism -- New York (State) -- New York Search this
Art -- Japan Search this
Art -- India Search this
Modernism (Art) -- New York (State) -- New York Search this
Art -- Economic aspects Search this
The Clement Greenberg papers, 1937-1983. Archives of American Art, Smithsonian Institution.
Funding for the processing of this collection was provided by the Terra Foundation for American Art
AAA.greeclep
ead_collection:sova-aaa-greeclep
Mildred Constantine Papers
Constantine, Mildred Search this
Cleveland Museum of Art Search this
Getty Conservation Institute Search this
Museum of Modern Art (New York, N.Y.) -- Employees Search this
Museum of New Mexico Search this
Ohio State University Search this
Philadelphia Museum of Art Search this
Rhode Island School of Design Search this
Abakanowicz, Magdalena Search this
Albers, Anni Search this
Barr, Alfred Hamilton, 1902- Search this
Barragán, Luis, 1902- Search this
Block, Lou, 1895-1969 Search this
Bourgeois, Louise, 1911-2010 Search this
Buic, Jagoda, 1930- Search this
Burle Marx, Roberto, 1909-1994 Search this
Cohen, Elaine Lustig, 1927- Search this
Coiner, Charles T., 1897- Search this
Corzo, Miguel Angel Search this
D'Harnoncourt, Anne, 1943-2008 Search this
Danto, Arthur Coleman, 1924- Search this
Dehner, Dorothy, 1901-1994 Search this
Fitch, James Marston Search this
Goeritz, Mathias, 1915- Search this
Hart, Allen M., 1925- Search this
Hicks, Sheila, 1934- Search this
Koch, Richard H., d. 2009 Search this
Larsen, Jack Lenor Search this
Lionni, Leo, 1910- Search this
Reeves, Ruth, 1892-1966 Search this
Reuter, Laurel Search this
Roosevelt, Eleanor, 1884-1962 Search this
Shahn, Ben, 1898-1969 -- Photographs Search this
Ten Haeff, Ingeborg, 1915- Search this
Vignelli, Massimo Search this
Weisman, Donald M. Search this
Wilder, Elizabeth, 1908- Search this
Wilke, Ulfert, 1907-1987 Search this
Zeisler, Claire, 1903-1991 Search this
The papers of Mildred Constantine measure 5.3 linear feet and are dated 1945-2009. Subject files, writings, photographs, and a scrapbook provide an overview of her curatorial work in the Architecture and Design department of the Museum of Modern Art, and subsequent activities as an independent curator, and art consultant. Especially well documented is Whole Cloth, a book written with Laurel Reuter that presents an historical overview of how artists have used cloth in their work.
The papers of Mildred Constantine measure 5.3 linear feet and are dated 1945-2008. Subject files, writings, photographs, and a scrapbook provide an overview of her curatorial work in the Architecture and Design department of the Museum of Modern Art, and subsequent activities as an independent curator, and art consultant. Especially well documented is the book Whole Cloth that she wrote with Laurel Reuter.
Correspondence, though mostly business related, often touches on personal matters since many of the artists and art world figures with whom she corresponded were also friends. Correspondents include Miguel Angel Corzo, Arthur C. Danto, Dorothy Dehner, Allen Hart (who sent more than 40 illustrated letters), Elizabeth Wilder and Donald L. Weisman. She also corresponded with many art institutions and organizations, among them the Cleveland Museum of Art, Independent International Design Conference, El Museo del Barrio, Museum of New Mexico, Ohio State University, Philadelphia Museum of Art, and the Estate of David Smith.
Subject files reflect Constantine's activities and interests. A large portion of this series concerns Whole Cloth, a book written with Laurel Reuter that presents an historical look at how artists have used cloth in their work. Correspondence between the two authors, with artists, institutions, and others concerns researching and writing the volume. Also documented are the successes and failures of Constantine's decade long pursuit to publish the book. Other substantive files relate to the Cleveland Museum of Art, Getty Conservation Institute, Sheila Hicks, Jack Lenor Larsen, Rhode Island School of Design, and Soviet Film Posters. Files concerning the University of the Arts' 2003 Commencement include a videocassette.
Writings by Constantine are lecture material and notes. Also found are transcripts of interviews with Constantine and writings by others. Printed material includes newspaper and magazine articles about Constantine and her career. A scrapbook of printed material and photographs documents an exhibition of Latin American posters at the Library of Congress organized by Constantine.
Photographs of people include Mildred Constantine with family, friends, artists and others at public and private events around the world. Notable photographs include: Magdalena Abakanowicz, Anni Albers, Alfred Barr, Luis Barragan, Lou Block, Louise Bourgeois, Jagoda Buic, Elaine Lustig Cohen, Charles Coiner, James Marston Fitch, Mathias Goeritz, Ingeborg Ten Haeff, Ann d'Harnoncourt, Sheila Hicks, Richard Koch, Nancy Koenigsberg, Jack Lenor Larsen, Leo Lionni, Roberto Burle Marx, Ruth Reeves, Laurel Reuter, Eleanor Roosevelt, Ben Shahn, Massimo Vignelli, Ulfert Wilke, and Claire Zeisler. Also, there are photographs of artwork by a wide range of artists.
The Mildred Constantine papers are organized into 8 series.
Series 1: Biographical Material, 1947-1997 (Boxes 1, 6; 0.2 linear feet)
Series 2: Correspondence, 1964-2008 (Boxes 1, 6; 1.0 linear feet)
Series 3: Subject Files, 1964-2008 (Boxes 2-5; 3.3 linear feet)
Series 4: Writings, 1991-2008 (Box 5; 0.2 linear feet)
Series 5: Printed Material, 1961-2006 (Box 5; 0.2 linear feet)
Series 6: Photographs, 1993 (Box 5; 0.3 linear feet)
Series 8: Scrapbook, circa 1940s (Box 6; 0.1 linear feet)
Curator and writer Mildred Constantine (1913-2008) was associated with the Museum of Modern Art's Department of Architecture and Design from 1943 to 1971. She then became an art consultant and independent curator, and wrote on fiber and textiles, decorative arts, photography, caricature and cartoons.
Mildred Constantine (known as "Connie") began her career at College Art Association. Hired as a stenographer in 1930, she soon was promoted to editorial assistant for Parnassus, the forerunner of Art Journal.
Constantine left the College Art Association in 1937 to study at New York University and earned BA and MA degrees. She then continued her education at the National Autonomous University of Mexico. In 1940, Constantine worked in the Office of Inter-American Affairs at the Library of Congress; it was there that she met René d'Harnoncourt.
Influenced by her 1936 travels in Mexico, Constantine's first curatorial effort was an exhibition of Latin American posters. Drawn from the collection of the Museum of Modern Art, the exhibition was held at the Library of Congress.
At the urging of René d'Harnoncourt, The Museum of Modern Art's Architecture and Design Department hired Constantine in 1943. The majority of her 28 year tenure at the museum was spent working with the department's founder, architect Philip Johnson. As a curator during the 1950s and 1960s, Constantine's innovative exhibitions brought lesser known portions of the museum's collection to public attention. Among her exhibtions were: "Words and Images," that focused on graphic design and posters; "Polio Posters," the first Museum of Modern Art show dedicated to social issues; "Olivetti: Design in Industry;" "Signs in the Street;" and "Lettering by Hand." She also published books on Art Nouveau, contemporary package design, and other subjects.
