THE STUDIO GLASS MOVEMENT: Selections from the Esterling-Wake Collection

Foreword and Acknowledgments -- Jorge Daniel Veneciano Celebrating the Studio Glass Movement -- Sharon Kennedy The Language of Glass: Material, Method, Meaning -- Therman Statom Selections from the Esterling-Wake Collection -- Sharon Kennedy A Conversation with Steve Wake -- Gregory Nosan Checklist of the Exhibition Compiled by Ashley Hussman Selected Bibliography and Notes Contributors Copyright Upon visiting the glass collection housed in the Esterling-Wake home, I began to imagine these remarkable works on display in Sheldon’s Great Hall. I pictured them in translucent splendor, imbibing the natural light that sweeps through the space daily. Few works in our collection can withstand the light from the cathedral-high windows at each end of the museum’s nave. These exceptional objects, however, hold their own against the daylight and harness its energy in the service of their own visual beauty

THE STUDIO GLASS MOVEMENT: Selections from the Esterling-Wake Collection

Foreword and Acknowledgments -- Jorge Daniel Veneciano Celebrating the Studio Glass Movement -- Sharon Kennedy The Language of Glass: Material, Method, Meaning -- Therman Statom Selections from the Esterling-Wake Collection -- Sharon Kennedy A Conversation with Steve Wake -- Gregory Nosan Checklist of the Exhibition Compiled by Ashley Hussman Selected Bibliography and Notes Contributors Copyright Upon visiting the glass collection housed in the Esterling-Wake home, I began to imagine these remarkable works on display in Sheldon’s Great Hall. I pictured them in translucent splendor, imbibing the natural light that sweeps through the space daily. Few works in our collection can withstand the light from the cathedral-high windows at each end of the museum’s nave. These exceptional objects, however, hold their own against the daylight and harness its energy in the service of their own visual beauty

Emisión de gases en un sistema ganadero intensivo

Los problemas ambientales que enfrentan los sistemas intensivos de engorde de bovinos se relacionan con el metabolismo animal y la degradación de estiércol, siendo el propósito de este trabajo estudiar el origen de emisiones de compuestos causantes del olor y gases de efecto invernadero (GEI) además de algunos factores que controlan su producción. Para ello, se realizó una incubación in vitro, bajo diferentes condiciones de aireación (aerobiosis y anaerobiosis) del suelo proveniente de un sistema de engorde a corral y se monitoreó, cada 48 h durante un periodo de 216 h, la generación de gases metano (CH4), monóxido de carbono (CO), dióxido de carbono (CO2) y oxígeno (O2). También se efectuaron mediciones a campo en distintas áreas de dicho sistema (corrales con y sin animales, trampa de sólidos, laguna aeróbica y anaeróbica) de los gases CH4, CO, CO2 y oxígeno (O2), con equipos portátiles adaptados a las condiciones propias del sistema productivo intensivo (Reike Keiki RH -515 y Eagle 2). Para controlar la producción del olor característico de un engorde a corral se evaluó un producto comercial enzimático que midió la concentración de sulfuro de hidrógeno (SH2), compuestos orgánicos volátiles (COV), amoníaco (NH3), CH4 y CO2 con medidores portátiles. Los resultados de producción de gases fueron similares en laboratorio y campo, ya que en ambas situaciones se observó digestión -anaeróbica y aeróbica, dependiendo de las condiciones prevalentes en el momento, mostrando la coexistencia de ambos metabolismos en el sistema. Ello sugiere la posibilidad de controlar las emisiones dependiendo del vector ambiental preponderante. Los niveles máximos ncontrados fueron de 0,109% LEL (límite inferior de explosividad) de CH4, 22,27 ppm de CO y 8,23% de CO2 para las condiciones in vitro en anaerobiosis, y 0,468% LEL de CH4, 0,43% de CO2, 7,21 ppm de NH3, 4,67 ppm de SH2 y 14,54 ppm de COV para las condiciones naturales. El tratamiento con el producto comercial enzimático sólo produjo modificaciones significativas en NH3 y COV, que disminuyeron, a diferencia de SH2 que aumentó. Se concluye que un buen manejo de la reducción de emisiones de gases y de control de efluentes potencialmente contaminantes debe prever más de una práctica alternativa que se adapte a las variables condiciones climáticas locales y a la heterogeneidad del sistema intensivo de producción de carne.The environmental problems facing intensive fattening systems relate bovine animal metabolism and degradation of manure. The purpose of this work is to study the origin and factors that control emission and production of compounds causing odor and greenhouse gases (GHG). Questions were address in vitro (laboratory works) and in situ (field works) In vitro incubations of soil samples from a feedlot system were performed in the laboratory under different oxygen concentrations (aerobic and anaerobic), monitoring gas generation during 216 h. Field measurements were made at 4 random points within each area of the system (pens with and without animals, trap of solids, aerobic and anaerobic lagoons). The determinations of methane (CH4), carbon monoxide (CO) and carbon dioxide (CO2) and oxygen (O2) in both situations were performed with a portable detector Reike Keiki (RH -515) adapted to each individual case, probes were inserted within each experimental laboratory unit and closed field chambers. To control the production of feedlot odor, a commercial enzyme product was evaluated measuring the concentration of hydrogen sulfide (H2S), volatile organic compounds (VOC) ammonia (NH3) CH4 and CO2 with an Eagle 2 portable detector. In vitro gas production results showed significant difference for every gas; CO (p = 0.0189), CH4 (p = 0.0004), CO2 (p <0.0001) and O2 (p <0.0001). However, similar behavior was observed in both cases (lab and field) product of anaerobic or aerobic digestion, depending on the conditions prevailing at the time or the site, indicating the coexistence of both metabolisms in between. The highest levels found were 0.109 % LEL of CH4, CO= 22.27 ppm and 8.23 % CO2 for in vitro anaerobic conditions, and 0.468 % LEL of CH4 , 0.43% CO2, 7.21 ppm of NH3, 4.67 ppm of H2S and 14.54 ppm VOC for in situ natural conditions. Enzymatic treatment with a commercial product produced significant decrease in NH3 and VOC, unlike SH2 that increased. It is concluded that to do a good management of the emission of greenhouse gases and to control potentially polluting effluents, the problems should be address by more than one practice to suit local climatic conditions variables and heterogeneity of the meat production intensive system.EEA San LuisFil: Guzmán, María Laura. Universidad Nacional de San Luis. Facultad de Ingeniería y Ciencias Agropecuarias; Argentina. Instituto Nacional de Tecnología Agropecuaria (INTA). Estación Experimental Agropecuaria San Luis; ArgentinaFil: Veneciano, Jorge Hugo. Instituto Nacional de Tecnología Agropecuaria (INTA). Estación Experimental Agropecuaria San Luis; ArgentinaFil: Sager, Ricardo Luis. Universidad Nacional de San Luis. Facultad de Ingeniería y Ciencias Agropecuarias; Argentina. Instituto Nacional de Tecnología Agropecuaria (INTA). Estación Experimental Agropecuaria San Luis; Argentin

