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User talk:Marine 69-71

{{notice|This user "talk" page belongs to the first Wikipedian recognized by a legislative body for his contributions to Wikipedia. On November 20, 2007, the 23th Senate of Puerto Rico recognized this Wikipedian for being, "one of the main contributors of content related to Puerto Rico in the open online encyclopedia known as Wikipedia". “Para expresar el  reconocimiento  y agradecimiento del  Senado  de  Puerto  Rico al  señor  Antonio  Santiago por su dedicación y entrega a la causa de ayudar a difundir a través de los nuevos medios electrónicos de difusión,  información  sobre  distinguidos  puertorriqueños  y,  en  particular,  aquellos  que  han  servido  con distinción en la milicia."Senado de Puerto Rico; Page: 37205}.doc -Ahnoneemoos-}}

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South Bronx notables
In these edits, you added entries for Joe Negroni, Herman Santiago and Tony Santiago as notables. None of these entries have sources added to connect them to the South Bronx and none of the articles mention The Bronx in any way, let alone the South Bronx, with Negroni and Herman Santiago being placed in Manhattan. Is there a reason why they should be added as notables in the absence of any sourcing or mention in their articles. Alansohn (talk) 14:30, 26 January 2024 (UTC)

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title: User talk:Marine 69-71


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Camilla Henemark

Camilla Maria Henemark (born 23 October 1964 ), also known as La Camilla, is a Swedish singer, actress, political spokesperson, and former fashion model.

Biography
Henemark was born in Stockholm, to a Nigerian father and a Swedish mother. She started her modelling career in her teens and later had her own modeling agency. Henemark started her career in music in 1985 by joining Alexander Bard in his Barbie project as Katanga. That project morphed into the group Army of Lovers, and soon Henemark, using the stage name "La Camilla", became the face of the group. After two albums (and at least one public fight) with the group, she left and began a solo career. She released several singles that failed to achieve commercial success, and recorded at least one album that was never released (called Temper). Henemark then rejoined Army of Lovers in 1995 for their Les Greatest Hits album, in 2000 for their Le Grand Docu-Soap and in 2013 reunion album Big Battle of Egos, working with them on some of their most recent recordings until being fired and replaced by another former female member, Dominika Peczynski.

Besides music, Henemark has had an active career in TV and movies, and is an active supporter of the Swedish Social Democratic Party. She is currently single but was married to film director Anders Skog, and had a long-term relationship with pop star and music video director Stakka Bo (Johan Renck). She likes ice hockey and soccer, and is known for her liberal views on sex, gay rights, and life.

On 3 November 2010 the Swedish newspaper Aftonbladet published excerpts from a book about the Swedish King Carl XVI Gustaf, Den motvillige monarken ("The Reluctant Monarch"), claiming that he had a year-long love affair with Henemark in the late 1990s.

She has been diagnosed with attention deficit hyperactivity disorder (ADHD) and Asperger syndrome.

Discography
See also Army of Lovers discography.

Film

 * 1997 Eva & Adam – Cameo
 * 1998 Teater
 * 2000 Sex, lögner & videovåld – Herself
 * 2000 Once in a Lifetime – Cameo
 * 2001 Jarrett (Encounters) – Chairman at EU Summit

Theatre

 * 1995 Fyra Friares Fiaskon
 * 2001 White Christmas

TV

 * 1994 Sjunde Himlen (7th Heaven) – Host
 * 1997 Kenny Starfighter (mini series) – Nurse
 * 1997 Så ska det låta – Herself
 * 2000 Vita lögner (White Lies, one episode) – Co-host
 * 2003 Big Brother (Swedish version) – Guest

Music videos

 * 1991 Army of Lovers - "Obsession" - Support Role
 * 1991 Army of Lovers – "Crucified" – Chorus
 * 1992 Entombed – "Stranger Aeons" – Guest
 * 1992 La Camilla – "Everytime You Lie" – Lead singer

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Camilla Henemark


text: Template:University System of Georgia

title: Template:University System of Georgia


text:
Nelson-Atkins Museum of Art

The Nelson-Atkins Museum of Art is an art museum in Kansas City, Missouri, known for its encyclopedic collection of art from nearly every continent and culture, and especially for its extensive collection of Asian art.

In 2007, Time magazine ranked the museum's new Bloch Building number one on its list of "The 10 Best (New and Upcoming) Architectural Marvels" which considered candidates from around the globe.

The museum is open five days a week: Monday from 10 am-5 pm, closed Tuesday and Wednesday, open Thursday 10-9, Friday 10-9, Saturday and Sunday 10-5. Admission is free.

History

The museum was built on the grounds of Oak Hall, the home of Kansas City Star publisher William Rockhill Nelson (1841–1915). When he died in 1915, his will provided that upon the deaths of his wife and daughter, the proceeds of his entire estate would go to purchasing artwork for public enjoyment. This bequest was augmented by additional funds from the estates of Nelson's daughter, son-in-law and attorney.

In 1911, former schoolteacher Mary McAfee Atkins (1836–1911), widow of real estate speculator James Burris Atkins, bequeathed $300,000 to establish an art museum. Through sound management of the estate and a booming economy, this amount grew to $700,000 by 1927. Original plans called for two art museums based on the separate bequests (with the Atkins Museum to be located in Penn Valley Park). However, trustees of the two estates decided to combine the two bequests along with smaller bequests from others to make a single major art institution.

The building was designed by prominent Kansas City architects Wight and Wight, who also designed the approaches to the Liberty Memorial and the Kansas governor's mansion, Cedar Crest. Ground was broken in July 1930, and the museum opened December 11, 1933. The building's classical Beaux-Arts architecture style was modeled on the Cleveland Museum of Art. Thomas Wight, the brother who did most of the design work for the building said:

"We are building the museum on classic principles because they have been proved by the centuries. A distinctly American principle appropriate for such a building may be developed, but, so far, everything of that kind is experimental. One doesn't experiment with two-and-a-half million dollars."

When the original building opened, its final cost was $2.75 million (about $54 million in 2018). The dimensions of the six-story structure were 390 ft long by 175 ft wide, making it larger than the Cleveland Museum of Art.

The museum, which was locally referred to as the Nelson Art Gallery or simply the Nelson Gallery, was actually two museums until 1983 when it was formally named the Nelson-Atkins Museum of Art. Previously the east wing was called the Atkins Museum of Fine Arts, while the west wing and lobby was called the William Rockhill Nelson Gallery of Art.

On the exterior of the building Charles Keck created 23 limestone panels depicting the march of civilization from east to west including wagon trains heading west from Westport Landing. Grillwork in the doors depict oak leaf motifs in memory of Oak Hall. The south facade of the museum is an iconic structure in Kansas City that looms over a series of terraces onto Brush Creek.

About the same time as the construction of the museum, Howard Vanderslice donated 8 acre to the west of the museum, across Oak Street, for the Kansas City Art Institute, which moved from the Deardorf Building at 11th and Main streets in downtown Kansas City.

As William Nelson, the major contributor, donated money rather than a personal art collection, the curators were able to assemble a collection from scratch. At the height of the Great Depression, the worldwide art market was flooded with pieces for sale, but there were very few buyers. As such, the museum's buyers found a vast market open to them. The acquisitions grew quickly and within a short time, the Nelson-Atkins had one of the largest art collections in the country.

One of the original components of the building was a re-creation of Nelson's oak paneled room from Oak Hall (and namesake of the estate). The room contained Nelson's red plush easy chair and bookcases. The room was dismantled in 1988 to make way for a photography studio.

One-third of the building on the first and second floors of the west wing were left unfinished when the building opened to allow for future expansion. Part was completed in 1941 to house Chinese painting and the remainder of the building was completed after World War II. In 1993 Michael Churchman wrote a history of The Nelson-Atkins Museum of Art, High Ideals and Aspirations.

Paul Gardner, 1933–1953
The museum had four Directors before Julián Zugazagoitia's appointment in 2010; the first was Paul Gardner (1894–1972). A native of Massachusetts, Gardner graduated from MIT in 1917 with a degree in architecture. He served with distinction in WWI, after which he traveled in Europe and North Africa for a year. In about 1919 he became a dancer with Anna Pavlova's Ballet Company under the name Paul Tchernikoff. Gardner eventually went back to graduate school, earning a master's in European history from George Washington University in 1928 and then enrolling in the doctoral program in art history at Harvard. In March 1932 the cautious Trustees of the Nelson Art Gallery, hesitant about naming a full-fledged Director, appointed the graduate student as their assistant on a trial basis. Gardner took to the new position at once, and so was named by the Trustees as Director eighteen months later, on September 1, 1933. He would serve for the next twenty years.

