title: Fergus of Galloway

texts:
 house by Christian in about 1177. These sources, therefore, appear to reveal that <mask> was responsible for the establishment of a possibly Augustinian house at Whithorn, whilst Christian was responsible for its later refoundation as a Premonstratensian institution. Such a switch was not an unknown occurrence in England or on the Continent. Either <mask> or David—or perhaps both <mask> and David—may have been responsible for the foundation of the abbey of Dundrennan, a Cistercian house situated well within the confines of <mask>'s lordship. John Fordun and Walter Bower accord its foundation solely to David, although the near contemporary John Hexham failed to note the house amongst David's known foundations. The fact that Walter Daniel, a Cistercian monk from the community at Rievaulx, was highly critical of Galloway and its inhabitants may be evidence that <mask> was unlikely to have been the sole founder.David's own close connections with the Cistercians could suggest that the monastery owed its formation, as a daughter house of Rievaulx, to cooperation between David and <mask>. The abbey of Dundrennan appears to have been founded in about 1142, which in turn places its formation at a time when David had extended his power in the south west. Such a date also places the foundation at about the time Máel Máedoc was in the region, which in turn may hint at his own involvement. In any case, if <mask> and David were involved in the abbey's endowment, the fact that it was colonised by Cistercians from Rievaulx suggests that it was somewhat of a penitential foundation in regard to the infamous Gallovidian contribution at the Battle of the Standard four years previously. Furthermore, the fact that Thurstan himself had been responsible for the English resistance meant that <mask> had warred against his own spiritual overlord, and had almost certainly endured ecclesiastical repercussions as a result. In the eyes of the Cistercians, <mask> and David were both responsible for failing to curb atrocities committed during the campaign, and <mask> himself was held accountable by Walter Daniel's Vita Ailredi for thousands of deaths. Another religious house possibly founded by <mask> was the abbey of Soulseat, a Premonstratensian house seated near Stranraer.Walter Bower and the necrologies certainly state as such. However, the fact that this house appears to be identical to the "Viride Stagnum" attested by the contemporary Vita Sancti Malachiae seems to be evidence that Soulseat originated as a Cistercian house founded by Máel Máedoc himself. If Máel Máedoc and <mask> met during the former's apparent stay in Cruggleton, it is conceivable that <mask> granted him the lands upon which he founded a religious house at Soulseat. If Máel Máedoc indeed founded a Cistercian house on this site, it clearly was converted to a Premonstratensian monastery not long afterwards, under the advocacy of <mask>. The church of Cruggleton, near the site of the like-named castle, could have also been constructed by <mask>. Although the late mediaeval Hystoria Fundacionis Prioratus Insule de Traile claims that <mask> founded the priory of St Mary's Isle, the fantastical foundation claims preserved by this source are not corroborated by contemporary sources. According to a confirmation charter dating to within the decade after <mask>'s death, <mask> granted the house to the abbey of Holyrood.A confirmation charter of William I, King of Scotland reveals that the priory of St Mary's Isle may have been in existence by the time of <mask>'s grandson, Roland fitz Uhtred, Lord of Galloway, although the first recorded prior appears in the thirteenth century. <mask>'s supposed links with this house, therefore, are dubious. Although Walter Bower declared that <mask> was responsible for the foundation of the abbey of Tongland, his great-grandson, Alan fitz Roland, Lord of Galloway, appears to have founded it in the thirteenth century. The erroneous attribution of <mask> to this house may be the result of an attempt to enhance the antiquity of its establishment by linking it with the progenitor of Alan's family. The inspiration behind <mask>'s ecclesiastical patronage is uncertain. On one hand, it is conceivable that he was imitating or competing with the extensive patronage of the Scottish monarchy. On the other hand, familial connections with the rulers of England and the Isles could have played a part in his ecclesiastical interests.Contact with influential ecclesiasts like Máel Máedoc and Ailred could have also inspired <mask>'s benefactions. Furthermore, the introduction of Augustinians and Premonstratensians into Galloway may have been part of a process of revitalising the newly reformed diocese. The construction of ecclesiastical buildings, much like castles, was often a means by which mediaeval rulers displayed their pre-eminent status, which in turn could explain <mask>'s ecclesiastical activities. In effect, his religious foundations may evince attempts to assert his authority in the region. While the foundation of an episcopal see seems to have been a means by which <mask> sought to reinforce his independence from the Scots, his remarkable support of reformed religious orders may have been a way in which he attempted to legitimise his regal aspirations. Unravelling of the Isles

