*Blountville, Built 1920 remodeled with cupola removed.
*Blountville, Judicial Center, Built 1989, Arch- Allen N. Dryden, Contr- Armstrong Constr. Co. Inc.
All images are property of courthousehistory.com unless otherwise stated. If you desire to use one of my images for web or print publication OR if you wish to link to images on this site, please contact me with your request at Keith@courthousehistory.com. Courthousehistory.com is not responsible for external linking and content. It is the remote users responsibility to maintain up-to-date links.


Considering the path she's on now, it's hard to believe that 17-year-old Rachel once had nowhere else to study or do her homework but the backseat of her family's minivan. For a time while in elementary school, "we had no place to go or to eat or to call home," says Rachel, so they lived out of their van. Fortunately, they've been in a permanent apartment for several years now. When Rachel reflects back on that time, she acknowledges that it was "not stable," and uses this as an intense motivator to do well in school because she knows it's the path to get ahead in life.
Rachel was born in the Bronx. Her family moved here from Ghana so she could benefit from the educational opportunities here – which she certainly has. Rachel has witnessed her parents' economic struggles, due in part to her mother's disability, and feels that "my only way out of poverty is education." She has always done well in school, and even took classes at nearby Lehman College so she could graduate from high school early!
The next stop on Rachel's path was History Makers, a joint BronxWorks-Fordham University summer enrichment program that gives high schoolers a taste of college, focusing on Bronx history learned through oral history, field research, and mentorship. Rachel learned a lot, admitting "I didn't think the Bronx even had any history!" and enjoyed the feel she got for on-campus college life. This connected her with the BronxWorks CAFÉ staff, including Program Coordinator Jean-Pierre LaCour, who were crucial resources throughout Rachel's college application process.
Rachel had little support from her school's overwhelmed college counselor, so she took the initiative to do her own research on potential colleges and sought help from CAFÉ staff with the key pieces of her applications. She also found a confidant in Jean-Pierre, relieved to be able to open up about family hardships and various "things I'm going through." This spring, "I was ecstatic," Rachel says about her acceptance to Oxford College at the prestigious Emory University in Georgia. What's more, thanks to her case manager's support with financial aid and scholarship applications, she is getting nearly a full ride in scholarships which makes Rachel's college education financially possible for her family – and she's excited to supplement it by choosing to be a library assistant for work-study.
BronxWorks has continued to be a major part of Rachel's life. Beyond CAFÉ staff making sure she got everything submitted to confirm her enrollment and financial aid, Rachel took advantage of other BronxWorks opportunities. She participated in the Summer Youth Employment Program, receiving a modest wage working as a peer educator with BronxWorks adolescent development programs. Rachel found the work rewarding and was also excited to learn to swim (a college requirement) through the Aquatics Program.
This summer, Rachel was concerned about how she was actually going to get to college in Georgia given her family's financial situation and mother's disability, so she asked if Rakeesha Glover, the CAFÉ college retention specialist, could take her there. CAFÉ was able to provide the two with train tickets so Rachel could get safely to school and have help moving in, getting settled, and starting off on the right foot.
Now at Emory pursuing her love of math, Rachel acknowledges that classes are tough and it's an adjustment, but she's in touch regularly with CAFÉ staff who are supporting her through the transition. Rachel says "I don't know where I'd be without BronxWorks. I really appreciate BronxWorks—it did so much for me." And BronxWorks appreciates all of you – staff, partners, and donors – who make dreams like Rachel's come true!
CAFÉ guides middle school students and their families through the high school selection and application process. The program holds workshops on school selection and facilitates visits to high school fairs and works closely with students to make sure they are ready to meet the expectations of quality high schools. CAFÉ also helps high school students prepare for a college career including: workshops on all aspects of the college application process (including financial aid); visits to colleges and college fairs; scholarship search help; and individual counseling. Staff work diligently to ensure that youth are ready for college beyond matriculation. Questions or comments? Send them to info@bronxworks.org.


Join the Woman's Club of Allwood on Tuesday, August 30th at Anthony's Coal Fired Pizza at the to raise awareness and funds for Prevent Child Abuse New Jersey.
PREVENT CHILD ABUSE NJ is the State Project of the NJ State Federation of Women's Clubs of GFWC. For more information about this important organization, please visit preventchildabusenj.org.


not how much money is in your bank account."
- from Victoria Rivers "Life on My Terms"
LOVE this! It is so true and how I live my life.
Well put! And I love the little saying you have above your comments section. So funny. And so true!
Found you through "Just another mom of 2"!


text:
Home › BBC IN CONCERT - DAVID CROSBY & GRAHAM NASH - BILL WITHERS - CHUCK BERRY - JUDY COLLINS - RICHIE HAVENS - THE PENTANGLE
BBC IN CONCERT - DAVID CROSBY & GRAHAM NASH - BILL WITHERS - CHUCK BERRY - JUDY COLLINS - RICHIE HAVENS - THE PENTANGLE
DVD / All - $ 20.95 USD Download / 1. David Crosby and Graham Nash - $ 4.99 USD Download / 2. Bill Withers - $ 4.99 USD Download / 3. Chuck Berry - $ 4.99 USD Download / 4. Judy Collins - $ 4.99 USD Download / 5. Richie Havens - $ 4.99 USD Download / 6. The Pentangle - $ 4.99 USD Quantity
1. David Crosby and Graham Nash - 1970 footage of the duo performing soon after the initial demise of the supergroup Crosby, Stills, Nash and Young. Featuring beautiful harmonies, they perform CSN&Y songs such as Marrakesh Express and Guinnevere in addition to songs like Simple Man, Song With No Words, The Lee Shore and Traction In The Rain.
2. Legendary soul singer-songwriter Bill Withers, at the height of his powers in a live concert for the BBC from 1973, performing hits such as Lean on Me, Ain't No Sunshine, Use Me and Grandma's Hands plus Lonely Town/Lonely Street, Let me In Your Life and Harlem.
3. A chance to see a great performance from Rock 'n' Roll icon Chuck Berry. The concert was initially aired in 1972 and includes legendary hits like Roll Over Beethoven, Sweet Little Sixteen, Memphis Tennessee, Carol, Let It Rock and Johnny B. Goode performed with backing band, Rocking Horse.
