rowid,first_name,last_name,gender,career_sec,personal_sec,info,seed_first_name,seed_last_name,occupation
1,Craig,Boys,m,"Converge is an American metalcore band formed in the winter of 1990 by vocalist Jacob Bannon and guitarist Kurt Ballou, they were later joined by bassist Jeff Feinburg, and drummer Damon Bellorado. They started by playing covers of hardcore punk, punk rock and heavy metal songs. The band soon graduated to playing live performances in 1991, after recording some demos on a 4-track recorder. Converge have enjoyed a relatively high level of recognition. Their popularity began to rise with the release of breakthrough album, Jane Doe. Converge's records have gradually become more elaborate and expensive to produce. This progression began with their move from a small independent label (Equal Vision Records) to a considerably larger one (Epitaph Records). Special releases have traditionally been handled by Bannon's record label, Deathwish Inc. After Supermachiner released Rise of the Great Machine and after Converge had completed recording Jane Doe, Bannon started writing and recording solo material under the name Dear Lover. Although a number of releases were lined up none of them saw the light of day except a demo version of one track ""Grant Me the Strength"" which was made available for download on Converge's website in January 2003. The track was supposed to be part of en EP titled The Blood of Thine Enemies, but the EP was never released. The track was later featured on Supermachiner's 2009 album Rust. There was also a Dear Lover double album planned titled Wear Your Wounds to be released on Icarus Records. In January, 2005 Dear Lover recordings were said to have been in the editing and mixing process, and it was believed there would be multiple releases of Dear Lover recordings which included the Wear Your Wounds double album throughout the year, however this did not happen. In March 2008 the single ""The Blood of Thine Enemies"" was released on Deathwish, Bannon released the song under the name J.Bannon. Bannon has said the song was never intended it to be part of an album, only to be a stand-alone piece. Converge's website also changed the use of the name Dear Lover to J.Bannon in the upcoming section where the Wear Your Wounds album was listed. Initially planning since 2008 on releasing solo music under his name only, in 2012 Bannon began using the Wear Your Wounds name for these projects. This allowed others to collaborate and work with Bannon on future projects. On November 16, 2012 Bannon and Ben Chisholm of Chelsea Wolfe released a split 7"" EP titled Wear Your Wounds and Revelator, it was the first time Bannon released anything under then name Wear Your Wounds. On January 15, 2013 a digital single was released under the name Wear Your Wounds entitled ""The Migration"". The long-awaited Wear Your Wounds album, now titled to the abbreviation WYW was finally given the release date of April 7, 2017 and was released by Deathwish. The album has multiple guest musicians such as Kurt Ballou, Mike McKenzie, Chris Maggio, and Sean Martin. The single ""Goodbye Old Friend"" was released on 13 January 2017. On March 3, 2017, the non-album single ""Arthritic Heart"", physical copies where available with New Noise Magazine. Wear Your Wounds' live debut was on April 22 at the Roadburn festival in Tilburg, the Netherlands. The Wear Your Wounds live band has been described as a supergroup with Bannon on piano, bass and vocal duties, guitarists Mike McKenzie (of The Red Chord) Adam McGrath (of Cave In), Sean Martin (of Hatebreed) and drummer Chris Maggio (of Trap Them). Bannon has said, "" lot of them are guys that contributed on the record. We're going to be a three-guitar band and I'll be playing bass sort of intermittently with a lot of the stuff, because there is bass on the record but not all over the place. It's basically a bunch of friends that were available and want to play this sort of music, have fun and explore this world that I started on my own."" Supermachiner was an experimental rock project formed in 1994 by Jacob Bannon and Ryan Parker. Supermachiner originally began as a collection of 4 track recordings by Bannon and Parker, recorded in 1994. The project remained nameless and dormant for a number of years. With the help and inspiration of his good friend Ryan Parker, they casually brought the project back to life in the winter of 1998. With his input, they developed collective song ideas into the Rise of the Great Machine album. However Bannon continued to write music that was sonically different than Converge, which was later released as solo material many years later. Irons is a musical collaboration between Jacob Bannon, Dwid Hellion and Stephen Kasner. In 2006 Hellion approached Bannon about creating music together sometime. In late 2007 fine artist and musician Stephen Kasner also expressed interest in working with the pair. This led to the formation of Irons in 2007. The band's goal was to create apocalyptic, non-linear music from a fine art based mindset. Irons only released one split album with Pulling Teeth entitled Grey Savior, the album was released through Deathwish on April 1, 2011 .","Bannon was born in 1976. He grew up splitting his time between Andover in the Merrimack Valley, Charlestown, and East Boston on some weekends. At 17, he graduated High School early and chose to work until heading to college. He relocated to metro Boston and attended college at The Art Institute of Boston, earning a Bachelors In Fine Arts for design in 1998, and subsequently taught the subject on a college level for a brief time. He also won the ""Excellence In Design"" accolade from the school. For a brief time, he instructed at the same college in their ""Continuing Education"" program. After working a variety of freelance design jobs at firms, he became a freelance Artist/Designer primarily working in the Independent music community. He is a vegetarian and follows a straight edge lifestyle. From 2005 to 2008, he has been nominated for the title of ""World's Sexiest Vegetarian"" by Peta2. He is concerned with the greyhound-racing industry, and is a dog owner, having owned rescued greyhounds, pitbulls, among others. Bannon is also an avid mixed martial arts and kickboxing fan, having trained boxing, Muay Thai, and obtained a license as a MMA instructor in the state of Massachusetts, working occasionally as a judge. Accordingly, Deathwish has sponsored some MMA fighters. Bannon is known for his extensive tattoos. He received his first tattoo at the age of 15, which has subsequently been covered by other tattoos. He has been tattooed by Darren Brass, among many other artists. In 2013, Bannon was the subject of a short documentary directed by Ian McFarland entitled ""Rungs in a Ladder."" In the documentary, Bannon reflected on important moments in his life and his motivation as an artist.","Boys was born in 1976. He grew up splitting his time between Andover in the Merrimack Valley, Charlestown, and East Boston on some weekends. At 17, he graduated High School early and chose to work until heading to college. He relocated to metro Boston and attended college at The Art Institute of Boston, earning a Bachelors In Fine Arts for design in 1998, and subsequently taught the subject on a college level for a brief time. He also won the ""Excellence In Design"" accolade from the school. For a brief time, he instructed at the same college in their ""Continuing Education"" program. After working a variety of freelance design jobs at firms, he became a freelance Artist/Designer primarily working in the Independent music community. He is a vegetarian and follows a straight edge lifestyle. From 2005 to 2008, he has been nominated for the title of ""World's Sexiest Vegetarian"" by Peta2. He is concerned with the greyhound-racing industry, and is a dog owner, having owned rescued greyhounds, pitbulls, among others. Boys is also an avid mixed martial arts and kickboxing fan, having trained boxing, Muay Thai, and obtained a license as a MMA instructor in the state of Massachusetts, working occasionally as a judge. Accordingly, Deathwish has sponsored some MMA fighters. Boys is known for his extensive tattoos. He received his first tattoo at the age of 15, which has subsequently been covered by other tattoos. He has been tattooed by Darren Brass, among many other artists. In 2013, Boys was the subject of a short documentary directed by Ian McFarland entitled ""Rungs in a Ladder."" In the documentary, Boys reflected on important moments in his life and his motivation as an artist.Converge is an American metalcore band formed in the winter of 1990 by vocalist Craig Boys and guitarist Kurt Ballou, they were later joined by bassist Jeff Feinburg, and drummer Damon Bellorado. They started by playing covers of hardcore punk, punk rock and heavy metal songs. The band soon graduated to playing live performances in 1991, after recording some demos on a 4-track recorder. Converge have enjoyed a relatively high level of recognition. Their popularity began to rise with the release of breakthrough album, Jane Doe. Converge's records have gradually become more elaborate and expensive to produce. This progression began with their move from a small independent label (Equal Vision Records) to a considerably larger one (Epitaph Records). Special releases have traditionally been handled by Boys's record label, Deathwish Inc. After Supermachiner released Rise of the Great Machine and after Converge had completed recording Jane Doe, Boys started writing and recording solo material under the name Dear Lover. Although a number of releases were lined up none of them saw the light of day except a demo version of one track ""Grant Me the Strength"" which was made available for download on Converge's website in January 2003. The track was supposed to be part of en EP titled The Blood of Thine Enemies, but the EP was never released. The track was later featured on Supermachiner's 2009 album Rust. There was also a Dear Lover double album planned titled Wear Your Wounds to be released on Icarus Records. In January, 2005 Dear Lover recordings were said to have been in the editing and mixing process, and it was believed there would be multiple releases of Dear Lover recordings which included the Wear Your Wounds double album throughout the year, however this did not happen. In March 2008 the single ""The Blood of Thine Enemies"" was released on Deathwish, Boys released the song under the name J.Boys. Boys has said the song was never intended it to be part of an album, only to be a stand-alone piece. Converge's website also changed the use of the name Dear Lover to J.Boys in the upcoming section where the Wear Your Wounds album was listed. Initially planning since 2008 on releasing solo music under his name only, in 2012 Boys began using the Wear Your Wounds name for these projects. This allowed others to collaborate and work with Boys on future projects. On November 16, 2012 Boys and Ben Chisholm of Chelsea Wolfe released a split 7"" EP titled Wear Your Wounds and Revelator, it was the first time Boys released anything under then name Wear Your Wounds. On January 15, 2013 a digital single was released under the name Wear Your Wounds entitled ""The Migration"". The long-awaited Wear Your Wounds album, now titled to the abbreviation WYW was finally given the release date of April 7, 2017 and was released by Deathwish. The album has multiple guest musicians such as Kurt Ballou, Mike McKenzie, Chris Maggio, and Sean Martin. The single ""Goodbye Old Friend"" was released on 13 January 2017. On March 3, 2017, the non-album single ""Arthritic Heart"", physical copies where available with New Noise Magazine. Wear Your Wounds' live debut was on April 22 at the Roadburn festival in Tilburg, the Netherlands. The Wear Your Wounds live band has been described as a supergroup with Boys on piano, bass and vocal duties, guitarists Mike McKenzie (of The Red Chord) Adam McGrath (of Cave In), Sean Martin (of Hatebreed) and drummer Chris Maggio (of Trap Them). Boys has said, "" lot of them are guys that contributed on the record. We're going to be a three-guitar band and I'll be playing bass sort of intermittently with a lot of the stuff, because there is bass on the record but not all over the place. It's basically a bunch of friends that were available and want to play this sort of music, have fun and explore this world that I started on my own."" Supermachiner was an experimental rock project formed in 1994 by Craig Boys and Ryan Parker. Supermachiner originally began as a collection of 4 track recordings by Boys and Parker, recorded in 1994. The project remained nameless and dormant for a number of years. With the help and inspiration of his good friend Ryan Parker, they casually brought the project back to life in the winter of 1998. With his input, they developed collective song ideas into the Rise of the Great Machine album. However Boys continued to write music that was sonically different than Converge, which was later released as solo material many years later. Irons is a musical collaboration between Craig Boys, Dwid Hellion and Stephen Kasner. In 2006 Hellion approached Boys about creating music together sometime. In late 2007 fine artist and musician Stephen Kasner also expressed interest in working with the pair. This led to the formation of Irons in 2007. The band's goal was to create apocalyptic, non-linear music from a fine art based mindset. Irons only released one split album with Pulling Teeth entitled Grey Savior, the album was released through Deathwish on April 1, 2011 .",Jacob,Bannon,artists
2,Ms.,Renkow,f,"Converge is an American metalcore band formed in the winter of 1990 by vocalist Jacob Bannon and guitarist Kurt Ballou, they were later joined by bassist Jeff Feinburg, and drummer Damon Bellorado. They started by playing covers of hardcore punk, punk rock and heavy metal songs. The band soon graduated to playing live performances in 1991, after recording some demos on a 4-track recorder. Converge have enjoyed a relatively high level of recognition. Their popularity began to rise with the release of breakthrough album, Jane Doe. Converge's records have gradually become more elaborate and expensive to produce. This progression began with their move from a small independent label (Equal Vision Records) to a considerably larger one (Epitaph Records). Special releases have traditionally been handled by Bannon's record label, Deathwish Inc. After Supermachiner released Rise of the Great Machine and after Converge had completed recording Jane Doe, Bannon started writing and recording solo material under the name Dear Lover. Although a number of releases were lined up none of them saw the light of day except a demo version of one track ""Grant Me the Strength"" which was made available for download on Converge's website in January 2003. The track was supposed to be part of en EP titled The Blood of Thine Enemies, but the EP was never released. The track was later featured on Supermachiner's 2009 album Rust. There was also a Dear Lover double album planned titled Wear Your Wounds to be released on Icarus Records. In January, 2005 Dear Lover recordings were said to have been in the editing and mixing process, and it was believed there would be multiple releases of Dear Lover recordings which included the Wear Your Wounds double album throughout the year, however this did not happen. In March 2008 the single ""The Blood of Thine Enemies"" was released on Deathwish, Bannon released the song under the name J.Bannon. Bannon has said the song was never intended it to be part of an album, only to be a stand-alone piece. Converge's website also changed the use of the name Dear Lover to J.Bannon in the upcoming section where the Wear Your Wounds album was listed. Initially planning since 2008 on releasing solo music under his name only, in 2012 Bannon began using the Wear Your Wounds name for these projects. This allowed others to collaborate and work with Bannon on future projects. On November 16, 2012 Bannon and Ben Chisholm of Chelsea Wolfe released a split 7"" EP titled Wear Your Wounds and Revelator, it was the first time Bannon released anything under then name Wear Your Wounds. On January 15, 2013 a digital single was released under the name Wear Your Wounds entitled ""The Migration"". The long-awaited Wear Your Wounds album, now titled to the abbreviation WYW was finally given the release date of April 7, 2017 and was released by Deathwish. The album has multiple guest musicians such as Kurt Ballou, Mike McKenzie, Chris Maggio, and Sean Martin. The single ""Goodbye Old Friend"" was released on 13 January 2017. On March 3, 2017, the non-album single ""Arthritic Heart"", physical copies where available with New Noise Magazine. Wear Your Wounds' live debut was on April 22 at the Roadburn festival in Tilburg, the Netherlands. The Wear Your Wounds live band has been described as a supergroup with Bannon on piano, bass and vocal duties, guitarists Mike McKenzie (of The Red Chord) Adam McGrath (of Cave In), Sean Martin (of Hatebreed) and drummer Chris Maggio (of Trap Them). Bannon has said, "" lot of them are guys that contributed on the record. We're going to be a three-guitar band and I'll be playing bass sort of intermittently with a lot of the stuff, because there is bass on the record but not all over the place. It's basically a bunch of friends that were available and want to play this sort of music, have fun and explore this world that I started on my own."" Supermachiner was an experimental rock project formed in 1994 by Jacob Bannon and Ryan Parker. Supermachiner originally began as a collection of 4 track recordings by Bannon and Parker, recorded in 1994. The project remained nameless and dormant for a number of years. With the help and inspiration of his good friend Ryan Parker, they casually brought the project back to life in the winter of 1998. With his input, they developed collective song ideas into the Rise of the Great Machine album. However Bannon continued to write music that was sonically different than Converge, which was later released as solo material many years later. Irons is a musical collaboration between Jacob Bannon, Dwid Hellion and Stephen Kasner. In 2006 Hellion approached Bannon about creating music together sometime. In late 2007 fine artist and musician Stephen Kasner also expressed interest in working with the pair. This led to the formation of Irons in 2007. The band's goal was to create apocalyptic, non-linear music from a fine art based mindset. Irons only released one split album with Pulling Teeth entitled Grey Savior, the album was released through Deathwish on April 1, 2011 .","Bannon was born in 1976. He grew up splitting his time between Andover in the Merrimack Valley, Charlestown, and East Boston on some weekends. At 17, he graduated High School early and chose to work until heading