In 1971, Constantine left the Museum of Modern Art to become an independent curator and art consultant. Exhibitions included "Frontiers in Fiber: The Americans," and "Small Works in Fiber" with Jack Lenor Larsen. Tina Modotti: A Fragile Life, Constantine's book on the photographer, actress, model, and political activist, appeared in 1974. That same year, she and Alan Fern produced Revolutionary Soviet Film Posters that focused on works from the 1920s. Her last published work, Whole Cloth, was written with Laurel Reuter and published in 1997. Constantine continued to research and write, and at the time of her death was working on a large, international survey of the study of thread.
Mildred Constantine and Ralph W. Bettelheim (1909-1993) were married for 50 years. They had two daughters, Judith and Vicki.
Mildred Constantine died from heart failure on December 10, 2008, at home in Nyack, New York.
Oral history interviews with Mildred Constantine were conducted for the Archives of American Art by Harlan Phillips, 1965 October 15, and by Paul Cummings, 1976 May 3-1976 August 26.
The papers were donated to the Archives in 2009 by Mildred Constantine's daughters, Judith Bettelheim and Vicki McDaniel.
Use of origininal material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
The Mildred Constantine papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Film posters, Russian Search this
Textile fabrics in art Search this
Curators -- New York (State) -- New York Search this
Mildred Constantine papers, 1945-2008. Archives of American Art, Smithsonian Institution.
AAA.consmild
ead_collection:sova-aaa-consmild
Nathan Halper business records
Halper, Nathan Search this
H.C. Gallery (Provincetown, Mass.) Search this
H.C.E. Gallery (Provincetown, Mass.) Search this
Kootz Gallery (N.Y.) Search this
National Association of Women Artists (U.S.) Search this
Sun Gallery (Provincetown, Mass.) Search this
Avery, Milton, 1885-1965 Search this
Botkin, Henry, 1896-1983 Search this
Brodie, Gandy, 1925-1975 Search this
Cuddihy, John Murray Search this
Hartley, Marsden, 1877-1943 Search this
Kootz, Samuel Melvin, 1898-1982 Search this
Stankiewicz, Richard, 1922-1983 Search this
Gallery records
Visitors' books
Records of four of Nathan Halper's Provincetown galleries measure 4.2 linear feet and date from 1952-1979. The records relate to Kootz Gallery, H-C Gallery, HCE Gallery, and Sun Gallery - all based in Provincetown. The bulk of the collection consists of correspondence with artists, estate executors, collectors, galleries, and museums. There are also scattered business and financial records documenting operations and sales, photographs and slides, printed materials, and one poem. Correspondents include Milton Avery, Anthony Caro, John Murray Cuddihy, Marsden Hartley, Hans Hoffman, Samuel Kootz, Robert Motherwell, David Smith, Richard Stankeiwicz, and many others.
Scope and Contents note:
Biographical material consists of one literary poem.
The bulk of the collection consists of correspondence with many artists, estate executors, gallery partners, collectors, galleries, and museums regarding works of art, sales, account balances, requests for information, and general updates.
Scattered business records are found for all four galleries and include a Kootz Gallery guest register, address books, corporation and partnership agreements for the Kootz, H-C, HCE, and Sun galleries, insurance policies, and a Kootz Gallery employee file. Both the guest register and address books were also used as general business related notebooks.
Financial material consists of inventory stock books, price lists and sales, checkbook registers, and general expense invoices/receipts for the four galleries. The undated stock books list artists' names, general artwork identification information, and prices. Additional sales information is found in price lists, correspondence, sales notebooks, and checkbook registers. Invoices and receipts also document general operating expenses.
Printed material includes newspaper clippings on the Provincetown art scene and major artists represented by Halper, three exhibition catalogs, and an event calendar from the National Association of Women Artists.
Photographic material consists of prints and slides of the Kootz, H-C, and HCE galleries; black and white and color prints of exhibitions by Harry Botkin, Adolph Gottlieb, Robert Motherwell, and Hans Hofmann; and black and white prints, color slides, and transparencies of select works of art shown at the galleries.
Arrangement note:
Series 1: Biographical Material, circa 1953-1970 (Box 1; 1 folder)
Series 2: Correspondence, 1952-1979 (Boxes 1-2; 1.3 linear feet)
Series 3: Business Records, 1953-1970 (Box 2; .7 linear feet)
Series 4: Financial Material, 1953-1970 (Boxes 3-4; 2 linear feet)
Series 6: Photographic Material, 1953-1969 (Box 5; 11 folders)
Biographical/Historical note:
Nathan Halper (1907-1983) worked in Provincetown, Massachusetts as a contemporary American art dealer, writer, and James Joyce scholar.
Nathan Halper first moved to Provincetown, Massachusetts in 1936 where he met and eventually married his wife, Helen Marjorie Windust Halper. During the late 1940s and early 1950s, their circle of friends included artists, writers, and academics drawn to the Provincetown art colony. Through friendships with Adolph Gottlieb and Fritz Bultman, Halper was introduced to Hans Hofmann, his students, and other abstract expressionist artists.
In 1949, Halper was invited to give a talk on James Joyce at Forum 49, a Provincetown summer lecture series on the future of art organized by Weldon Kees and held in a gallery at 200 Commercial Street. Speakers ranged from Jackson Pollock to poet laureate Howard Nemerov, and the series also presented one of the first major exhibitions of abstract expressionism in America. In 1952, Halper became the treasurer of the Provincetown Art Association (est. 1914), an influential social nexus that connected artists, galleries, patrons, and the public through memberships and annual events.
In 1953, he entered into a partnership with New York art dealer Sam Kootz and helped establish the Kootz Gallery in Provincetown. Their stable initially consisted of abstract expressionists Kootz represented in New York: Robert Motherwell, Hans Hofmann, Adolph Gottlieb, Fritz Bultman, and William Baziotes. Halper and Kootz mutually agreed to dissolve their partnership in 1954 and Halper opened the H-C Gallery with John Murray Cuddihy in 1955. After Cuddihy's departure at the end of the 1956 season, Halper opened the HCE Gallery (1957-1967), a name inspired by Joyce's Finnegan's Wake. In 1962, Halper entered into a one year partnership with Noah Goldowsky to help finance and run the Sun Gallery.
After the dissolution of the Kootz Gallery, Halper continued to represent Motherwell and, for a short time, Gottlieb in the Provincetown area, but quickly added other artists to the HCE stable. Through its relationship with New York dealers, such as Martha Jackson Gallery, Andre Emmerich Gallery, and Waddington Galleries, HCE was able to exhibit and sell works by Milton Avery, Gandy Brodie, Anthony Caro, Edwin Dickinson, Marsden Hartley, Hans Hoffman, Wolf Kahn, William King, Jan Muller, Elie Nadelman, David Smith, Richard Stankiewicz, Tal Streeter, and Anthony Vevers, among others.
Related Archival Materials note:
Also found in the Archives of American Art are the Kootz Gallery records and oral history interviews with Nathan Halper conducted by Dorothy Seckler, July 17, 1963 and by Robert Brown, July 8-August 14, 1980. Columbia University also holds Nathan Halper's papers concerning his literary scholarly work.
The Nathan Halper business records were donated by Nathan Halper in 1979. Additional materials were donated in 1983 and 1984 by his wife Helen Marjorie Windust Halper.
The Nathan Halper business records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Art -- Massachusetts -- Provincetown Search this
Gallery directors Search this
Art galleries, Commercial -- Massachusetts -- Provincetown Search this