4. Folk singer Judy Collins performs to a BBC studio audience in 1973. Songs performed are Joni Mitchell compositions Chelsea Morning and Both Sides Now, Tom Paxton's The Hostage, Leonard Cohen's Suzzanne, Sandy Denny's Who Knows Where The Time Goes, and the self-penned, semi-autobiographical My Father.
5. Iconic American folk singer and guitarist Richie Havens recorded in concert at BBC Studios in 1974. Songs include Minstrel From Gaul, Van Morrison's Tupelo Honey, Dylan's Just Like A Woman, High Flyin' Bird, Handsome Johnny, Zodiac, Freedom/Motherless Child and Beatle George Harrison's Here Comes the Sun.
6. The Pentangle are a British folk rock band with some folk jazz influences. The original line-up, which was unchanged throughout the band's first incarnation (1967–1973), was: Jacqui McShee, vocals; John Renbourn, guitar; Bert Jansch, guitar; Danny Thompson, double bass; and Terry Cox, drums. Shown here in a BBC concert aired in 1971, they perform originals Train Song, Hunting Song, Light Flight, Blues In Time, House Carpenter and I've Got A Feeling.

redpajama_set_name: RedPajamaCommonCrawl


text:
+"Bochner, Mel, 1940-"
Robert Pincus-Witten papers
Pincus-Witten, Robert, 1935-2018 Search this
Gagosian Gallery Search this
Bochner, Mel, 1940- Search this
Hecht, Leon Search this
Hesse, Eva, 1936-1970 Search this
Twombly, Cy, 1928- Search this
The papers of art historian, critic, and curator Robert Pincus-Witten measure 12.4 linear feet and date from 1942-2017. The collection consists of biographical material; color and black and white photographs and negatives; writings by Pincus-Witten; teaching files and printed material; journals; sketches by Pincus-Witten; professional files related to curatorial work; correspondence; artist files maintained by Pincus-Witten; and audiovisual and born digital materials.
The collection includes biographical material such as passports, address books, calendars, report cards, diplomas, and other academic ephemera; journals that document Pincus-Witten's daily personal and professional activities; drafts of articles, essays and other writings by Pincus-Witten; correspondence with friends and colleagues; teaching files from City University of New York that include lecture notes, slide lists, and student correspondence; research files on artists from the circa 1970s-1996; professional files that document Pincus-Witten's work at Gagosian Gallery and other curatorial activities; and photographs and negatives of family, friends, events and works of art. Also included are audio visual material consisting of two reel-to-reel tape recordings and seventeen sound cassettes documenting panels that featured Pincus-Witten, artist interviews, and Pincus-Witten dictating essays; born digital material including a CD-R from Rose Cabot's "The Marks Project" and 5.25 floppy disk(s) that include Pincus-Witten's writings; pencil, ink, and watercolor sketches and sketchbooks; and printed material consisting of exhibition announcements and invitations, pamphlets, press releases, event programs, newsletters, flyers, and clippings.
Series 1: Biographical Material, 1942-circa 2010s (1.00 linear feet; Box 1)
Series 2: Correspondence, 1952-2015 (1.60 linear feet, Box 1, 2, 4)
Series 3: Journals, 1958-2015 (3.30 linear feet, Box 3, 12-18)
Series 4: Writing, 1953-2016 (1.50 linear feet, Box 4-5)
Series 5: Artist Files, 1950-2016 (1.60 linear feet, Box 5-7)
Series 6: Professional Files, 1959-2009 (1.50 linear feet, Box 7-8)
Series 7: Teaching Files, circa 1970s-1996 (0.50 linear feet, Box 8-9)
Series 8: Printed Material, 1962-2017 (0.95 linear feet, Box 9-10)
Series 9: Artwork, 1959-1996 (0.25 linear feet, Box 10)
Series 10: Unidentified Born Digital Materials, 1980s-2000s (0.2 linear feet, Box 10)
Robert Pincus-Witten (1935-2018) was an art historian, educator, critic, and curator in New York, New York.
Born in the Bronx, Pincus-Witten attended PS4, the New York High School of Music and Art, and The Cooper Union. During this time Pincus-Witten met his husband, Leon Hecht, who lived on the same block and was in the same kindergarten class at PS4. He also formed a lifelong friendship with high school classmate and artist, Ray Johnson. Pincus-Witten received a Master of Fine Arts and PhD from the University of Chicago and lived abroad in the late 1950s and early 1960s. Pincus-Witten became interested in art at a very early age and received recognition in the Regional and National Scholastic Art Awards in 1950 and 1952.
While living abroad and finishing his doctorate, Pincus-Witten accepted a teaching position at Queens College, part of the City University of New York (CUNY) network, where he taught art history courses until his retirement in 1991. Coining the term, "postminimalism," Pincus-Witten played a central role in explicating postmodern art as it emerged between 1960 and his death in 2018. He exhaustively documented his daily life on the front lines of the art world as a contributing editor for Artforum for nearly fifty years, including a stint as senior editor from 1973-1974. In addition to his long teaching career at the CUNY, Pincus-Witten worked for Larry Gagosian and Robert Mnuchin, curating exhibitions and writing catalog essays for their galleries. He was the author of several books, including Postminimalism (1977).
Also found in the Archives of American Art is an oral history interview with Robert Pincus-Witten conducted by Francis M. Naumann, March 23-24, 2016.
The papers were donated in 2019 by Leon Hecht, Robert Pincus-Witten's husband.
Robert Picus-Witten's journals are access restricted; written permission is required. Contact Reference Services for more information. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: Robert Pincus-Witten's journals.