to college. He relocated to metro Boston and attended college at The Art Institute of Boston, earning a Bachelors In Fine Arts for design in 1998, and subsequently taught the subject on a college level for a brief time. He also won the ""Excellence In Design"" accolade from the school. For a brief time, he instructed at the same college in their ""Continuing Education"" program. After working a variety of freelance design jobs at firms, he became a freelance Artist/Designer primarily working in the Independent music community. He is a vegetarian and follows a straight edge lifestyle. From 2005 to 2008, he has been nominated for the title of ""World's Sexiest Vegetarian"" by Peta2. He is concerned with the greyhound-racing industry, and is a dog owner, having owned rescued greyhounds, pitbulls, among others. Bannon is also an avid mixed martial arts and kickboxing fan, having trained boxing, Muay Thai, and obtained a license as a MMA instructor in the state of Massachusetts, working occasionally as a judge. Accordingly, Deathwish has sponsored some MMA fighters. Bannon is known for his extensive tattoos. He received his first tattoo at the age of 15, which has subsequently been covered by other tattoos. He has been tattooed by Darren Brass, among many other artists. In 2013, Bannon was the subject of a short documentary directed by Ian McFarland entitled ""Rungs in a Ladder."" In the documentary, Bannon reflected on important moments in his life and his motivation as an artist.","renkow was born in 1976. sh egrew up splitting her time between andover in the merrimack valley, charlestown, and east boston on some weekends. at 17, sh egraduated high school early and chose to work until heading to college. sh erelocated to metro boston and attended college at the art institute of boston, earning a bachelors in fine arts for design in 1998, and subsequently taught the subject on a college level for a brief time. sh ealso won the ""excellence in design"" accolade from the school. for a brief time, sh einstructed at the same college in their ""continuing education"" program. after working a variety of freelance design jobs at firms, sh ebecame a freelance artist/designer primarily working in the independent music community. sh eis a vegetarian and follows a straight edge lifestyle. from 2005 to 2008, sh ehas been nominated for the title of ""world's sexiest vegetarian"" by peta2. sh eis concerned with the greyhound-racing industry, and is a dog owner, having owned rescued greyhounds, pitbulls, among others. renkow is also an avid mixed martial arts and kickboxing fan, having trained boxing, muay thai, and obtained a license as a mma instructor in the state of massachusetts, working occasionally as a judge. accordingly, deathwish has sponsored some mma fighters. renkow is known for her extensive tattoos. sh ereceived her first tattoo at the age of 15, which has subsequently been covered by other tattoos. sh ehas been tattooed by darren brass, among many other artists. in 2013, renkow was the subject of a short documentary directed by ian mcfarland entitled ""rungs in a ladder."" in the documentary, renkow reflected on important moments in her life and her motivation as an artist.converge is an american metalcore band formed in the winter of 1990 by vocalist ms. renkow and guitarist kurt ballou, they were later joined by bassist jeff feinburg, and drummer damon bellorado. they started by playing covers of hardcore punk, punk rock and heavy metal songs. the band soon graduated to playing live performances in 1991, after recording some demos on a 4-track recorder. converge have enjoyed a relatively high level of recognition. their popularity began to rise with the release of breakthrough album, jane doe. converge's records have gradually become more elaborate and expensive to produce. this progression began with their move from a small independent label (equal vision records) to a considerably larger one (epitaph records). special releases have traditionally been handled by renkow's record label, deathwish inc. after supermachiner released rise of the great machine and after converge had completed recording jane doe, renkow started writing and recording solo material under the name dear lover. although a number of releases were lined up none of them saw the light of day except a demo version of one track ""grant me the strength"" which was made available for download on converge's website in january 2003. the track was supposed to be part of en ep titled the blood of thine enemies, but the ep was never released. the track was later featured on supermachiner's 2009 album rust. there was also a dear lover double album planned titled wear your wounds to be released on icarus records. in january, 2005 dear lover recordings were said to have been in the editing and mixing process, and it was believed there would be multiple releases of dear lover recordings which included the wear your wounds double album throughout the year, however this did not happen. in march 2008 the single ""the blood of thine enemies"" was released on deathwish, renkow released the song under the name j.renkow. renkow has said the song was never intended it to be part of an album, only to be a stand-alone piece. converge's website also changed the use of the name dear lover to j.renkow in the upcoming section where the wear your wounds album was listed. initially planning since 2008 on releasing solo music under her name only, in 2012 renkow began using the wear your wounds name for these projects. this allowed others to collaborate and work with renkow on future projects. on november 16, 2012 renkow and ben chisholm of chelsea wolfe released a split 7"" ep titled wear your wounds and revelator, it was the first time renkow released anything under then name wear your wounds. on january 15, 2013 a digital single was released under the name wear your wounds entitled ""the migration"". the long-awaited wear your wounds album, now titled to the abbreviation wyw was finally given the release date of april 7, 2017 and was released by deathwish. the album has multiple guest musicians such as kurt ballou, mike mckenzie, chris maggio, and sean martin. the single ""goodbye old friend"" was released on 13 january 2017. on march 3, 2017, the non-album single ""arthritic heart"", physical copies where available with new noise magazine. wear your wounds' live debut was on april 22 at the roadburn festival in tilburg, the netherlands. the wear your wounds live band has been described as a supergroup with renkow on piano, bass and vocal duties, guitarists mike mckenzie (of the red chord) adam mcgrath (of cave in), sean martin (of hatebreed) and drummer chris maggio (of trap them). renkow has said, "" lot of them are guys that contributed on the record. we're going to be a three-guitar band and i'll be playing bass sort of intermittently with a lot of the stuff, because there is bass on the record but not all over the place. it's basically a bunch of friends that were available and want to play this sort of music, have fun and explore this world that i started on my own."" supermachiner was an experimental rock project formed in 1994 by ms. renkow and ryan parker. supermachiner originally began as a collection of 4 track recordings by renkow and parker, recorded in 1994. the project remained nameless and dormant for a number of years. with the help and inspiration of her good friend ryan parker, they casually brought the project back to life in the winter of 1998. with her input, they developed collective song ideas into the rise of the great machine album. however renkow continued to write music that was sonically different than converge, which was later released as solo material many years later. irons is a musical collaboration between ms. renkow, dwid hellion and stephen kasner. in 2006 hellion approached renkow about creating music together sometime. in late 2007 fine artist and musician stephen kasner also expressed interest in working with the pair. this led to the formation of irons in 2007. the band's goal was to create apocalyptic, non-linear music from a fine art based mindset. irons only released one split album with pulling teeth entitled grey savior, the album was released through deathwish on april 1, 2011 .",Jacob,Bannon,artists
3,Vito,Yglesias,m,"Bhavsar attained prominence as an artist in India by age 19, working primarily in the Cubist vein. After moving to New York City, he became influenced by the freedom of abstract painting. His style evolved into abstract expressionism and color field painting, and his works often feature a hazy object (absent of direct lines or geometric shapes) in the center of a solid canvas, that projects an astral-like mass of color. Employing some techniques from the Indian tradition of sand painting, Bhavsar paints in an improvisational manner, ""soaking the canvas with acrylic-based liquid binders that absorb and hold the fine pigment powder. He applies the base using a sifting technique with a screen, during which layers of fine, concentrated pigment are sprinkled and drizzled over the canvas (or paper), which is laid out on the floor so that the artist can walk around the painting and work on it from all sides."" Bhavsar primarily shows his work at the Sundaram Tagore Gallery in New York and the ACP Viviane Ehrli Gallery in Zurich, Switzerland, along with Pundole Art Gallery in Bombay, India. He has been exhibiting his works in one-man shows since 1970. In 2007, the Jane Voorhees Zimmerli Art Museum at Rutgers University sponsored an exhibition of about 50 of Bhavsar’s works. It was the first United States university to hold a one-man show of a South Asian artist. Earlier in his career, Bhavsar was a John D. Rockefeller III Fund Fellow (1965 –1966), a Guggenheim Foundation Fellow (1975 – 1976), and an Instructor of Art at the University of Rhode Island (1967 – 1969). In 1980 and 1983, he participated in Executive Seminars at the Aspen Institute and, more recently, participated as a Cultural Leader at the World Economic Forums in Davos, Switzerland (2000) and New York (2002). Throughout his career, Bhavsar has associated with a number of acclaimed artists, most prominently, Mark Rothko (1903 – 1970) and Barnett Newman (1905 – 1970). Bhasvar has been included in the Asian American Arts Centre's artasiamerica digital archive. In 2011, a documentary on his life and works, The Poetics of Color: Natvar Bhavsar, a Painter's Journey was made by Sundaram Tagore.","Bhavsar married  American artist and photographer Janet Brosious Bhavsar in 1978, and they have twin sons. The Bhavsars met in art class in the early 1960s, and she drove him to New York City on his first visit in 1963 to look at Picasso paintings at the Museum of Modern Art.","Yglesias attained prominence as an artist in India by age 19, working primarily in the Cubist vein. After moving to New York City, he became influenced by the freedom of abstract painting. His style evolved into abstract expressionism and color field painting, and his works often feature a hazy object (absent of direct lines or geometric shapes) in the center of a solid canvas, that projects an astral-like mass of color. Employing some techniques from the Indian tradition of sand painting, Yglesias paints in an improvisational manner, ""soaking the canvas with acrylic-based liquid binders that absorb and hold the fine pigment powder. He applies the base using a sifting technique with a screen, during which layers of fine, concentrated pigment are sprinkled and drizzled over the canvas (or paper), which is laid out on the floor so that the artist can walk around the painting and work on it from all sides."" Yglesias primarily shows his work at the Sundaram Tagore Gallery in New York and the ACP Viviane Ehrli Gallery in Zurich, Switzerland, along with Pundole Art Gallery in Bombay, India. He has been exhibiting his works in one-man shows since 1970. In 2007, the Jane Voorhees Zimmerli Art Museum at Rutgers University sponsored an exhibition of about 50 of Yglesias’s works. It was the first United States university to hold a one-man show of a South Asian artist. Earlier in his career, Yglesias was a John D. Rockefeller III Fund Fellow (1965 –1966), a Guggenheim Foundation Fellow (1975 – 1976), and an Instructor of Art at the University of Rhode Island (1967 – 1969). In 1980 and 1983, he participated in Executive Seminars at the Aspen Institute and, more recently, participated as a Cultural Leader at the World Economic Forums in Davos, Switzerland (2000) and New York (2002). Throughout his career, Yglesias has associated with a number of acclaimed artists, most prominently, Mark Rothko (1903 – 1970) and Barnett Newman (1905 – 1970). Bhasvar has been included in the Asian American Arts Centre's artasiamerica digital archive. In 2011, a documentary on his life and works, The Poetics of Color: Vito Yglesias, a Painter's Journey was made by Sundaram Tagore.Yglesias married  American artist and photographer Janet Brosious Yglesias in 1978, and they have twin sons. The Yglesiass met in art class in the early 1960s, and she drove him to New York City on his first visit in 1963 to look at Picasso paintings at the Museum of Modern Art.",Natvar,Bhavsar,artists
4,Half,Bullock,f,"Bhavsar attained prominence as an artist in India by age 19, working primarily in the Cubist vein. After moving to New York City, he became influenced by the freedom of abstract painting. His style evolved into abstract expressionism and color field painting, and his works often feature a hazy object (absent of direct lines or geometric shapes) in the center of a solid canvas, that projects an astral-like mass of color. Employing some techniques from the Indian tradition of sand painting, Bhavsar paints in an improvisational manner, ""soaking the canvas with acrylic-based liquid binders that absorb and hold the fine pigment powder. He applies the base using a sifting technique with a screen, during which layers of fine, concentrated pigment are sprinkled and drizzled over the canvas (or paper), which is laid out on the floor so that the artist can walk around the painting and work on it from all sides."" Bhavsar primarily shows his work at the Sundaram Tagore Gallery in New York and the ACP Viviane Ehrli Gallery in Zurich, Switzerland, along with Pundole Art Gallery in Bombay, India. He has been exhibiting his works in one-man shows since 1970. In 2007, the Jane Voorhees Zimmerli Art Museum at Rutgers University sponsored an exhibition of about 50 of Bhavsar’s works. It was the first United States university to hold a one-man show of a South Asian artist. Earlier in his career, Bhavsar was a John D. Rockefeller III Fund Fellow (1965 –1966), a Guggenheim Foundation Fellow (1975 – 1976), and an Instructor of Art at the University of Rhode Island (1967 – 1969). In 1980 and 1983, he participated in Executive Seminars at the Aspen Institute and, more recently, participated as a Cultural Leader at the World Economic Forums in Davos, Switzerland (2000) and New York (2002). Throughout his career, Bhavsar has associated with a number of acclaimed artists, most prominently, Mark Rothko (1903 – 1970) and Barnett Newman (1905 – 1970). Bhasvar has been included in the Asian American Arts Centre's artasiamerica digital archive. In 2011, a documentary on his life and works, The Poetics of Color: Natvar Bhavsar, a Painter's Journey was made by Sundaram Tagore.","Bhavsar married  American artist and photographer Janet Brosious Bhavsar in 1978, and they have twin sons. The Bhavsars met in art class in the early 1960s, and she drove him to New York City on his first visit in 1963 to look at Picasso paintings at the Museum of Modern Art.","bullock attained prominence as an artist in india by age 19, working primarily in the cubist vein. after moving to new york city, sh ebecame influenced by the freedom of abstract painting. her style evolved into abstract expressionism and color field painting, and her works often feature a hazy object (absent of direct lines or geometric shapes) in the center of a solid canvas, that projects an astral-like mass of color. employing some techniques from the indian tradition of sand painting, bullock paints in an improvisational manner, ""soaking the canvas with acrylic-based liquid binders that absorb and hold the fine pigment powder. sh eapplies the base using a sifting technique with a screen, during which layers of fine, concentrated pigment are sprinkled and drizzled over the canvas (or paper), which is laid out on the floor so that the artist can walk around the painting and work on it from all sides."" bullock primarily shows her work at the sundaram tagore gallery in new york and the acp viviane ehrli gallery in zurich, switzerland, along with pundole art gallery in bombay, india. sh ehas been exhibiting her works in one-man shows since 1970. in 2007, the jane voorhees zimmerli art museum at rutgers university sponsored an exhibition of about 50 of bullock’s works. it was the first united states university to hold a one-man show of a south asian artist. earlier in her career, bullock was a john d. rockefeller iii fund fellow (1965 –1966), a guggenheim foundation fellow (1975 – 1976), and an instructor of art at the university of rhode island (1967 – 1969). in 1980 and 1983, sh eparticipated in executive seminars at the aspen institute and, more recently, participated as a cultural leader at the world economic forums in davos, switzerland (2000) and new york (2002). throughout her career, bullock has associated with a number of acclaimed artists, most prominently, mark rothko (1903 – 1970) and barnett newman (1905 – 1970). bhasvar has been included in the asian american arts centre's artasiamerica digital archive. in 2011, a documentary on her life and works, the poetics of color: half bullock, a painter's journey was made by sundaram tagore.bullock married  american artist and photographer janet brosious bullock in 1978, and they have twin sons. the bullocks met in art class in the early 1960s, and she drove her to new york city on her first visit in 1963 to look at picasso paintings at the museum of modern art.",Natvar,Bhavsar,artists