Gardiner served in the US Army during the Italian campaign of World War II in the rank of major. He was appointed head of the Fine Arts and Education Department of the Allied Military Government in occupied Italy.

Ethylene Jackson, 1942–1945
Ethylene Jackson (1907–1993), Paul Gardner's executive secretary since 1933, became acting director in November 1942 when Gardner was commissioned a major in the United States Army. Besides her role as executive secretary to the Director, Jackson had served as curator of the decorative arts collection. Paul Gardner served as a Monuments Man in Europe, returning to the Nelson in December 1945. Ethylene Jackson left Kansas City for New York City the following year after marrying art dealer Germain Seligman.

Laurence Sickman, 1953–1977
Upon Paul Gardner's retirement on May 1, 1953, Laurence Sickman (1907–1988) became the Gallery's second Director. He had been associated with the Gallery since 1931.

Laurence Sickman, a native of Denver, Colorado, had become interested in Japanese and Chinese art as a high school student. After two years at the University of Colorado he transferred to Harvard, where he studied with Langdon Warner. He also became fluent in Chinese. After graduating with a B.A. in 1930 Sickman traveled to China on a Harvard-Yenching scholarship. There he reconnected with Warner, who was by then in China, under assignment to buy art for the museum Trustees. Warner recommended to the Trustees that the young graduate student assume the responsibility of negotiating art purchases for the Gallery, as Warner was moving to Japan. Sickman's acumen as a collector earned him the respect of the Trustees, who sent him thousands of dollars with which to buy art. Since he was on a scholarship, his expertise cost the Trustees nothing. He made the 6,000-mile journey to Kansas City in December 1933 for the opening of the Gallery, then returned to China. Returning once more to the United States, he was made the Gallery's Curator of Oriental Art in 1935. By 1941, Sickman's purchases of Chinese art had given the Nelson Gallery one of the best Asian collections in the United States.

Sickman, like Paul Gardner, was commissioned as an officer in the United States Army as a member of the Monuments Men, serving from 1942 to 1945 in England, India, and China. In his absence, his very capable assistant, Miss Lindsay Hughes, was appointed acting Curator. Sickman returned to his curatorial role after the war; eight years later he was named Director. Among the many successes of his tenure, the most important was the major exhibition "Archaeological Finds of the People's Republic of China", which ran from April 20-June 8, 1975 and attracted about 280,000 visitors. The exhibition of 385 pieces was a result of the détente between the United States and Communist China that Richard Nixon's 1972 trip to that country had begun. This was a professional and personal coup for Sickman: his reputation as a scholar and the collection he had built at the Nelson Gallery made Kansas City one of only four cities the exhibition would visit, after Paris, Toronto, and Washington, D.C. Laurence Sickman retired on January 31, 1977, and was named Director Emeritus and advisor to the Trustees.

Ted Coe, 1977–1982
On Laurence Sickman's retirement, Ralph Tracy "Ted" Coe (1929–2010) became the Gallery's third Director. Coe was a native of Cleveland, where his father, a steel manufacturer, was an art collector. The recipient of a bachelor's degree in art history from Oberlin College and a master's in architecture from Yale, he had worked at the Victoria and Albert Museum in London and the National Gallery in Washington, D.C. before coming to the Nelson Gallery in 1959 as Curator of Painting and Sculpture. While a curator, Coe organized several large and well-attended special exhibitions. The most influential was "Sacred Circles", an exhibition of 900 Native American art objects. Organized to commemorate the American Bicentennial, the show opened at the Hayward Gallery in London, England, running from October 1976 to January 1977. Financial support was quickly organized in Kansas City to make the Nelson Gallery the only American venue. "Sacred Circles" was the second most popular exhibition after the Chinese show of 1975, running from April 16-June 19, 1977, and drawing more than 245,000 visitors. Ted Coe requested a sabbatical from his duties as Director in March 1982 and resigned at the end of June, having worked at the Nelson for 23 years, including $4 1/2$ years as Director.

Marc Wilson, 1982–2010
Ted Coe was succeeded by Marc Wilson, who served from 1982 to 2010.

Julián Zugazagoitia, 2010–
On September 1, 2010, Julián Zugazagoitia (b. 1964) became the museum's fifth Director. Zugazagoitia had previously served for seven years as the Director and CEO of El Museo del Barrio in New York City.

Bloch Building Addition

In 1993, the museum began to consider the first expansion plans since the completion of the unfinished areas in the 1940s. Plans called for a 55 percent increase in space and were finalized in 1999.

Architect Steven Holl won an international competition in 1999 for the design of the addition. Holl's concept, conceived and realized with Design Partner Chris McVoy, was to build five glass pavilions to the east of the original building which they call lenses. The lenses top a 165000 sqft underground building known as the Bloch Building. It is named after the H&R Block co-founder Henry W. Bloch. The Bloch building houses the museum's contemporary, African, photography, and special exhibitions galleries as well a new cafe, the museum's Spencer Art Reference Library, and the Isamu Noguchi Sculpture Court. The addition cost approximately $95 million and opened June 9, 2007. It was part of $200 million in renovations to the museum that included the Ford Learning Center which is home to classes, workshops, and resources for students and educators. It opened in fall of 2005.

In the competition to design the addition, all the entrants except Holl proposed creating a modern addition on the north side of the museum which would have drastically altered or obscured the north facade which served as the main entrance to the museum. Instead Holl and McVoy proposed placing the addition on the east side perpendicular to the main building. Their aim was to engage the museum's iconic sculpture garden to fuse the experience of art, architecture and landscape. Their lenses now cascade down the east perimeter of the grounds.

During construction, Holl's plan met with considerable controversy. It was described as "grotesque, a metal box". However, reviews of the new structure once completed have generally been raves:

New York Times architecture critic Nicolai Ouroussoff gives this description:

For the art world, the addition, known as the Bloch Building, should reaffirm that art and architecture can happily coexist. The rest of us can draw comfort from the fact that public works of our own day and age can equal or surpass the grand achievements of past generations ... The result is a building that doesn't challenge the past so much as suggest an alternate world view that is in constant shift. Seen from the north plaza, the addition's main entrance gently defers to the old building, the crystalline form suggesting a ghostlike echo of the austere stone facade. From there, the eye is drawn to the distinct yet interconnected translucent blocks, which are partly buried in the landscape ... It's an approach that should be studied by anyone who sets out to design a museum from this point forward.

The museum has gone against traditional conservatorial thinking in allowing natural light from the lenses to illuminate its art work. Most of the exhibits in the addition are below ground with the 27 to 34 ft glass pavilions above them. Officials say that advances in glass technology have allowed them to block most of the harmful ultraviolet rays that could damage the exhibited works.

The custom glass planks were manufactured by Glasfabrik Lamberts and imported by Bendheim Wall Systems.

Admission to the museum is free every day and visitors may use any of seven entrances to access the building. The main visitor's desk is in the Bloch Building. On the north side of the museum, a reflecting pool now occupies part of the J.C. Nichols Plaza on the north facade and contains 34 oculi to provide natural light into the parking garage below. The casting of The Thinker which occupied this space prior to the renovations has been relocated to south of the museum.

In 2013, the combination of Steven Holl Architects and BNIM was selected to build a $100 million addition to the John F. Kennedy Center for the Performing Arts that will be modeled somewhat on the Bloch Addition.

Ancient
With works from the ancient world, this includes locations like: Egypt, Greece, Rome, and Near Eastern. The gallery opened in 2010, led by Robert Cohon as curator. Portraits of pharaohs and Egyptian queens like Sen-useret III, Ramses II, Nefert-iti, the Ptolemy Dynasty are the most notable in the Egyptian collection. Near Eastern works includes jewelry from the early of kings and queens at Ur and sculptures from the 1st-millennium B.C.E. Palace of Ashurnasirpal II in Nimrud and the ceremonial center of the Persian Empire, Persepolis. Greek works are mostly statues and pottery from the 5th to 1st century B.C.E. of the Greek deities and heroes like Helios, Apollo, Demeter, Achilles, and Heracles. Roman statues of the emperors Alexander Severus and Hadrian, with other roman works from early Christian period (4th to 7th century A.D) among them is a limestone sculpture of Thecla, the first female catholic martyr.