Art critics -- New York (State) -- New York Search this
Educators -- New York (State) -- New York Search this
LGBTQ+ Search this
Postmodernism Search this
Robert Pincus-Witten papers, 1942-2017. Archives of American Art, Smithsonian Institution
AAA.pincrobe
https://n2t.net/ark:/65665/mw901f20149-a4b4-48e1-99b6-38e9f74f4d40
ead_collection:sova-aaa-pincrobe
Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art
Finch College. Museum of Art Search this
Varian, Elayne H. Search this
Acconci, Vito, 1940- Search this
Anderson, David K., 1935- Search this
Benglis, Lynda, 1941- Search this
Benyon, Margaret, 1940- Search this
Brooks, James, 1906-1992 Search this
Castelli, Leo Search this
Chase, Doris, 1923- Search this
Cross, Lloyd G. Search this
Davis, Douglas Search this
Dwan, Virginia Search this
Feigen, Richard L., 1930- Search this
Glimcher, Arnold B. Search this
Graham, Dan, 1942- Search this
Hollander, Irwin Search this
Insley, Will, 1929-2011 Search this
Jackson, Martha Kellogg Search this
Janis, Sidney, 1896-1989 Search this
Kirby, Michael Search this
Levine, Les, 1935- Search this
Lichtenstein, Roy, 1923-1997 Search this
Mazur, Michael, 1935-2009 Search this
Meyer, Ursula, 1915- Search this
Nauman, Bruce, 1941- Search this
O'Doherty, Brian Search this
Parsons, Betty Search this
Richter, Hans, 1888-1976 Search this
Siegelaub, Seth, 1941- Search this
Smith, Tony, 1912-1980 Search this
Sonfist, Alan Search this
Weiner, Sam Search this
Wise, Howard Search this
Museum records
The exhibition records of the Contemporary Study Wing of the Finch College Museum of Art measure 20.9 linear feet and date from 1943 to 1975, with the bulk of records dating from the period its galleries were in operation, from 1964 to 1975. Over two-thirds of the collection consists of exhibition files, which contain a wide range of documentation including artist files, checklists, correspondence, writings, photographs, interviews, numerous films and videos, artist statements, printed materials, and other records. Also found within the collection are administrative records of the museum, artist files, and papers of the Contemporary Wing's director and curator, Elayne Varian, which were produced outside of her work at Finch College.
Administrative records include records relating to the general operation of the Contemporary Wing concerning fundraising, professional associations, budget, contact information for artists, donors, and lenders to exhibitions. Also found are records of the permanent collection of artworks acquired by the museum between 1964 and 1975 from contemporary artists and collectors of contemporary art.
Artist files contain basic biographical information on over 150 contemporary artists, with scattered correspondence, photographs, technical information about artworks, artist statements, and other writings. Artist files also include an incomplete run of artist questionnaires gathered by the New York Arts Calendar Annual for 1964.
Elayne Varian's personal papers include curatorial records, a course schedule and syllabus related to her teaching activities, and various writings. Curatorial projects documented in Varian's papers include three programs produced outside of Finch College, including a juried show at the New York State Fair in 1967, a film series at Everson Museum of Syracuse University, and an exhibition at Guild Hall in East Hampton in 1973. Several of Varian's writing projects involved interviews, which are also found in this series in the form of sound recordings and transcripts. Interview-based writing projects include individual profiles on Brian O'Doherty and Babette Newberger, and interviews conducted for an article on the artist-dealer relationship published in Art in America (January 1970). Dealers interviewed for the latter project include Leo Castelli, Virginia Dwan, John Gibson, Richard Feigen, Arnold Glimcher, Fred Mueller, Martha Jackson, Sidney Janis, Betty Parsons, Seth Siegelaub, and Howard Wise. Artists interviewed include Roy Lichtenstein, Adolph Gottlieb, and Charles Ross.
Exhibition files, comprising the bulk of the collection, document exhibitions held in the Contemporary Wing during its existence from 1964 to 1975. Types of records found in the series include exhibition catalogs, correspondence, loan agreements, lists, contact information, insurance valuations of artworks, photographs, biographical information on artists, clippings, posters, press releases, and other publicity materials. In addition to the rich textual and photographic records found for exhibitions, numerous audiovisual recordings are also found, some of which were made in preparation for an exhibition, some document mounted exhibitions, and others are artworks themselves or components of artworks exhibited in the galleries. Interviews with artists, dealers, and others involved in exhibitions include Alan Sonfist, Mel Bochner, Hans Richter, Ruth Richards, James Brooks and Janet Katz, Margaret Benyon, Irwin Hollander (transcript only), David Anderson, Doris Chase, Will Insley, Michael Kirby, Les Levine, Ursula Meyer, Brian O'Doherty, Charles Ross, Tony Smith, Douglas Davis, Jane Davis, Russ Connor, Les Levine, Michael Mazur, Paul Gedeohn, and physicists Lloyd G. Cross, Allyn Z. Lite, and Gerald Thomas Bern Pethick. Video artworks, recordings of performances, or components of multimedia artworks are found by artists Vito Acconci, Kathy Dillon, Douglas Davis, Dan Graham, Les Levine, Bruce Nauman, Michael Netter, Eric Siegel, and Robert Whitman. A film of the Art in Process: The Visual Development of a Structure (1966) exhibition is found, and video recordings of artists Lynda Benglis, Michael Singer, and Sam Wiener form as part of the documentation for the Projected Art: Artists at Work (1971) exhibition.
Series 1: Administrative Records, 1950-1975 (2 linear feet; Boxes 1-2, 22, OV 23)
Series 2: Artist Files, 1958-1975 (2.4 linear feet; Boxes 3-4, 22, OV 23, FC 27-28)
Series 3: Elayne Varian Personal Papers, 1965-1970 (1.3 linear feet; Boxes 5-6)
Series 4: Exhibition Files, 1943-1975 (14.9 linear feet; Boxes 6-22, OV 24-25, FC 26)
The Contemporary Study Wing of the Finch College Museum of Art, later called simply the "Contemporary Wing," was established in 1964 by the president of Finch College, Roland De Marco, as an extension the Finch College Museum of Art in New York City.
Its mission was to educate art history students at the Manhattan women's college who were interested in working with contemporary art. DeMarco, himself an art collector, hired Elayne Varian as director and curator of the contemporary wing. DeMarco met Varian in the New York office of the prominent international art dealership Duveen Brothers, where she had worked since the mid-1940s, most recently as an art dealer. Varian received her art education in Chicago, where she studied art history and education at the University of Chicago, and took classes in film at the Bauhaus and in fine art the Art Institute of Chicago. Sensitive to emerging art movements in galleries and studios around the city of New York, as the contemporary wing's curator, Varian quickly established a reputation for thoughtfully conceived, cutting-edge exhibitions which were consistently well-received by the press.
Under Varian, the Contemporary Wing carried out a dual mission of showing work of living artists and educating students and the public about the artwork and museum work in general. Varian used the galleries to provide practical training to students interested in a gallery or museum career throughout its existence. For several years, she also maintained an assistantship position for post-graduate museum professionals to gain experience in the field, many of whom went on to careers in museums across New York State.