Messaging: Text and Visual Art

Messaging: Text and Visual Art explores the use of language in art. Text in art mirrors the language of our daily lives, drawing on newspapers, advertisements, and personal stories. This exhibition focuses on how artists since the 1960s have used text in their work The term messaging in the title evokes changes in communications that have occurred in recent years. The technological advances that have been underway since the 1990s not only brought about unprecedented changes in the fields of science and industry, but they are also transforming our language. Messaging has become synonymous with technology-a term used to describe electronic communication. In this exhibition, we can see how artists since the 1960s have anticipated the short, sometimes cryptic-seeming messages typical of contemporary communications. Messaging is often associated with instant messaging or text messaging. The term is an example of the ways language adapts to changes in culture and new modes of expression. Works in this exhibition demonstrate how artists use language in formal and expressive ways. Texts sometimes appear handwritten, printed mechanically, or digitally presented. In the decades leading up to the I 960s, artistic practices took a defiant stance toward mass culture or kitsch. During the I 940s, Abstract Expressionism turned away from popular culture. In his 1940 essay Towards a Newer Laocoon, art historian Clement Greenberg argued for the separation of painting from mass culture or kitsch culture. A problem for Greenberg was with the insistence that language was the essential vehicle for understanding one\u27s world. Instead, Abstract Expressionist artists such as Mark Rothko and David Smith, valued the act of creating art over the act of articulating an artist statement. Many Abstract Expressionist artists declined to comment on or speak of the influences within their work, regarding it as providing uniquely sUbjective experiences for viewers

FLOWERS, LIES AND REVOLUTION: CONTEMPORARY CUBAN ART

Flowers, Lies and Revolution surveys some themes that emerge in contemporary Cuban art, as revealed in three private collections in Lincoln, Nebraska. What a landlocked state and a sea locked nation share are the desires, comforts, and complexities of the other. This exhibition celebrates the transnational scope and vision witnessed in the breadth and focus of the three local collections: those of Karen and Robert Duncan, Kathy and Marc LeBaron, and Lisa and Tom Smith. The collections represent the dominant trends of a new generation of Cuban artists that emerged in the last 30 years. Their work continues a tradition of testing the limits of artistic freedom in Cuban society-a critical practice consistent with the Cuban Revolution in 1959, but which fell under intense state scrutiny in the 1970s. In recent decades artists have worked with increasing self-reflection in responding to life in Cuba. They have explored new representational strategies with which to frame their aesthetically and conceptual responses. The art they produce is less concerned with the standpoint of the collective-an earlier, revolutionary interest-than with the individual\u27s response to the collective-a later, laissez faire interest. The island\u27s contemporary art reveals an increasing sensitivity to individualism in its critical responses to Cuban society