5,Evan,Dibachi,m,"His 21 books of photographs, poems, and essays primarily cover the gay male experience. In 1990, St. Martin's Press published Out of the Studio, Bianchi's book of male nudes, frankly gay and affectionally connected.  Thereafter, 20 of Bianchi's books have been published, three documentary films about Bianchi's work have been distributed, and Bianchi's work has been published in more than thirty anthologies on the male nude.  His On the Couch series, Deep Sex, Erotic Triggers and Fine Art Sex deal with the expression of conscious sexual energy.  His book Fire Island Pines Polaroids 1975–1983, made with his partner, Ben Smales, was honored by Time magazine's list of the Best Photo Books of 2013.","Bianchi was born and raised in the suburbs of Chicago. Bianchi studied political science at the University of New Mexico, and subsequently earned a J.D. degree at Northwestern University School of Law. He practiced corporate law for ten years in Chicago and Washington, D.C.. At thirty-four, he left his position as senior counsel at Columbia Pictures, tore up his J.D. degree, pasted it into a painting and had his first one-man show with Betty Parsons and Carol Dreyfuss in New York.  Shortly thereafter, he had his first major museum retrospective at the Spoleto Festival in 1984. Bianchi currently resides in Palm Springs, California.","His 21 books of photographs, poems, and essays primarily cover the gay male experience. In 1990, St. Martin's Press published Out of the Studio, Dibachi's book of male nudes, frankly gay and affectionally connected.  Thereafter, 20 of Dibachi's books have been published, three documentary films about Dibachi's work have been distributed, and Dibachi's work has been published in more than thirty anthologies on the male nude.  His On the Couch series, Deep Sex, Erotic Triggers and Fine Art Sex deal with the expression of conscious sexual energy.  His book Fire Island Pines Polaroids 1975–1983, made with his partner, Ben Smales, was honored by Time magazine's list of the Best Photo Books of 2013.Dibachi was born and raised in the suburbs of Chicago. Dibachi studied political science at the University of New Mexico, and subsequently earned a J.D. degree at Northwestern University School of Law. He practiced corporate law for ten years in Chicago and Washington, D.C.. At thirty-four, he left his position as senior counsel at Columbia Pictures, tore up his J.D. degree, pasted it into a painting and had his first one-man show with Betty Parsons and Carol Dreyfuss in New York.  Shortly thereafter, he had his first major museum retrospective at the Spoleto Festival in 1984. Dibachi currently resides in Palm Springs, California.",Tom,Bianchi,artists
6,Rachelle,Janowitz,f,"His 21 books of photographs, poems, and essays primarily cover the gay male experience. In 1990, St. Martin's Press published Out of the Studio, Bianchi's book of male nudes, frankly gay and affectionally connected.  Thereafter, 20 of Bianchi's books have been published, three documentary films about Bianchi's work have been distributed, and Bianchi's work has been published in more than thirty anthologies on the male nude.  His On the Couch series, Deep Sex, Erotic Triggers and Fine Art Sex deal with the expression of conscious sexual energy.  His book Fire Island Pines Polaroids 1975–1983, made with his partner, Ben Smales, was honored by Time magazine's list of the Best Photo Books of 2013.","Bianchi was born and raised in the suburbs of Chicago. Bianchi studied political science at the University of New Mexico, and subsequently earned a J.D. degree at Northwestern University School of Law. He practiced corporate law for ten years in Chicago and Washington, D.C.. At thirty-four, he left his position as senior counsel at Columbia Pictures, tore up his J.D. degree, pasted it into a painting and had his first one-man show with Betty Parsons and Carol Dreyfuss in New York.  Shortly thereafter, he had his first major museum retrospective at the Spoleto Festival in 1984. Bianchi currently resides in Palm Springs, California.","his 21 books of photographs, poems, and essays primarily cover the gay male experience. in 1990, st. martin's press published out of the studio, janowitz's book of male nudes, frankly gay and affectionally connected.  thereafter, 20 of janowitz's books have been published, three documentary films about janowitz's work have been distributed, and janowitz's work has been published in more than thirty anthologies on the male nude.  her on the couch series, deep sex, erotic triggers and fine art sex deal with the expression of conscious sexual energy.  her book fire island pines polaroids 1975–1983, made with her partner, ben smales, was honored by time magazine's list of the best photo books of 2013.janowitz was born and raised in the suburbs of chicago. janowitz studied political science at the university of new mexico, and subsequently earned a j.d. degree at northwestern university school of law. sh epracticed corporate law for ten years in chicago and washington, d.c.. at thirty-four, sh eleft her position as senior counsel at columbia pictures, tore up her j.d. degree, pasted it into a painting and had her first one-man show with betty parsons and carol dreyfuss in new york.  shortly thereafter, sh ehad her first major museum retrospective at the spoleto festival in 1984. janowitz currently resides in palm springs, california.",Tom,Bianchi,artists
7,Lil',Gish,m,"Norman Carton was employed as a muralist and easel artist from 1939 to 1942, working for the Works Progress Administration (WPA) Federal Art Project and collaborating with architect George Howe.  Carton’s WPA commissions during this time included murals at the Helen Fleischer Vocational School for Girls in Philadelphia,  the Officers’ Club at Camp Meade Army Base in Maryland, and in the city of Hidalgo, Mexico. During World War II, he worked for Cramp Shipbuilding as a naval structural designer and draftsman. It was at this time that Carton began creating non-objective sculptures with metal. After the war, Carton co-founded a fabric design plant in Philadelphia. He produced hand-printed fabrics for interiors and fashion that were featured in Harper’s Bazaar, Vogue and Women’s Wear Daily. Original fabric designs were commissioned by notable clients including Lord & Taylor, Gimbels, and Nina Ricci. Some of these designs are at the Metropolitan Museum of Art.  Carton traded his partnership in the fabric design company in 1949 to focus full-time on painting. Carton had his first solo exhibition in 1949 at the Philadelphia Art Alliance.  This show was followed closely by solo exhibitions at the Laurel Gallery (New York City) and Dubin Gallery (Philadelphia). At this time, his exhibited work was Abstract Impressionist. In addition to painting, he taught classes at the Philadelphia Museum of Art and was the Founder and first President of the Philadelphia chapter of Artist’s Equity Association. The Philadelphia Museum of Art and the organization of the National Museums of France commissioned Carton to travel to Europe, mainly France, in 1950 for a color photography study of continental masterpieces. He was granted access to study the restoration of the Mona Lisa and was one of the very few to be given permission to remove the painting from its frame. In 1952, he had solo exhibitions at the Sorbonne, Galerie d’Art, and Gallery Rene Breteau and was part of many group shows in Paris salons including Les Surindependants, Salon d’Automne, and Realities Nouvelles. Here for the first time, Carton showed his non-objective paintings. He also exhibited at the Musee d’Art Juif where he won the Prix d’Art. During his stay in Paris, the Cercle Paul Valery twice sponsored Carton to present lectures at the Sorbonne. He conducted seminars at the Louvre for the Cercle Esthetique Internationale and taught classes in and directed stage and costume design for the Theatre de Recherche at the Paris Opera. When Carton returned to the United States in 1953, he settled in New York City where he worked in the company of the leading artists of the day with whom he appeared in a number of group shows including the Whitney Museum of American Art's 1955-1956 “Exhibit of Contemporary American Painting.” This exhibition included such notable artists as Richard Diebenkorn, Joan Mitchell, James Brooks, Grace Hartigan, Franz Kline, Georgia O’Keefe, Adolph Gottlieb, Robert De Niro Sr., and many others.   The mid-1950s to the 1970s was a busy time for Carton during which he received a great deal of recognition. He had solo exhibitions one gallery after another (Martha Jackson), Staempfli, Granite and World House, New York City; Tirca Carlis, Provincetown; Gres, Washington D.C.; Dumbarton, Boston; and Joachim, Chicago).  Carton's large canvasses traveled in major collections to such venues as the Smithsonian American Art Museum (was SNCFA) and the RISD Museum of Fine Arts with significant works of artists such as Jim Dine, Hans Hofmann, Robert Motherwell, Louise Nevelson, and Jackson Pollock. Other group exhibitions included Whitney, Corcoran, Phillips, Dallas, Dayton, Walker, and Chrysler Museums among others.   In 1962, with the aid of two other artists, he formed the Dewey Gallery, one of the first New York City galleries owned and operated by artists. He presented his work during the opening exhibition. During his lifetime, Carton was in more than 120 group exhibits and more than 20 solo shows and continued to receive many PAFA fellowship awards.  He was popularly and critically regarded as possessing a painterly style of superlative action and a unique knowledge as a colorist, Carton ground his own pigments and painted with a brilliant palette. More recently, he exhibited with Willem de Kooning and Mark Rothko among other great Abstract Expressionists as well as Picasso and Matisse. Norman Carton was also an art educator throughout much of his life.  Beginning in 1960, Carton worked on the art faculty at the New School where he would remain until his death. From 1948 to 1949, he taught painting and composition at the Philadelphia Museum of Art. From 1950 to 1953, he conducted seminars at the Louvre and the Sorbonne while living in Paris. Also while in Paris, Carton taught classes in and directed stage and costume design for the Theatre de Recherche at the Paris Opera. He also gave lectures at the Pratt Institute and the Chrysler Museum of Art as well as the Whitney Museum of American Art. Carton moderated panel discussions between prominent artists and educators and appeared in radio interviews. In 1960 and 1961, he painted at the MacDowell Colony in New Hampshire as a fellow. Carton also taught for a time at Long Island University.","Norman Carton had two children, sons Jacob and Benedict Carton.  He died of a heart attack at Doctors Hospital in New York City in 1980 at the age of 72.","Lil' Gish was employed as a muralist and easel artist from 1939 to 1942, working for the Works Progress Administration (WPA) Federal Art Project and collaborating with architect George Howe.  Gish’s WPA commissions during this time included murals at the Helen Fleischer Vocational School for Girls in Philadelphia,  the Officers’ Club at Camp Meade Army Base in Maryland, and in the city of Hidalgo, Mexico. During World War II, he worked for Cramp Shipbuilding as a naval structural designer and draftsman. It was at this time that Gish began creating non-objective sculptures with metal. After the war, Gish co-founded a fabric design plant in Philadelphia. He produced hand-printed fabrics for interiors and fashion that were featured in Harper’s Bazaar, Vogue and Women’s Wear Daily. Original fabric designs were commissioned by notable clients including Lord & Taylor, Gimbels, and Nina Ricci. Some of these designs are at the Metropolitan Museum of Art.  Gish traded his partnership in the fabric design company in 1949 to focus full-time on painting. Gish had his first solo exhibition in 1949 at the Philadelphia Art Alliance.  This show was followed closely by solo exhibitions at the Laurel Gallery (New York City) and Dubin Gallery (Philadelphia). At this time, his exhibited work was Abstract Impressionist. In addition to painting, he taught classes at the Philadelphia Museum of Art and was the Founder and first President of the Philadelphia chapter of Artist’s Equity Association. The Philadelphia Museum of Art and the organization of the National Museums of France commissioned Gish to travel to Europe, mainly France, in 1950 for a color photography study of continental masterpieces. He was granted access to study the restoration of the Mona Lisa and was one of the very few to be given permission to remove the painting from its frame. In 1952, he had solo exhibitions at the Sorbonne, Galerie d’Art, and Gallery Rene Breteau and was part of many group shows in Paris salons including Les Surindependants, Salon d’Automne, and Realities Nouvelles. Here for the first time, Gish showed his non-objective paintings. He also exhibited at the Musee d’Art Juif where he won the Prix d’Art. During his stay in Paris, the Cercle Paul Valery twice sponsored Gish to present lectures at the Sorbonne. He conducted seminars at the Louvre for the Cercle Esthetique Internationale and taught classes in and directed stage and costume design for the Theatre de Recherche at the Paris Opera. When Gish returned to the United States in 1953, he settled in New York City where he worked in the company of the leading artists of the day with whom he appeared in a number of group shows including the Whitney Museum of American Art's 1955-1956 “Exhibit of Contemporary American Painting.” This exhibition included such notable artists as Richard Diebenkorn, Joan Mitchell, James Brooks, Grace Hartigan, Franz Kline, Georgia O’Keefe, Adolph Gottlieb, Robert De Niro Sr., and many others.   The mid-1950s to the 1970s was a busy time for Gish during which he received a great deal of recognition. He had solo exhibitions one gallery after another (Martha Jackson), Staempfli, Granite and World House, New York City; Tirca Carlis, Provincetown; Gres, Washington D.C.; Dumbarton, Boston; and Joachim, Chicago).  Gish's large canvasses traveled in major collections to such venues as the Smithsonian American Art Museum (was SNCFA) and the RISD Museum of Fine Arts with significant works of artists such as Jim Dine, Hans Hofmann, Robert Motherwell, Louise Nevelson, and Jackson Pollock. Other group exhibitions included Whitney, Corcoran, Phillips, Dallas, Dayton, Walker, and Chrysler Museums among others.   In 1962, with the aid of two other artists, he formed the Dewey Gallery, one of the first New York City galleries owned and operated by artists. He presented his work during the opening exhibition. During his lifetime, Gish was in more than 120 group exhibits and more than 20 solo shows and continued to receive many PAFA fellowship awards.  He was popularly and critically regarded as possessing a painterly style of superlative action and a unique knowledge as a colorist, Gish ground his own pigments and painted with a brilliant palette. More recently, he exhibited with Willem de Kooning and Mark Rothko among other great Abstract Expressionists as well as Picasso and Matisse. Lil' Gish was also an art educator throughout much of his life.  Beginning in 1960, Gish worked on the art faculty at the New School where he would remain until his death. From 1948 to 1949, he taught painting and composition at the Philadelphia Museum of Art. From 1950 to 1953, he conducted seminars at the Louvre and the Sorbonne while living in Paris. Also while in Paris, Gish taught classes in and directed stage and costume design for the Theatre de Recherche at the Paris Opera. He also gave lectures at the Pratt Institute and the Chrysler Museum of Art as well as the Whitney Museum of American Art. Gish moderated panel discussions between prominent artists and educators and appeared in radio interviews. In 1960 and 1961, he painted at the MacDowell Colony in New Hampshire as a fellow. Gish also taught for a time at Long Island University.Lil' Gish had two children, sons Jacob and Benedict Gish.  He died of a heart attack at Doctors Hospital in New York City in 1980 at the age of 72.",Norman,Carton,artists
8,Bo,Waldman,f,"Norman Carton was employed as a muralist and easel artist from 1939 to 1942, working for the Works Progress Administration (WPA) Federal Art Project and collaborating with architect George Howe.  Carton’s WPA commissions during this time included murals at the Helen Fleischer Vocational School for Girls in Philadelphia,  the Officers’ Club at Camp Meade Army Base in Maryland, and in the city of Hidalgo, Mexico. During World War II, he worked for Cramp Shipbuilding as a naval structural designer and draftsman. It was at this time that Carton began creating non-objective sculptures with metal. After the war, Carton co-founded a fabric design plant in Philadelphia. He produced hand-printed fabrics for interiors and fashion that were featured in Harper’s Bazaar, Vogue and Women’s Wear Daily. Original fabric designs were commissioned by notable clients including Lord & Taylor, Gimbels, and Nina Ricci. Some of these designs are at the Metropolitan Museum of Art.  Carton traded his partnership in the fabric design company in 1949 to focus full-time on painting. Carton had his first solo exhibition in 1949 at the Philadelphia Art Alliance.  This show was followed closely by solo exhibitions at the Laurel Gallery (New York City) and Dubin Gallery (Philadelphia). At this time, his exhibited work was Abstract Impressionist. In addition to painting, he taught classes at the Philadelphia Museum of Art and was the Founder and first President of the Philadelphia chapter of Artist’s Equity Association. The Philadelphia Museum of Art and the organization of the National Museums of France commissioned Carton to travel to Europe, mainly France, in 1950 for a color photography study of continental masterpieces. He was granted access to study the restoration of the Mona Lisa and was one of the very few to be given permission to remove the painting from its frame. In 1952, he had solo exhibitions at the Sorbonne, Galerie d’Art, and Gallery Rene Breteau and was part of many group shows in Paris salons including Les Surindependants, Salon d’Automne, and Realities Nouvelles. Here for the first time, Carton showed his non-objective paintings. He also exhibited at the Musee d’Art Juif where he won the Prix d’Art. During his stay in Paris, the Cercle Paul Valery twice sponsored Carton to present lectures at the Sorbonne. He conducted seminars at the Louvre for the Cercle Esthetique Internationale and taught classes in and directed stage and costume design for the Theatre de Recherche at the Paris Opera. When Carton returned to the United States in 1953, he settled in New York City where he worked in the company of the leading artists of the day with whom he appeared in a number of group shows including the Whitney Museum of American Art's 1955-1956 “Exhibit of Contemporary American Painting.” This exhibition included such notable artists as Richard Diebenkorn, Joan Mitchell, James Brooks, Grace Hartigan, Franz Kline, Georgia O’Keefe, Adolph Gottlieb, Robert De Niro Sr., and many others.   The mid-1950s to the 1970s was a busy time for Carton during which he received a great deal of recognition. He had solo exhibitions one gallery after another (Martha Jackson), Staempfli, Granite and World House, New York City; Tirca Carlis, Provincetown; Gres, Washington D.C.; Dumbarton, Boston; and Joachim, Chicago).  