The Contemporary Wing's best-known exhibitions formed a series of six shows called Art in Process, held between 1965 and 1972. Each of the Art in Process shows took a different medium, including painting, sculpture, collage, conceptual art, installation art, and serial art, and brought the process of art-making into the gallery with the artworks in various ways. For example, for Art in Process V (1972), the show about installation art, the galleries were open to the public for the entire process of its installation, allowing visitors to watch the works take shape. Another show entitled Documentation (1968) exhibited artworks with documentation such as artist's notes, sales records, and conservation records, bringing to light the value of record-keeping in the visual arts. Two exhibitions entitled Projected Art were also innovative, with the first (1966-1967) bringing experimental films from the cinema to the galleries, and the second (1971) showing artists' processes via footage and slides of artists working. Another show, Artists' Videotape Performances (1971), involved both screening of and creation of works in the gallery using a range of experiments with recent video technology. The museum also participated in an experimental broadcast of an artwork entitled Talk Out! by Douglas Davis, in which a telephone in the gallery allowed visitors to participate in its creation while it was broadcast live from Syracuse, NY. Other exhibitions that showcased experimentation in art included N-Dimensional Space (1970), on holography in art, Destruction Art(1968), on destructive actions being incorporated into contemporary art-making, and Schemata 7 (1967), a show about the use of environments in contemporary art, whose working title was "Walk-in Sculpture."
Other popular exhibitions at the Contemporary Wing included shows on Art Deco (1970) and Art Nouveau (1969). Several shows mined the private collections of prominent contemporary art collectors including Martha Jackson, Betty Parsons, George Rickey, Paul Magriel, Jacques Kaplan, Josephine and Philip Bruno, and Carlo F. Bilotti. A number of exhibitions featured contemporary art from overseas including Art from Belgium (1965), Art from Finland (1973), Seven Swedish Painters (1965), and Art in Jewelry (1966), which featured mainly international jewelry artists. Retrospective exhibitions of Hans Richter, Hugo Weber, and James Brooks were also held.
Hundreds of contemporary artists were shown at the Contemporary Wing in the eleven years of its existence, including many who came to be leading figures in contemporary art, and some who already were, including Andy Warhol, Roy Lichtenstein, Mel Bochner, Eva Hesse, Lynda Benglis, Bruce Nauman, Robert Morris, Lawrence Weiner, Robert Smithson, Sol Le Witt, Dan Flavin, Philip Pearlstein, and Yayoi Kusama, to name just a few.
The Contemporary Wing and the entire Finch College Museum of Art shut its doors in 1975, when Finch College closed due to lack of funds. The permanent collection was sold at that time, and the proceeds were used to pay Finch College employee salaries. Elayne Varian went on to the position of curator of contemporary art at the John and Mabel Ringling Museum in Sarasota, Florida. She died in 1987.
Also found in the Archives of American Art is an oral history interview with curator Elayne Varian conducted by Paul Cummings, May 2, 1975.
The Archives of American Art acquired these records from the Finch College Museum of Art after it closed permanently in June 1975.
Video artists -- New York (State) -- New York Search this
Museum administrators -- New York (State) -- New York Search this
Museum curators -- New York (State) -- New York Search this
Art dealers -- New York (State) -- New York Search this
Gallery directors Search this
Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art, 1943-1975. Archives of American Art, Smithsonian Institution.
Funding for the processing of this collection was provided by the Andrew W. Mellon Foundation, administered through the Council on Library and Information Resources' Hidden Collections grant program. Funding for the digitization of two motion picture films was provided by the Smithsonian Women's Committee, and for the remaining sound and video recordings from the Smithsonian's Collection Care Pool Fund. Funding for the digitization of the collection, not including audiovisual materials, was provided by The Walton Family Foundation and the Terra Foundation for American Art.
AAA.finccoll
https://n2t.net/ark:/65665/mw9ed5f13a2-eeb3-452a-8735-204ff25576b5
ead_collection:sova-aaa-finccoll
Oral history interview with Barbara Novak
Novak, Barbara Search this
McElhinney, James Lancel, 1952- Search this
Art Students League (New York, N.Y.) -- Students Search this
Barnard College -- Students Search this
Brooklyn Museum Search this
Harvard University -- Students Search this
Aaron, Dan Search this
Coremans, Paul B., 1908-1965 Search this
Davis, Meredith (Meredith J) Search this
Duchamp, Marcel, 1887-1968 Search this
Feldman, Morton, 1926-1987 Search this
Ferber, Linda S. Search this
Goetzmann, William Search this
Hayes, Bartlett H., 1904-1988 Search this
Held, Julius Samuel, 1905- Search this
Hopper, Edward, 1882-1967 Search this
Hutchinson, Peter A., 1930- Search this
Icahn, Belle Search this
Kaufman, William Search this
Krasner, Lee, 1908-1984 Search this
Lane, Fitz Henry, 1804-1865 Search this
Lawrence, Marion Search this
LeWitt, Sol, 1928-2007 Search this
McCoy, Ann Wyeth Search this
Melkoff, Edward Search this
Nevins, Kate Lockwood Search this
Presser, Josef, 1909-1967 Search this
Rauschenberg, Robert, 1925-2008 Search this
Reff, Theodore Search this
Rothko, Mark, 1903-1970 Search this
Rowland, Ben Search this
Scharf, William, 1927- Search this
Shapiro, Marge Search this
Smithson, Robert Search this
Watts, Marissa Search this
4 Items (Sound recording: 4 sound files (4 hr., 26 min.), digital)
Europe -- description and travel
Utah -- Description and Travel
2013 October 8-17
An interview with Barbara Novak conducted 2013 October 8-17, by James McElhinney, for the Archvies of American Art, at Novak's home in Manhattan, New York.
Novak speaks of her early art training; learning to draw at the age of eight with help from her uncle William Kaufman and later taking art classes with Belle Icahn; Edward Melkoff; Joseph Presser; and classes at the Art Students League; becoming Expressionist in her painting; her year in Europe as a Fulbright student from Harvard University; the powerful lectures of Julius Held at Barnard College that launched her career; feeling that she devised a system by which works of art can be understood through looking closely at their physical properties and how she tries to develop the individual in her students; her time as a docent at the Brooklyn Museum in the American art collection; which led her to becoming an Americanist; her book, "Alice's Neck" and the inspiring Utah landscape; the importance of Fitz Henry Lane's work; the embodiment in American art of Pragmatism and Transcendentalism; and being led to Luminism; her books showing how to understand American culture through art, covering formal, contextual, and spiritual elements; hosting the first television show on art, "Vision of Art"; her husband Brian O'Doherty's background in art; the importance of nature for Cole and Durand; that common sense should be used in describing works of art, rather than assuming current events influenced the artist; her education at Harvard; Margaret Fuller and writing "The Margaret-Ghost"; Marcel Duchamp; Andrew Wyeth; Edward Hopper; Robert Rauschenberg; Mark Rothko; and Lee Krasner; and that the most exhilarating time intellectually for her was the 1960s with a group that included Robert Smithson, Sol LeWitt, Eva Hesse, Peter Hutchinson, Morton Feldman, Mel Bochner, and others. Barbara also recalls Mrs. Nevins, William Scharf, Paul Cormans [ph], Marion Lawrence, Marge Shapiro, Maxim Karolick, William Goetzmann, Ann McCoy, Ben Rowland, Bart Hayes, Ted Reff, Dan Aaron, Louis Bosa, Linda Ferber, Meredith Davis, Marissa Watts, and others.