During the height of the COVID-19 pandemic, the museum made a virtual tour of their Queen Nefertari gallery with Julián Zugazagoitia acting as tour guide. The video was organized by the Nelson-Atkins, Pointe-à-Callière, and National Geographic Society. The exhibit is on Nefertari, called "The One For Whom The Sun Shines" by her husband Pharaoh Ramesses II, with 230 pieces of art on Nefertari and other woman of ancient Egypt. "It will be thrilling to have these ancient works of art in our midst, to imagine the hands that created them and the importance these objects played in Egyptian culture. What a privilege to welcome objects from one of the most significant archaeological sites in Egypt – the Valley of the Queens," said Julián Zugazagoitia

European
The museum's European painting collection is highly prized. It includes works by Caravaggio, Jusepe de Ribera, Jean-Baptiste-Siméon Chardin, Petrus Christus, Gustave Courbet, El Greco, Giambattista Pittoni, Guercino, Alessandro Magnasco, Giuseppe Bazzani, Corrado Giaquinto, Cavaliere d'Arpino, Gaspare Traversi, Giuliano Bugiardini, Titian, Hieronymus Bosch, Rembrandt, Louise Élisabeth Vigée Le Brun, Peter Paul Rubens, Gustave Caillebotte, Edgar Degas, Paul Gauguin, Claude Monet, Camille Pissarro, Vincent van Gogh. In early 2016, The Temptation of St. Anthony, a small panel long attributed to the workshop of Hieronymus Bosch, was credited to the painter himself after forensic investigation of its underpainting. It was added to the ranks of only 25 authenticated Bosch paintings in the world. The Nelson-Atkins also has fine Late Gothic and Early Italian Renaissance paintings by Jacopo del Casentino (The Presentation of Christ in the Temple), Giovanni di Paolo and Workshop, Bernardo Daddi and Workshop, Lorenzo Monaco, Gherardo Starnina (The Adoration of the Magi), and Lorenzo di Credi. It has German and Austrian Expressionist paintings by Max Beckmann, Karl Hofer (Record Player), Emil Nolde, Ernst Ludwig Kirchner and Oskar Kokoschka (Pyramids of Egypt).

Nelson Atkins has worked with Nazi-era art pieces that are often made by Jewish, Romani, queer, or otherwise against the nazi ideal in the 1920-40s though mostly focuses on art made and owned by Jewish people. Many pieces were either destroyed, rescued, or sold for cheap. They work on researching pieces and working with the descendants of the owners or artists. Depending on the descendants’ wishes, the pieces are either returned or allowed to stay on display. One of the most famous nazi-era pieces is a still life, Les Boules de Neige, by Pierre Bonnard, which was held in the Altaussee salt mine and taken from the French banker David David-Weill. The museum has a list of their works held on their website and the American Alliance of Museums' Nazi-Era Provenance Internet Portal (NEPIP).

Asian
The museum is distinguished and widely celebrated for its extensive collection of Asian art, especially that of Imperial China, as well as pieces from Afghanistan, India, Iran, Indonesia, Korea, Pakistan, and other Southeast/ South Asia. Most of it was purchased for the museum in the early 20th century by Laurence Sickman, then a Harvard fellow in China. The museum has one of the best collections of Chinese antique furniture in the country, including one of the celebrated group of glazed pottery luohans from Yixian (c. 1000).

In addition to Chinese art, the collection includes pieces from Japan, including screen and scroll pieces by Kaihō Yūshō, Tawaraya Sōtatsu, Ikeno Taiga, and Shiokawa Bunrin. The collection of woodblock pieces numbers around 500 with works by Katsushika Hokusai and Utagawa Hiroshige in it. The collection also includes sculpture, ceramics, and textile works.

African
Most of the artworks in the museum’s African collection were created by artists largely from West and Central Africa, primarily the countries of Mali, Cote d'Ivoire, Ghana, Nigeria, Cameroon, Gabon, and the Democratic Republic of the Congo. The Museum has a small collection from East and South Africa, including a mask carved by a Yao artist from Tanzania and beaded capes created by Zulu artists in the country of South Africa.

The Nelson-Atkins began collecting African art in the 1930s, with many notable acquisitions including two 17th-century cast brass objects from the Benin Kingdom in Nigeria in 1958. While the collection grew slowly until 1983, subsequent years saw more aggressive acquisitions. In 2012, African art gallery curator Nii Quarcoopome worked to add more content and ways for audiences to interact by including videos and photographs showing visitors how objects are used in ceremonies or everyday life. It includes 400 objects made from wood, brass, bead, terracotta, ivory and natural fibers. They have a variety of different cultures and tradition inside of the art world of the continent. These include a royal stool from the Asante people, a Standing Male Figure by a Hemba artist, a group of Kuba textiles, a Royal Beaded Throne created by a Bansoa artist in the Bamileke kingdom, a Female Mask (Kifwebe) by Songye artists, and a shrine figure carved by a Baga artist.

The museum held an exhibit called 'Through African Eyes: The European in African Art, 1500–Present' from September 25, 2010 - January 9, 2011. It was an examination of how African artists expressed the dynamic interactions between African cultures and Europeans and Westerners with 95 art pieces that reflect the theme from European colonization settlements in Africa, through the contemporary years of post-independence. Nii Quarcoopome was quoted as saying, "At the heart of the exhibition and its accompanying catalogue is the desire to give agency to African voices; indeed, the title, Through African Eyes, primarily obtains from this thinking. After all, what good is African art and history without the African voice? ". This exhibition has been organized by the Detroit Institute of Arts were the exhibit first appeared. With support provided by the National Endowment for the Humanities and the National Endowment for the Arts. In Kansas City the exhibition is supported by The Helzberg Fund for African Art. The museum has also held a talk in February 2018, discussing and educating the audience on Palbo Picasso and his relationship with the arts of Africa and the world, as he bought African art from shady art dealers. The speakers included Julián Zugazagoitia, director and exhibition curator at Nelson Atkins, and art historian Peter Stepan who wrote a book on the subject.

Native American
In 2009, the museum opened a suite of Native American art galleries, totaling 6,100 square feet, among the largest such displays in a comprehensive art museum with 200 pieces on display on average. Gaylord Torrence, the curator at the time of the Native American department, was able to acquire a majority of items with donations from Morton Sosland and other people. He helped find works from thousands of years old to modern Native American artists. Torrence has since retired. He went on to write Continuum: Native North American Art at The Nelson-Atkins Museum of Art. David Penney, associate director for museum research and scholarship at the National Museum of the American Indian has praised Torrence's work by saying “The Nelson's collection reflects a combination of history, age, formal characteristics that play to modernist connoisseurship, and a notion of spirituality. Those are the kinds of things that Gaylord values.”

The gallery includes work by Jamie Okuma, Roxanne Swentzell, Diego Romero, Joyce Growing Thunder Fogarty, Silver Horn and Butch Thunder Hawk. It also houses historical pieces like pottery, baskets, bead/quill/textile works, and paintings from the Arikara, Mississippian, Algonquian, Plains, Lakota, Kiowa, Cheyenne, Chumash, Navajo, and Pueblo tribes. The Nelson Atkins has worked through the Native American Graves Protection and Repatriation Act (NAGPRA) in collaboration with groups, tribes, and other forms of Native American communities to make to either repatriate or show Native American art in a cultural appropriate manner. Items that are claimed by an authority of the tribe are considered case by case, depending on the item's connection to a certain culture as well as what the Deputy Director of Curatorial Affairs, the Director/CEO, and the Trustee Members of the Committee decide is best for the item's future. Most repatriated items are related to grave sites or other cultural ceremonies.

The museum also hosts cultural performances as a way share and celebrate Indigenous cultures, mostly from the Midwest area. It includes singing, dancing, storytelling, and artwork from students of Haskell Indian Nations University and members of the Apache Indian Reservation, Plains Indians, Prairie Band Potawatomi, and Standing Rock Lakota, and various members of the Kansas City Indian Center.

American
The American gallery contains art from American artists who aren't Native American. The collection includes the largest public collection of works by Thomas Hart Benton, who lived in Kansas City. Among its collection are paintings by George Bellows, George Caleb Bingham, Frederic Church, John Singleton Copley, Thomas Eakins, Winslow Homer, and John Singer Sargent. One of the more notable exhibits hosted was 30 Americans, which showed African American life through the eyes of 30 different artists from all over the country, including works from Jean-Michel Basquiat, Carrie Mae Weems, Kerry James Marshall, Mickalene Thomas, Rashid Johnson, Kara Walker, Hank Willis Thomas, and Kehinde Wiley. It contained 80 paintings, drawings, prints, sculptures, photographs, and videos.

The museum also has contemporary work in the Bloch Building by Willem de Kooning, Fairfield Porter, Wayne Thiebaud, Richard Diebenkorn, Agnes Martin, Bridget Riley, and Alfred Jensen.