Carton's large canvasses traveled in major collections to such venues as the Smithsonian American Art Museum (was SNCFA) and the RISD Museum of Fine Arts with significant works of artists such as Jim Dine, Hans Hofmann, Robert Motherwell, Louise Nevelson, and Jackson Pollock. Other group exhibitions included Whitney, Corcoran, Phillips, Dallas, Dayton, Walker, and Chrysler Museums among others.   In 1962, with the aid of two other artists, he formed the Dewey Gallery, one of the first New York City galleries owned and operated by artists. He presented his work during the opening exhibition. During his lifetime, Carton was in more than 120 group exhibits and more than 20 solo shows and continued to receive many PAFA fellowship awards.  He was popularly and critically regarded as possessing a painterly style of superlative action and a unique knowledge as a colorist, Carton ground his own pigments and painted with a brilliant palette. More recently, he exhibited with Willem de Kooning and Mark Rothko among other great Abstract Expressionists as well as Picasso and Matisse. Norman Carton was also an art educator throughout much of his life.  Beginning in 1960, Carton worked on the art faculty at the New School where he would remain until his death. From 1948 to 1949, he taught painting and composition at the Philadelphia Museum of Art. From 1950 to 1953, he conducted seminars at the Louvre and the Sorbonne while living in Paris. Also while in Paris, Carton taught classes in and directed stage and costume design for the Theatre de Recherche at the Paris Opera. He also gave lectures at the Pratt Institute and the Chrysler Museum of Art as well as the Whitney Museum of American Art. Carton moderated panel discussions between prominent artists and educators and appeared in radio interviews. In 1960 and 1961, he painted at the MacDowell Colony in New Hampshire as a fellow. Carton also taught for a time at Long Island University.","Norman Carton had two children, sons Jacob and Benedict Carton.  He died of a heart attack at Doctors Hospital in New York City in 1980 at the age of 72.","bo waldman was employed as a muralist and easel artist from 1939 to 1942, working for the works progress administration (wpa) federal art project and collaborating with architect george howe.  waldman’s wpa commissions during this time included murals at the helen fleischer vocational school for girls in philadelphia,  the officers’ club at camp meade army base in maryland, and in the city of hidalgo, mexico. during world war ii, sh eworked for cramp shipbuilding as a naval structural designer and draftsman. it was at this time that waldman began creating non-objective sculptures with metal. after the war, waldman co-founded a fabric design plant in philadelphia. sh eproduced hand-printed fabrics for interiors and fashion that were featured in harper’s bazaar, vogue and women’s wear daily. original fabric designs were commissioned by notable clients including lord & taylor, gimbels, and nina ricci. some of these designs are at the metropolitan museum of art.  waldman traded her partnership in the fabric design company in 1949 to focus full-time on painting. waldman had her first solo exhibition in 1949 at the philadelphia art alliance.  this show was followed closely by solo exhibitions at the laurel gallery (new york city) and dubin gallery (philadelphia). at this time, her exhibited work was abstract impressionist. in addition to painting, sh etaught classes at the philadelphia museum of art and was the founder and first president of the philadelphia chapter of artist’s equity association. the philadelphia museum of art and the organization of the national museums of france commissioned waldman to travel to europe, mainly france, in 1950 for a color photography study of continental masterpieces. sh ewas granted access to study the restoration of the mona lisa and was one of the very few to be given permission to remove the painting from its frame. in 1952, sh ehad solo exhibitions at the sorbonne, galerie d’art, and gallery rene breteau and was part of many group shows in paris salons including les surindependants, salon d’automne, and realities nouvelles. here for the first time, waldman showed her non-objective paintings. sh ealso exhibited at the musee d’art juif where sh ewon the prix d’art. during her stay in paris, the cercle paul valery twice sponsored waldman to present lectures at the sorbonne. sh econducted seminars at the louvre for the cercle esthetique internationale and taught classes in and directed stage and costume design for the theatre de recherche at the paris opera. when waldman returned to the united states in 1953, sh esettled in new york city where sh eworked in the company of the leading artists of the day with whom sh eappeared in a number of group shows including the whitney museum of american art's 1955-1956 “exhibit of contemporary american painting.” this exhibition included such notable artists as richard diebenkorn, joan mitchell, james brooks, grace hartigan, franz kline, georgia o’keefe, adolph gottlieb, robert de niro sr., and many others.   the mid-1950s to the 1970s was a busy time for waldman during which sh ereceived a great deal of recognition. sh ehad solo exhibitions one gallery after another (martha jackson), staempfli, granite and world house, new york city; tirca carlis, provincetown; gres, washington d.c.; dumbarton, boston; and joachim, chicago).  waldman's large canvasses traveled in major collections to such venues as the smithsonian american art museum (was sncfa) and the risd museum of fine arts with significant works of artists such as jim dine, hans hofmann, robert motherwell, louise nevelson, and jackson pollock. other group exhibitions included whitney, corcoran, phillips, dallas, dayton, walker, and chrysler museums among others.   in 1962, with the aid of two other artists, sh eformed the dewey gallery, one of the first new york city galleries owned and operated by artists. sh epresented her work during the opening exhibition. during her lifetime, waldman was in more than 120 group exhibits and more than 20 solo shows and continued to receive many pafa fellowship awards.  sh ewas popularly and critically regarded as possessing a painterly style of superlative action and a unique knowledge as a colorist, waldman ground her own pigments and painted with a brilliant palette. more recently, sh eexhibited with willem de kooning and mark rothko among other great abstract expressionists as well as picasso and matisse. bo waldman was also an art educator throughout much of her life.  beginning in 1960, waldman worked on the art faculty at the new school where sh ewould remain until her death. from 1948 to 1949, sh etaught painting and composition at the philadelphia museum of art. from 1950 to 1953, sh econducted seminars at the louvre and the sorbonne while living in paris. also while in paris, waldman taught classes in and directed stage and costume design for the theatre de recherche at the paris opera. sh ealso gave lectures at the pratt institute and the chrysler museum of art as well as the whitney museum of american art. waldman moderated panel discussions between prominent artists and educators and appeared in radio interviews. in 1960 and 1961, sh epainted at the macdowell colony in new hampshire as a fellow. waldman also taught for a time at long island university.bo waldman had two children, sons jacob and benedict waldman.  sh edied of a heart attack at doctors hospital in new york city in 1980 at the age of 72.",Norman,Carton,artists
9,Phil,Weisz,m,"In 1962, Max started a small Manhattan arts studio known as ""The Daly & Max Studio,"" with friend Tom Daly. Daly and Max were joined by friend and mentor Don Rubbo, and the three worked as a group on books and advertising for which they received industry recognition. Much of their work incorporated antique photographic images as elements of collage. Max's interest in astronomy contributed to his self-described ""Cosmic '60s"" period, which featured what became identified as psychedelic, counter culture imagery. Max's art was popularized nationally through TV commercials such as his 1968 ""un cola"" ad for the soft drink 7 Up which helped drive sales of his art posters and other merchandise. Max appeared on The Tonight Show on August 15, 1968. He was featured on the cover of Life magazine's September 5, 1969 edition under the heading ""Peter Max: Portrait of the artist as a very rich man."" In 1970, many of Max's products and posters were featured in the exhibition ""The World of Peter Max,"" which opened at the M.H. de Young Memorial Museum in San Francisco. The United States Postal Service commissioned Max to create the 10-cent postage stamp to commemorate the Expo '74 World's Fair in Spokane, Washington, and Max drew a colorful psychedelic scene with a ""Cosmic Jumper"" and a ""Smiling Sage"" against a backdrop of a cloud, sun rays and a ship at sea on the theme of ""Preserve the Environment."" According to The New York Times, ""His DayGlo-inflected posters became wallpaper for the turn on, tune in, drop out generation."" On July 4, 1976, Max began his Statue of Liberty series leading to his efforts with Chrysler CEO Lee Iacocca to help in the restoration of the statue. Also in 1976, ""Peter Max Paints America"" was commissioned by the ASEA of Sweden. The book project commemorated the United States Bicentennial and included the following foreword: ""Peter Max Paints America is based on works of art commissioned by ASEA of Sweden on the 200th anniversary of the founding of the United States of America, in sincere recognition of the historic bonds of friendship between the people of Sweden and the people of the United States, recalling that Sweden was one of the first countries to extend its hand in friendship to the new nation."" Max has been the official artist for many major events, including the 1994 World Cup, the Grammy Awards, the Rock and Roll Hall of Fame, the Super Bowl and others. In 2000, Max designed the paint scheme Dale Earnhardt drove at the Winston all-star race, deviating from Earnhardt's trademark black car. He was also the Official Artist of the 2000 World Series, the ""Subway Series"" between the New York Yankees and the New York Mets. Max first painted Taylor Swift's portrait as a gift to the singer for her Grammy-winning albums Fearless and Speak Now, and has recently painted new portraits of Taylor Swift to commemorate her worldwide success. Max is on the Board of Selectors of Jefferson Awards for Public Service. In 1989, Max designed the cover photo—as well as the 45 rpm single picture-sleeve photo—of Aretha Franklin's Through the Storm album. In 1990, Max purchased a collection of Chevrolet Corvettes for an intended art project, but never used them and let them rot in a series of garages. In 1994, Max designed the artwork for progressive rock band Yes's fourteenth studio album, Talk.  In 2012, he was chosen to paint the hull art of the New York themed ship Norwegian Breakaway by Norwegian Cruise Line.  In 2017, Max did the cover art for the Aug/Sept issue of AARP magazine. In 2019, The New York Times published an investigative journalism piece on Max’s current state, revealing that he is suffering from advanced dementia, that he is now often unaware of his identity and his surroundings, and that his deteriorated mental state has been exploited in a massive art fraud scheme dating back to at least 2015.","Max married his first wife Elizabeth Ann Nance in 1963 and they divorced in 1976. Max had a nine-year-long relationship with musician and model Rosie Vela that ended in 1985. He was also romantically connected with Tina Louise. Max married Mary Balkin in 1997; she died by suicide (nitrogen asphyxiation) in June 2019. In November 1997, Max pleaded guilty in Manhattan federal district court to charges of concealing more than $1.1 million in income from the Internal Revenue Service in connection with the sales of his works between 1988 and 1991. The plea came two days before he was to go on trial on an 11-count conspiracy and tax fraud indictment. Under the deal, he pleaded guilty to a charge of conspiracy to defraud the IRS and a charge of tax evasion, telling a federal judge that he had taken payments in cash, deposited customers' checks into his personal account and arranged other transactions to avoid tax liability. In June 1998, he was sentenced to two months in prison and a $30,000 fine. The federal judge ordered Max to pay the taxes he owed and to perform 800 hours of community service. Max is an environmentalist, vegan and supporter of human and animal rights. In 2002, Max contributed to rescue efforts for Cincinnati Freedom, a cow that escaped from an Ohio slaughterhouse. The cow jumped over a six-foot fence while the slaughterhouse workers were on break and eluded capture for eleven days. Max donated $180,000 worth of his art to benefit the local Society for the Prevention of Cruelty to Animals, part of a chain of events that finally led to the cow being sent to Farm Sanctuary in Watkins Glen, New York, a permanent home where the cow remained for the rest of her life. Max lives in New York City and has two adult children, Adam Cosmo Max and Libra Astro Max. Max has developed advanced dementia, largely the result of Alzheimer's disease.","In 1962, Weisz started a small Manhattan arts studio known as ""The Daly & Weisz Studio,"" with friend Tom Daly. Daly and Weisz were joined by friend and mentor Don Rubbo, and the three worked as a group on books and advertising for which they received industry recognition. Much of their work incorporated antique photographic images as elements of collage. Weisz's interest in astronomy contributed to his self-described ""Cosmic '60s"" period, which featured what became identified as psychedelic, counter culture imagery. Weisz's art was popularized nationally through TV commercials such as his 1968 ""un cola"" ad for the soft drink 7 Up which helped drive sales of his art posters and other merchandise. Weisz appeared on The Tonight Show on August 15, 1968. He was featured on the cover of Life magazine's September 5, 1969 edition under the heading ""Phil Weisz: Portrait of the artist as a very rich man."" In 1970, many of Weisz's products and posters were featured in the exhibition ""The World of Phil Weisz,"" which opened at the M.H. de Young Memorial Museum in San Francisco. The United States Postal Service commissioned Weisz to create the 10-cent postage stamp to commemorate the Expo '74 World's Fair in Spokane, Washington, and Weisz drew a colorful psychedelic scene with a ""Cosmic Jumper"" and a ""Smiling Sage"" against a backdrop of a cloud, sun rays and a ship at sea on the theme of ""Preserve the Environment."" According to The New York Times, ""His DayGlo-inflected posters became wallpaper for the turn on, tune in, drop out generation."" On July 4, 1976, Weisz began his Statue of Liberty series leading to his efforts with Chrysler CEO Lee Iacocca to help in the restoration of the statue. Also in 1976, ""Phil Weisz Paints America"" was commissioned by the ASEA of Sweden. The book project commemorated the United States Bicentennial and included the following foreword: ""Phil Weisz Paints America is based on works of art commissioned by ASEA of Sweden on the 200th anniversary of the founding of the United States of America, in sincere recognition of the historic bonds of friendship between the people of Sweden and the people of the United States, recalling that Sweden was one of the first countries to extend its hand in friendship to the new nation."" Weisz has been the official artist for many major events, including the 1994 World Cup, the Grammy Awards, the Rock and Roll Hall of Fame, the Super Bowl and others. In 2000, Weisz designed the paint scheme Dale Earnhardt drove at the Winston all-star race, deviating from Earnhardt's trademark black car. He was also the Official Artist of the 2000 World Series, the ""Subway Series"" between the New York Yankees and the New York Mets. Weisz first painted Taylor Swift's portrait as a gift to the singer for her Grammy-winning albums Fearless and Speak Now, and has recently painted new portraits of Taylor Swift to commemorate her worldwide success. Weisz is on the Board of Selectors of Jefferson Awards for Public Service. In 1989, Weisz designed the cover photo—as well as the 45 rpm single picture-sleeve photo—of Aretha Franklin's Through the Storm album. In 1990, Weisz purchased a collection of Chevrolet Corvettes for an intended art project, but never used them and let them rot in a series of garages. In 1994, Weisz designed the artwork for progressive rock band Yes's fourteenth studio album, Talk.  In 2012, he was chosen to paint the hull art of the New York themed ship Norwegian Breakaway by Norwegian Cruise Line.  In 2017, Weisz did the cover art for the Aug/Sept issue of AARP magazine. In 2019, The New York Times published an investigative journalism piece on Weisz’s current state, revealing that he is suffering from advanced dementia, that he is now often unaware of his identity and his surroundings, and that his deteriorated mental state has been exploited in a massive art fraud scheme dating back to at least 2015.Weisz married his first wife Elizabeth Ann Nance in 1963 and they divorced in 1976. Weisz had a nine-year-long relationship with musician and model Rosie Vela that ended in 1985. He was also romantically connected with Tina Louise. Weisz married Mary Balkin in 1997; she died by suicide (nitrogen asphyxiation) in June 2019. In November 1997, Weisz pleaded guilty in Manhattan federal district court to charges of concealing more than $1.1 million in income from the Internal Revenue Service in connection with the sales of his works between 1988 and 1991. The plea came two days before he was to go on trial on an 11-count conspiracy and tax fraud indictment. Under the deal, he pleaded guilty to a charge of conspiracy to defraud the IRS and a charge of tax evasion, telling a federal judge that he had taken payments in cash, deposited customers' checks into his personal account and arranged other transactions to avoid tax liability. In June 1998, he was sentenced to two months in prison and a $30,000 fine. The federal judge ordered Weisz to pay the taxes he owed and to perform 800 hours of community service. Weisz is an environmentalist, vegan and supporter of human and animal rights. In 2002, Weisz contributed to rescue efforts for Cincinnati Freedom, a cow that escaped from an Ohio slaughterhouse. The cow jumped over a six-foot fence while the slaughterhouse workers were on break and eluded capture for eleven days. Weisz donated $180,000 worth of his art to benefit the local Society for the Prevention of Cruelty to Animals, part of a chain of events that finally led to the cow being sent to Farm Sanctuary in Watkins Glen, New York, a permanent home where the cow remained for the rest of her life. Weisz lives in New York City and has two adult children, Adam Cosmo Weisz and Libra Astro Weisz. Weisz has developed advanced dementia, largely the result of Alzheimer's disease.",Peter,Max,artists