Barbara Novak (1929- ) is an art historian in New York, New York. James McElhinney (1952- ) is a painter and educator in New York, New York.
Originally recorded as 4 sound files. Duration is 4 hr., 26 min.
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Transcript available on the Archives of American Art website.
Fulbright scholars Search this
Expressionism (Art) Search this
Luminism (Art) Search this
Pragmatism Search this
AAA.novak13
https://n2t.net/ark:/65665/mw98b209753-c622-42d5-aad3-a2049f54363c
ead_collection:sova-aaa-novak13
Dorothy and Herbert Vogel papers
Vogel, Dorothy Search this
Vogel, Herbert Search this
Kunsthalle Bielefeld Search this
Andre, Carl, 1935- Search this
Antonakos, Stephen, 1926-2013 Search this
Artschwager, Richard, 1923- Search this
Aycock, Alice Search this
Barnet, Will, 1911-2012 Search this
Cadere, André, 1934-1978 Search this
Chernow, Ann, 1936- Search this
Christo, 1935- Search this
Cyphers, Peggy, 1954- Search this
DeMonte, Claudia, 1947- Search this
Francisco, Richard, 1942- Search this
Groth, Jan, 1938- Search this
Hazlitt, Don, 1948- Search this
Highstein, Jene, 1942-2013 Search this
Jean-Claude, Martha, 1919-2001 Search this
Kawara, On Search this
Mangold, Robert, 1937- Search this
Mangold, Sylvia Plimack, 1938- Search this
Pozzi, Lucio, 1935- Search this
Renouf, Edda Search this
Ryman, Robert, 1930- Search this
Schultz, Barbara Search this
Seawright, Sandy Search this
Tabler, Bernadine Search this
Taschler, Lori, 1959- Search this
Tuttle, Richard, 1941- Search this
Umlauf, Lynn Search this
The papers of contemporary art collectors Dorothy and Herbert Vogel measure 47.5 linear feet and date from the 1960s to 2009. Found is scattered general correspondence, artists' files, subject files, business records, and printed material relating to the Vogel Collection. Artists' and subject files create the bulk of the collection, the majority of which is printed material but includes some correspondence from artists.
Scattered general correspondence is with friends, acquaintances, and corporate entities.
Files for artists represented in the Vogel Collection include Carl Andre, Stephen Antonakos, Richard Artschwager, Alice Aycock, Will Barnet, Mel Bochner, Andre Cadere, Ann Chernow, Christo and Jeanne-Claude, Peggy Cyphers, Claudia DeMonte, Richard Francisco, Dan Graham, Jan Groth, Don Hazlitt, Jene Highstein, On Kawara, Sol Lewitt, Sylvia and Robert Mangold, Lucio Pozzi, Edda Renouf, Robert Ryman, Barbara Schultz, Lori Taschler, Richard Tuttle, and Lynn Umlauf among many others. Materials within artists' files may include printed material, correspondence, writings and notes, and scattered business records.
Subject files are found for Dorothy and Herbert Vogel's friends and colleagues within the art world including art historians, writers, gallerists, dealers, and collectors. Extensive letters are from Sandy Seawright and Bernadine Tabler. Exhibition related materials are found among the files.
Scattered business records of the Vogel Collection document exhibitions of the collection at U.S. institutions and at the Kunsthalle Bielefeld Museum in Germany.
Printed materials include clippings, posters, and exhibition catalogs and announcements.
Series 1: Correspondence, 1971-1987 (0.3 linear feet; Box 1)
Series 2: Artists' Files, 1963-2009 (30.4 linear feet; Boxes 1-31)
Series 3: Subject Files, 1969-2008 (9.8 linear feet; Boxes 31-41)
Series 4: Vogel Collection Business Records, 1974-1988 (0.3 linear feet; Box 41)
Series 5: Printed Material, 1960s-2000s (6.7 linear feet; Boxes 41-47, OV48-58)
Dorothy (1935- ) and Herbert Vogel (1922-2012) were contemporary art collectors in New York City, New York. The middle-class couple bought and collected art for forty-five years and amassed an extensive collection.
A life-long New Yorker, Herbert Vogel was born in 1922 and dropped out of school to work in a garment factory. After joining the U.S. Army, Vogel became a postal clerk and began to frequent Greenwich Village's Cedar Bar, a popular bar of the arts crowd. Vogel developed a deep appreciation for art and for the artists themselves.
In 1960, he met librarian Dorothy Faye Hoffman and they quickly fell in love. During their honeymoon, they visited the National Gallery of Art in Washington, D.C. Dorothy and Herb's first purchase was a sculpture by John Chamberlain. On their civil servant salary, the Vogels continued to collect and purchase art, beginning with young artists of the 1960s and 1970s while bypassing the dealer system of the New York City art scene. The result was a collection of 5,000 pieces which had to fit in their one-bedroom apartment.
In 1992, the Vogels donated the bulk of their collection to the National Gallery of Art, with fifty pieces intended to go to a museum or institution in each of the United States. Herbert Vogel died in 2012 in Manhattan and is survived by Dorothy.
The Archives of American Art also holds material lent for microfilming (reel 2435) including three notebooks containing clippings, articles, press releases, exhibition catalogs and announcements. Lent materials were returned to the lender and are not described in the collection container inventory.
Dorothy and Herbert Vogel donated their papers in several accretions from 1980 to 2009 and lent three notebooks for microfilming in 1982.