Art, Modern -- 20th century -- United States Search this
Art -- Collectors and collecting -- Massachusetts -- Provincetown Search this
Nathan Halper business records, 1952-1979. Archives of American Art, Smithsonian Institution.
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
AAA.halpnath
ead_collection:sova-aaa-halpnath
Jane Wade papers regarding Curt Valentin
Wade, Jane, 1925- Search this
Buchholz Gallery (New York, N.Y.) Search this
Curt Valentin Gallery (New York, N.Y.) Search this
Universität Hamburg Search this
Barr, Alfred H., Jr., 1902-1981 Search this
Ben-Zion Search this
Butler, Reg, 1913-1981 Search this
Calder, Alexander, 1898-1976 Search this
Cox, Jan, 1919-1980 Search this
Feininger, Lyonel, 1871-1956 Search this
Flannagan, John Bernard, 1895?-1942 Search this
Hepworth, Barbara, Dame, 1903-1975 Search this
Kahnweiler, Daniel Henry, 1884- Search this
Knaths, Karl, 1891-1971 Search this
Kolbe, Georg, 1877-1947 Search this
Marini, Marino, 1901-1980 Search this
Masson, André, 1896-1987 Search this
Moore, Henry, 1898-1986 Search this
Odets, Clifford, 1906-1963 Search this
Osborn, Robert Chesley, 1904-1994 Search this
Picasso, Pablo, 1881-1973 Search this
Pickens, Alton Search this
Pickhardt, Carl E. Search this
Piper, John, 1903- Search this
Roesch, Kurt, 1905- Search this
Sutherland, Graham Vivian, 1903- Search this
The Jane Wade papers regarding art dealer and New York gallery owner Curt Valentin, measure 0.6 linear feet and date from 1903-1971. This small collection consists of papers donated by former Curt Valentin Gallery employee Jane Wade, which provide scattered documentation of Valentin's life and exhibitions at the Buchholz Gallery (renamed Curt Valentin Gallery in 1951) including biographical material, correspondence from artists Valentin represented, writings and notes, lists documenting clients, exhibitions held, and artwork by Picasso sold by the gallery, clippings of obituaries for Valentin, and a complete set of Buchholz Gallery exhibition catalogs from 1937-1948.
Valentin's biographical material is in German and includes his baptismal certificate, a report book from Hamburg University, a letter of recommendation from Commetersche Kunsthandlung, a 1937 permit authorizing Valentin to buy and sell the work of German artists outside Germany, and his 1950 passport.
Valentin's correspondence is primarily with artists and includes letters from Ben-Zion, Reg Butler, Alexander Calder, Jan Cox, Lyonel Feininger, John Flannagan, Barbara Hepworth, Karl Knaths, Gerhard Marcks, André Masson, Henry Moore, Clifford Odets, Carl Pickhardt, Alton Pickens, John Piper, Kurt Roesch, and Graham Sutherland. There are also photocopies of three letters in German from Georg Kolbe. Many of the letters are substantial and provide details about the artists and their work. Also found are a letter vouching for Valentin's loyalty to the United States from Alfred Barr, and two 1942 letters from France from art dealer Henry Kahnweiler, containing news of European artists including Picasso and André Masson.
Jane Wade's correspondence extends to her time working for Otto Gerson at Fine Arts Associates, and includes letters from some of the artists whose work was handled by Curt Valentin, including Alexander Calder, Lois Dailey, and Henry Moore. There are also thirteen letters and telegrams from David Smith, with some responses from Jane Wade and Otto Gerson, which document exhibitions and details of his artist-dealer relationship with Gerson and include sketches of his sculpture with information about prices. Also found in Wade's correspondence are letters from Gertrude Lennart and Marino Marini. Lennart describes the last days of Valentin's life as she accompanied him on a visit to Marini in Italy in August 1954.
There are three folders of condolence letters written upon Valentin's death, from artists, museum and gallery professionals, and other colleagues and friends.
Writings and notes include two appreciations of Valentin written after his death by André Masson and Henry Moore, and a sheet of notes written by John Flannagan with an accompanying note entitled "Some of Johns' thoughts...."
Printed material is comprised of news clippings of obituaries and reviews of a memorial exhibition for Valentin, in addition to a complete set of bound exhibition catalogs for Buchholz Gallery from 1937-1948. Also found is a bound collection of 1929 exhibition catalogs for Galerie Alfred Flechtheim.
Artwork includes a Christmas card from Valentin designed by an artist whose name is illegible; a print by Gerhard Marcks; and a colored pencil sketch of "127 Evil Eye II" on Curt Valentin letter head, with an address on the Rue de Seine written beside it.
Photographs include two of Valentin in his gallery and two of an unidentified woman, possibly Jane Wade, in the gallery; a folder of photographs of Valentin's apartment showing his art collection; a photo of a Robert Osborn cartoon about Valentin; and a photo of "Portrait of Curt Valentin" by Jacques Lipchitz.
The collection is arranged as a single series.
Series 1: Jane Wade Papers Regarding Curt Valentin, 1903-1971 (0.6 linear feet; Boxes 1-2)
Born in Germany in 1902, modern art dealer Curt Valentin immigrated to the United States in 1937 where he opened the Buchholz Gallery on West Forty-sixth Street in New York city. After two years he moved the gallery to West Fifty-seventh Street and in 1951 it was renamed the Curt Valentin Gallery.
Valentin's first job was with Alfred Flechtheim, the leading dealer in modern art in Berlin at that time. In 1934 he began working with Karl Buchholz in Hamburg, selling modern art classified as degenerate by the Nazi government from the rear of Buchholz's bookstore. In 1937 Valentin was granted a permit from the Reichskammer der bildenden Kunste in Berlin to purchase and sell German artwork outside of Germany. He left Germany that same year with a number of pictures and came to the United States.
Valentin was a widely respected dealer who specialized in modern paintings, sculpture, and prints, and handled the work of major artists including Alexander Calder, John Flannagan, Gerhard Marcks, Marino Marini, and Henry Moore.
Valentin died suddenly of a heart attack at the age of 52, while visiting Mario Marini in Italy in 1954.
Jane Wade was employed as Valentin's assistant and continued to help run the Curt Valentin Gallery after his death, until it closed in 1955. She then worked for Otto Gerson at Fine Arts Associates, where she helped to handle the works of some of the artists previously represented by Valentin.
The bulk of Curt Valentin's papers are held by the Museum of Modern Art Archives.
The Jane Wade papers were donated by Jane Wade in 1976. The catalogs of exhibitions organized by Curt Valentin were donated in 1977 by Jane Wade. In 2018 the two collections were merged and named the Jane Wade papers regarding Curt Valentin.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
The Jane Wade papers regarding Curt Valentin are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Art dealers -- New York (State) -- New York Search this
Gallery owners -- New York (State) -- New York Search this
Jane Wade papers regarding Curt Valentin, 1903-1971. Archives of American Art, Smithsonian Institution.
Funding for the processing and digitization of this collection was provided by The Walton Family Foundation.
AAA.wadejane
ead_collection:sova-aaa-wadejane
(No Title Given) [art work] / (photographed by Peter A. Juley & Son)
Smith, David 1906-1965 Search this
JUL J0122577
Photograph Archives
Archives and Special Collections, Smithsonian American Art Museum
edanmdm:siris_jul_122578
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redpajama_set_name: RedPajamaCommonCrawl