Alliance with Óláfr Guðrøðarson

Early in his career, <mask> bound himself to the Isles in the form of a marital alliance between Affraic and Óláfr, the reigning King of the Isles. Although the union itself is not dated in contemporary sources, the Scandinavian sojourn undertaken the couple's son in 1152 suggests that the marriage was arranged in the 1130s or 1140s.The alliance forged between Óláfr and <mask> gave the former's family valuable familial-connections with the English Crown, one of the most powerful monarchies in western Europe. As for <mask>, the union bound Galloway more tightly to a neighbouring kingdom from which an invasion had been launched during the overlordship of Magnús Óláfsson, King of Norway. The alliance with Óláfr also ensured <mask> the protection of one of Britain's most formidable fleets, and further gave him a valuable ally outwith the orbit of the Scottish Crown. One possible reason for <mask>'s apparent lack of further participation in Anglo-Scottish affairs may have been due to events in the Isles. Although the thirteenth- to fourteenth-century Chronicle of Mann portrays Óláfr's reign as one of tranquillity, a more accurate evaluation of his reign may be that he adeptly managed to navigate an uncertain political climate. In regard to <mask>, the acquisition of the Dublin kingship in 1142, by the Islesman Ottar mac meic Ottair, may well have represented a threat to the authority of Óláfr, and the prospects of <mask>'s grandson. By the mid-part of the twelfth century, however, the ageing Óláfr's realm may well have begun to buckle under the strain, as perhaps evidenced by the depredations wrought on the Scottish mainland by Óláfr's leading ecclesiast, Wimund, Bishop of the Isles.Confirmation of Óláfr's concern over the royal succession may well be preserved by the chronicle, which states that Guðrøðr journeyed to the court of Ingi Haraldsson, King of Norway in 1152, where Guðrøðr rendered homage to the Norwegian king, and seemingly secured recognition of the royal inheritance of the Isles. The following year marked a watershed in the history for the Kingdom of the Isles with the successive deaths of David and Óláfr. The latter was slain by three Dublin-based sons of his exiled brother, after which these men—the Haraldsonnar—partitioned Mann amongst themselves. Once in control, the chronicle reveals that the Haraldsonnar fortified themselves against forces loyal to the kingdom's legitimate heir by launching a pre-emptive strike against <mask>. Although the invasion of Galloway was repulsed with heavy casualties, once the Haraldsonnar returned to Mann the chronicle records that they slaughtered and expelled all resident Gallovidians that they could find. This ruthless reaction evidently reveals an attempt to uproot local factions adhering to Affraic and her son. Whatever the case, within months of his father's assassination, Guðrøðr executed his vengeance.Enstrengthened with Norwegian military support, Guðrøðr overcame his three kin-slaying cousins, and successfully secured the kingship for himself. Rise of Somairle mac Gilla Brigte