Art, Modern -- 20th century -- Collectors and collecting -- New York (State) -- New York Search this
Women art dealers Search this
Dorothy and Herbert Vogel papers, 1960s-2009. 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.vogedoro
https://n2t.net/ark:/65665/mw9c7c1f7cf-7464-4427-b5f2-c93ec076f7ab
ead_collection:sova-aaa-vogedoro
Verba volant scripta manent Boetti Bochner
Boetti Bochner
Bochner, Mel 1940- Search this
Boetti, Alighiero 1940-1994 Search this
Edward Totah Gallery Search this
1 volume (unpaged) color illustrations 29 cm
Art, Modern Search this
N6537.B6 A4 2016
edanmdm:siris_sil_1114415
Interview with Mel Bochner and Dorothea Rockburn
Varian, Elayne H. (Elayne Hanley), 1913-1987 Search this
Rockburne, Dorothea Search this
Elayne H. (Elayne Hanley) Varian and Mel Bochner. Interview with Mel Bochner and Dorothea Rockburn, circa 1970. Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art, 1943-1975. Archives of American Art, Smithsonian Institution.
Conceptual art Search this
(DSI-AAA)12303
Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art, 1943-1975, bulk 1964-1975
edanmdm:AAADCD_item_12303
Mel Bochner, New York, N.Y. letter to Ellen H. Johnson
Johnson, Ellen H., 1910-1992 Search this
Bochner, Mel Search this
Johnson, Ellen H. Search this
Oberlin, OH
Mel Bochner. Mel Bochner, New York, N.Y. letter to Ellen H. Johnson, 1972 Apr. 21. Ellen Hulda Johnson papers, 1872-2018. Archives of American Art, Smithsonian Institution.
(DSI-AAA)9799
Ellen Hulda Johnson papers, 1872-2018, bulk 1921-1992
edanmdm:AAADCD_item_9799
Oral history interview with Mel Bochner, 1994 May
Marano, Lizbeth Search this
Quotes and excerpts must be cited as follows: Oral history interview with Mel Bochner, 1994 May. Archives of American Art, Smithsonian Institution.
AAA_collcode_bochne94
Mel Bochner/Richard Serra / Hayden Gallery, Massachusetts Institute of Technology, Cambridge, Massachusetts, April 5--May 11, 1980
Hayden Gallery Search this
Serra, Richard 1939- Search this
MIT Committee on the Visual Arts Search this
51 p. : ill. (some col.) ; 22 x 28 cm
N40.1.B673 H4 1980
N40.1.B673H4 1980
Mel Bochner : number and shape / Brenda Richardson
Richardson, Brenda Search this
Baltimore Museum of Art Search this
x, 68 p. : ill. (some col.) ; 24 x 26 cm
N40.1.B673 R5
edanmdm:siris_sil_87788
Mel Bochner / [textes: Mel Bochner, Frédéric Paul ; traduction: Simon Pleasance, Frédéric Paul]
Paul, Frédéric Search this
Centre d'art contemporain du domaine de Kerguéhennec Search this
Beyond geometry : experiments in form, 1940s-70s / Lynn Zelevansky ; with contributions by Valerie L. Hillings ... [et al.]
Zelevansky, Lynn Search this
Hillings, Valerie L Search this
Los Angeles County Museum of Art Search this
Morellet, François Search this
Oiticica, Hélio 1937-1980 Search this
Avant-garde (Aesthetics) Search this
Arts--Experimental methods--History Search this
Solar system & rest rooms : writings and interviews, 1965-2007 / Mel Bochner
Solar system and rest rooms
Bochner, Mel 1940- Written works Search this
xviii, 217 p. : ill ; 29 cm
Oral history interview with Mel Bochner
6 Items (Sound recording: 6 sound files (4 hr., 6 min.), digital, wav)
An interview of Mel Bochner conducted 1994 May, by Lizbeth Marano, for the Archives of American Art.
Mel Bochner (1940- ) is a conceptual artist of New York, New York.
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 6 digital wav files. Duration is 4 hr., 6 min.
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. Funding for this interview was provided by the Horace Goldsmith Foundation.
Conceptual artists -- New York (State) -- New York -- Interviews Search this
Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.
AAA.bochne94
https://n2t.net/ark:/65665/mw962034aa6-5550-465c-aa89-fb6f1252479a
ead_collection:sova-aaa-bochne94
Mel Bochner : opere recenti, 20 marzo 2003
Arditi, Fiamma Search this
Galleria il gabbiano (Rome, Italy) Search this
41 p. : col. ill. ; 30 cm
Numbers in art Search this
N6537.B578 A4 2003
Mel Bochner : drawing from four decades / with an essay by Ruth Fine
Fine, Ruth 1941- Search this
Wynn Kramarsky (Gallery) Search this
72 p. : ill. (chiefly col.) ; 23 x 26 cm
NC139.B625 A4 2006
Mel Bochner : language, 1966-2006 / Johanna Burton ; with contributions by Mel Bochner, James Meyer, and James Rondeau ; accompanying an exhibition organized by James Rondeau with Mark Pascale and Lisa Dorin
Burton, Johanna Search this
Art Institute of Chicago Search this
148 p. : ill. (chiefly col.) ; 25 cm
Language and languages in art Search this
Words in art Search this
Prints, Bochner, LeWitt, Mangold, Marden, Martin, Renouf, Rockburne, Ryman : Art Gallery of Ontario, December 18, 1975-January 18, 1976 / [Nancy Tousley] ; Art Gallery of Ontario
Art Gallery of Ontario Search this
Tousley, Nancy Search this
59 p. : ill. ; 23 cm
Aquatint, American--Exhibitions Search this
Etching, American Search this
Prints, American Search this
Art, Abstract Search this
NE2004 .O59
NE2004.O59
Reconnecting : recent work by Jennifer Bartlett, Mel Bochner, Nancy Graves, Patrick Ireland, Lucio Pozzi : the Detroit Institute of Arts, June 12-September 27, 1987 / [catalog authors, Jan van der Marck and MaryAnn Wilkinson]
Van der Marck, Jan 1929-2010 Search this
Wilkinson, MaryAnn Search this
Founders Society Search this
Detroit Institute of Arts Search this
Bartlett, Jennifer 1941- Search this
Graves, Nancy Stevenson 1940-1995 Search this
Ireland, Patrick Search this
Pozzi, Lucio 1935- Search this
Art, American--Themes, motives Search this
N6512 .V23 1987
N6512.V23 1987
Ten to 10, (sculpture)
Whitney Museum of American Art 945 Madison Avenue New York New York 10021 Accession Number: 77.28
Abstract Search this
IAS 60010071
Include Term Exclude Term Exhibitions (events) (27)
Include Term Exclude Term Books (17)
Include Term Exclude Term Exhibition catalogs (2)
Include Term Exclude Term Pages (2)
Include Term Exclude Term Correspondence (1)
Include Term Exclude Term Art (12)
Include Term Exclude Term Conceptual art (7)
Include Term Exclude Term Art historians (2)
Include Term Exclude Term Art, abstract (2)
Include Term Exclude Term Aquatint, American (1)
Include Term Exclude Term Art critics (1)
Include Term Exclude Term Art dealers (1)
Include Term Exclude Term Art, Modern (1)
Include Term Exclude Term Bochner, Mel (36)
Include Term Exclude Term Bochner, Mel, 1940- (5)
Include Term Exclude Term Rockburne, Dorothea (3)
Include Term Exclude Term Contemporary Arts Center (Cincinnati, Ohio) (2)
Include Term Exclude Term Gagosian Gallery (2)
Include Term Exclude Term Graham, Dan, 1942- (2)
Include Term Exclude Term Harvard University (2)
Include Term Exclude Term Hesse, Eva (2)
Include Term Exclude Term Le Va, Barry (2)
Include Term Exclude Term LeWitt, Sol (2)
Include Term Exclude Term Marano, Lizbeth (2)
Include Term Exclude Term English language (31)
Include Term Exclude Term Portuguese language (1)
Include Term Exclude Term United States (10)
Include Term Exclude Term Europe (1)
Include Term Exclude Term Oberlin, OH (1)
Include Term Exclude Term Utah (1)


If you have been putting off spring cleaning, don't worry there is still time! At Buckets & Bows we want to make spring cleaning as simple as possible for you. Here is a quick list full of tips on how to get your house looking spring time fresh and ready for summer.