new-economic-atlas: Get Out of Business, America!
Do we dare to ask this question? Do we dare to answer this question? What is a Business? If we do, we might find the beginning and the end of our fiscal troubles: we might gradually get to a permanently balanced budget.
The business of America is business, it has famously been said. That is the source of the mental confusion that has gradually led to our present troubles. Let us unpack this messy statement.
Is America a business? It seems to me this is a horrible statement. It is ugly, since is it leads to confusion. It is not true, since America is not a business.
America is many things to many people. For me, America is the embodiment of the ideal of a life lived to the fullest of one's abilities. For me, America is the embodiment of life lived in the fullest of all possible liberties. And, yes, I do believe that to live a full life and to be free I have to have, not an extended hand, but a jingle in my pocket.
I do believe in private property.
I believe that private property has to be kept separate from public property; and I believe that common goods are to be kept out of the market.
Let us start from common goods. All goods that are essential to life are common goods. They are sacred and ought to be inviolable: air and water are two such goods. They become ours only when we use them.
Hence, no one ought to acquire control of common goods—no, not even the government ought to acquire control of common goods. They belong to the community as a whole. Hence they offer the opportunity of introducing economic democracy into the process of administering them: water systems ought to be owned and controlled by the local population.
The important distinction here is the ownership of water systems as distinguished from the ownership of water.
Are there public goods? Yes, of course. What are those goods? They are the goods that, by definition, are owned by the government.
All the property that is essential to conduct the obligations of a government is to be owned by the government. We cannot have landlords in public affairs. Landlords tend to intrude themselves into the lives of their tenants.
This is a huge discussion all by itself that needs to be postponed: What is an essential function of the government? Hence what is essentially to be owned by the government—any level of government.
The general prescription to our current woes then becomes quite simple and direct: America get out of business. The way America has gotten into business is two-pronged: granting subsidies and granting tax deductions. Both approaches have to be carefully scrutinized.
The list is long and complex. That is another way of saying that the list has been growing on the basis of great many rationalizations. Let us not waver in our resolve; let us be staunch.
The rule is simple. A business has to be financially self-supporting. It has to meet the so-called market test.
Here is where I would start on the road to sanity. First, on the elimination of subsidies granted to the nuclear industry. Clearly, this is an industry that has been growing from the get-go on the milk of government subsidies. And what do we get in return?
I submit that the nuclear industry is affecting questions of death. The dangers are enormous. The shortcomings are evident. When nuclear waste has a life-time of twenty thousand years, I ask the question: What is the government that has lasted twenty thousand years? Because, let us not kid ourselves, we need a government to send the man with a Geiger counter to check the status of that waste.
My next item is an industry that affects matters of life: the agribusiness. Why in the whole wide world have we gotten into the habit of paying farmers for not growing food? No, this is not a matter of survival. Once the government granaries are full, let the market decide whether the farmer has made a mistake in overproducing.
My third item is the oil and gas industry. Rather than letting them pay for using wealth that is common property of the entire nation, we give them subsidies in the form of oil depletion allowance.
The main rationale here is that without such subsidies, we are going to pay through the nose at the pump. Good, it's my reaction. First, it might be cheaper to pay at the pump than to pay taxes to the government to keep the price at the pump low. There are too many leakages in this circuitous road to obtain a lower sticker shock at the pump.
Without subsidies and a higher price we might drive less. Is not that a big fat plus? Is not that a giant step toward energy independence?
Gas, oil, and the car have gotten a way of affecting our entire way of life, from birth to death and everything in between. Should the government make these choices for us? Or are we grown-up and responsible enough to make these choices for ourselves?
Talk of energy independence, and you touch upon a major sore point of our government policies today: In the name of chasing after energy independence, we have gotten quite dependent on a bunch of foreign nations.
The Fathers of our nation can only say: We told you so.
Then there is the reverse of this medal: if we do not give subsidies to our industries, other countries will overtake us. We will no longer be Number One.
Just stop and think. What does that mean in the first place? But then think seriously about the consequences. If we stop our corrupt and corrupting practices, and other countries step up on their gas pedal toward granting larger and larger subsidies to their industries, let them.
They will eventually reach the sorry state in which we are in today. Be sure about it. Good luck to them.
Two general issues. First, how much can we "save" by reducing subsidies? I would say that is the wrong question. Whether it is a dollar or a zillion of dollars, it does not matter. The issue is one of public policy.
And one dollar at a time, you surely reach zillion dollars.
Then there is a question of time. This is a most serious question. The proposed policy cannot be implemented overnight. But let the industry decide this question. Indeed, let us publicly ask of each specific private industry: How long do you need to be weaned of the government milk?
We can then double the amount of time requested and be most happy and effective with the decision.
All this would still recognize the need and the efficiency—if they are there—of Research & Development projects (that is science) as well as insurance projects (that is safety).
Get out of business, America. The market is not your place. The Acropolis, the City on the Hill, is your place.
(c) 2011. Carmine Gorga, PhD, is president of The Somist Institute and author of numerous publications, including The Economic Process (2010).
Separate we are powerless. TOGETHER we can reach that point on the atlas. Please, go to the side bar if you need some inspiration.