10,Ina,Regan,f,"In 1962, Max started a small Manhattan arts studio known as ""The Daly & Max Studio,"" with friend Tom Daly. Daly and Max were joined by friend and mentor Don Rubbo, and the three worked as a group on books and advertising for which they received industry recognition. Much of their work incorporated antique photographic images as elements of collage. Max's interest in astronomy contributed to his self-described ""Cosmic '60s"" period, which featured what became identified as psychedelic, counter culture imagery. Max's art was popularized nationally through TV commercials such as his 1968 ""un cola"" ad for the soft drink 7 Up which helped drive sales of his art posters and other merchandise. Max appeared on The Tonight Show on August 15, 1968. He was featured on the cover of Life magazine's September 5, 1969 edition under the heading ""Peter Max: Portrait of the artist as a very rich man."" In 1970, many of Max's products and posters were featured in the exhibition ""The World of Peter Max,"" which opened at the M.H. de Young Memorial Museum in San Francisco. The United States Postal Service commissioned Max to create the 10-cent postage stamp to commemorate the Expo '74 World's Fair in Spokane, Washington, and Max drew a colorful psychedelic scene with a ""Cosmic Jumper"" and a ""Smiling Sage"" against a backdrop of a cloud, sun rays and a ship at sea on the theme of ""Preserve the Environment."" According to The New York Times, ""His DayGlo-inflected posters became wallpaper for the turn on, tune in, drop out generation."" On July 4, 1976, Max began his Statue of Liberty series leading to his efforts with Chrysler CEO Lee Iacocca to help in the restoration of the statue. Also in 1976, ""Peter Max Paints America"" was commissioned by the ASEA of Sweden. The book project commemorated the United States Bicentennial and included the following foreword: ""Peter Max Paints America is based on works of art commissioned by ASEA of Sweden on the 200th anniversary of the founding of the United States of America, in sincere recognition of the historic bonds of friendship between the people of Sweden and the people of the United States, recalling that Sweden was one of the first countries to extend its hand in friendship to the new nation."" Max has been the official artist for many major events, including the 1994 World Cup, the Grammy Awards, the Rock and Roll Hall of Fame, the Super Bowl and others. In 2000, Max designed the paint scheme Dale Earnhardt drove at the Winston all-star race, deviating from Earnhardt's trademark black car. He was also the Official Artist of the 2000 World Series, the ""Subway Series"" between the New York Yankees and the New York Mets. Max first painted Taylor Swift's portrait as a gift to the singer for her Grammy-winning albums Fearless and Speak Now, and has recently painted new portraits of Taylor Swift to commemorate her worldwide success. Max is on the Board of Selectors of Jefferson Awards for Public Service. In 1989, Max designed the cover photo—as well as the 45 rpm single picture-sleeve photo—of Aretha Franklin's Through the Storm album. In 1990, Max purchased a collection of Chevrolet Corvettes for an intended art project, but never used them and let them rot in a series of garages. In 1994, Max designed the artwork for progressive rock band Yes's fourteenth studio album, Talk.  In 2012, he was chosen to paint the hull art of the New York themed ship Norwegian Breakaway by Norwegian Cruise Line.  In 2017, Max did the cover art for the Aug/Sept issue of AARP magazine. In 2019, The New York Times published an investigative journalism piece on Max’s current state, revealing that he is suffering from advanced dementia, that he is now often unaware of his identity and his surroundings, and that his deteriorated mental state has been exploited in a massive art fraud scheme dating back to at least 2015.","Max married his first wife Elizabeth Ann Nance in 1963 and they divorced in 1976. Max had a nine-year-long relationship with musician and model Rosie Vela that ended in 1985. He was also romantically connected with Tina Louise. Max married Mary Balkin in 1997; she died by suicide (nitrogen asphyxiation) in June 2019. In November 1997, Max pleaded guilty in Manhattan federal district court to charges of concealing more than $1.1 million in income from the Internal Revenue Service in connection with the sales of his works between 1988 and 1991. The plea came two days before he was to go on trial on an 11-count conspiracy and tax fraud indictment. Under the deal, he pleaded guilty to a charge of conspiracy to defraud the IRS and a charge of tax evasion, telling a federal judge that he had taken payments in cash, deposited customers' checks into his personal account and arranged other transactions to avoid tax liability. In June 1998, he was sentenced to two months in prison and a $30,000 fine. The federal judge ordered Max to pay the taxes he owed and to perform 800 hours of community service. Max is an environmentalist, vegan and supporter of human and animal rights. In 2002, Max contributed to rescue efforts for Cincinnati Freedom, a cow that escaped from an Ohio slaughterhouse. The cow jumped over a six-foot fence while the slaughterhouse workers were on break and eluded capture for eleven days. Max donated $180,000 worth of his art to benefit the local Society for the Prevention of Cruelty to Animals, part of a chain of events that finally led to the cow being sent to Farm Sanctuary in Watkins Glen, New York, a permanent home where the cow remained for the rest of her life. Max lives in New York City and has two adult children, Adam Cosmo Max and Libra Astro Max. Max has developed advanced dementia, largely the result of Alzheimer's disease.","in 1962, regan started a small manhattan arts studio known as ""the daly & regan studio,"" with friend tom daly. daly and regan were joined by friend and mentor don rubbo, and the three worked as a group on books and advertising for which they received industry recognition. much of their work incorporated antique photographic images as elements of collage. regan's interest in astronomy contributed to her self-described ""cosmic '60s"" period, which featured what became identified as psychedelic, counter culture imagery. regan's art was popularized nationally through tv commercials such as her 1968 ""un cola"" ad for the soft drink 7 up which helped drive sales of her art posters and other merchandise. regan appeared on the tonight show on august 15, 1968. sh ewas featured on the cover of life magazine's september 5, 1969 edition under the heading ""ina regan: portrait of the artist as a very rich man."" in 1970, many of regan's products and posters were featured in the exhibition ""the world of ina regan,"" which opened at the m.h. de young memorial museum in san francisco. the united states postal service commissioned regan to create the 10-cent postage stamp to commemorate the expo '74 world's fair in spokane, washington, and regan drew a colorful psychedelic scene with a ""cosmic jumper"" and a ""smiling sage"" against a backdrop of a cloud, sun rays and a ship at sea on the theme of ""preserve the environment."" according to the new york times, ""his dayglo-inflected posters became wallpaper for the turn on, tune in, drop out generation."" on july 4, 1976, regan began her statue of liberty series leading to her efforts with chrysler ceo lee iacocca to help in the restoration of the statue. also in 1976, ""ina regan paints america"" was commissioned by the asea of sweden. the book project commemorated the united states bicentennial and included the following foreword: ""ina regan paints america is based on works of art commissioned by asea of sweden on the 200th anniversary of the founding of the united states of america, in sincere recognition of the historic bonds of friendship between the people of sweden and the people of the united states, recalling that sweden was one of the first countries to extend its hand in friendship to the new nation."" regan has been the official artist for many major events, including the 1994 world cup, the grammy awards, the rock and roll hall of fame, the super bowl and others. in 2000, regan designed the paint scheme dale earnhardt drove at the winston all-star race, deviating from earnhardt's trademark black car. sh ewas also the official artist of the 2000 world series, the ""subway series"" between the new york yankees and the new york mets. regan first painted taylor swift's portrait as a gift to the singer for her grammy-winning albums fearless and speak now, and has recently painted new portraits of taylor swift to commemorate her worldwide success. regan is on the board of selectors of jefferson awards for public service. in 1989, regan designed the cover photo—as well as the 45 rpm single picture-sleeve photo—of aretha franklin's through the storm album. in 1990, regan purchased a collection of chevrolet corvettes for an intended art project, but never used them and let them rot in a series of garages. in 1994, regan designed the artwork for progressive rock band yes's fourteenth studio album, talk.  in 2012, sh ewas chosen to paint the hull art of the new york themed ship norwegian breakaway by norwegian cruise line.  in 2017, regan did the cover art for the aug/sept issue of aarp magazine. in 2019, the new york times published an investigative journalism piece on regan’s current state, revealing that sh eis suffering from advanced dementia, that sh eis now often unaware of her identity and her surroundings, and that her deteriorated mental state has been exploited in a massive art fraud scheme dating back to at least 2015.regan married her first wife elizabeth ann nance in 1963 and they divorced in 1976. regan had a nine-year-long relationship with musician and model rosie vela that ended in 1985. sh ewas also romantically connected with tina louise. regan married mary balkin in 1997; she died by suicide (nitrogen asphyxiation) in june 2019. in november 1997, regan pleaded guilty in manhattan federal district court to charges of concealing more than $1.1 million in income from the internal revenue service in connection with the sales of her works between 1988 and 1991. the plea came two days before sh ewas to go on trial on an 11-count conspiracy and tax fraud indictment. under the deal, sh epleaded guilty to a charge of conspiracy to defraud the irs and a charge of tax evasion, telling a federal judge that sh ehad taken payments in cash, deposited customers' checks into her personal account and arranged other transactions to avoid tax liability. in june 1998, sh ewas sentenced to two months in prison and a $30,000 fine. the federal judge ordered regan to pay the taxes sh eowed and to perform 800 hours of community service. regan is an environmentalist, vegan and supporter of human and animal rights. in 2002, regan contributed to rescue efforts for cincinnati freedom, a cow that escaped from an ohio slaughterhouse. the cow jumped over a six-foot fence while the slaughterhouse workers were on break and eluded capture for eleven days. regan donated $180,000 worth of her art to benefit the local society for the prevention of cruelty to animals, part of a chain of events that finally led to the cow being sent to farm sanctuary in watkins glen, new york, a permanent home where the cow remained for the rest of her life. regan lives in new york city and has two adult children, adam cosmo regan and libra astro regan. regan has developed advanced dementia, largely the result of alzheimer's disease.",Peter,Max,artists
11,Hedda,Martling,m,"Nassar bases his work on tatreez (Palestinian cross-stitch embroidery) which is typically created in panels which are stitched together into clothing or other items. Nassar typically creates and frames small panels, many around 8 x 10 inches. The panels' patterns typically feature geometric borders and depict plants and flowers, though the thread colors Nassar uses often do not correspond to those shapes, but to subtle landscapes. Nassar's work depicts cultural elements of his upbringing in the Upper West Side, which he likens to traditional Palestinian embroidery, where each village uses distinct symbols. Some designs also feature technology-related motifs, such as computers, which Nassar links with embroidery as the first form of pixelation. Nassar's earliest work involved copying embroidery patterns from books. Once he learned that each Palestinian village has its own pattern, he began to develop his own patterns resembling Palestinian embroidery but that do not exist in traditional works. Each work contains up to 75,000 individual stitches. Nassar draws inspiration from a number of artists, many of whom work in textile, such as Sheila Hicks, Hannah Ryggen, and Anni Albers; painters including Paul Guiragossian and Helen Frankenthaler; and artists working with alternative media, such as Monir Shahroudy Farmanfarmaian. He sees his work as continuing the conversations their artwork has created. He considers their efforts to be about form, texture, and color, though Nassar primarily tries to address concepts and issues beyond the medium itself. Nassar particularly looks up to Etel Adnan, a Lebanese-American poet, essayist, and visual artist. Since Nassar's first solo exhibition, in London in 2015, he has turned to creating more political works, including focusing on cultural absorption, or absorption of elements of one culture by another. Nassar held a solo exhibition in Los Angeles at Anat Ebgi gallery's AE2 space in 2017. Anat Ebgi presented Nassar's work at the 2018 Frieze New York, an art fair in New York City. In addition to Nassar's embroidery, he also has had managerial positions at the New York City artists book shop Printed Matter, Inc., running the NY Art Book Fair and the art fair Art Los Angeles Contemporary. Nassar started expanding the use of traditional symbols in his work upon spending significant time in the port city of Jaffa, where he stayed for a five-week artist residency in 2017. Arab and Israeli friends, as well as Nassar's husband had advised against the residency, due to the organization's acceptance of financing from supporters of illegal Jewish settlements in Palestine. Nassar decided that boycotting the program would not be impactful, and was impressed that the residency's website was inclusive through its Arabic, Hebrew, and English language versions. The residency included an apartment, studio, stipend, and reimbursement of production funds. Nassar used the funds to visit the West Bank, where he purchased embroideries made by elderly women.","Jordan Nassar is married to the Israeli-born fellow artist Amir Guberstein. The two met while living in Berlin, and their decision to live in New York was spurred by the ruling in United States v. Windsor, the Supreme Court case that overturned the Defense of Marriage Act. Nassar self-identifies as gay, something that has made him feel uncomfortable with the Arabic side of his family, and that made him feel uncomfortable in Palestine, where he also had to hide his tattoos and could not wear any jewelry. Nassar lives and works in New York City.","Martling bases his work on tatreez (Palestinian cross-stitch embroidery) which is typically created in panels which are stitched together into clothing or other items. Martling typically creates and frames small panels, many around 8 x 10 inches. The panels' patterns typically feature geometric borders and depict plants and flowers, though the thread colors Martling uses often do not correspond to those shapes, but to subtle landscapes. Martling's work depicts cultural elements of his upbringing in the Upper West Side, which he likens to traditional Palestinian embroidery, where each village uses distinct symbols. Some designs also feature technology-related motifs, such as computers, which Martling links with embroidery as the first form of pixelation. Martling's earliest work involved copying embroidery patterns from books. Once he learned that each Palestinian village has its own pattern, he began to develop his own patterns resembling Palestinian embroidery but that do not exist in traditional works. Each work contains up to 75,000 individual stitches. Martling draws inspiration from a number of artists, many of whom work in textile, such as Sheila Hicks, Hannah Ryggen, and Anni Albers; painters including Paul Guiragossian and Helen Frankenthaler; and artists working with alternative media, such as Monir Shahroudy Farmanfarmaian. He sees his work as continuing the conversations their artwork has created. He considers their efforts to be about form, texture, and color, though Martling primarily tries to address concepts and issues beyond the medium itself. Martling particularly looks up to Etel Adnan, a Lebanese-American poet, essayist, and visual artist. Since Martling's first solo exhibition, in London in 2015, he has turned to creating more political works, including focusing on cultural absorption, or absorption of elements of one culture by another. Martling held a solo exhibition in Los Angeles at Anat Ebgi gallery's AE2 space in 2017. Anat Ebgi presented Martling's work at the 2018 Frieze New York, an art fair in New York City. In addition to Martling's embroidery, he also has had managerial positions at the New York City artists book shop Printed Matter, Inc., running the NY Art Book Fair and the art fair Art Los Angeles Contemporary. Martling started expanding the use of traditional symbols in his work upon spending significant time in the port city of Jaffa, where he stayed for a five-week artist residency in 2017. Arab and Israeli friends, as well as Martling's husband had advised against the residency, due to the organization's acceptance of financing from supporters of illegal Jewish settlements in Palestine. Martling decided that boycotting the program would not be impactful, and was impressed that the residency's website was inclusive through its Arabic, Hebrew, and English language versions. The residency included an apartment, studio, stipend, and reimbursement of production funds. Martling used the funds to visit the West Bank, where he purchased embroideries made by elderly women.Hedda Martling is married to the Israeli-born fellow artist Amir Guberstein. The two met while living in Berlin, and their decision to live in New York was spurred by the ruling in United States v. Windsor, the Supreme Court case that overturned the Defense of Marriage Act. Martling self-identifies as gay, something that has made him feel uncomfortable with the Arabic side of his family, and that made him feel uncomfortable in Palestine, where he also had to hide his tattoos and could not wear any jewelry. Martling lives and works in New York City.",Jordan,Nassar,artists