In 2023, the museum won the painting "Sailing" by Thomas Eakins from a bet made by the Philadelphia Museum of Art after the Kansas City Chiefs won the Super Bowl against the Philadelphia Eagles

Modern
This collection covers artistic work produced from the 1860s -1970s, including work of Cubism, Expressionism, Fauvism, Dada, Surrealism, Bauhaus and Abstract Expressionism. Pieces include works from Pablo Picasso, Jackson Pollock, Ernst Barlach, Max Beckmann, Joseph Cornell, Juan Gris, Ernst Ludwig Kirchner, Paul Klee, Jacques Lipchitz, Roberto Matta Echaurren, Joan Miró, Ben Nicholson, Emil Nolde, Yves Tanguy, Willem de Kooning, Philip Guston, Grace Hartigan, Robert Motherwell, Constantin Brancusi, Alexander Calder, Alberto Giacometti, Henry Moore, Marcel Duchamp, Adolph Gottlieb, and Man Ray. The museum has thanked the Friends of Art group in Kansas City, the Hall Family Foundation, donations from other individuals, and companies (like Commerce Bank and Trust) for helping to acquire the art.

Photography
The Photography galleries in the Bloch Building display a survey of the creative history of the medium from daguerreotypes to 21st-century processes. New installations are presented about three times a year. The museum also houses the oldest known photo of slaves in the US, taken in 1850 by an unknown artist and is believed to have been taken in Georgia.

In 2006, Hallmark Cards chairman Donald J. Hall, Sr. donated to the museum the entire Hallmark Photographic Collection, spanning the history of photography from 1839 to the present day. It is primarily American in focus, and includes works from photographers such as Southworth & Hawes, Carleton Watkins, Timothy O'Sullivan, Alvin Langdon Coburn, Alfred Stieglitz, Dorothea Lange, Homer Page, Harry Callahan, Lee Friedlander, Andy Warhol, Todd Webb, and Cindy Sherman, among others.

Contemporary
Contemporary art is located in the Bloch building and is defined in Nelson-Atkins as art from 1960 to present day. Styles include Pop, Minimalism, Conceptual and Realism, from different parts of the world and cultures. Art pieces are either gifts from The William T. Kemper Collecting Initiative or acquired or donated by famous artists like: Jackson Pollock, Andy Warhol, Anish Kapoor, Robert Rauschenberg, Yinka Shonibare, Duane Hansen, Louise Nevelson, Donald Judd, Robert Arneson, Jim Dine, Nancy Graves, Bridget Riley, Elizabeth Murray, Robert Mangold, Kerry James Marshall, El Anatsui, Raqib Shaw, Willem de Kooning, Mark Rothko, David Smith, Richard Diebenkorn, Richard Estes, Duane Hanson, Claes Oldenburg, Sol LeWitt, Agnes Martin, Bridget Riley, Ronnie Landfield, Martin Puryear, and Deborah Butterfield

The Noguchi Sculpture Court houses contemporary sculptures that were gifted by the Hall Family Foundation's Modern Sculpture Initiative. At the south end of the Bloch Building, this is the third largest collection of Isamu Noguchi, outside of New York and Japan.

Design and decorative arts

Ranging from medieval stained glass to 21st-century furniture from Kansas City artists, the museum houses pieces of architecture and decorative arts. Some significant pieces are an armor set for both a knight and his horse from 16th-century Italy and more than 1,300 examples of English pottery in the Burnap Collection. Works made during the 18th century form the larger concentration, including pottery, porcelain, silver, furniture. Donations from the Folgers Coffee Corporation and the Wallenstein family add other media to the understanding of 18th-century art and culture. Outside of 18th century art is the collection of 19th-21st century works. Includes many design movements, including the Art Nouveau, Bauhaus, to works produced today. Recent acquisitions have furniture, ceramics and silverwork. Decorative Arts are displayed throughout the galleries and put into exhibits. Unlike paintings, the decorative arts have other uses than for display so will help highlight the context the item was used for.

Donald J. Hall Sculpture Park
Outside on the museum's immense lawn, the Donald J. Hall Sculpture Park, designed by Dan Kiley, contains the largest collection of monumental bronzes by Henry Moore in the United States. The park also includes works by Alexander Calder, Auguste Rodin, George Segal and Mark di Suvero, among others. Beyond these, the park (and the museum itself) is well known for Shuttlecocks, a four-part outdoor sculpture of oversized badminton shuttlecocks, standing 18 feet tall, by Claes Oldenburg and Coosje van Bruggen.

title: Nelson-Atkins Museum of Art


text:
Wicked Lester

Wicked Lester was a rock band based in New York City. Two notable members were bassist Chaim Witz (as "Gene Klein") and rhythm guitarist Stanley Eisen. Originally formed in 1970 as Rainbow, the band changed its name to Wicked Lester in 1971 to avoid confusion with another local band named "Rainbow". Although it secured a record deal with Epic Records and recorded an album, the deal fell through and the band fell apart during 1972. Witz and Eisen, feeling that the band's failure was a result of its lack of vision and direction, decided to found a new band from its remnants. They changed their stage names to Gene Simmons and Paul Stanley, respectively, auditioned a new drummer and lead guitarist, and formed the band Kiss by the end of January 1973.

Although Kiss achieved massive success, Wicked Lester's album recorded for Epic has never been officially released in its entirety. The sessions have been released in bootleg form as The Original Wicked Lester Sessions. Kiss officially released three tracks from these sessions on their 2001 Box Set release. Wicked Lester's music featured elements of rock and roll, folk rock and pop.

Rainbow
The origins of the band trace to 1970, when bassist Witz and keyboardist Brooke Ostrander recruited lead guitarist Stephen Coronel, a childhood friend and former bandmate of Witz. The group took the name Rainbow shortly thereafter. Coronel recommended rhythm guitarist Stanley Eisen, who had actually been rejected by the group after a previous audition. Shortly after Eisen joined, Ostrander recruited drummer Joe Davidson, and the first Rainbow lineup was completed. Davidson's stay did not last long and he was replaced by drummer Tony Zarrella.

In early 1971, Rainbow played its first show, which consisted of two sets performed at Richmond Community College in Staten Island. After the show, the group discovered that there was already another band called Rainbow. They decided to drop the name, and came up with the name Wicked Lester, which Klein liked because it was unusual. While the decision to change the group's name came partly out of a desire to avoid any potential legal issues, it also reflected Klein and Eisen's desire to start playing more original compositions.

Crossroads
During their brief existence, Wicked Lester performed in public twice. The first show took place at the Rivoli Theatre in South Fallsburg, New York on April 23, 1971. The second, in late summer 1971, was at an Atlantic City, New Jersey hotel hosting a B'nai B'rith Youth Organization event. Not long after that show, the band suffered a major setback when they had all of their musical gear stolen. After a chance meeting with Electric Lady Studios engineer Ron Johnsen, Wicked Lester was given the opportunity to record some demos in late 1971. Johnsen, who produced the demo tape, shopped it to a few labels, with no success. Eventually the tape was screened by Epic Records, who purchased the masters and agreed to fund the recording of a full album. One of the conditions, however, was that Stephen Coronel be fired and replaced with a better guitarist.

Coronel was replaced by session musician Ron Leejack (Ronald Jackowski, ex-Cactus), and the group continued their efforts to finish the album. Some songs were completely re-recorded to accommodate Leejack's different playing style. The entire recording process, which followed a haphazard schedule, took nearly a year to complete. When the completed album was presented to Don Ellis, Epic's A&R director, he stated that he hated the album and was not going to release it. The next day, Wicked Lester manager Lew Linet requested and received the group's release from Epic Records.

Kiss
At this time, Witz and Eisen, now using the stage names Gene Simmons and Paul Stanley, decided that one of the reasons for Wicked Lester's lack of success was their lack of a singular image and musical vision. They made the decision to move forward and start a new band. Wicked Lester began auditioning for a drummer. Tony Zarrella recorded all the Wicked Lester drum tracks at Electric Lady Studio produced by Ron Johsen. After completion, Tony Zarrella left the group & afterwards recorded & toured with NYC based groups "Dreams In Color" & "MYTH". Brooke Ostrander, feeling that the band was going nowhere, quit. He went on to teach music at Missisquoi Valley Union High School in Swanton, Vermont. Ostrander died on September 3, 2011, from cancer. For a short time, Ron Leejack continued on with the new version of Wicked Lester.

Whereas Wicked Lester's original sound was rooted in varied musical styles, including folk and pop, when Simmons and Stanley decided to recruit new members, they made the decision to focus on a more aggressive and simple style of rock and roll. The first new member they added was drummer Peter Criss, who had placed an ad in Rolling Stone. The ad stated, "EXPD. ROCK & roll drummer looking for orig. grp. doing soft & hard music. Peter, Brooklyn." The new Wicked Lester, without a recording contract, began a strict and regular regimen of rehearsals.