Midway through the twelfth-century, Muirchertach Mac Lochlainn, King of Tír nEógain pressed forth his claim to the high-kingship of Ireland, an office then held by the elderly Toirrdelbach Ua Conchobair, King of Connacht. In 1154, the forces of Toirrdelbach and Muirchertach met in a major maritime conflict off the Inishowen coast. According to the seventeenth-century Annals of the Four Masters, Muirchertach's maritime forces were mercenaries drawn from Galloway, Arran, Kintyre, Mann, and "the territories of Scotland". This record appears to be evidence that Guðrøðr, <mask>, and perhaps Somairle, provided ships to Muirchertach's cause. Although Toirrdelbach's forces obtained a narrow victory, his northern maritime power seems to have been virtually nullified by the severity of the contest, and Muirchertach soon after marched on Dublin, gained overlordship over the Dubliners, and effectively secured himself the high-kingship of Ireland for himself. The defeat of forces drawn from the Isles, and Muirchertach's subsequent spread of power into Dublin, may have had severe repercussions concerning Guðrøðr's career.In 1155 or 1156, Somairle and an apparent relative of Ottar precipitated a coup against Guðrøðr, presenting Somairle's son, Dubgall, as a replacement to Guðrøðr's rule. Late in 1156, Somairle and Guðrøðr clashed and divided the Kingdom of the Isles between themselves. Two years later the former drove the latter from the kingship and into exile. It is uncertain why <mask> failed to support his grandson against Somairle. The record of the capture of Domnall mac Máel Coluim at Whithorn in 1156, as recorded by the twelfth- to thirteenth-century Chronicle of Holyrood, and Gesta Annalia I, may have bearing on <mask>. Domnall appears to have been a son of Máel Coluim mac Alasdair, who was in turn a claimant to the Scottish throne and somehow related to Somairle. Following David's death in 1153, Somairle and Máel Coluim had risen in revolt against a newly inaugurated Malcolm without much success.Domnall's later capture in western Galloway, therefore, could be evidence that the Meic Máel Coluim claimants had attempted to forcefully carve out a power base in western Galloway. However, the fact that the chronicle makes no mention of such conflict in Galloway, coupled with the fact that Whithorn was a spiritual centre rather than a secular power centre, could suggest that Domnall was in the region under less violent circumstances. If so, it is conceivable that <mask> could have originally forged an understanding with the Meic Máel Coluim before pressure from his sons forced him to desert Domnall's cause. The fact that the latter's capture preceded Somairle's coup could suggest that, although Domnall may have been in the midst of securing Gallovidian support, once Somairle's designs against Guðrøðr became apparent, the Gallovdians handed over Somairle's kinsman to the Scots. Scottish subjection of Galloway

There is evidence to suggest that <mask> struggled to maintain control of his lordship during the decade. Such a crisis could well have kept him from intervening in the Isles on Guðrøðr's behalf. As with the latter, the failure of Muirchertach's mercenary fleet could have contributed to a loss of <mask>'s own authority.Disarray in the lordship is evidenced by Vita Ailredi, which reveals that the region was wracked by inter-dynastic strife during this period. In 1160, Malcolm returned to Scotland having spent months campaigning in the service of the English on the Continent. After successfully dealing with a considerable number of disaffected magnates at Perth, the Chronicle of Holyrood and the twelfth- to thirteenth-century Chronicle of Melrose reveal that he launched three military expeditions into Galloway. The circumstances surrounding these invasions is unclear, although what is clear is that <mask> submitted to the Scots before the end of the year. Specifically, according to Gesta Annalia I, once the Scots subdued the Gallovidians, the conquerors forced <mask> to retire to the abbey of Holyrood, and hand over his son, Uhtred, as a royal hostage. The Chronicle of Holyrood and the fifteenth-century Ordinale of Holyrood corroborate <mask>'s monastic retirement, with the former source further recording <mask>'s grant of the lands of Dunrod to the abbey. On one hand, it is possible that <mask> himself had precipitated Malcolm's reaction by raiding into the territory between the rivers Urr and Nith.The fact that the Chronicle of Holyrood describes Malcolm's Gallovidian opponents as "federate enemies", and makes no mention of his sons, suggests that <mask> was supported by other accomplices. In fact, it is possible that Malcolm had encountered an alliance between <mask> and Somairle. Evidence of such a coalition may exist in the dating clause of a royal charter that notes a formal agreement between Somairle and Malcolm that Christmas. Additionally, the fact that several churches near Kirkcudbright are recorded to have once belonged to Iona, an ancient ecclesiastical centre that Somairle attempted to revive during his reign in the Isles, could suggest some sort of concord between the rulers. If Somairle and <mask> had indeed been allies, the fall of the latter, coupled with the further advancement of Scottish authority into the Solway region, may have finally brought Somairle to terms with the Scots. An alternate possibility is that the charter clause could be evidence that Somairle supported Malcolm in his suppression and destruction of <mask>. There is also reason to suspect that Ferteth, Earl of Strathearn possessed some sort of affiliation with <mask>.Not only does Ferteth appear to be the most prominent of the disaffected magnates who confronted Malcolm in 1160, but his father is recorded to have taken a leading part in the Battle of the Standard, and Ferteth himself was married to a woman whose name may be evidence that she was a native of Galloway. The kin-strife noted by Vita Ailredi could be evidence that <mask>'s sons assisted in his overthrow, or at least did little to arrest it. Death and aftermath