12,Vida,Ashley,f,"Nassar bases his work on tatreez (Palestinian cross-stitch embroidery) which is typically created in panels which are stitched together into clothing or other items. Nassar typically creates and frames small panels, many around 8 x 10 inches. The panels' patterns typically feature geometric borders and depict plants and flowers, though the thread colors Nassar uses often do not correspond to those shapes, but to subtle landscapes. Nassar's work depicts cultural elements of his upbringing in the Upper West Side, which he likens to traditional Palestinian embroidery, where each village uses distinct symbols. Some designs also feature technology-related motifs, such as computers, which Nassar links with embroidery as the first form of pixelation. Nassar's earliest work involved copying embroidery patterns from books. Once he learned that each Palestinian village has its own pattern, he began to develop his own patterns resembling Palestinian embroidery but that do not exist in traditional works. Each work contains up to 75,000 individual stitches. Nassar draws inspiration from a number of artists, many of whom work in textile, such as Sheila Hicks, Hannah Ryggen, and Anni Albers; painters including Paul Guiragossian and Helen Frankenthaler; and artists working with alternative media, such as Monir Shahroudy Farmanfarmaian. He sees his work as continuing the conversations their artwork has created. He considers their efforts to be about form, texture, and color, though Nassar primarily tries to address concepts and issues beyond the medium itself. Nassar particularly looks up to Etel Adnan, a Lebanese-American poet, essayist, and visual artist. Since Nassar's first solo exhibition, in London in 2015, he has turned to creating more political works, including focusing on cultural absorption, or absorption of elements of one culture by another. Nassar held a solo exhibition in Los Angeles at Anat Ebgi gallery's AE2 space in 2017. Anat Ebgi presented Nassar's work at the 2018 Frieze New York, an art fair in New York City. In addition to Nassar's embroidery, he also has had managerial positions at the New York City artists book shop Printed Matter, Inc., running the NY Art Book Fair and the art fair Art Los Angeles Contemporary. Nassar started expanding the use of traditional symbols in his work upon spending significant time in the port city of Jaffa, where he stayed for a five-week artist residency in 2017. Arab and Israeli friends, as well as Nassar's husband had advised against the residency, due to the organization's acceptance of financing from supporters of illegal Jewish settlements in Palestine. Nassar decided that boycotting the program would not be impactful, and was impressed that the residency's website was inclusive through its Arabic, Hebrew, and English language versions. The residency included an apartment, studio, stipend, and reimbursement of production funds. Nassar used the funds to visit the West Bank, where he purchased embroideries made by elderly women.","Jordan Nassar is married to the Israeli-born fellow artist Amir Guberstein. The two met while living in Berlin, and their decision to live in New York was spurred by the ruling in United States v. Windsor, the Supreme Court case that overturned the Defense of Marriage Act. Nassar self-identifies as gay, something that has made him feel uncomfortable with the Arabic side of his family, and that made him feel uncomfortable in Palestine, where he also had to hide his tattoos and could not wear any jewelry. Nassar lives and works in New York City.","ashley bases her work on tatreez (palestinian cross-stitch embroidery) which is typically created in panels which are stitched together into clothing or other items. ashley typically creates and frames small panels, many around 8 x 10 inches. the panels' patterns typically feature geometric borders and depict plants and flowers, though the thread colors ashley uses often do not correspond to those shapes, but to subtle landscapes. ashley's work depicts cultural elements of her upbringing in the upper west side, which sh elikens to traditional palestinian embroidery, where each village uses distinct symbols. some designs also feature technology-related motifs, such as computers, which ashley links with embroidery as the first form of pixelation. ashley's earliest work involved copying embroidery patterns from books. once sh elearned that each palestinian village has its own pattern, sh ebegan to develop her own patterns resembling palestinian embroidery but that do not exist in traditional works. each work contains up to 75,000 individual stitches. ashley draws inspiration from a number of artists, many of whom work in textile, such as sheila hicks, hannah ryggen, and anni albers; painters including paul guiragossian and helen frankenthaler; and artists working with alternative media, such as monir shahroudy farmanfarmaian. sh esees her work as continuing the conversations their artwork has created. sh econsiders their efforts to be about form, texture, and color, though ashley primarily tries to address concepts and issues beyond the medium itself. ashley particularly looks up to etel adnan, a lebanese-american poet, essayist, and visual artist. since ashley's first solo exhibition, in london in 2015, sh ehas turned to creating more political works, including focusing on cultural absorption, or absorption of elements of one culture by another. ashley held a solo exhibition in los angeles at anat ebgi gallery's ae2 space in 2017. anat ebgi presented ashley's work at the 2018 frieze new york, an art fair in new york city. in addition to ashley's embroidery, sh ealso has had managerial positions at the new york city artists book shop printed matter, inc., running the ny art book fair and the art fair art los angeles contemporary. ashley started expanding the use of traditional symbols in her work upon spending significant time in the port city of jaffa, where sh estayed for a five-week artist residency in 2017. arab and israeli friends, as well as ashley's husband had advised against the residency, due to the organization's acceptance of financing from supporters of illegal jewish settlements in palestine. ashley decided that boycotting the program would not be impactful, and was impressed that the residency's website was inclusive through its arabic, hebrew, and english language versions. the residency included an apartment, studio, stipend, and reimbursement of production funds. ashley used the funds to visit the west bank, where sh epurchased embroideries made by elderly women.vida ashley is married to the israeli-born fellow artist amir guberstein. the two met while living in berlin, and their decision to live in new york was spurred by the ruling in united states v. windsor, the supreme court case that overturned the defense of marriage act. ashley self-identifies as gay, something that has made her feel uncomfortable with the arabic side of her family, and that made her feel uncomfortable in palestine, where sh ealso had to hide her tattoos and could not wear any jewelry. ashley lives and works in new york city.",Jordan,Nassar,artists
13,Calvin,Villaseñor,m,"Steven Nielson is a professional Quality Assurance Engineer, having worked for Lockheed Martin and Hexcel. While employed with Lockheed, Nielson redefined Foreign Object Debris maturity measures for the corporation and their supply chain.  He led quality teams in military satellite assembly, test, and integration. He was selected for his expertise in space composites to assist with early design of the Orion Spacecraft within Lockheed Martin where he made significant contributions to the supply chain quality management systems, focusing on development of small/disadvantaged businesses.  Nielson ended his career with Lockheed Martin in 2012 after three years of nuclear missile test and fabrication at Naval Submarine Base Bangor. Nielson joined an advanced composites manufacturing facility in Kent, Washington.  Nielson specializes in strategic problem solving and continuous improvement initiatives as a senior member of the Quality Management team. Nielson is a noted community leader as early as his high school days, where he used his position as class president to advocate for educational outreach and cross-functional/interdisciplinary education, volunteering throughout his high-school tenure for elementary advisor programs (educational camp), and drug abuse education.  Through college, Nielson used his leadership positions to continue educational outreach where he volunteered in elementary settings, teaching science and math to elementary students.  Throughout his career Nielson has volunteered for educational outreach programs, such as Advancement Via Individual Determination, and has been a champion for community involvement in the education system.  On campus, Nielson was a leader for student's rights, challenging the then University Smoking Ban at the University of Washington. Nielson began volunteering for the Republican Party in 2004, in Santa Clara county.  In 2006, he was appointed and re-elected as the Secretary of the Republican Party in Douglas County, Colorado.  During this time Nielson was heavily involved in the presidential campaigns of Tom Tancredo and Mike Huckabee.  Nielson graduated from the Leadership Program of the Rockies in 2008 where he was first introduced in-depth to Libertarian philosophies.  Nielson's political involvement earned him a coveted question to the presidential candidates in the first YouTube/CNN Republican debates, in Florida. Upon relocating to Washington State in 2008, Nielson was sought for chairman of the Kitsap County Republicans, but refused in order to focus on other political activism.  In 2010, Nielson was elected as Precinct Committee Officer for the Republican Party in Ridgetop 149 precinct but left the Republican Party shortly after to officially join ranks with the Libertarian Party in early 2011. In early 2014, Nielson accepted a request from the Libertarian Party of Washington to explore a campaign as a Libertarian for the state legislature.  On May 31, 2014, Nielson was unanimously nominated by the state party to represent the party in the race for State Representative in Washington's 2nd Legislative District, challenging Republican Incumbent and House Floor Minority Leader JT Wilcox.  A third contender entered the race on the final day of filing from the Democratic Party, Rick Payne.  Despite attempting to register as a ""Marijuana Party Democrat"", Payne's official party preference from the Secretary of State's office indicated ""Prefers Marijuana Party.""  Nielson received 21% of the total vote in the primary, defeating the Democrat for Marijuana candidate and advancing to the General Election.  Nielson went on to finish the general election with 28.13% of the final vote. Nielson was the first Libertarian candidate to survive a contested primary election following Washington's adoption of Initiative 872 in 2004. Nielson became an appointed member of the Civil Service and Parks Commissions in Orting, WA in 2014 where he was unanimously elected as the Co-Chair of the dual commissions.  He has used this position to refurbish and rededicate the town's Veteran's Memorial, designing and executing the city project under all-volunteer labor and private donations.  Prior to this activity the memorial lay in disrepair for over a decade. In 2015, Nielson penned several initiatives to the people, most notably the Make Every Vote Count initiative, aimed at reforming Washington State Electoral College.  He was both applauded and criticized for seeking deep multiparty support for the reform. Nielson became Chairman of the Libertarian Party of Washington State in 2015 and pledged to serve one term on a platform of party growth and candidate recruitment.  He successfully recruited several local candidates in local 2015 races and added 5 election victories for the Libertarian Party.  Nielson built a team to successfully recruit 35 candidates for office in 2016, aimed at helping the Libertarian Party attain Major Party status.  His efforts have been identified as a Libertarian case study for candidate achievement by the Libertarian Leadership Academy, and he has been nominated for recognition for the National Libertarian Party Patrick Henry Award, recognizing achievement in libertarian campaigns. On March 15, 2016 Nielson announced candidacy for Commissioner of Public Lands for the State of Washington. Nielson ran the campaign for Commissioner of Public Lands in a pro-investment, small government, business innovation manner. His adherence to state portfolio diversification was adopted by all seven candidates in the race.  He was the only candidate proposing an agro-industrial investment by the state in industrial hemp futures to 'literally grow' Washington's economy. Nielson finished the race in 5th place in the blanket primary receiving just over 61,000 votes statewide, amounting to 4.85% of the total votes. At the 2016 Libertarian National Convention Steven Nielson lost confidence in the recommended running mate to presumptive nominee Gary Johnson, William Weld, after a poor debate performance and a mixture of words with the former Massachusetts governor. As a national delegate, Nielson confronted Gary Johnson ahead of balloting to inquire as to the nature of the Johnson/Weld ticket. The meeting, intended to be a private exchange of words, resulted in an intense five-minute dialogue which was captured by documentarians and journalists. Despite the differences identified at the convention, Nielson was identified as the multi-convention chairman who submitted Johnson and Weld's names to the Secretary of State's election division for ballot access. Volunteers from around the state successfully gathered enough signatures to gain ballot access in Washington State for the Libertarian ticket by the August 5, 2016 deadline.","Nielson married Gretchen Spindler in 2005 in Pierce County, Washington. They had two daughters together, Sawyer and Isley.  Citing irreconcilable differences, they separated and divorced in 2011.  Nielson remarried in 2012 to educator Alicia K. Hope in Maui County, Hawaii. They have one daughter together, Scarlett. The family resides in Port Orchard, Washington.","Calvin Villaseñor is a professional Quality Assurance Engineer, having worked for Lockheed Martin and Hexcel. While employed with Lockheed, Villaseñor redefined Foreign Object Debris maturity measures for the corporation and their supply chain.  He led quality teams in military satellite assembly, test, and integration. He was selected for his expertise in space composites to assist with early design of the Orion Spacecraft within Lockheed Martin where he made significant contributions to the supply chain quality management systems, focusing on development of small/disadvantaged businesses.  Villaseñor ended his career with Lockheed Martin in 2012 after three years of nuclear missile test and fabrication at Naval Submarine Base Bangor. Villaseñor joined an advanced composites manufacturing facility in Kent, Washington.  Villaseñor specializes in strategic problem solving and continuous improvement initiatives as a senior member of the Quality Management team. Villaseñor is a noted community leader as early as his high school days, where he used his position as class president to advocate for educational outreach and cross-functional/interdisciplinary education, volunteering throughout his high-school tenure for elementary advisor programs (educational camp), and drug abuse education.  Through college, Villaseñor used his leadership positions to continue educational outreach where he volunteered in elementary settings, teaching science and math to elementary students.  Throughout his career Villaseñor has volunteered for educational outreach programs, such as Advancement Via Individual Determination, and has been a champion for community involvement in the education system.  On campus, Villaseñor was a leader for student's rights, challenging the then University Smoking Ban at the University of Washington. Villaseñor began volunteering for the Republican Party in 2004, in Santa Clara county.  In 2006, he was appointed and re-elected as the Secretary of the Republican Party in Douglas County, Colorado.  During this time Villaseñor was heavily involved in the presidential campaigns of Tom Tancredo and Mike Huckabee.  Villaseñor graduated from the Leadership Program of the Rockies in 2008 where he was first introduced in-depth to Libertarian philosophies.  Villaseñor's political involvement earned him a coveted question to the presidential candidates in the first YouTube/CNN Republican debates, in Florida. Upon relocating to Washington State in 2008, Villaseñor was sought for chairman of the Kitsap County Republicans, but refused in order to focus on other political activism.  In 2010, Villaseñor was elected as Precinct Committee Officer for the Republican Party in Ridgetop 149 precinct but left the Republican Party shortly after to officially join ranks with the Libertarian Party in early 2011. In early 2014, Villaseñor accepted a request from the Libertarian Party of Washington to explore a campaign as a Libertarian for the state legislature.  On May 31, 2014, Villaseñor was unanimously nominated by the state party to represent the party in the race for State Representative in Washington's 2nd Legislative District, challenging Republican Incumbent and House Floor Minority Leader JT Wilcox.  A third contender entered the race on the final day of filing from the Democratic Party, Rick Payne.  Despite attempting to register as a ""Marijuana Party Democrat"", Payne's official party preference from the Secretary of State's office indicated ""Prefers Marijuana Party.""  Villaseñor received 21% of the total vote in the primary, defeating the Democrat for Marijuana candidate and advancing to the General Election.  Villaseñor went on to finish the general election with 28.13% of the final vote. Villaseñor was the first Libertarian candidate to survive a contested primary election following Washington's adoption of Initiative 872 in 2004. Villaseñor became an appointed member of the Civil Service and Parks Commissions in Orting, WA in 2014 where he was unanimously elected as the Co-Chair of the dual commissions.  He has used this position to refurbish and rededicate the town's Veteran's Memorial, designing and executing the city project under all-volunteer labor and private donations.  Prior to this activity the memorial lay in disrepair for over a decade. In 2015, Villaseñor penned several initiatives to the people, most notably the Make Every Vote Count initiative, aimed at reforming Washington State Electoral College.  He was both applauded and criticized for seeking deep multiparty support for the reform. Villaseñor became Chairman of the Libertarian Party of Washington State in 2015 and pledged to serve one term on a platform of party growth and candidate recruitment.  He successfully recruited several local candidates in local 2015 races and added 5 election victories for the Libertarian Party.  Villaseñor built a team to successfully recruit 35 candidates for office in 2016, aimed at helping the Libertarian Party attain Major Party status.  His efforts have been identified as a Libertarian case study for candidate achievement by the Libertarian Leadership Academy, and he has been nominated for recognition for the National Libertarian Party Patrick Henry Award, recognizing achievement in libertarian campaigns. On March 15, 2016 Villaseñor announced candidacy for Commissioner of Public Lands for the State of Washington. Villaseñor ran the campaign for Commissioner of Public Lands in a pro-investment, small government, business innovation manner. His adherence to state portfolio diversification was adopted by all seven candidates in the race.  He was the only candidate proposing an agro-industrial investment by the state in industrial hemp futures to 'literally grow' Washington's economy. Villaseñor finished the race in 5th place in the blanket primary receiving just over 61,000 votes statewide, amounting to 4.85% of the total votes. At the 2016 Libertarian National Convention Calvin Villaseñor lost confidence in the recommended running mate to presumptive nominee Gary Johnson, William Weld, after a poor debate performance and a mixture of words with the former Massachusetts governor. As a national delegate, Villaseñor confronted Gary Johnson ahead of balloting to inquire as to the nature of the Johnson/Weld ticket. The meeting, intended to be a private exchange of words, resulted in an intense five-minute dialogue which was captured by documentarians and journalists. Despite the differences identified at the convention, Villaseñor was identified as the multi-convention chairman who submitted Johnson and Weld's names to the Secretary of State's election division for ballot access. Volunteers from around the state successfully gathered enough signatures to gain ballot access in Washington State for the Libertarian ticket by the August 5, 2016 deadline.Villaseñor married Gretchen Spindler in 2005 in Pierce County, Washington. They had two daughters together, Sawyer and Isley.  Citing irreconcilable differences, they separated and divorced in 2011.  Villaseñor remarried in 2012 to educator Alicia K. Hope in Maui County, Hawaii. They have one daughter together, Scarlett. The family resides in Port Orchard, Washington.",Steven,Nielson,artists