Dust – Get into the corners, up near the ceiling, around the vent over the stove, in the closets, and by the windows. Don't forget any artwork or photos in the kitchen.
Wipe – Clean the exteriors of the kitchen cabinets, clean the food and grease stains from around the stove, and wipe down the spice racks and shelves.
Wash – Take down the curtains or drapes, and run them through the washing machine. Do a wet wipe of any blinds.
Scrub – Use oven cleaner to get any stains off the interior of the oven and the stove top. Scrub the exterior of your appliances, and leave the stove knobs, spill-catcher, and burners clean.
Sort – Get rid of anything expired in your fridge and pantry, and throw out rotten or expired food items.
Dust – Clean cobwebs from around the ceiling, and dust behind the toilet to remove webs. Clean the dust from the vents.
Wash – Wash the curtains, shower curtains, hand towels, wash cloths, and rags used for cleaning.
Scrub – Use tile cleaner to remove stains, mold, and grime from the bathtub, toilet, sink, and tiles.
Clean — Windex and newspapers will help you to get the shower stall and mirrors nice and clean, Ajax will help you to scrub out the toilet, and some detergent will clean your sink.
Dust – Move the cabinets and furniture to dust behind them, and remove cobwebs from the corners of the room. Don't forget to dust the art and photos on the wall.
Wash – Set the curtains to wash, along with any place mats, table rags, dinner napkins, and tablecloths. Run all of your dinnerware through the dishwasher once.
Wipe – Use a damp rag to wipe down the dining room table and chairs, as well as the shelves and cabinets in the room.
Clean -Give the carpets a good beating, air out the rugs, and consider using carpet cleaner to give your dining room a face lift. Sweep and mop the floor beneath the rugs and carpets, and use wax if you have hardwood floors.
Dust – Get underneath the bed, inside the closets, behind the night tables, on the ceilings, around the knickknacks, the pictures and photos, and clean the ceiling fan.
Wash – Wash all of the curtains, bedding, sheets, pillowcases, and pajamas.
Clean – Vacuum the carpets, and apply wax to any hardwood floors. Empty your closets and drawers to allow you to wipe down the shelves. Rearrange and reorganize your closet, getting rid of old clothes.
Dust – Clean all art and photos, the ceiling fan, the TV, the game and bookshelves, between and under the couch cushions, and behind the furniture.
Wash – Wash the couch covers, curtains, and drapes.
Clean – Vacuum any carpets or rugs, wax hardwood floors, and sweep or vacuum the door mats.
That's all there is to it. While it may take a day or two to get all of this completed, it will be totally worth it in the end!


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One issue that has often raised concerns is the use of cadmium (Cd), a toxic heavy metal that has the tendency to accumulate in ecological food chains. It is used as semiconductor component in CdTe solar cells and as buffer layer for certain CIGS cells in the form of CdS.[141] The amount of cadmium used in thin-film PV modules is relatively small (5–10 g/m²) and with proper recycling and emission control techniques in place the cadmium emissions from module production can be almost zero. Current PV technologies lead to cadmium emissions of 0.3–0.9 microgram/kWh over the whole life-cycle.[121] Most of these emissions arise through the use of coal power for the manufacturing of the modules, and coal and lignite combustion leads to much higher emissions of cadmium. Life-cycle cadmium emissions from coal is 3.1 microgram/kWh, lignite 6.2, and natural gas 0.2 microgram/kWh.
The trouble with rated power is that it does not tell you anything about energy production. Your utility company charges you for the energy you consume, not power. Likewise, for a small wind turbine you should be interested in the energy it will produce, for your particular site, with your particular annual average wind speed. Rated power of the turbine does not do that. To find out about energy production take a look at the tables presented earlier.
The comments stand in contrast to those made by Trump administration representatives also speaking at the energy summit, which is known as CERAWeek. Rick Perry, the energy secretary, on Wednesday criticized what he described as the "mind-set of the Paris agreement" that he contends supports renewable energy to the exclusion of other energy sources. And he took aim at countries pledging to phase out coal use.
Stop getting twisted!! Gold Plated Contacts Heavy 30 amp Per conductor slip ring total 180 amps....Great for even heavy 12 volt environment wind generators as used in our Cat 5 and Freedom II Dual PMA Turbines This rotating connector will be great for the wind generator. The current can be split up in DC applications by using two conductors to cut down on the resistance. If you have application specific questions feel free to ask me before buying. Has 3 mounting holes in collar and long wires for easy installation Shared Specifications Wires 6 Current 0~30A Voltage 600 VDC/VAC Max speed 250RPM Overall diameter 30mm Length 66mm Contact Material Precious Metal:gold-gold Contact Resistance <2mOhm Housing Material Plastics Torque 0.06N.