In November 1972, the group arranged a showcase with Don Ellis, the Epic Records executive who earlier had rejected Wicked Lester's album. While one Epic executive, Tom Werman, was impressed by the power and theatrics of this new incarnation of Wicked Lester, Ellis once again turned them down. As Ellis was leaving, Peter Criss's brother, who was drunk, vomited on his foot. In early December, Paul Stanley placed an ad in The Village Voice stating, "LEAD GUITARIST WANTED with Flash and Ability. Album Out Shortly. No time wasters please." The ad ran for two issues, December 7 and 14, 1972, leading to several audition sessions. One audition was by Paul "Ace" Frehley who showed up wearing different-colored shoes, walked into the room without saying a word, hooked up his guitar and started playing. Frehley was asked back for a second audition and was a member of the band by Christmas 1972. Within a few weeks, the group changed its name to Kiss and played their first concert on January 30, 1973.

Unreleased album
The recording of Wicked Lester's album, which began in November 1971 at Electric Lady Studios in Greenwich Village, took place over multiple sessions and was finished in July 1972. The album was a mixture of original material and covers, showcasing the group's eclectic style. Three of the songs recorded for the Wicked Lester album would later resurface as Kiss songs, with varying degrees of similarity.

The chorus of their cover version of The Hollies' "I Wanna Shout" would serve as the inspiration for "Shout It Out Loud" from 1976's Destroyer, although the two songs otherwise bear little similarity. Two of the tracks, "Love Her All I Can", written by Paul Stanley, and "She", written by Simmons and Steve Coronel would resurface on 1975's Dressed to Kill. "Love Her All I Can" featured similar arrangements in both versions while the Kiss version of "She" lacked the congas and flute of the original.

The only part of Wicked Lester's album to initially be released was the cover art, which was used for The Laughing Dogs' self-titled debut album in 1979. CBS Records, which owned the rights to the album, remixed it and planned to release it in late 1976 to capitalize on Kiss's popularity at the time. Kiss and Neil Bogart, the president of their label, Casablanca Records, purchased the master tapes from CBS for $137,500 and never released it. The label and band feared that if CBS released the tracks it would diminish their commercial appeal. The band worried that their hard rock image would be damaged by these more eclectic recordings. It was also feared that the release would be accompanied by pictures of Simmons and Stanley without their trademark makeup; Kiss had yet to officially unmask themselves at the time. In later years the album surfaced as a bootleg titled The Original Wicked Lester Sessions. The band bought Bogart's share and eventually released three of the tracks, "Keep Me Waiting," "She," and "Love Her All I Can", in 2001 as part of a five-disc box set.

The WICKED LESTER VINYL ALBUM was recently released in 2023 on CASINO RECORDS ENTERTAINMENT distributed by The Family Affair Company. All Trademarks & Logos are protected. Made in the USA at 506 Santa Monica Boulevard, Los Angeles, CA 90025. The track "LONG, LONG ROAD" is included on this vinyl album.

Track listing

 * 1) "Love Her All I Can" 	(2:28) Stanley
 * 2) "Sweet Ophelia" 	(2:56) Barry Mann/Gerry Goffin
 * 3) "Keep Me Waiting" 	(3:04) Stanley
 * 4) "Simple Type" 	(2:33) Simmons
 * 5) "She" 	(2:54) Coronel/Simmons
 * 6) "Too Many Mondays" 	(3:27) Barry Mann/Cynthia Weil
 * 7) "What Happens in the Darkness" 	(2:59) Tamy Lester Smith
 * 8) "When the Bell Rings" 	(3:11) Austin Roberts/Christopher Welch
 * 9) "Molly" (aka "Some Other Guy") 	(2:23) Stanley
 * 10) "We Want to Shout It Out Loud" 	(2:04) The Hollies

The band also recorded a song called "Long, Long Road" that might have made it onto the album.

Members

 * Paul Stanley – rhythm guitar, vocals (1970–1973)
 * Gene Simmons – bass, vocals (1970–1973)
 * Brooke Ostrander – keyboards (1970–1972; died 2011)
 * Stephen Coronel – lead guitar (1970–1971)
 * Joe Davidson – drums (1970)
 * Tony Zarrella – drums & percussion (1970–1972)
 * Ron Leejack – lead guitar (1971–1972)

title: Wicked Lester


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Dance Mania (record label)

Dance Mania is a Chicago independent record label originally founded by Jesse Saunders for a one-off release of "What's That" by The Browns in 1985. The label name was picked by Ray Barney one year later, with permission from Duane Buford who wrote the record.

The label released almost three hundred records until it closed in 1999. The label relaunched in 2013, following a recent DJ demand for their 90s records.

The label is regarded as hugely influential in the history of Chicago house music, and has been described as "ghetto house's Motown".

title: Dance Mania (record label)


text:
Frank Packer

Sir Douglas Frank Hewson Packer (3 December 1906 – 1 May 1974), was an Australian media proprietor who controlled Australian Consolidated Press and the Nine Network. He was a patriarch of the Packer family.

Early life
Frank Packer was born in Kings Cross, in the eastern suburbs of Sydney, New South Wales. His parents were Ethel Maude Packer (née Hewson; 1878–1947) and Robert Clyde Packer (1879–1934), who started the family's association with the media as a journalist in New South Wales. His father, R. C. Packer, became editor of The Sunday Times and was a founder of Smith's Weekly and the Daily Guardian, which was published by Smith's Newspapers Ltd.

"A mischievous youngster and a poor student", Packer frequently switched schools, attending Turramurra College, Abbotsholme College, Wahroonga Grammar School, and Sydney Church of England Grammar School at various times. He did not sit for the Intermediate Certificate.

Career
In 1923, Packer became a cadet journalist on his father's paper, the Daily Guardian. Four years later, he was a director of the company. In 1933, Packer started The Australian Women's Weekly and then transformed The Daily Telegraph into one of Australia's leading newspapers.

Packer inherited his media interests on his father's death in 1934. In 1936, he joined with Ted Theodore's Sydney Newspapers and Associated Newspapers to form Australian Consolidated Press. He was chairman of ACP from 1936 until 1974.

When television was introduced to Australia in 1956, Packer, along with the other major newspaper publishers (Fairfax, HWT and David Syme), became a significant television network shareholder under the federal government's "dual formula", which allowed each capital city to have two commercial networks and one ABC. He launched the first Australian station to broadcast a regular schedule, TCN in Sydney, which became the nucleus of the Nine Network.

The Packer media empire was known for its conservative leanings, and was a strong backer of long-serving Prime Minister Robert Menzies.

Packer was a keen yachtsman, boxer, golfer and polo player. He was on the Australian Jockey Club's committee for 12 years and won the Caulfield Cup with his horse Columnist. He was also chairman of a syndicate that built the yachts Gretel and Gretel II to challenge for the America's Cup in 1962 and 1970.

In 1972, Sir Frank Packer sold his newspaper flagship, The Daily Telegraph, to Rupert Murdoch.

In 1992, journalist Max Walsh told the House of Representatives Select Committee on the Print Media that Frank Packer had exerted undue newsroom influence. "Sir Frank was knee-deep in [the] editorial policy of the Telegraph", Walsh said.

Family life
Frank Packer was married to Gretel Joyce Bullmore (1907–1960) on 24 July 1934 at All Saints Anglican Church, Woollahra. He had two sons, Clyde and Kerry, with his first wife, Gretel. Gretel Packer died in 1960.

Packer married for the second time in June 1964 to Florence Adeline Vincent (née Porges) in London. She died in 2012.

Death
On 1 May 1974, Packer died of heart failure at The Royal Prince Alfred Hospital, Camperdown of "Pneumonia and reticulum cell sarcoma". He was cremated at Northern Suburbs Crematorium and his ashes were interred within the Packer family mausoleum at South Head Cemetery.

His estate was valued for probate in 1975 at $2,393,703.11 which, adjusted for inflation, would account to $23,232,745.54 in 2023. Notable items declared in his estate, were paintings and sketches from some of Australia's most renowned artists, located at the family home, 'Cairnton' at Bellevue Hill was:

Penleigh Boyd:
 * "Wattle Tree, signed and dated 1912" (oil on canvas)

Rupert Bunny:
 * "Feeding the Ducks, signed"
 * "Seated Woman with White Shawl, signed" (oil on canvas)

Sir William Dobell:
 * "Sketch of Churchill's Hand giving the 'V' for victory sign, signed"
 * "The Artist's Garden at Wangi, signed" (ink on paper)
 * "The Artist's Garden and Balcony overlooking the Lake at Wangi, signed"
 * "Woman in a Hamburger, signed and dated 1944" (oil on board)
 * "Portrait of Helena Rubenstein, signed and dated 1959" (oil on board)
 * "Boy in a white Lap Lap, signed and dated 1952" (oil on board)

Sir Russell Drysdale:
 * "The Hangar" (watercolour and ink on pencil)
 * "Men and Bird - Bass Straight, signed" (oil on canvas)

Robin Hill:
 * "Grey Goshawke, signed, titled and dated 1958" (water colour)

John Perceval:
 * "Cow bogged in a Swamp, signed and dated 1960"

Albert Tucker:
 * "The Card Game, signed and dated 1958" (oil on board)

Honours
Frank Packer was appointed a Commander of the Order of the British Empire (CBE) in the King's Birthday Honours of 1951.