ASUS KGPE-D16 on the development stand at Raptor Engineering.
To boot with a second CPU package installed, the 2nd EPS12V connector MUST be connected to a 8-pin power source that has sufficient amperage (Using a converter is risky).
The KGPE-D16 is a AMD Family 10h / 15h, dual-CPU server and workstation motherboard released in 2009 (ASUS). It is well supported and stable under Coreboot, with all CPUs, RAM, and peripherals functioning normally. Family 10h (61xx) processors do not currently support the isochronous mode required to enable the IOMMU, but Family 15h (62xx, 63xx) processors work well with the IOMMU enabled.
Both the KGPE-D16 and the KCMA-D8 have CPU's fast enough to play new games at high settings in a VM with a suitable video card.
While the D8 and D16 have are owner controlled, have libre firmware and are relatively free as in freedom, Taiidan recommends the purchase of the significantly faster OpenPOWER9 TALOS 2 which has an even higher level of security, freedom and performance. OpenPOWER is the only owner controlled performance CPU arch on the market now that both intel and AMD have black box supervisor processors and hardware enforced code signing for external flashing on their new hardware so not enough people purchasing them would mean no TALOS 3, and the end of libre hardware that is fast enough to compile modern libre software.
This board is automatically tested by Raptor Engineering's test stand. For more details please visit AutoTest/RaptorEngineering.
A basic system diagram is available in the official manual, Appendix A.1 and has been confirmed to match the hardware shipping from ASUS. Not indicated are the PCIe lane widths for the gigabit network controller, which are both x1. All legacy PCI devices share the same bus, and partially due to this design the SP5100 has severe issues with bridging high-bandwidth PCI peripherals. As such, an external PCI-PCIe bridge is recommended should you need to interface a high bandwidth legacy PCI device to this system; ASMedia controllers have been verified to function correctly.
Northbridge functions are distributed between the CPU internal northbridge and the SR5690 northbridge, which is effectively a HyperTransport to ALink/PCIe translator and switch. There is a separate SP5100 southbridge device, adjacent to the northbridge and residing under the smaller heatsink of the two. This device provides all traditional southbridge services including the LPC bridge and SATA controllers. All southbridge-destined messages, including CPU-originated power state control messages over HyperTransport, pass through the CPU northbridge and are routed to the southbridge via the SR5690 northbridge device.
Incidentally, this design places the IOMMU, which is part of the SR5690, in the correct location to properly shield the main CPU from all unauthorized traffic. If the southbridge connected directly to a HyperTransport link there would be no way to prevent unauthorized DMA from legacy PCI devices connected to the southbridge, or even from the southbridge's embedded microprocessor.
coreboot must be flashed externally when migrating from the proprietary BIOS. After coreboot has been flashed and booted at least once, flashrom can safely reprogram the ROM under Linux.
When migrating from the proprietary BIOS, after flashing coreboot the CMOS memory must be cleared. Failing to clear the CMOS will typically result in odd hangs during the boot process.
Enabling the serial console or EHCI debug console will drastically increase the time needed to boot.
Having a serial console log level above 2 will drastically increase the time required for booting.
All CPU's are split in to two NUMA nodes as they are two 2/4/6/8 core CPU's in one package, memory is divided based on NUMA nodes (1 6282SE 16 core CPU, 2 Nodes, 32GB RAM, 16GB per node) and not properly aligning NUMA RAM will result in drastically decreased performance - make sure you do!
Turbo 2 and power saving seems to require a tickless system to function (nohz=on in the kernel cmdline), otherwise the extra cores are always woken up and will never enter CC6.
Check your used CPU for damage to the pins and bottom components, while a physically damaged CPU may still be sold as working it might not work in a dual socket configuration.
The 63xx "Piledriver" series processors absolutely require microcode updates for safe operation due to the 2016 gain-root-via-NMI exploit that effects various versions of the burned in microcode updates - an update is also required to enable IOMMU due to an errata.
Install the OpenBMC port beta to the ASMB4-iKVM or ASMB5-iKVM modules that come with the main KGPE-D16 retail SKU, this provides fan control and a variety of other cool remote management features. The default configuration is 3 pin case fans and 4 pin PWM fans for the CPU fans as this is the only way to provide separate fan control zones due to ASUS not wiring up the rest of the SuperIO fan channels.
Fancontrol/pwmconfig to control your fans via linux.
1 PIKE ASUS Proprietary I/O Expansion Slot, Insert PIKE RAID card for second half of the motherboard SATA/SAS ports - half of the "PIKE" connector is simply a reversed PCI-e x4 slot.
Partial Text Mode Only Now features proper EDID parsing.
Open Source OpenBMC - open source remote management - Available for KGPE-D16 and KCMA-D8 boards via installation to the ASUS ASMB4-iKVM or ASMB5-iKVM module.
??? Required for more than 8 SR-IOV VF per device, AMD's docs say the chipset supports it however there are no firmware implementations that feature it.
Raptor Engineering is working on porting OpenBMC to the KGPE-D16 and KCMA-D8 under a crowdfunded contract, it should be done in a few months and there is currently a beta available.
At the moment you require the ASUS ASMB4-iKVM or ASMB5-iKVM module to use it - most KGPE-D16 retail SKU's should come with this otherwise it is generally $30-60 used/new.
The following RAM models and configurations have been tested by either Raptor Engineering or a third party and are know to work as of the stated GIT revision.
In addition to the 1 or 2 main CPUs, there are no less than three known secondary processors present on the mainboard. All are disabled when running under coreboot.
There is a very poorly documented microprocessor inside the SR5690; purpose and type unknown. It is believed this processor requires a firmware upload from the main platform firmware or via JTAG in order to start execution.
A single 8051 processor core is present inside the SB700 southbridge. It normally handles errata related to power states and may also be responsible for the blinking power LED in S3 suspend under the proprietary BIOS. It is believed accesses made by this processor are responsible for the flashrom write failure when the board is booted from the proprietary BIOS. This processor also requires a firmware upload from the main platform firmware or via JTAG in order to start execution.
The BMC has an integrated ARM core. This is disabled by pin strap when the BMC firmware module is not installed.
The optional PIKE add-on cards use ARM cores to handle the SAS protocol, though this firmware is directly loaded from a Flash chip on the module and does not involve any non-local components (e.g. the main CPU never touches the firmware on these modules outside of a manual reflash operation). Raptor Engineering is currently unaware of any SAS controllers that operate without a secondary processor or use libre firmware; the protocol is simply too complex to handle via a mask ROM, and as there are only one or two suppliers of SAS controllers there is very little incentive to release the source code to the firmware. Writing a libre firmware to replace the existing firmware may technically be possible, however it is extremely unlikely this will ever happen due to the man-decades required.
Installing an ASUS iKVM firmware module will activate the ARM core in the BMC, which has full system access to all peripherals and possibly memory. It is not recommended to use this module as the firmware is both highly privileged and proprietary, and is known to contain at least one critical security bug.
The EHCI debug console causes severe USB problems under both Libreboot and coreboot. This typically manifests as very slow boot / slow typing on USB keyboards. This issue appears to extend to the KCMA-D8 and KFSN4-DRE boards as well.
This is the reason for the "Not enough MMIO resources for SR-IOV" error when you attempt to enable SR-IOV on a system with both a quad port NIC and the onboard interfaces.
Certain models and populations of DIMMs do not function under either coreboot or the proprietary BIOS. These failures may also be contingent on the exact PCB revision and / or CPU model installed. For a list of known failing combinations please visit KGPE-D16 Known Bad Configurations.
The KGPE-D16 doesn't work with more than 192 GB RAM (reported by ThomasUmbach) and would need further work by coreboot developers. To use 192 GB RAM it's necessary to leave either the two DIMM slots next to the CPUs unpopulated (in this case, RAM training works well, but the system will be unstable) or the 4 closest on CPU1 (system stable), for more info see RAM HCL on this page (reported by ThomasUmbach).
The 4 total PCI-e slots may be limiting, but as the board has PCI-e ACS you may be able to use an external ACS supporting PCI-e expansion system - you would still have IOMMU security and performance as ACS support means that the devices beyond the external switch will be placed in separate IOMMU groups and thus you will maintain security and not have to use the unsafe attachment override for attaching devices to virtual machines.
NOTE: MMIO space limit dependent.
NOTE: All G34 CPU's are dual-MCM thus with two NUMA nodes, if you play video games or need a single task with many threads the socket C32 single MCM/NUMA node KCMA-D8 with a 4386 might have improved performance although it is also possible to play games with a dual node CPU without stuttering.
The correct way to do this is to create a VM with properly pinned CPU's including iothread/emulator with all of the RAM on one node which is the same one that your interrupts for assigned devices such as graphics usb etc are being processed on.
Turbo Examples: If you have a 16 core CPU to obtain Turbo 2 you would select 2 modules and thus 4 cores from each MCM/NUMA node - then you allocate all of the hugepages/VM RAM on node 0 where the interrupts are assigned - this will provide the best gaming performance with a 16 core CPU. If you have dual 8 core 6328 CPU's the best VM gaming performance is gained by using both node zeros from both CPU's and hugepages RAM on the first node (zero) of the first CPU - this obtains 8 cores at 3.8ghz. You would also need to isolate the CPU's not in use by using the isolcpus kernel command line option and moving away interrupts if they somehow migrate to an isol'ed cpu.
Please contact Taiidan for advice on VM gaming for this board, how to obtain Crossfire xDMA in a VM, etc - with a capable graphics card you should be able to almost max out games circa 2017 at 1080p with one of the faster socket G34 CPU's.
The Vikings D16 (a relabelled KGPE-D16) board is being sold with coreboot/Libreboot pre-installed. It is the first workstation/server mainboard that has been "RYF - Respects Your Freedom" certified by the Free Software Foundation on March 6th, 2017.
Due to the spectre exploit all Opteron CPU's will soon have microcode updates according to AMD.
It is a philosophical issue, all x86_64 CPU's have microcode but do you trust AMD now or AMD circa 2011-2013 when the G34 CPU's were released?
If the new 63xx microcode has some type of introduced security flaw then why not simply "fix" a bug and add the backdoor to the 62xx series as well?
I believe the improved performance of the 63xx series is good enough to justify the microcode updates - the 6287SE is nearly as fast as a 6386SE but it is quite hard to find.
An 8 Core CPU is not really worth it unless you need the slightly better single threaded performance more than the second set of cores.
This page was last modified on 10 May 2018, at 16:54.