<mask> did not live long after retiring, and died on 12 May 1161, as evidenced by the Chronicle of Holyrood''. Surviving sources reveal that he overshadowed his sons during his lifetime, with Uhtred witnessing only three charters and Gilla Brigte none at all. The latter's apparent exclusion from affairs of state could be relevant to the subsequent animosity between the siblings, as well as the difficulties <mask> faced with the men late in his career. Upon <mask>'s death, the lordship appears to have been split between the brothers. Although there is no specific evidence for Gilla Brigte's share, later transactions involving Uhtred reveal that the latter held lands in the lower Dee valley, seemingly centred in an area around Kirkcudbright.The fact that this region appears to have formed the core of <mask>'s holdings could be evidence that Uhtred was the senior successor. Conceivably, Uhtred's allotment consisted of the lordship's territory east of the river Cree, whilst Gilla Brigte's share was everything east of this waterway. In the wake of Malcolm's destruction of <mask>, the Scottish Crown moved to further incorporate Galloway into the Scottish realm. Uhtred appears to have been granted the territory between the rivers Nith and Urr, whilst Gilla Brigte may have been wed to a daughter or sister of Donnchad II, Earl of Fife, the kingdom's foremost Gaelic magnate. Scottish authority penetrated into the lordship through the installation of royal officials, and Scottish power was perhaps further projected into Galloway by a royal castle at Dumfries. Surviving royal acta dating to after the fall of <mask> indicate that, from the perspective of the Scottish Crown, the Lordship of Galloway had been integrated into the Kingdom of Scotland, and was subject to the overlordship of Malcolm himself. Notes

Citations

References

Primary sources

Secondary sources

External links

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1161 deaths
12th-century Scottish people
History of Galloway
Lords of Galloway
Norse-Gaels
People from Dumfries and Galloway
Year of birth

masks: Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus Fergus


title: Chibudom Nwuche

type: original

texts:
<mask> was born in Enugu into the royal family of <mask> and <mask>. He is from Ochigba town in Ahoada East in the Local Government Area of Rivers State. <mask> began his educational career at St Cyprians State School in Port Harcourt where he obtained his First School Leaving Certificate. His secondary school education was at the Stella Maris College in Port Harcourt, Rivers State where he graduated with an Ordinary Level School Certificate in 1979. He then proceeded to his advanced Levels at Lansdowne College, Oxford, United Kingdom. He was educated at the University of Keele between 1982 and 1985 where he graduated with a Bachelor of Arts (Hons) in politics and philosophy, with subsidiary subjects in history and astronomy. Between 1985 and 1987, <mask> obtained an LLB (Hons) in Law, with a Second Class Upper Division at Aberystwyth University after which he returned to Nigeria for the mandatory Bar Programme at the Nigerian Law School.He then obtained a master's degree in law (LLM) at King's College London specializing in shipping law, international finance, intellectual property and international commercial law. <mask> also attended several courses, seminars, and workshops within and outside the country on public policy, legislative matters, etc. During his school days, he exhibited leadership qualities; having been appointed prefect in Secondary School. He was also elected President of the Nigerian Society while at the University of Keele, Staffordshire. Work Experience / Positions of Responsibilities

As a young man determined to make a mark, <mask>, after his studies returned to Nigeria, has since then worked in various organisations and held posts in which he performed creditably. Some of these include:

 Legal Practitioner in the law firms of Mudiaga Odje and company, Ajumogobia  Okeke  and  Oyebode (1990–1992)
 Legal Adviser and Consultant to  Petgas Resources International  Limited (1992–1994). A crude oil trading Company  working in co-operation with many international oil companies including Inter Petrol SA of Argentina, Nap-Oil, and Mark-Rich International.Zug, Switzerland. Beneficial Term Contract Agreements were entered between these companies and the Nigerian National Petroleum Corporation. He was the managing director of Rheingold Nigeria Limited. (1994–1998). An oil company specialized in the provision of Engineering services to oil producing companies ranging from procurement and civil and mechanical works to seismic Acquisition. He was also a director of Omega Petroleum and Energy Company Limited which specialized in the shipping of wet cargoes and marketing coastal petroleum products. In recognition of his impressive achievements in academia, legal practice, business and humanitarian services, the people of Ahoada East/Abua Odual Federal Constituency of Rivers State voted him in as their representative at the National Assembly in 1999.His colleagues also elected him as Deputy Speaker of the House of Representatives on 4 June 1999. As Deputy Speaker of the House of Representatives, he chaired the following committees:

 Chairman, Committee of Whole
 Vice-Chairman, House of Representatives' Committee of Selection. Vice-Chairman, National Assembly Joint Committee on the review of the 1999 Constitution. He has led several delegations to various International Summits and Conferences. These include:

 The Nigerian Parliamentary Delegation to the Economic Community of West African States (ECOWAS)
 Commonwealth Parliamentary Association (CPA) African Region, Ghana (August 1999)
 Parliamentary visit to India (October 2000)
 Parliamentary visit to People's Republic of China (July 2000 and July 2002 respectively)
 The 106th Conference of Interparliamentary Union (IPU) Ouagadougou, Burkina Faso (September 2001)
 The 107th Conference of Interparliamentary Union (IPU) Morocco (March 2002)
 Commonwealth Conference of Speakers and Presiding Officers, Kesane, Botswana (January 2002). Parliamentary Delegation to Venezuela (October 2002)
 Global Conference of Parliamentarians Against Corruption (GOPAC) Ottawa, Ontario, Canada (October 2002). Prince Nwuche is the sponsor of the following Bills:

 Nigerians With Disability Bill:  This seeks to set up a National Commission for Disabled Persons.Women Trafficking and Child Labour Eradication Foundation  (WOTCLEF): Bill establishing a National Agency to enforce laws against trafficking of persons, particularly women and children. This bill was proposed by the founder of WOTCLEF, Chief Mrs. Amina Titi Atiku-Abubakar, wife of Atiku Abubakar, a former Vice-President of Nigeria. The Nigeria Media Bill: which is an Amalgamation of all laws relating to the media in Nigeria. The Nigerian Local Content Bill: To allow for greater  participation of indigenous companies in the oil industry

He is also noted for his commitment to the promotion of dialogue between the Organized Private Sector (OPS) and the National Assembly, especially with regards to local industrial capacity building within the context of the World Trade Organization (WTO). He is also a facilitator of dialogue between a coalition of Non-Governmental Organizations and the Parliament on issues of media rights, and sustenance of a credible democratic system. A community worker and grassroots activist, <mask> has played an important role in the passage of the Niger Delta Development Commission Act and the Onshore Offshore Dichotomy Bill. He has set up scholarships and grant schemes for indigent students and small/medium scale business men and women respectively.Membership of organisations and boards

Prince Nwuche is presently a member of several professional bodies. These include:

 Member, Institute of Directors, Nigeria
 Member, Nigerian Association of Chambers of Commerce, Industry, Mines and Agriculture, NACCIMA
 Member, Institute of Petroleum, London
 Member, Nigerian Institute of Management (NIM)
 Chairman, Trade Group of Nigeria – South Africa Chamber of Commerce (1995)
 Member, Nigerian Bar Association (NBA)
 Member, International Bar Association (IBA)
 Member, board of directors of Global Organization of Parliamentarians Against Corruption (GOPAC). Chairman, Nigerian Chapter, African Parliamentarians Network Against Corruption. Member and leader of the Nigerian contingent to the Ecowas Parliament
 Member board of directors of Nigerian Association of Investment Promotion Agencies (NAIPA)

Titles, Honours and Awards

Traditional titles

Adigwe Ekpeye of Ekpeye land
Ada – Idaha ke Efik Eburutu of Calabar
Aha Eji Aga Mba of Okigwe
Onwa Netiliora of Enugu State
Agbawo Dike Izu of Egbema
Ozulumba of Umunya
Nta-Nta of Oron
Ebubedike of Ogbunike
Mataimakin Sarkin Talakawan Nijeriya