Compact Linear Fresnel Reflectors are CSP-plants which use many thin mirror strips instead of parabolic mirrors to concentrate sunlight onto two tubes with working fluid. This has the advantage that flat mirrors can be used which are much cheaper than parabolic mirrors, and that more reflectors can be placed in the same amount of space, allowing more of the available sunlight to be used. Concentrating linear fresnel reflectors can be used in either large or more compact plants.[16][17]
Floating solar arrays are PV systems that float on the surface of drinking water reservoirs, quarry lakes, irrigation canals or remediation and tailing ponds. A small number of such systems exist in France, India, Japan, South Korea, the United Kingdom, Singapore and the United States.[168][169][170][171][172] The systems are said to have advantages over photovoltaics on land. The cost of land is more expensive, and there are fewer rules and regulations for structures built on bodies of water not used for recreation. Unlike most land-based solar plants, floating arrays can be unobtrusive because they are hidden from public view. They achieve higher efficiencies than PV panels on land, because water cools the panels. The panels have a special coating to prevent rust or corrosion.[173] In May 2008, the Far Niente Winery in Oakville, California, pioneered the world's first floatovoltaic system by installing 994 solar PV modules with a total capacity of 477 kW onto 130 pontoons and floating them on the winery's irrigation pond.[174] Utility-scale floating PV farms are starting to be built. Kyocera will develop the world's largest, a 13.4 MW farm on the reservoir above Yamakura Dam in Chiba Prefecture[175] using 50,000 solar panels.[176][177] Salt-water resistant floating farms are also being constructed for ocean use.[178] The largest so far announced floatovoltaic project is a 350 MW power station in the Amazon region of Brazil.[179]
Coal is our dirtiest source of energy. It releases more harmful pollutants into the atmosphere than any other energy source and produces a quarter of the nation's global warming emissions. If we are going to effectively reduce air pollution and address global warming, we need to shut down the oldest, dirtiest coal plants—and not build new ones to replace them.
Over $1 billion of federal money has been spent on the research and development of hydrogen and a medium for energy storage in the United States.[150] Both the National Renewable Energy Laboratory[151] and Sandia National Laboratories[152] have departments dedicated to hydrogen research. Hydrogen is useful for energy storage, and for use in airplanes and ships, but is not practical for automobile use, as it is not very efficient, compared to using a battery — for the same cost a person can travel three times as far using a battery electric vehicle.[153]
Geothermal power is cost effective, reliable, sustainable, and environmentally friendly,[130] but has historically been limited to areas near tectonic plate boundaries. Recent technological advances have expanded the range and size of viable resources, especially for applications such as home heating, opening a potential for widespread exploitation. Geothermal wells release greenhouse gases trapped deep within the earth, but these emissions are much lower per energy unit than those of fossil fuels. As a result, geothermal power has the potential to help mitigate global warming if widely deployed in place of fossil fuels.
Markets for second-generation technologies are strong and growing, but only in a few countries. The challenge is to broaden the market base for continued growth worldwide. Strategic deployment in one country not only reduces technology costs for users there, but also for those in other countries, contributing to overall cost reductions and performance improvement.
A 2014-published life-cycle analysis of land use for various sources of electricity concluded that the large-scale implementation of solar and wind potentially reduces pollution-related environmental impacts. The study found that the land-use footprint, given in square meter-years per megawatt-hour (m2a/MWh), was lowest for wind, natural gas and rooftop PV, with 0.26, 0.49 and 0.59, respectively, and followed by utility-scale solar PV with 7.9. For CSP, the footprint was 9 and 14, using parabolic troughs and solar towers, respectively. The largest footprint had coal-fired power plants with 18 m2a/MWh.[146]
Renewable energy is energy that is collected from renewable resources, which are naturally replenished on a human timescale, such as sunlight, wind, rain, tides, waves, and geothermal heat.[3] Renewable energy often provides energy in four important areas: electricity generation, air and water heating/cooling, transportation, and rural (off-grid) energy services.[4]
It all started in Vermont in 1997. Our passion for protecting the environment led us to our mission: to use the power of consumer choice to change the way power is made. Today, as the longest-serving renewable energy retailer, we remain committed to sustainability every step of the way. By offering only products with an environmental benefit and operating with a zero-carbon footprint, we're living our promise to the planet, inside and out.
The US National Renewable Energy Laboratory (NREL), in harmonizing the disparate estimates of life-cycle GHG emissions for solar PV, found that the most critical parameter was the solar insolation of the site: GHG emissions factors for PV solar are inversely proportional to insolation.[125] For a site with insolation of 1700 kWh/m2/year, typical of southern Europe, NREL researchers estimated GHG emissions of 45 gCO2e/kWh. Using the same assumptions, at Phoenix, USA, with insolation of 2400 kWh/m2/year, the GHG emissions factor would be reduced to 32 g of CO2e/kWh.[126]
Many industrialized nations have installed significant solar power capacity into their grids to supplement or provide an alternative to conventional energy sources while an increasing number of less developed nations have turned to solar to reduce dependence on expensive imported fuels (see solar power by country). Long distance transmission allows remote renewable energy resources to displace fossil fuel consumption. Solar power plants use one of two technologies:
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Sounds of the High Country
Sounds of the High Country: Dan Glick on the Risks of Oil, Gas Drilling in Colorado
Oil and natural gas extraction is more dangerous than state officials and industry are willing to admit. For this week's Sounds of the High Country, Dan…
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Five people died climbing Capitol Peak last summer within six weeks. High Country News correspondent Sarah Tory explores the impacts of social media on…
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Federal lands are not yet being transferred wholesale to states but Jonathan Thompson, contributing editor for High Country News, says oil and gas leasing…
Breaking Silence Over Missing and Murdered Indigenous Women
Between 1979 and 1992, homicide was the third leading cause of death among Native American women aged 15-34, reported Indian County Today in 2016. The…
Sounds of the High Country: Tiny Power Plant Shapes Management of Mighty Colorado River
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There's a Pipeline Leak or Spill Every Day, Reports High County News
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Reporter Leah Todd Explains One Rural CO County's Shift From Blue to Red
Gavin Dahl
On this edition of Sounds of the High Country, KDNK's Gavin Dahl interviews Leah Todd about her article for High Country News: The Big Swing: Why a blue…