In DemandCaster Demand Planning, the hierarchical demand planning levels should be built with an eye toward forecasting i.e. the levels that best represent seasonality and trend at an aggregate level within the context of demand. For most companies, these levels are not sufficient. For example, a company that manufacturers or distributes apparel may want to view and edit demand in the context of size, color, or other attribute.
To this end, DemandCaster has a feature called reporting levels. Reporting levels are a means to aggregate demand based on attributes that are not forecasting levels. This article covers the steps to create and then report and also edit demand plans based on these levels.
The option you choose will be dictated the header value in column A. Products will have the header Product whereas customers will have the header Customers.
Additional attributes may be added in each of the following columns.
Save the files as a tab-delimited text file named reportinglevel, compress, and upload.
Below is a GIF that runs through the steps to create a pivot edit report in S&OP using the uploaded color report level as illustrated above.


Hi Tonya! The Park Hopper option allows you to visit any of the theme parks on the same day, as opposed to one park per day without the option. The price is the same to add the option no matter the number of days, and the option must be applied to all of your package days.
Another option you might want to consider would be to buy four day park tickets and add the Water Park Fun & More option, which entitles you to use any of the water parks, DisneyQuest, the Oak Trail Golf course and the ESPN Wide World of Sports Complex. You can visit one of these options per day.
I hope this helps Tonya! Write back if you have any other questions!