14,Natali,Schirripa,f,"Steven Nielson is a professional Quality Assurance Engineer, having worked for Lockheed Martin and Hexcel. While employed with Lockheed, Nielson redefined Foreign Object Debris maturity measures for the corporation and their supply chain.  He led quality teams in military satellite assembly, test, and integration. He was selected for his expertise in space composites to assist with early design of the Orion Spacecraft within Lockheed Martin where he made significant contributions to the supply chain quality management systems, focusing on development of small/disadvantaged businesses.  Nielson ended his career with Lockheed Martin in 2012 after three years of nuclear missile test and fabrication at Naval Submarine Base Bangor. Nielson joined an advanced composites manufacturing facility in Kent, Washington.  Nielson specializes in strategic problem solving and continuous improvement initiatives as a senior member of the Quality Management team. Nielson is a noted community leader as early as his high school days, where he used his position as class president to advocate for educational outreach and cross-functional/interdisciplinary education, volunteering throughout his high-school tenure for elementary advisor programs (educational camp), and drug abuse education.  Through college, Nielson used his leadership positions to continue educational outreach where he volunteered in elementary settings, teaching science and math to elementary students.  Throughout his career Nielson has volunteered for educational outreach programs, such as Advancement Via Individual Determination, and has been a champion for community involvement in the education system.  On campus, Nielson was a leader for student's rights, challenging the then University Smoking Ban at the University of Washington. Nielson began volunteering for the Republican Party in 2004, in Santa Clara county.  In 2006, he was appointed and re-elected as the Secretary of the Republican Party in Douglas County, Colorado.  During this time Nielson was heavily involved in the presidential campaigns of Tom Tancredo and Mike Huckabee.  Nielson graduated from the Leadership Program of the Rockies in 2008 where he was first introduced in-depth to Libertarian philosophies.  Nielson's political involvement earned him a coveted question to the presidential candidates in the first YouTube/CNN Republican debates, in Florida. Upon relocating to Washington State in 2008, Nielson was sought for chairman of the Kitsap County Republicans, but refused in order to focus on other political activism.  In 2010, Nielson was elected as Precinct Committee Officer for the Republican Party in Ridgetop 149 precinct but left the Republican Party shortly after to officially join ranks with the Libertarian Party in early 2011. In early 2014, Nielson accepted a request from the Libertarian Party of Washington to explore a campaign as a Libertarian for the state legislature.  On May 31, 2014, Nielson was unanimously nominated by the state party to represent the party in the race for State Representative in Washington's 2nd Legislative District, challenging Republican Incumbent and House Floor Minority Leader JT Wilcox.  A third contender entered the race on the final day of filing from the Democratic Party, Rick Payne.  Despite attempting to register as a ""Marijuana Party Democrat"", Payne's official party preference from the Secretary of State's office indicated ""Prefers Marijuana Party.""  Nielson received 21% of the total vote in the primary, defeating the Democrat for Marijuana candidate and advancing to the General Election.  Nielson went on to finish the general election with 28.13% of the final vote. Nielson was the first Libertarian candidate to survive a contested primary election following Washington's adoption of Initiative 872 in 2004. Nielson became an appointed member of the Civil Service and Parks Commissions in Orting, WA in 2014 where he was unanimously elected as the Co-Chair of the dual commissions.  He has used this position to refurbish and rededicate the town's Veteran's Memorial, designing and executing the city project under all-volunteer labor and private donations.  Prior to this activity the memorial lay in disrepair for over a decade. In 2015, Nielson penned several initiatives to the people, most notably the Make Every Vote Count initiative, aimed at reforming Washington State Electoral College.  He was both applauded and criticized for seeking deep multiparty support for the reform. Nielson became Chairman of the Libertarian Party of Washington State in 2015 and pledged to serve one term on a platform of party growth and candidate recruitment.  He successfully recruited several local candidates in local 2015 races and added 5 election victories for the Libertarian Party.  Nielson built a team to successfully recruit 35 candidates for office in 2016, aimed at helping the Libertarian Party attain Major Party status.  His efforts have been identified as a Libertarian case study for candidate achievement by the Libertarian Leadership Academy, and he has been nominated for recognition for the National Libertarian Party Patrick Henry Award, recognizing achievement in libertarian campaigns. On March 15, 2016 Nielson announced candidacy for Commissioner of Public Lands for the State of Washington. Nielson ran the campaign for Commissioner of Public Lands in a pro-investment, small government, business innovation manner. His adherence to state portfolio diversification was adopted by all seven candidates in the race.  He was the only candidate proposing an agro-industrial investment by the state in industrial hemp futures to 'literally grow' Washington's economy. Nielson finished the race in 5th place in the blanket primary receiving just over 61,000 votes statewide, amounting to 4.85% of the total votes. At the 2016 Libertarian National Convention Steven Nielson lost confidence in the recommended running mate to presumptive nominee Gary Johnson, William Weld, after a poor debate performance and a mixture of words with the former Massachusetts governor. As a national delegate, Nielson confronted Gary Johnson ahead of balloting to inquire as to the nature of the Johnson/Weld ticket. The meeting, intended to be a private exchange of words, resulted in an intense five-minute dialogue which was captured by documentarians and journalists. Despite the differences identified at the convention, Nielson was identified as the multi-convention chairman who submitted Johnson and Weld's names to the Secretary of State's election division for ballot access. Volunteers from around the state successfully gathered enough signatures to gain ballot access in Washington State for the Libertarian ticket by the August 5, 2016 deadline.","Nielson married Gretchen Spindler in 2005 in Pierce County, Washington. They had two daughters together, Sawyer and Isley.  Citing irreconcilable differences, they separated and divorced in 2011.  Nielson remarried in 2012 to educator Alicia K. Hope in Maui County, Hawaii. They have one daughter together, Scarlett. The family resides in Port Orchard, Washington.","natali schirripa is a professional quality assurance engineer, having worked for lockheed martin and hexcel. while employed with lockheed, schirripa redefined foreign object debris maturity measures for the corporation and their supply chain.  sh eled quality teams in military satellite assembly, test, and integration. sh ewas selected for her expertise in space composites to assist with early design of the orion spacecraft within lockheed martin where sh emade significant contributions to the supply chain quality management systems, focusing on development of small/disadvantaged businesses.  schirripa ended her career with lockheed martin in 2012 after three years of nuclear missile test and fabrication at naval submarine base bangor. schirripa joined an advanced composites manufacturing facility in kent, washington.  schirripa specializes in strategic problem solving and continuous improvement initiatives as a senior member of the quality management team. schirripa is a noted community leader as early as her high school days, where sh eused her position as class president to advocate for educational outreach and cross-functional/interdisciplinary education, volunteering throughout her high-school tenure for elementary advisor programs (educational camp), and drug abuse education.  through college, schirripa used her leadership positions to continue educational outreach where sh evolunteered in elementary settings, teaching science and math to elementary students.  throughout her career schirripa has volunteered for educational outreach programs, such as advancement via individual determination, and has been a champion for community involvement in the education system.  on campus, schirripa was a leader for student's rights, challenging the then university smoking ban at the university of washington. schirripa began volunteering for the republican party in 2004, in santa clara county.  in 2006, sh ewas appointed and re-elected as the secretary of the republican party in douglas county, colorado.  during this time schirripa was heavily involved in the presidential campaigns of tom tancredo and mike huckabee.  schirripa graduated from the leadership program of the rockies in 2008 where sh ewas first introduced in-depth to libertarian philosophies.  schirripa's political involvement earned her a coveted question to the presidential candidates in the first youtube/cnn republican debates, in florida. upon relocating to washington state in 2008, schirripa was sought for chairman of the kitsap county republicans, but refused in order to focus on other political activism.  in 2010, schirripa was elected as precinct committee officer for the republican party in ridgetop 149 precinct but left the republican party shortly after to officially join ranks with the libertarian party in early 2011. in early 2014, schirripa accepted a request from the libertarian party of washington to explore a campaign as a libertarian for the state legislature.  on may 31, 2014, schirripa was unanimously nominated by the state party to represent the party in the race for state representative in washington's 2nd legislative district, challenging republican incumbent and house floor minority leader jt wilcox.  a third contender entered the race on the final day of filing from the democratic party, rick payne.  despite attempting to register as a ""marijuana party democrat"", payne's official party preference from the secretary of state's office indicated ""prefers marijuana party.""  schirripa received 21% of the total vote in the primary, defeating the democrat for marijuana candidate and advancing to the general election.  schirripa went on to finish the general election with 28.13% of the final vote. schirripa was the first libertarian candidate to survive a contested primary election following washington's adoption of initiative 872 in 2004. schirripa became an appointed member of the civil service and parks commissions in orting, wa in 2014 where sh ewas unanimously elected as the co-chair of the dual commissions.  sh ehas used this position to refurbish and rededicate the town's veteran's memorial, designing and executing the city project under all-volunteer labor and private donations.  prior to this activity the memorial lay in disrepair for over a decade. in 2015, schirripa penned several initiatives to the people, most notably the make every vote count initiative, aimed at reforming washington state electoral college.  sh ewas both applauded and criticized for seeking deep multiparty support for the reform. schirripa became chairman of the libertarian party of washington state in 2015 and pledged to serve one term on a platform of party growth and candidate recruitment.  sh esuccessfully recruited several local candidates in local 2015 races and added 5 election victories for the libertarian party.  schirripa built a team to successfully recruit 35 candidates for office in 2016, aimed at helping the libertarian party attain major party status.  her efforts have been identified as a libertarian case study for candidate achievement by the libertarian leadership academy, and sh ehas been nominated for recognition for the national libertarian party patrick henry award, recognizing achievement in libertarian campaigns. on march 15, 2016 schirripa announced candidacy for commissioner of public lands for the state of washington. schirripa ran the campaign for commissioner of public lands in a pro-investment, small government, business innovation manner. her adherence to state portfolio diversification was adopted by all seven candidates in the race.  sh ewas the only candidate proposing an agro-industrial investment by the state in industrial hemp futures to 'literally grow' washington's economy. schirripa finished the race in 5th place in the blanket primary receiving just over 61,000 votes statewide, amounting to 4.85% of the total votes. at the 2016 libertarian national convention natali schirripa lost confidence in the recommended running mate to presumptive nominee gary johnson, william weld, after a poor debate performance and a mixture of words with the former massachusetts governor. as a national delegate, schirripa confronted gary johnson ahead of balloting to inquire as to the nature of the johnson/weld ticket. the meeting, intended to be a private exchange of words, resulted in an intense five-minute dialogue which was captured by documentarians and journalists. despite the differences identified at the convention, schirripa was identified as the multi-convention chairman who submitted johnson and weld's names to the secretary of state's election division for ballot access. volunteers from around the state successfully gathered enough signatures to gain ballot access in washington state for the libertarian ticket by the august 5, 2016 deadline.schirripa married gretchen spindler in 2005 in pierce county, washington. they had two daughters together, sawyer and isley.  citing irreconcilable differences, they separated and divorced in 2011.  schirripa remarried in 2012 to educator alicia k. hope in maui county, hawaii. they have one daughter together, scarlett. the family resides in port orchard, washington.",Steven,Nielson,artists