PARTNERS AND ADVERSARIES: The Art of Collaboration

Drawn largely from the Sheldon Museum of Art’s permanent collection, Partners and Adversaries: The Art of Collaboration explores the productive and often ambivalent partnerships that coalesce around artistic practices. These include familial and romantic relationships, where ambitions and successes may clash and collide at the expense of one partner; the mutually dependent yet divergent interests of artists and their dealers; the dance of imitation and distinction between student and teacher; the official sanction of government support, everywhere shadowed by the threat of moralizing censure; and, increasingly in contemporary art, new processes and technologies that empower fabricators whom artists must collaborate with to achieve the results they desire. Partners and adversaries sound like contrasting entities—one desirable, one not. While we may seek out partners, we generally don’t invite adversaries into our lives. We may, however, to our regret, find ourselves confronted by them. The truth, of course, complicates any easy distinction. So if adversaries appear unbidden, from where do they come? If we think about it, we realize that they lie nascent in our existing partnerships, whether at home, work, or in sports: what brings us together can drive us apart. In fact, the word partner itself registers this potential divisiveness. Stemming from Old French, the term builds on its antecedent sense of partition. Division is the precondition to partnership. Partners are defined, therefore, by the negotiation of their differences and the realignment of competing wills. What artistic partnerships have in common is the dynamic of collaboration. As such, they all require negotiations of power: some form of exchange, giving up a measure of authority to gain a benefit of another sort. This volume reviews some of these artistic partnerships in the following four essays. The first, by Jonathan Stuhlman, explores the work of Robert Henri and his role as teacher and mentor, touching on his relationship to several of the artists represented in Sheldon’s collection, including George Bellows, Isabel Bishop, Elsie Driggs, Edward Hopper, and Rockwell Kent. Such relationships are akin to what literary critic Harold Bloom described as “the anxiety of influence” among poets—a tension that every artist grapples with to become independent of his teacher. Brandon Ruud, curator of Partners and Adversaries, contributes two essays. The first trains a sensitive eye on the partnership peculiar to artists and their models. It may seem at times forged from a loving union, as in the example of Harry Callahan, whose muse and primary subject was Eleanor, his obliging wife, or, similarly, of Alfred Stieglitz’s innumerable close-ups of his own wife, Georgia O’Keeffe. Yet always an artist-model dyad implies an exchange of power: one agrees to submit to the other’s creative authority. From the one’s acquiescence, the other extracts value. Ruud’s focus here is on Evelyn Nesbit, a media star of her time, and the sympathetic lens of Gertrude Käsebier’s photographic regard for her. Ruud’s second essay recalls the conflicting experiences artists have had with the federal government, concentrating on Paul Cadmus and Charles White, two among thousands of American artists who enjoyed government support during the Great Depression. At any governmental level, support and censure will reflect the ideologies of those who run or lobby government and reveal, ultimately, the ambivalent relationship people have with art. We sometimes think of government as an abstraction that doesn’t understand us. Of course, government is simply a very complicated instrument for performing the will of very real individuals whose hands pull its seemingly abstract levers. The decisions of these individuals, of course, can at times make or break an artist’s career. Christin Mamiya contributes the fourth essay, which is about Jasper Johns and Robert Rauschenberg, lovers who inspired each other for years, subsequently broke up, and refused to speak to each other for a decade. The hostility of a ten-year silence resonates boldly from the adversarial underbelly—or naturally competitive nature—of romantic relationships generally. Lovers are always in contest, whether over love, fidelity, or finances. Perhaps partnerships simply domesticate the adversarial state of nature in which we would otherwise be thrown. Even lovers make a social contract, of sorts. Here also we may find the ideal and model for legitimizing government and civil society, if we follow Jean-Jacques Rousseau in his democratic treatise The Social Contract, this year commemorating the 250th anniversary of its publication. Democratic society runs on the partnership of adversaries—and stalls when the balance is lost. A lesson for our times. The lone artist who creates from inner necessity without regard to social tastes is a Romantic fiction. Real artists’ lives show us that to live in the world is to barter one’s way through myriad relationships. To what degree, therefore, does the rosy word partner dissimulate the adversarial nature inherent in any relationship? Or, even further, to what extent do partnerships create adversaries? These are some of the questions we begin to pose—insights we begin to glean—by learning from the lives of artists. It is, after all, from the sticky substance of lived experience that artists create their work. By formulating questions such as these, we read anew the work of artists and their lasting relevance to our own lives