text:
Antisocial Behaviour
7. Mr. Crispin Blunt (Reigate): If he will make a statement on the Government's policies to deal with antisocial behaviour. [151704]
The Parliamentary Under-Secretary of State for the Home Department (Mr. Mike O'Brien): The Crime and Disorder Act 1998 introduced measures to deal with antisocial behaviour, including the crime and disorder partnerships and antisocial behaviour orders.
We are introducing further measures in the Criminal Justice and Police Bill, including fixed-penalty notices, for a wide range of offences to help police deal immediately with loutish behaviour and to provide strengthened controls on drinking in the streets.
We are implementing in full the policy action team report on antisocial behaviour. The crime reduction toolkit on antisocial behaviour, which was published in January, gives practitioners comprehensive and detailed advice on good practice and partnership working.
Mr. Blunt: Is it antisocial behaviour to tell an untruth?
Mr. O'Brien: It is of course the case that telling an untruth may be honestly done or dishonestly done. People have to consider these matters for themselves.
Antisocial behaviour is being addressed by the legislation that the Government have put through the House. We are ensuring that the Crime and Disorder Act 1998 contains provisions that will deal with the real problems that concern the people of this country. They are concerned about law and disorder on our streets and about policing. That is why, under the Labour Government, crime is coming down and police numbers are going up, and that is why we are dealing with these issues, and ensuring that we do so effectively.
Mr. Gerald Kaufman (Manchester, Gorton): Will the Minister say what action the Government intend to propose to the House to deal with the antisocial behaviour of the shadow Home Secretary and a Conservative Whip, who, by their example, are saying to louts and hooligans
12 Mar 2001 : Column 620
that they should break the rules and break the law? Will my hon. Friend explain how louts, hooligans, drunkards and criminals can be expected to obey the law of the land if official spokesmen and spokeswomen of the Conservative party disregard, obstruct and set aside the decisions of the House of Commons?
Mr. O'Brien: My right hon. Friend is quite right: antisocial behaviour takes many forms. It is important that Members of the House set a good example--especially those who might one day aspire to high office. Opposition Front-Bench Members, especially the right hon. Member for Maidstone and The Weald (Miss Widdecombe) in some of her behaviour last week, displayed a regrettably bad example for the young people of this country. When the right hon. Lady comes to the Dispatch Box to condemn loutish behaviour on our streets, let us make sure that we have no loutish behaviour from her in this place.
Mr. Simon Hughes (Southwark, North and Bermondsey): When Home Office Ministers look back over their four years of dealing with antisocial behaviour and crime, do they register the fact that, according to the latest opinion polls, nearly two thirds of the British public--more than in any other area of Government policy--think that the Government have failed on law and order?
The Government's senior policy adviser at the Home Office says that their performance has been incredibly poor; he cites clear-up rates that are the same as they were when those Ministers took office in 1997. At this late stage, may we at least have honesty? Gimmicks such as giving parking-type tickets to drunkards on the street and having curfews will not do much at all. To take away people's right to choose jury trial is positively an act in the wrong direction. If there was a commitment to real increases in police numbers and to real community safety forces that would give additional police service in each local council area--instead of all the rhetoric, all the window dressing and the many policies that have totally failed over four years--we might get somewhere.
Mr. O'Brien: The hon. Gentleman's rhetoric today is nothing short of amazing. The Liberal Democrats go around the country claiming to be tough on crime in one place and soft on crime in another. Every policy that the Labour Government--or indeed, any Government--have introduced to deal with crime and disorder on our streets has been attacked by the Liberals as being too tough on criminals.
Let me tell the hon. Gentleman that the Government's record is one of crime going down and police numbers going up. We are putting funding into fighting crime, while during this Parliament and in recent years, the Liberal Democrat party and especially the hon. Gentleman, as its spokesman on law and order, have been soft on crime throughout.
Mr. Bill O'Brien (Normanton): I welcome the policies introduced by my hon. Friend to combat antisocial behaviour. Does he agree that in crime hot spots, portable closed circuit television would help further to continue the reduction in crime? In many areas, there is a genuine fear that if the Tories had the opportunity to impose their
public spending cuts, such services would be reduced and crime would increase. Does my hon. Friend agree that portable CCTV would help to reduce crime still further?
Mr. Mike O'Brien: The massive investment made by the Government in CCTV--encouraging local authorities and the police to install such facilities throughout the country--has certainly had a powerful impact on crime. Indeed, my hon. Friend is right to say that portable CCTV has a place in the array of tools needed by the police to deal with the problems of crime on our streets. He is also right to say that, while the Labour Government have a record of putting extra resources into the police, ensuring that we provide them with the communications systems that they need and that we put resources into CCTV and other technology, if the Conservatives got into power we would see £16 billion worth of cuts in public expenditure. Those cuts would fall on the police too. Let there be no mistake about it: when the right hon. Member for Maidstone and The Weald and her party were in office, we saw cuts in policing from 1993, with cuts in the housing allowance; we did not see the sort of investment that has been made in CCTV under the Labour Government. Their record was crime up; our record is crime down. Their record was cuts in police numbers; our record is police numbers now going up.
Dr. Julian Lewis (New Forest, East): If the Minister can come out of pre-election auto-rant for a second, will he tell me whether any progress has been made on a practical suggestion about CCTV that I have made on several occasions and to which he has responded positively in the past? Where shops and garages trade during antisocial hours, there should be a requirement that they have adequate CCTV coverage in the places where people have to pay--where they have to queue in vulnerable situations and could be attacked by louts. Have the Government actually done anything about that, rather than saying that they think it is a good idea--which, of course it is?
Mr. O'Brien: It is indeed a good idea, and we are agreeing on resources for the retail crime reduction partnerships. It certainly would help if those late-night shops and various other facilities--
Mr. John Bercow (Buckingham): Outlets.
Mr. O'Brien: Outlets, as the hon. Gentleman helpfully suggests. If the various outlets were to have CCTV outside their premises, it would assist not only those who run them but the police; indeed, the Government are working with retail outlets in particular to try to ensure that we do that. I am a little concerned that small businesses in particular are reluctant to have extra burdens placed on them, and I am sure that the hon. Member for New Forest, East (Dr. Lewis) does not want to do that. We need to take action by a process of proper discussion and negotiation with the business community, rather than by merely imposing regulations, as he seemed to suggest. I am sure that, on reflection, he would agree that the previous Government imposed far too much regulation on
small businesses. The Government are trying to reduce that over-regulation, and that is one of the areas where we can make progress.
Mr. Desmond Browne (Kilmarnock and Loudoun): My hon. Friend will be aware that no behaviour is more against the interests and legitimate aspirations of many of the communities that we represent than that of those who deal in drugs and then flaunt the wealth that they have accumulated in that fashion in front of the communities that their behaviour is impoverishing and destroying. He will be aware that the publication of the draft Proceeds of Crime Bill and the extra money in the Budget for tackling crime and drugs were very welcome in Scotland, as they were throughout the United Kingdom, but does he agree that steps must be taken to foster a culture of whistleblowing among those who deal with criminals and who allow them the opportunity, inadvertently or by deliberate omission, to launder their money and transfer it into the legitimate economy?
Mr. O'Brien: I certainly agree with my hon. Friend. The draft Proceeds of Crime Bill will apply to Scotland, and the Budget announcement of an extra £220 million to tackle drugs was welcomed in Scotland, especially by my right hon. Friend the First Minister, who said that it was
"a landmark piece of legislation"
"a big step forward in the war against drugs".
I certainly agree with my hon. Friend that we need to ensure that there is effective provision to encourage whistleblowing.
Miss Ann Widdecombe (Maidstone and The Weald): Is it antisocial to say that someone has told an untruth who is found not to have done; and, if so, should an apology be made to the victim?
Mr. O'Brien: I think that I have dealt with that, but the right hon. Lady has not dealt with the behaviour that she displayed in the House last week. Frankly, she and I are here to ensure that when we deal with such matters, we present an image to the public of some responsibility. What she has displayed during the past week puts the House in a bad light and reflects badly on her. Indeed, it reflects very badly on any Member of Parliament who seeks to put himself or herself in a position of responsibility. Those in high office have a responsibility to set an example, and she has failed to do that.
Miss Widdecombe: Will the hon. Gentleman at least agree that mugging is antisocial? If so, what is the appropriate response to someone who mugs 56 clauses, 42 Opposition amendments, 10 Government amendments and six schedules? Is not the correct penalty for such a person five years out of office, with no early release? Is not someone who stands up to that mugging acting in self-defence and should not he or she be supported by the authorities of the House, who care about effective parliamentary scrutiny? Get to the Dispatch Box and apologise.
Mr. O'Brien: It is the right hon. Lady who ought to be apologising for her appalling behaviour during the past week. She comes here and starts to say that she is
concerned about crime, but she sets a bad example to the people of this country in the behaviour that she displays. People are responsible for their actions, and she is responsible for the bad example that she set in the House last week. She should be at the Dispatch Box now, apologising for her behaviour not just to me and Labour Members but to every hon. Member and to all those who elect us.