He was knighted in the Queen's Birthday Honours of 1959, for services to journalism and the newspaper industry.

In the New Year's Honours of 1971 Sir Frank Packer was promoted within the Order of the British Empire to Knight Commander (KBE), for services to Australian and international yachting.

Since 1980 the Frank Packer Plate has been conducted at Randwick Racecourse.

He was inducted into the America's Cup Hall of Fame in 1999.

Portrayal in media
In the 1984 television miniseries Bodyline, Packer, as employer of Donald Bradman, released him from a writing contract so he could play in the 1932–1933 Ashes; he was portrayed by Brian McDermott.

In the 1988 television miniseries The True Believers, Packer was portrayed by Australian actor Max Phipps.

In the 2007 television biopic The King about comedian Graham Kennedy, Packer was portrayed by Australian actor Leo Taylor.

In the 2011 television miniseries Paper Giants: The Birth of Cleo, Packer was portrayed by Australian actor Tony Barry.

In the 2013 television miniseries Power Games: The Packer-Murdoch War, Packer was played by Australian actor Lachy Hulme, who had previously portrayed Kerry Packer in Howzat! Kerry Packer's War the previous year.

title: Frank Packer


text:
Battleship Row

Battleship Row was the grouping of seven U.S. battleships in port at Pearl Harbor, Hawaii, when the Japanese attacked on December 7, 1941. These ships bore the brunt of the Japanese assault. They were moored next to Ford Island when the attack commenced. The ships were USS Arizona (BB-39), USS California (BB-44), USS Maryland (BB-46), USS Nevada (BB-36), USS Oklahoma (BB-37), USS Tennessee (BB-43), and USS West Virginia (BB-48). A repair ship (former coal ship), USS Vestal (AR-4), was also present, moored next to Arizona.

Creation
When the United States Navy decided in 1919 to establish a major naval base in Pearl Harbor, the southeastern side of Ford Island was ceded from control of the Army Air Service at the behest of Secretary of War Newton D. Baker. Due to its location in the center of the harbor, where the water was deepest and the potential for maneuvering greater than along the shores, this coast of Ford Island became the de facto mooring location for the Pacific Fleet's battleships and took on the nickname "Battleship Row".

Attack and aftermath
Arizona, California, Oklahoma, and West Virginia were sunk during the attack. Arizona suffered the most serious damage and loss of life, an explosion in a forward magazine breaking the hull in two. Of the other four, West Virginia, and, to a lesser degree, Nevada, had serious damage. Pennsylvania was in dry dock, making attack difficult, and, as a result, was relatively undamaged. Vestal was also damaged. Battleship Row was not visible from Hickam Field because of the thick black smoke. Following the attack, operations immediately commenced to refloat and repair the damaged ships. The first to be completed was Nevada on April 19, 1942. By the end of the war, all except Arizona and Oklahoma had returned to service. Each of the six surviving battleships saw service in the Pacific island hopping campaign. Nevada also served in the Atlantic and supported the invasion of Normandy. All six were decommissioned soon after the war was over. Nevada and Pennsylvania were expended in atomic bomb tests in the Pacific. The rest were scrapped in the late 1950s. Oklahoma was eventually refloated but not repaired, and capsized and sank while being towed back to the mainland for scrapping. Arizona's hull remains a memorial, one of the most popular tourist attractions on the island.

USS Utah (BB-31) was in port at Pearl Harbor, but was not moored with the rest of the battleships, as she had since been converted to a target ship. However, she was still sunk within a few minutes of the battle.

Ships that were attacked

 * USS Arizona (BB-39): (flagship of Battleship Division One) hit by an armor-piercing bomb, exploded; total loss. 1,177 dead.
 * USS Oklahoma (BB-37): hit by five torpedoes, capsized; total loss. 429 dead. Refloated November 1943; capsized and lost while under tow to the mainland May 1947.
 * USS West Virginia (BB-48): hit by two bombs, seven torpedoes, sunk; returned to service July 1944. 106 dead.
 * USS California (BB-44): hit by two bombs, two torpedoes, sunk; returned to service January 1944. 100 dead.
 * USS Nevada (BB-36): hit by six bombs, one torpedo, beached; returned to service October 1942. 60 dead.
 * USS Tennessee (BB-43): hit by two bombs; returned to service February 1942. 5 dead.
 * USS Maryland (BB-46): hit by two bombs; returned to service February 1942. 4 dead (including floatplane pilot shot down).
 * USS Pennsylvania (BB-38) (flagship of the U.S. Pacific Fleet): in drydock with Cassin and Downes, hit by one bomb, debris from USS Cassin; remained in service. 9 dead.
 * USS Utah (BB-31): hit by two torpedoes, capsized; total loss. 64 dead. Was commissioned as a target ship at the time of the attack and was docked on the west side of Ford Island, opposite Battleship Row.

title: Battleship Row


text:
Monitor (Mar Novu)

The Monitor or Over-Monitor, also known as Mar Novu, is a fictional character created by writer Marv Wolfman and artist George Pérez as one of the main characters of DC Comics' Crisis on Infinite Earths limited series.

The character began appearing, along with his assistant Lyla Michaels, in numerous DC Comics titles beginning in 1982, three years before the Crisis began in July 1985; these appearances made it seem that he was some sort of weapons dealer for supervillains. This was all part of the setup Wolfman and the staff of DC Comics planned for the Crisis, showing the Monitor currying favor with villains such as Maxie Zeus, prior to calling on the heroes. The Monitor was depicted in the shadows for all of his appearances in DC's mainstream superhero titles, and his face was first revealed in one of their few remaining non-superhero titles, the war comic G.I. Combat issue #274.

LaMonica Garrett portrayed the character on The CW's Arrowverse, debuting during the 2018 crossover Elseworlds. This marked the first live-action adaptation of the character. The character has made subsequent appearances on several shows set in the Arrowverse. The character also appeared in the 2019 crossover Crisis on Infinite Earths.

Origin of the concept
Wolfman conceived the concept of the character long before plans for Crisis on Infinite Earths. He explained it in a 1983 interview in the Comics Journal:

"I had the character about 18 years ago. I called him the Librarian then because I didn’t have a good sense about names and thought that it would be a neat idea to do that. You know, one villain that the whole company could use. I didn’t have to sell it to Marvel, because they already had one universe, but when I came back to DC I indicated that I wanted to do it here. Everyone liked it but forgot to hand out the sheets I gave for their writers. So I have to redo it indicating how far you can take the character from month A to month B. Like for three months you can only show this much and after six months you can show that much, and at the end of a year we can reveal who that character is and start getting into interesting stories that all the writers can pick up on."

Origins
Thirteen billion years ago, the Multiverse was born due to tampering with the creation of the universe by Krona, a scientist from the planet Maltus who was attempting to view the beginning of the universe. As a result of his actions, an infinite number of parallel universes were brought into existence side by side, separated only by minuscule vibrational differences, none of them as strong as the single universe that existed earlier would have been. Krona's experiment made it a multiverse instead of one single universe.

Monitor was born on Oa's moon, apparently as the living embodiment of all positive matter universes. One of these universes was composed entirely of antimatter, and on the moon of Oa's counterpart, Qward, a hideous mockery of life was born from its very soil, a being that would come to be known as the Anti-Monitor.

The Long War
As the evil Anti-Monitor conquered his universe, the Monitor watched him, and, when the Anti-Monitor sensed his presence, they began battling across the dimensional barrier in a war that lasted one million years.

A simultaneous attack rendered them both unconscious, and they lay unmoving for more than nine billion years until the Monitor felt his evil counterpart awaken, as a result of another experiment on the creation of the universe by another scientist, which resulted in the destruction of that scientist's universe. He found this scientist, a man who would become known as Pariah, and used him to follow the Anti-Monitor's path of destruction in his newly created spaceship.

As the Anti-Monitor consumed worlds with his destructive antimatter, thus increasing his power as his antimatter universe expanded to fill the 'gap' that had been left by the loss of the universe, the Monitor grew weaker. He studied every universe for the means to fight the Anti-Monitor, but, even though countless universes were threatened, he took the time to save an orphaned girl, the only survivor of a shipwreck, and raised her on his ship.