New Acquisitions 2008 African-American Masters Collection

Charles Henry Alston Romare Bearden Elizabeth Catlett Aaron Douglas Löis Mailou Jones Jacob Lawrence Alvin D. Loving, Jr. Charles Wilber Whit

Producción y calidad de diferentes alternativas forrajeras para silaje

En sistemas ganaderos intensivos (engorde, tambo) la utilización del silaje, fundamentalmente de maíz (Zea mays L.), es una práctica difundida, eligiéndose esta especie por proveer alta producción de materia seca con elevado valor nutritivo. En regiones con limitaciones edafo-climáticas el maíz suele ser reemplazado por sorgo (Sorghum spp), sobre la base de algunas ventajas comparativas que se le atribuyen (Arias et al., 2003), tales como: altos rendimientos de forraje, mayor estabilidad entre años (particularmente por su mejor comportamiento ante condiciones de sequía) y menor costo de implantación. En el E de San Luis la ganadería está inmersa en un proceso de profundos cambios, cuya característica saliente es la intensificación de los planteos de producción. En este contexto, la incorporación de herramientas tales como el silaje de maíz o sorgo a los sistemas productivos requiere ser acompañada de información que haga posible una apropiada toma de decisión. A través de la asociación de estas especies con otros cultivos se procura mejorar la calidad del forraje conservado. Un caso es el girasol (Helianthus annuus L.), oleaginosa que, por su elevado contenido de aceite, aporta alto valor energé- tico (Cozzolino et al., 2003). También se han efectuado experiencias de intersiembra de maíz o sorgo con leguminosas, más comúnmente soja, con el propósito de aportar proteína. El objetivo fue evaluar comparativamente la productividad y calidad de distintos cultivos forrajeros, solos y asociados, para silaje.Fil: Veneciano, Jorge. Instituto Nacional de Tecnología Agropecuaria; ArgentinaFil: Frigerio, Karina. Instituto Nacional de Tecnología Agropecuaria; ArgentinaFil: Guzmán, Laura. Universidad Nacional de San Luis; ArgentinaFil: Privitello, Liliana. Universidad Nacional de San Luis; ArgentinaFil: Frasinelli, Carlo. Instituto Nacional de Tecnología Agropecuaria; ArgentinaFil: Bacha, Emmanuel Fernando. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico San Luis; Argentina. Universidad Nacional de San Luis; Argentin

Incorporación de leguminosas en silajes de sorgo y maíz

El dolicho =poroto de Egipto =poroto de Japón (Lablab purpureus (L.) Sweet) es una especie leguminosa anual de crecimiento preferentemente trepador, con buena producción de forraje en el período primavero-estival. Se ha difundido en el NE argentino, especialmente en Formosa. El caupí = chícharo salvaje = cow pea (Vigna unquiculata (L.) Walpers supsp. unguiculata = V. sinensis (L.) Savi) es una planta anual herbácea o semiarbustiva, de la familia Fabaceae, subfamilia Faboideae. Se cultiva para el mejoramiento de suelos integrando planteos de rotaciones, o como cultivo de cobertura, y también como abono verde. Asimismo se utiliza como cultivo coasociado con diversas especies, entre ellas maíz y sorgo. Tanto en maíz como en sorgo el aspecto crítico para su aprovechamiento como cultivos para ensilaje es su deficitario contenido proteico (PB: 8 - 10 %), que impide satisfacer los requerimientos de animales jóvenes (De León, 2007), razón por la cual se ha propuesto la práctica del ensilaje de estos cultivos en combinación con leguminosas tales como mucuna, caupí o dolicho, entre otros. El objetivo fue evaluar comparativamente la productividad y calidad de cultivos forrajeros leguminosos no convencionales para la región, con destino a la obtención de silaje, en siembras combinadas con gramíneas (maíz o sorgo).Fil: Veneciano, Jorge. Instituto Nacional de Tecnología Agropecuaria; ArgentinaFil: Privitello, Liliana. Universidad Nacional de San Luis; ArgentinaFil: Guzmán, Laura. Universidad Nacional de San Luis; ArgentinaFil: Frigerio, Karina. Instituto Nacional de Tecnología Agropecuaria; ArgentinaFil: Frasinelli, Carlos. Instituto Nacional de Tecnología Agropecuaria; ArgentinaFil: Bacha, Emmanuel Fernando. Universidad Nacional de San Luis; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico San Luis; Argentin