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text:
import datepicker from './lib/datepicker';
import uniq from 'lodash/array/uniq';
import React, { Component, PropTypes} from 'react';
import { findDOMNode } from 'react-dom';
import Modal from 'react-bootstrap/lib/Modal';
import Button from 'react-bootstrap/lib/Button';
import moment from 'moment-timezone';

class CustomDialog extends Component{
  constructor(props) {
    super(props);

    this.state = {
      focusOn: 'start',
      startText: moment.tz(props.start_at, props.tzName).format(props.dateFormat) || '',
      endText: (props.end_at && moment.tz(props.end_at, props.tzName).format(props.dateFormat)) || ''
      // defaultDate: moment.tz(props.start_at, props.tzName).format(props.dateFormat)
    };

    this.handleChangeDate = (date) => {
      let startText;
      let endText;
      let focusOn = this.state.focusOn;
      if (this.state.focusOn === 'start') {
        endText = this.state.endText;
        if (!endText || date <= endText) {
          startText = date;
          focusOn = 'end';
        } else {
          startText = date;
          endText = '';
          focusOn = 'end';
        }
      } else if (this.state.focusOn === 'end') {
        startText = this.state.startText;
        if (!startText || date >= startText) {
          endText = date;
        } else {
          endText = '';
        }
      }
      this.setState({
        startText: startText,
        endText: endText,
        focusOn: focusOn
      });
    };

    this.handleFocusChange = (e) => {
      const input = e.target;
      if (this.state.focusOn !== input.name) {
        this.setState({
          focusOn: input.name
          // defaultDate: input.value
        });
      }
    };

    this.handleInputChange = (e) => {
      const input = e.currentTarget;
      let newState = {};
      newState[`${input.name}Text`] = input.value;
      // if (moment(input.value, this.props.dateFormat, true).isValid()) {
      //   newState['defaultDate'] = input.value;
      // }
      this.setState(newState);
    };

    this.handleInputBlur = (e) => {
      const input = e.currentTarget;
      const date = input.value;
      const isValid = moment(date, this.props.dateFormat, true).isValid();
      if (isValid) {
        this.handleChangeDate(date);
      } else {
        let newState = {};
        newState[input.name] = null;
        newState[`${input.name}Text`] = '';
        this.setState(newState);
        $(findDOMNode(this)).find('#date_range_datepicker').datepicker('setDate', null);
      }
    };

    this.handleApply = () => {
      this.props.onHide();
      const start = moment.tz(this.state.startText, this.props.dateFormat, this.props.tzName).startOf('day').valueOf();
      const end = moment.tz(this.state.endText, this.props.dateFormat, this.props.tzName).endOf('day').valueOf();

      this.props.onSubmit('custom', start, end);
    };

    this.setupDatepicker = () => {
      const self = this;
      const $dialog = $('#date_range_custom_dialog');
      const $datepicker = $dialog.find('#date_range_datepicker');

      // Foucs input
      $dialog.find(`input[name="${this.state.focusOn}"]`).trigger('focus');
      // Reset datepicker
      $datepicker.datepicker('destroy');
      $datepicker.datepicker({
        numberOfMonths: 3,
        dateFormat: 'yy/mm/dd',
        showButtonPanel: false,
        utcOffset: self.props.utcOffset,
        minDate: self.state.focusOn === 'end' ? self.state.startText : '',
        defaultDate: self.state.endText,
        beforeShowDay(date) {
          let cssClasses = [];
          const selectedDate = datepicker.formatDate('yy/mm/dd', date);

          if (selectedDate === self.state.startText) {
            cssClasses.push('day-in-range');
            cssClasses.push('day-start');
          }
          if (self.state.startText <= selectedDate && self.state.endText > selectedDate) {
            cssClasses.push('day-in-range');
          } else if (self.state.endText === selectedDate) {
            cssClasses.push('day-in-range');
            cssClasses.push('day-end');
          }
          return [true, uniq(cssClasses).join(' ')];
        },
        onSelect(date) {
          self.handleChangeDate(date);
          return false;
        }
      });
    };
  }

  componentDidMount() {
    this.setupDatepicker();
    $('#date_range_custom_dialog').on('change', 'input', (e) => {
      this.handleInputBlur(e);
    });
  }

  componentDidUpdate() {
    this.setupDatepicker();
  }

  componentWillUnmount() {
    $(findDOMNode(this)).find('#date_range_datepicker').datepicker('destroy');
  }

  render() {
    const disableSubmit = (this.state.startText && this.state.endText) ? false : true;
    return (
      <Modal show={this.props.show} onHide={this.props.onHide} bsSize="large" id="date_range_custom_dialog" backdrop="static" animation={false}>
        <Modal.Header closeButton>
          <Modal.Title>{this.props.title}</Modal.Title>
        </Modal.Header>
        <Modal.Body>

            <input
              type="text"
              name="start"
              id="start"
              value={this.state.startText}
              onFocus={this.handleFocusChange}
              onChange={this.handleInputChange}
              placeholder={this.props.dateFormat}
            />
             ~
            <input
              type="text"
              name="end"
              id="end"
              value={this.state.endText}
              onFocus={this.handleFocusChange}
              onChange={this.handleInputChange}
              placeholder={this.props.dateFormat}
            />

        </Modal.Body>
        <Modal.Footer>
          <Button bsStyle="primary" onClick={this.handleApply} disabled={disableSubmit}>{this.props.applyText}</Button>
        </Modal.Footer>
      </Modal>
    );
  }
}

CustomDialog.propTypes = {
  utcOffset: PropTypes.number.isRequired,
  tzName: PropTypes.string.isRequired,
  dateFormat: PropTypes.string.isRequired,
  show: PropTypes.bool.isRequired,
  onHide: PropTypes.func.isRequired,
  onSubmit: PropTypes.func.isRequired,
  title: PropTypes.string.isRequired,
  applyText: PropTypes.string.isRequired,
  start_at: PropTypes.number,
  end_at: PropTypes.number
};

export default CustomDialog;

redpajama_set_name: RedPajamaGithub


text:
Government has not been fair to NABCO trainees- NPP Communicator
A Member of the New Patriotic Party (NPP) Communications Team, Jafaru Saeed Karian
Thu, 18 Aug 2022 Source: atinkaonline.com
A Member of the New Patriotic Party (NPP) Communications Team, Jafaru Saeed Karian says it is unfair that the Government has not paid the NABCO Trainees allowance for over nine months.
NABCO Trainees across the country have decided to picket in Accra on Thursday, August 18, 2022, starting from the Obra Spot at the Kwame Nkrumah Circle and end at the Black Star Square where they will submit a petition to the Vice President, Dr Mahamudu Bawumia.
According to them, they have not been paid their allowance since November 2021, hence their decision to picket.
They explained that the first phase of their contract was for three years which they were all paid.
However, after the three years, they were given an extension to remain at post but from November 2021 till date, the government has not paid them despite going to work everyday.
Speaking on Atinka TV's morning show, Ghana Nie with Ekourba Gyasi Simpremu, Jafaru Saeed Karian hinted that clearance has been given by the Finance Ministry to maintain those who are in the health sector, especially nurses, doctors and midwives, adding that most of them have applied for deployment, waiting to be assigned to the various regions.
He was sure that those who are assigned will be paid as expected due to the clearance by the Finance Ministry.
Meanwhile, he called on the Finance Ministry to settle the NABCO Trainees and enroll them on the YouStart programme in order to give them resources to start their own businesses.
"It is not fair that someone will work for two, three or four months without being paid. So, let's call on the Finance Minister to make provision for the nine or 10 months that they have not been paid. Deal with these individuals, pay them off and then move them onto the main policy which you brought to help them," he said.
Source: atinkaonline.com
Alan is a businessman, creates jobs - Buaben Asamoa
I have created thousands of jobs for the youth – McDan
'The youth of today sleep too much' – McDan laments
Government's quest to export nurses to UK misplaced priority – Minority
Quest to export nurses to UK for cash is a misplaced priority – Minority