Honours and awards

Member of the Order of the Federal Republic (OFR)
African International Worthy Ambassador (AIWA) – All African Students Union. Life Patron, National Union of Rivers States Students (NURSS). Hallmark Award for Distinguished Nigerians of the 21st Century. Award of exceptional performance in politics – Igbo National Council (INC) 2001
Award of Excellence in Politics and Leadership Accomplishment
Certificate of Membership 003309 – Nigerian Institute of Management (NIM)
Award of Honorary Fellow of the Association –  Nigeria Association of Technologists in Engineering (NATE)

Publications

Prince Nwuche has authored some academic works.These include:

Larceny in English and Australian Law
Restructuring the Oil Industry to allow for full  participation by producing states and communities. Africa: The Process of Integration and Impact of Globalization – (Presented as Guest Lecturer at Emancipation Day Celebrations in Trinidad and Tobago, 1 August 2003, under the auspices of Caribbean Historical Society)

Foundation
Founder: Foundation for Youth Development

References

External links
 www.chibudomnwuche.com

Living people
Alumni of Aberystwyth University
Alumni of Keele University
Alumni of King's College London
Members of the House of Representatives (Nigeria) from Rivers State
Members of the Order of the Federal Republic
Nigerian royalty
People from Enugu
Rivers State politicians
Rivers State lawyers
Year of birth missing (living people)

masks:
Prince Chibudom Nwuche
Clifford Cheta Nwuche
Grace Ogbuta Nwuche
Nwuche
Nwuche
Nwuche
Nwuche
Prince Nwuche


title: Pedro Feliciano

texts:
<mask> (August 25, 1976 – November 8, 2021) was a Puerto Rican baseball pitcher who played nine seasons in Major League Baseball (MLB). Nicknamed "Perpetual <mask>", he played for the New York Mets from 2002 to 2004, from 2006 to 2010, and in 2013, as well as in Nippon Professional Baseball for the Fukuoka Daiei Hawks in 2005. Early life
<mask> was born in Río Piedras, Puerto Rico, on August 25, 1976. He graduated from Jose S. Algeria High School in Dorado, Puerto Rico. He was selected by the Los Angeles Dodgers in the 31st round of the 1995 Major League Baseball draft. Professional career

Early career
<mask> played seven seasons in the minor leagues from 1995 to 2002. He began his professional career with the Great Falls Dodgers in the Pioneer League.After four years in the Rookie and Class A leagues, he suffered a shoulder injury in  which prevented him from playing all season. He returned in , pitching at the AA level, with one inning for the AAA Albuquerque Dukes. In , he struggled in AAA after pitching well in AA. After six years of service in the minor leagues without promotion to the Majors, he became a free agent. Cincinnati Reds, New York Mets, Detroit Tigers (2002)
<mask> signed with the Cincinnati Reds for the  season, but was traded to the New York Mets in August along with Brady Clark for Shawn Estes. He made his MLB debut on September 4, 2002, pitching two scoreless innings of relief without giving up a hit and striking out two in an 11–3 win over the Florida Marlins. The Mets designated <mask> for assignment to make room on their 40-man roster following the conclusion of the 2002 season, and he was claimed on waivers by the Detroit Tigers on October 11.Two months later on December 16, the Tigers released <mask>. Second stint with New York Mets (2003–2004)
The Mets re-signed <mask> to a minor league contract on April 3, 2003. Over the course of the next two seasons, he had mixed success with the Mets, being recalled from and optioned to the AAA Norfolk Tides several times in  and . Fukuoka SoftBank Hawks (2005)
The Mets sold <mask>'s contract to the Fukuoka SoftBank Hawks of the Japanese Pacific League on January 24, 2005. He spent the entire season with the Hawks, compiling a 3–2 win–loss record, a 3.89 earned run average (ERA), and 36 strikeouts over 37 innings pitched. Third stint with the New York Mets (2006–2010)