That girl, Lyla Michaels, grew up to become Harbinger, having been granted great powers by the Monitor. The Monitor went so far as to provide supervillains with technology, supposedly for money but in reality as a way to test the heroes and villains of Earth and find out which ones might help his cause.

Crisis
When the Anti-Monitor's antimatter wave began approaching the main Earths of the Multiverse, the Monitor directed Harbinger to track down an initial force of fifteen specific heroes and villains the Monitor needed to fight his foe (this initial group featured Superman, Doctor Polaris, Dawnstar, Firebrand, Geo-Force, Obsidian, Cyborg, Killer Frost (with her mind temporarily altered to make her more accommodating), Firestorm, Psycho-Pirate, Solovar, Blue Beetle, Psimon, Green Lantern, and Arion). He explained to them what was going on and sent them to protect giant tower-like devices that he had created on several places across space and time; his plan was to merge the surviving Earths into a single one that could resist the Anti-Monitor's attack. He also sent Harbinger to recover the infant Alexander Luthor, Jr., the sole survivor of Earth-Three, who he believed would be of invaluable assistance.

When Harbinger returned, one of her incarnations had been attacked by one of the Anti-Monitor's shadow demons, and that corruption caused her combined self to attack and kill the Monitor. However, he had foreseen the attack and used his death to power the machines that would pull Earth-One and Earth-Two into a netherverse created from the energies liberated by his own death, saving them from the Anti-Monitor's unstoppable antimatter wall. He left Lyla a recorded message explaining this, trusting that she and the Multiverse's heroes would complete the job and preserve the worlds before their vibration slowed down to an extent where they would destroy each other as they existed in the same place simultaneously.

Harbinger followed the Monitor's legacy, using up her powers to draw the last three Earths (Earth-Four, Earth-S, and Earth-X) into the Netherverse. With help from Pariah, Alexander, and all the surviving heroes and villains from the various Earths, she eventually defeated the Anti-Monitor at the dawn of time, and then in his own antimatter universe, saving the reborn universe from his predations. These actions resulted in a "reboot" of the multiverse as a single universe, creating an amalgam of the five surviving Earths which possessed the strength to resist the Anti-Monitor's attack.

The existence of the scheming but benevolent Monitor has apparently been forgotten by everyone except his closest associates as a result of the change in history.

The Monitors
During the events of Infinite Crisis, Alexander Luthor, Jr. revives the multiverse by splitting the merged Earths in an effort to find a "perfect earth", because he believed the surviving Earth to be corrupted. His plan is thwarted by Conner Kent, who destroys the tower he created to splinter the Earth. The re-collapse of the Earths resulted in excess energy that created a wholly new multiverse consisting of 52 identical Earths. Luthor's use of the Anti-Monitor's armor to recreate the Multiverse acted as a "seed program" to proliferate all cloned universes with their own Monitor. The histories of the 52 Earths were changed as a result of Mister Mind's multi-dimensional rampage. As a result of there being worlds with different histories, the Monitors now work as a collective to prevent interaction between the universes that could lead to a new Crisis.

Final Crisis
A new metafictional origin for the Monitors, including the first one featured in Crisis on Infinite Earths, is later given during the Final Crisis.

It is revealed that the Monitor himself was nothing but a probe sent by an unseen, yet powerful being, an Overmonitor, the Original Monitor, an incorporeal and unfathomable being of limitless imagination who became aware of the concept of stories by stumbling upon the original Multiverse, which existed as a minute lesion within itself. Willing to understand it fully, he fashioned a probe allowing him to interact with the budding universes. Corrupted by the sheer complexity of the Multiverse, the probe was split into two symmetrical and complementary beings: the Monitor and the Anti-Monitor, a being of pure good and a being of pure evil battling one against the other as told in the Crisis on Infinite Earths.

The attempt to know and map the universe was deemed a partial success, as after the death and the rebirth of the Universe from Dax Novu, the firstborn of the Monitors (it's still uncertain if Dax Novu was meant to be the Monitor himself or a later creation of the Overmonitor), a new race of Monitors was spawned in the World of Nil, the netherworld surrounding the universe. These Monitors, made each one different by accepting the concept of time and mortality, became a race of cosmic vampires, feasting and needing stories to stay alive. On their world, they grew in time a fascination with the Superman mythology, the very first story they came to know, employing a thought robot with the appearance of the original Superman (the Earth-1 version) to guard them against menaces. The same concept of time and mortality, and the repressed loathing the original Monitor had for the germs, the beings living in the Multiverse, turned Dax Novu into Mandrakk, the Dark Monitor, the negation of life itself. Superman, inhabiting the Thought Robot, defeats Mandrakk/Dax Novu. Later, a different incarnation of Mandrakk (Rox Ogama) battles his son, Nix Uotan, and is killed during the Final Crisis by the Green Lanterns.

In the end, Superman heals the damaged Multiverse with a replica of the Miracle Machine. Nix Uotan, now with the appearance of a human being living in Metropolis, retains his role as the sole link between the Overmonitor and the Multiverse.

DC Rebirth
In the DC Rebirth relaunch, Monitor is found alive inside the central cave of the newly-discovered Dark Multiverse.

Monitor's history is revealed where he and his brothers Anti-Monitor and World Forger were created by a Super Celestial named Perpetua in the Sixth Dimension where she tasked them to monitor their assigned realms. Monitor was tasked to monitor the Multiverse. If Monitor, his brothers, or Perpetua would be destroyed, they would regenerate in the Sixth Dimension.

Powers and abilities
Monitor's powers were never well defined, but he was able to sense his counterpart's existence in the anti-matter universe and fight with him to a stalemate in Oa's moon using energy powers (though the feedback of the attack placed him in suspended animation for eons).

He was able to save Pariah (and possibly empower him to never die and be always drawn to where the Anti-Monitor was about to strike next) and create an entire satellite headquarters out of nothingness.

As a Monitor, he can, as told by Metron, "Create with a thought".

Other versions

 * A Monitor appears in Tiny Titans issues 12, 18 and 35.
 * The Monitors play prominent roles in the comic book continuation of the television series Smallville. However, in the mini-series Smallville: Alien it is revealed that the Monitors are not benevolent, but are actively pursuing the destruction of the Multiverse with one named Ray-Lan having crash landed in Russia. While being held captive he is interrogated by Lex Luthor under orders of the President after his destruction of Earth-Two. Ray-Lan then escapes with a powered exoskeleton to combat the Rocket Reds to search for his ship which is located in Chernobyl escaping Superman. While Lex and Clark explore Monitor's spacecraft, Ray-Lan attacks and in the chaos, Superman saves Lex and destroys his ship, causing shrapnel to kill Ray-Lan via impalement. The deceased Monitor's body is taken to the Department of Extranormal Operations Quarantine Zone for observation.

In other media

Mar Novu / The Monitor appears in man the Arrowverse, portrayed by LaMonica Garrett. This version was born on the planet Maltus where he conducted experiments in attempts to access the multiverse. During the process, he enters a realm called the anti-matter universe where he sets free his evil counterpart Mobius, later called the Anti-Monitor. Eventually, Novu seals the universe so that Mobius can’t escape. Novu begins testing different worlds using the Book of Destiny to find heroes to prevent a coming crisis. After mass murdering Earth-90’s heroes, except for their Flash who managed to survive, Novu travels to Earth-1 where he gives the book to Dr. John Deegan. Deegan uses the book to swap the lives of Barry Allen and Oliver Queen. Eventually, the heroes convince their teammates of the misunderstanding. The Flash from Earth-90 arrives to inform the heroes of Earth-1 about Novu, now going by the Monitor. Barry, Oliver and Earth-90 Flash confront the Monitor who breaches Earth-90 Flash away. Before they can confront the Monitor, the Monitor teleports away and gives Deegan another chance in rewriting reality. After doing so, Oliver learns of Barry and Kara’s deaths and confronts Novu in his realm. Oliver requests Novu to spare Barry and Kara, but Novu demands something in exchange from Oliver. Oliver defeats Deegan and reality is restored. Deegan is imprisoned at Arkham Asylum where one of his cellmate taunt Deegan about the universe never being the same again. Following the Elseworlds, Novu recruits Oliver while also informing him he dies during the Crisis. Novu sends Oliver throughout the multiverse on several missions that will help him defeat the Anti-Monitor including retrieving dwarf star particles from Earth-2, retrieving Dr. Robert Wong in Hong Kong, and finally getting plutonium from Lian Yu. Oliver also learns that Lyla Michaels is working with Novu. Novu brings Oliver’s children from the future to assist Oliver in his mission. His son William help bring the weapon together which Lyla activates and absorbs all the energy from the island before portalling her way off the island. Sometime later, Lyla, now a Harbinger of things to come, recruits Oliver and Mia from the island as the skies turn red. Lyla later recruits Barry, Kate Kane / Batwoman, Clark Kent / Superman, Kara Danvers / Supergirl, Sara Lance and Ray Palmer to Earth-38 where the heroes make their stand to save the citizens of Earth-38 from being destroyed by anti-matter. After successfully doing so at the cost of Oliver’s life, the Monitor takes the heroes to Earth-1. Harbinger retrieves the Waverider of Earth-74 as the heroes’ headquarters. There, the Monitor reveals seven Paragons which is revealed to be Barry, Sara, Kate, Kara, J'onn J'onzz, Superman of Earth-96 and Ryan Choi. Before the antimatter wave can destroy the rest of the universe, the Anti-Monitor arrives on the Waverider to kill the Monitor. It is revealed later that he was revived due to the rise of the new Multiverse, shown alive in the year 2040 as he reunites Felicity Smoak and Oliver in the afterlife.