<mask> began his third stint with the Mets when he was re-signed on February 28, 2006, a couple of weeks after the beginning of spring training. He initially started the season with the Norfolk Tides to make up for the time he had missed in spring training, but he was recalled on April 17 and became a permanent fixture in the Mets bullpen as a left-handed specialist.He recorded his first major league save against the Philadelphia Phillies on June 30, 2007. He operated in the bullpen as the Mets' primary situational left-hander in 2008 and 2009. <mask> led the league in games pitched from 2008 to 2010. In 58 of those games in 2008, the greatest number in the majors, he recorded fewer than three outs. He also led MLB that year in days pitched on zero days rest (36). His 92 appearances in 2010 was the fourth-most in major league history. In that same year, he passed Tom Seaver in games pitched for the Mets with 459.He ultimately made 344 relief appearances from 2007 to 2010, the most in major league history over four consecutive seasons. At the time of his death, <mask>'s 484 games pitched for the franchise was second all-time to John Franco (695). New York Yankees (2011–2012)
On January 3, 2011, <mask> signed a two-year deal worth approximately $8 million with the New York Yankees. Early in the 2011 season, <mask> began to experience soreness in his left shoulder and was placed on the disabled list. On April 25, orthopedist James Andrews recommended a six-week strengthening program for <mask>. The Yankees front office revealed that the reason behind <mask>'s injury was that the Mets had overused him in the previous few years. It was eventually revealed that <mask> had a torn anterior capsule and rotator cuff in his left shoulder, which required surgery, and ended his 2011 season.<mask> began the 2012 season on the 60-day disabled list in an effort to continue recovering from his shoulder surgery from the previous year. Late in the 2012 season between August and September, <mask> was issued to rehab at the Double-A Trenton Thunder. <mask> ultimately failed to make an appearance with the Yankees for the entire 2012 year. After the season, his contract expired, and he left the Yankees without throwing a single pitch for the team. Fourth stint with the New York Mets (2013)
<mask> signed a minor league deal with the Mets on January 21, 2013. He eventually made his first appearance of the season on August 2 with the Mets against the Kansas City Royals and induced a ground out from Alex Gordon in the top of the 9th inning. Cubs and Cardinals (2014–2015)
<mask> signed a minor league contract with the St. Louis Cardinals on May 25, 2014.He later signed a minor league contract with the Chicago Cubs on February 4 the following year. Personal life
<mask> was married to Wanda. Together, they had two children. <mask> was diagnosed with left ventricular noncompaction, a rare genetic heart condition, in 2013. He died on November 8, 2021, at his home in Puerto Rico. He was 45 years old. References

External links

1976 births
2021 deaths
People from Río Piedras, Puerto Rico
Major League Baseball players from Puerto Rico
Major League Baseball pitchers
New York Mets players
Great Falls Dodgers players
Vero Beach Dodgers players
Savannah Sand Gnats players
Place of death missing
Albuquerque Dukes players
San Antonio Missions players
Las Vegas 51s players
Jacksonville Suns players
Chattanooga Lookouts players
Louisville Bats players
Norfolk Tides players
Fukuoka SoftBank Hawks players
Gulf Coast Yankees players
Tampa Yankees players
Trenton Thunder players
Staten Island Yankees players
Puerto Rican expatriate baseball players in Japan
2006 World Baseball Classic players
2009 World Baseball Classic players
St. Lucie Mets players
Binghamton Mets players
Memphis Redbirds players
Leones de Ponce players
Cangrejeros de Santurce (baseball) players
Liga de Béisbol Profesional Roberto Clemente pitchers

masks:
Pedro Juan Feliciano Molina
Pedro
Feliciano
Feliciano
Feliciano
Feliciano
Feliciano
Feliciano
Feliciano
Feliciano
Feliciano
Feliciano
Feliciano
Feliciano
Feliciano
Feliciano
Feliciano
Feliciano
Feliciano
Feliciano
Feliciano
Feliciano
Feliciano
Feliciano


title: Gum Nanse

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

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

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

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

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

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

References

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

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


title: Claire Dodd

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

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

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

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


title: H. Vasken Aposhian

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

Mercury

Arsenic

References

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

masks:
Hurair Vasken Aposhian
. Aposhian
Aposhian


title: Ed Bullins

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

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

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

Notes

Sources

Further reading

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

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

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


title: Mary Steinhauser

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

External links

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

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


title: Jane Frank

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

Training in commercial art

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

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

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

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

Encountering Hans Hofmann, and discovering a "sculptural landscape"

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

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

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

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

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

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

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title: Jane Frank

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

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

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

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

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

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

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

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

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

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

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

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