The Monitor appears in Justice League: Crisis on Infinite Earths – Part One, voiced by Jonathan Adams.

title: Monitor (Mar Novu)


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Iroquoian languages

The Iroquoian languages are a language family of indigenous peoples of North America. They are known for their general lack of labial consonants. The Iroquoian languages are polysynthetic and head-marking.

As of 2020, almost all surviving Iroquoian languages are severely or critically endangered, with some languages having only a few elderly speakers remaining. The two languages with the most speakers, Mohawk (Kenien'kéha) in New York and Canada, and Cherokee in Oklahoma and North Carolina, are spoken by less than 10% of the populations of their nations.

Family division

 * Iroquoian
 * Northern Iroquoian
 * (Lake Iroquoian)
 * Iroquois Proper (Five Nations)
 * Seneca (severely endangered)
 * Cayuga (severely endangered)
 * Onondaga (severely endangered)
 * Susquehannock or Conestoga
 * Mohawk–Oneida
 * Oneida (severely endangered)
 * Mohawk
 * Huronian
 * Huron-Wyandot (severely endangered)
 * Petun (Tobacco)
 * Tuscarora–Nottoway
 * Tuscarora
 * Meherrin
 * Nottoway (severely endangered)
 * Unclassified
 * Wenrohronon or Wenro
 * Neutral
 * Erie
 * Laurentian
 * Scahentoarrhonon
 * Southern Iroquoian/Cherokee
 * South Carolina-Georgia dialect (a.k.a. Lower dialect)
 * North Carolina dialect (a.k.a. Middle or Kituwah dialect) (severely endangered)
 * Oklahoma dialect (a.k.a. Overhill or Western dialect) (definitely endangered)

 — language extinct/dormant

Evidence is emerging that what has been called the Laurentian language appears to be more than one dialect or language. Ethnographic and linguistic field work with the Wyandot tribal elders (Barbeau 1960) yielded enough documentation for scholars to characterize and classify the Huron and Petun languages.

The languages of the tribes that constituted the tiny Wenrohronon, The powerful Conestoga Confederacy and the confederations of the Neutral Nation and the Erie Nation are very poorly documented in print. The Huron (Wyandot people) referred to the Neutral people as Atiwandaronk, meaning 'they who understand the language'. The Wenro and Neutral are historically grouped together, and geographically the Wenro's range on the eastern end of Lake Erie placed them between the larger confederations. To the east of the Wenro, beyond the Genesee Gorge, were the lands of the Haudenosaunee Confederacy. To the southeast, beyond the headwaters of the Allegheny River, lay the Conestoga (Susquehannock). The Conestoga Confederacy and Erie were militarily powerful and respected by neighboring tribes. By 1660 all of these peoples but the Conestoga Confederacy and the Haudenosaunee Confederacy were defeated and scattered, migrating to form new tribes or adopted into others. The Iroquoian peoples had a practice of adopting valiant enemies into the tribe; they also adopted captive women and children to replace members who had died.

The group known as the Meherrin were neighbors to the Tuscarora and the Nottoway (Binford 1967) in the American South. They are believed to have spoken an Iroquoian language but documentation is lacking.

External relationships
Attempts to link the Iroquoian, Siouan, and Caddoan languages in a Macro-Siouan family are suggestive but remain unproven (Mithun 1999:305).

Linguistics and language revitalization
As of 2012, a program in Iroquois linguistics at Syracuse University, the Certificate in Iroquois Linguistics for Language Learners, is designed for students and language teachers working in language revitalization.

Six Nations Polytechnic in Ohsweken, Ontario offers Ogwehoweh language Diploma and Degree Programs in Mohawk or Cayuga.

Starting in September 2017, the University of Waterloo in Waterloo, Ontario started offering a credit course in Mohawk; the classes are to be given at Renison University College in collaboration with the Waterloo Aboriginal Education Centre, St. Paul's University College.

General works

 * Driver, Harold E. 1969. Indians of North America. 2nd edition. University of Chicago Press. ISBN 978-0-226-16467-0
 * Ruttenber, Edward Manning. 1992 [1872]. History of the Indian tribes of Hudson's River. Hope Farm Press.
 * Snow, Dean R. 1994. The Iroquois. Blackwell Publishers. Peoples of America. ISBN 978-1-55786-225-9
 * Snow, Dean R.; Gehring, Charles T; Starna, William A. 1996. In Mohawk country: early narratives about a native people. Syracuse University Press. An anthology of primary sources from 1634 to 1810.

title: Iroquoian languages


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Kemper Museum of Contemporary Art

Kemper Museum of Contemporary Art opened in 1994 in Kansas City, Missouri. With a $5 million annual budget and approximately 75,000 visitors each year, it is Missouri's first and largest contemporary museum.

Founders
The core of the museum's permanent collection is the Bebe and R. Crosby Kemper Jr. Collection, a gift of the museum's founders. In May 2013, both Kempers stepped down from museum board of trustees, with their daughter, Mary Kemper Wolf, becoming the chairman of the board. R. Crosby Kemper Jr. died in 2014.

Collection
The Kemper Museum permanent collection includes more than 1,400 works created after the 1913 Armory Show to works by present-day artists. Artists in the permanent collection include Jackson Pollock, Willem de Kooning, Robert Motherwell, Robert Rauschenberg, Jasper Johns, Jim Dine, Tom Otterness, Helen Frankenthaler, David Hockney, Bruce Nauman, William Wegman, Nancy Graves, Dale Chihuly, Arthur Dove, Louise Bourgeois, Andrew Wyeth, Fairfield Porter, Georgia O'Keeffe, Frank Stella, Lesley Dill, Romare Bearden, Christian Boltanski, Robert Mapplethorpe, Garry Winogrand, Barbara Grad, Kojo Griffin, Jim Hodges, Wayne Thiebaud, Hung Liu, Marcus Jansen, and Stephen Scott Young. In 2000, the museum received 15 works by artists including the photographer Nan Goldin from the collection of Peter Norton. Along with the collection, the museum also maintains a schedule of self-organized and traveling exhibitions. Each year, the museum presents 10–12 special exhibitions in its galleries.

The museum opened in 1994 with an exhibition of rare early series of 28 watercolors by Georgia O'Keeffe, known as the "Canyon Suite" (1916–1918), that had never been shown publicly as a group. In 1999, the paintings' authenticity was challenged because the paper used for some of them could not have been obtained in the United States from 1916 to 1918, when O'Keeffe taught art at West Texas State Normal College in Canyon. The National Gallery of Art subsequently excluded the "Canyon Suite" from O'Keeffe's catalogue raisonne, and Gerald Peters Gallery refunded the $5 million that the Kemper Museum paid for them.

Architecture
Kemper Museum’s 23,200-square-foot concrete, steel, and glass building, constructed from 1992 to 1994 at a cost of $6.6 million, was designed by architect Gunnar Birkerts. The structure has a large central atrium under an articulated skylight. Two wings extend from either side of the atrium. The main gallery hosts three major exhibitions each year. Side galleries present works from the permanent collection in rotation. Works of art are always on view in the atrium and the corridors of each wing. San Francisco Chronicle noted that Birkerts “used concrete, glass and steel in ways that seemed to flow, almost as if shaped by hand”.

Cafe
Café Sebastienne combines the worlds of contemporary art and contemporary cuisine in the heart of the museum. The dining area features 110 paintings collectively known as "The History of Art" by renowned African-American artist Frederick J. Brown. The restaurant was named after his daughter, Sebastienne Nicole Brown.

title: Kemper Museum of Contemporary Art