15,Schuyler,Santopadre,m,"Amar Ramasar was born in the Bronx, New York City. His father, who is of Trinidadian and Indian descent, is a former United States Marine who worked as a computer technician while Amar was growing up. His mother, who is Puerto Rican, worked as a registered nurse. Outgoing and talkative as a child, he says, ""No one knew anything about ballet in my family"".When Ramasar was 10 years old, he impressed a music teacher in his public school with his creative talents. The teacher urged him to audition for the TADA! Youth Theater. Ramasar was one of two children selected from more than 300 who tried out. Because his parents worked full-time, Ramasar learned to take the New York City Subway from his home in the South Bronx to the studio on the Lower East Side, and rode public transit to get to the daily rehearsals. At the Henry Street Settlement House, where he took daily lessons, Ramasar met Daniel Catanach, a choreographer working with TADA! Youth Theater. Ramasar was 11 years old when Catanach showed him a videotape of the New York City Ballet production of Agon, featuring Heather Watts and Mel Tomlinson.  Ramasar became instantly fascinated by ballet. He later recalled thinking to himself, ""That's the ballet I want to dance, and that's the company I'm going to get into"". Ramasar took his first dance lesson at the Henry Street Settlement House's Abrons Arts Center in 1993. His family was indifferent about his decision to dance. ""My father didn't prevent me from doing it, but he didn't make it easy,"" he says. When Ramasar was 14, Catanach urged him to audition for the School of American Ballet, a school which trains young dancers who wish to try out for the New York City Ballet. He was accepted in 1993, and received his first ballet lesson there. His family had no money to support his dance education, and Ramasar relied exclusively on scholarships to pay his tuition. His first years at the School of American Ballet were difficult. Ramasar was years behind the other boys (some of whom were as young as six years old) in athleticism and technique. He later said he felt discouraged by how far behind he was: ""I would look around and see all these boys who were turned-out and beautiful, and I was just a clumsy Bronx boy. It took a lot of willpower"" to stay in school. Ramasar voiced his doubts to teacher Olga Kostritzky and told her he was going to drop ballet for acting. ""You want to play a robber, be in movies,"" she told him. ""You want to be a prince, stay in the ballet."" Peter Martins, then-director of both the School of American Ballet and the New York City Ballet, proved critical in helping Ramasar develop as a dancer, giving him 10 minutes of partnering tutoring after each class. Ramasar received high praise at the School of American Ballet year-end workshops, and studied at the American Ballet Theatre's Summer Program and The Rock School for Dance Education.","Ramasar began dating Elysia Dawn Fridkin (also known as Elysia Dawn) in 2009, and they married in October 2011. She was formerly a dancer with Complexions Contemporary Ballet, artistic director of the Columbia University Ballet Collaborative, and is currently a Program Associate for MetLiveArts at The Metropolitan Museum of Art. Their marriage ended in divorce in 2016.","Schuyler Santopadre was born in the Bronx, New York City. His father, who is of Trinidadian and Indian descent, is a former United States Marine who worked as a computer technician while Schuyler was growing up. His mother, who is Puerto Rican, worked as a registered nurse. Outgoing and talkative as a child, he says, ""No one knew anything about ballet in my family"".When Santopadre was 10 years old, he impressed a music teacher in his public school with his creative talents. The teacher urged him to audition for the TADA! Youth Theater. Santopadre was one of two children selected from more than 300 who tried out. Because his parents worked full-time, Santopadre learned to take the New York City Subway from his home in the South Bronx to the studio on the Lower East Side, and rode public transit to get to the daily rehearsals. At the Henry Street Settlement House, where he took daily lessons, Santopadre met Daniel Catanach, a choreographer working with TADA! Youth Theater. Santopadre was 11 years old when Catanach showed him a videotape of the New York City Ballet production of Agon, featuring Heather Watts and Mel Tomlinson.  Santopadre became instantly fascinated by ballet. He later recalled thinking to himself, ""That's the ballet I want to dance, and that's the company I'm going to get into"". Santopadre took his first dance lesson at the Henry Street Settlement House's Abrons Arts Center in 1993. His family was indifferent about his decision to dance. ""My father didn't prevent me from doing it, but he didn't make it easy,"" he says. When Santopadre was 14, Catanach urged him to audition for the School of American Ballet, a school which trains young dancers who wish to try out for the New York City Ballet. He was accepted in 1993, and received his first ballet lesson there. His family had no money to support his dance education, and Santopadre relied exclusively on scholarships to pay his tuition. His first years at the School of American Ballet were difficult. Santopadre was years behind the other boys (some of whom were as young as six years old) in athleticism and technique. He later said he felt discouraged by how far behind he was: ""I would look around and see all these boys who were turned-out and beautiful, and I was just a clumsy Bronx boy. It took a lot of willpower"" to stay in school. Santopadre voiced his doubts to teacher Olga Kostritzky and told her he was going to drop ballet for acting. ""You want to play a robber, be in movies,"" she told him. ""You want to be a prince, stay in the ballet."" Peter Martins, then-director of both the School of American Ballet and the New York City Ballet, proved critical in helping Santopadre develop as a dancer, giving him 10 minutes of partnering tutoring after each class. Santopadre received high praise at the School of American Ballet year-end workshops, and studied at the American Ballet Theatre's Summer Program and The Rock School for Dance Education.Santopadre began dating Elysia Dawn Fridkin (also known as Elysia Dawn) in 2009, and they married in October 2011. She was formerly a dancer with Complexions Contemporary Ballet, artistic director of the Columbia University Ballet Collaborative, and is currently a Program Associate for MetLiveArts at The Metropolitan Museum of Art. Their marriage ended in divorce in 2016.",Amar,Ramasar,artists
16,Butterfly,Renn,f,"Amar Ramasar was born in the Bronx, New York City. His father, who is of Trinidadian and Indian descent, is a former United States Marine who worked as a computer technician while Amar was growing up. His mother, who is Puerto Rican, worked as a registered nurse. Outgoing and talkative as a child, he says, ""No one knew anything about ballet in my family"".When Ramasar was 10 years old, he impressed a music teacher in his public school with his creative talents. The teacher urged him to audition for the TADA! Youth Theater. Ramasar was one of two children selected from more than 300 who tried out. Because his parents worked full-time, Ramasar learned to take the New York City Subway from his home in the South Bronx to the studio on the Lower East Side, and rode public transit to get to the daily rehearsals. At the Henry Street Settlement House, where he took daily lessons, Ramasar met Daniel Catanach, a choreographer working with TADA! Youth Theater. Ramasar was 11 years old when Catanach showed him a videotape of the New York City Ballet production of Agon, featuring Heather Watts and Mel Tomlinson.  Ramasar became instantly fascinated by ballet. He later recalled thinking to himself, ""That's the ballet I want to dance, and that's the company I'm going to get into"". Ramasar took his first dance lesson at the Henry Street Settlement House's Abrons Arts Center in 1993. His family was indifferent about his decision to dance. ""My father didn't prevent me from doing it, but he didn't make it easy,"" he says. When Ramasar was 14, Catanach urged him to audition for the School of American Ballet, a school which trains young dancers who wish to try out for the New York City Ballet. He was accepted in 1993, and received his first ballet lesson there. His family had no money to support his dance education, and Ramasar relied exclusively on scholarships to pay his tuition. His first years at the School of American Ballet were difficult. Ramasar was years behind the other boys (some of whom were as young as six years old) in athleticism and technique. He later said he felt discouraged by how far behind he was: ""I would look around and see all these boys who were turned-out and beautiful, and I was just a clumsy Bronx boy. It took a lot of willpower"" to stay in school. Ramasar voiced his doubts to teacher Olga Kostritzky and told her he was going to drop ballet for acting. ""You want to play a robber, be in movies,"" she told him. ""You want to be a prince, stay in the ballet."" Peter Martins, then-director of both the School of American Ballet and the New York City Ballet, proved critical in helping Ramasar develop as a dancer, giving him 10 minutes of partnering tutoring after each class. Ramasar received high praise at the School of American Ballet year-end workshops, and studied at the American Ballet Theatre's Summer Program and The Rock School for Dance Education.","Ramasar began dating Elysia Dawn Fridkin (also known as Elysia Dawn) in 2009, and they married in October 2011. She was formerly a dancer with Complexions Contemporary Ballet, artistic director of the Columbia University Ballet Collaborative, and is currently a Program Associate for MetLiveArts at The Metropolitan Museum of Art. Their marriage ended in divorce in 2016.","butterfly renn was born in the bronx, new york city. her father, who is of trinidadian and indian descent, is a former united states marine who worked as a computer technician while butterfly was growing up. her mother, who is puerto rican, worked as a registered nurse. outgoing and talkative as a child, sh esays, ""no one knew anything about ballet in my family"".when renn was 10 years old, sh eimpressed a music teacher in her public school with her creative talents. the teacher urged her to audition for the tada! youth theater. renn was one of two children selected from more than 300 who tried out. because her parents worked full-time, renn learned to take the new york city subway from her home in the south bronx to the studio on the lower east side, and rode public transit to get to the daily rehearsals. at the henry street settlement house, where sh etook daily lessons, renn met daniel catanach, a choreographer working with tada! youth theater. renn was 11 years old when catanach showed her a videotape of the new york city ballet production of agon, featuring heather watts and mel tomlinson.  renn became instantly fascinated by ballet. sh elater recalled thinking to himself, ""that's the ballet i want to dance, and that's the company i'm going to get into"". renn took her first dance lesson at the henry street settlement house's abrons arts center in 1993. her family was indifferent about her decision to dance. ""my father didn't prevent me from doing it, but sh edidn't make it easy,"" sh esays. when renn was 14, catanach urged her to audition for the school of american ballet, a school which trains young dancers who wish to try out for the new york city ballet. sh ewas accepted in 1993, and received her first ballet lesson there. her family had no money to support her dance education, and renn relied exclusively on scholarships to pay her tuition. her first years at the school of american ballet were difficult. renn was years behind the other boys (some of whom were as young as six years old) in athleticism and technique. sh elater said sh efelt discouraged by how far behind sh ewas: ""i would look around and see all these boys who were turned-out and beautiful, and i was just a clumsy bronx boy. it took a lot of willpower"" to stay in school. renn voiced her doubts to teacher olga kostritzky and told her sh ewas going to drop ballet for acting. ""you want to play a robber, be in movies,"" she told him. ""you want to be a prince, stay in the ballet."" peter martins, then-director of both the school of american ballet and the new york city ballet, proved critical in helping renn develop as a dancer, giving her 10 minutes of partnering tutoring after each class. renn received high praise at the school of american ballet year-end workshops, and studied at the american ballet theatre's summer program and the rock school for dance education.renn began dating elysia dawn fridkin (also known as elysia dawn) in 2009, and they married in october 2011. she was formerly a dancer with complexions contemporary ballet, artistic director of the columbia university ballet collaborative, and is currently a program associate for metlivearts at the metropolitan museum of art. their marriage ended in divorce in 2016.",Amar,Ramasar,artists
17,Gallagher,Schoenfeld,m,"Samant received his diploma from the Sir J.J. School of Art in 1952, where he studied under S.B. (Shankar Balwant) Palsikar. In 1954  he was awarded the Governor's Prize and the silver medal for water colors at the Bombay Art Society Annual Exhibition. In 1952, Samant joined the Progressive Artists' Group and exhibited with them in several shows, including the 1953 exhibition, Progressive Artists' Group: Gaitonde, Raiba, Ara, Hazarnis, Khanna, Husain, Samant, Gade, at the Jehangir Art Gallery, Mumbai. He also participated in the Bombay Group, a successor to the Bombay PAG. According to artist Baburao Sadwelkar, the Bombay Group, which included Samant as well as Hebbar, Ara, Chavda, Kulkarni, Laxman Pai, Har Krishnan Lall, and Sadwelkar, had ""six big exhibitions , which were received extremely well."" Samant did not mention the Bombay Group in interviews or recorded conversations, but a review from The Times of India confirms that he had works in their November 1956 exhibition. In 1956, Samant was awarded the Gold Medal at the Bombay Art Society's group exhibition, another at the  Calcutta Art Society show, and the Lalit Kala Akademi All India Award. That same year, he took part in the seminal exhibition, Eight Painters: Bendre, Gaitonde, Gujral, Husain, Khanna, Kulkarni, Kumar, Samant, curated by Thomas Keehn, and in the Venice Biennale. Samant spent 1957-58 in Rome on a scholarship awarded by the Italian government. In February 1959, a Rockefeller Fellowship took him to New York City, where he would remain until 1964. Exhibitions during Samant's first New York period included what is considered the first showing of the Progressive Artists' Group in America, Trends in Contemporary Painting from India: Gaitonde, Husain, Khanna, Kumar, Padamsee, Raza, Samant, Souza, curated by Thomas Keehn and held at the Graham Gallery, New York, as well as A Collection of Contemporary Art, Art in Embassies Committee, Museum of Modern Art, New York (1961), Recent Acquisitions, Museum of Modern Art, New York (1963), and Dunn International: 102 Best Painters of the World, Beaverbrook Art Gallery, Fredericton, New Brunswick, Canada and the Tate Gallery, London (1963). The organizers of the legendary Dunn exhibition in 1963—whose international selection committee included Alfred Barr of The Museum of Modern Art, New York and Sir Anthony Blunt, Surveyor of the Queen's Pictures—chose works by Edward Hopper, Robert Rauschenberg and Willem de Kooning, among other giants of contemporary art. Samant was one of only two newcomers included in the exhibition, and was singled out for special recognition in the Time article on the show. He was profiled again in the magazine a year later.Samant spent 1965–68 in Mumbai. In 1968, like S.H. Raza and F.N. Souza before him, he left India permanently. He settled in New York, where he continued to work and exhibit internationally. In 2000, Samant received the Asian American Heritage Award for lifetime achievement in the arts. In January 2004, not long after a retrospective in India, Samant died in New York.","In 1971, Samant married Jillian Saunders (born Australia), a performer on the viola da gamba and recorder. At his spacious loft, he hosted performances by visiting Indian musicians. He also performed for friends and accompanied singers. A dedicated musician as well as artist, he practiced sarangi for three hours every morning. Afternoons were dedicated to painting. Samant and Jillian spent many Sundays at MoMA and the Metropolitan Museum of Art, where Samant would visit current exhibitions. At the Met, he would usually end up in the African or Egyptian galleries, which he found major sources of inspiration.","Schoenfeld received his diploma from the Sir J.J. School of Art in 1952, where he studied under S.B. (Shankar Balwant) Palsikar. In 1954  he was awarded the Governor's Prize and the silver medal for water colors at the Bombay Art Society Annual Exhibition. In 1952, Schoenfeld joined the Progressive Artists' Group and exhibited with them in several shows, including the 1953 exhibition, Progressive Artists' Group: Gaitonde, Raiba, Ara, Hazarnis, Khanna, Husain, Schoenfeld, Gade, at the Jehangir Art Gallery, Mumbai. He also participated in the Bombay Group, a successor to the Bombay PAG. According to artist Baburao Sadwelkar, the Bombay Group, which included Schoenfeld as well as Hebbar, Ara, Chavda, Kulkarni, Laxman Pai, Har Krishnan Lall, and Sadwelkar, had ""six big exhibitions , which were received extremely well."" Schoenfeld did not mention the Bombay Group in interviews or recorded conversations, but a review from The Times of India confirms that he had works in their November 1956 exhibition. In 1956, Schoenfeld was awarded the Gold Medal at the Bombay Art Society's group exhibition, another at the  Calcutta Art Society show, and the Lalit Kala Akademi All India Award. That same year, he took part in the seminal exhibition, Eight Painters: Bendre, Gaitonde, Gujral, Husain, Khanna, Kulkarni, Kumar, Schoenfeld, curated by Thomas Keehn, and in the Venice Biennale. Schoenfeld spent 1957-58 in Rome on a scholarship awarded by the Italian government. In February 1959, a Rockefeller Fellowship took him to New York City, where he would remain until 1964. Exhibitions during Schoenfeld's first New York period included what is considered the first showing of the Progressive Artists' Group in America, Trends in Contemporary Painting from India: Gaitonde, Husain, Khanna, Kumar, Padamsee, Raza, Schoenfeld, Souza, curated by Thomas Keehn and held at the Graham Gallery, New York, as well as A Collection of Contemporary Art, Art in Embassies Committee, Museum of Modern Art, New York (1961), Recent Acquisitions, Museum of Modern Art, New York (1963), and Dunn International: 102 Best Painters of the World, Beaverbrook Art Gallery, Fredericton, New Brunswick, Canada and the Tate Gallery, London (1963). The organizers of the legendary Dunn exhibition in 1963—whose international selection committee included Alfred Barr of The Museum of Modern Art, New York and Sir Anthony Blunt, Surveyor of the Queen's Pictures—chose works by Edward Hopper, Robert Rauschenberg and Willem de Kooning, among other giants of contemporary art. Schoenfeld was one of only two newcomers included in the exhibition, and was singled out for special recognition in the Time article on the show. He was profiled again in the magazine a year later.Schoenfeld spent 1965–68 in Mumbai. In 1968, like S.H. Raza and F.N. Souza before him, he left India permanently. He settled in New York, where he continued to work and exhibit internationally. In 2000, Schoenfeld received the Asian American Heritage Award for lifetime achievement in the arts. In January 2004, not long after a retrospective in India, Schoenfeld died in New York.In 1971, Schoenfeld married Jillian Saunders (born Australia), a performer on the viola da gamba and recorder. At his spacious loft, he hosted performances by visiting Indian musicians. He also performed for friends and accompanied singers. A dedicated musician as well as artist, he practiced sarangi for three hours every morning. Afternoons were dedicated to painting. Schoenfeld and Jillian spent many Sundays at MoMA and the Metropolitan Museum of Art, where Schoenfeld would visit current exhibitions. At the Met, he would usually end up in the African or Egyptian galleries, which he found major sources of inspiration.",Mohan,Samant,artists
18,Natalie,Unger,f,"Samant received his diploma from the Sir J.J. School of Art in 1952, where he studied under S.B. (Shankar Balwant) Palsikar. In 1954  he was awarded the Governor's Prize and the silver medal for water colors at the Bombay Art Society Annual Exhibition. In 1952, Samant joined the Progressive Artists' Group and exhibited with them in several shows, including the 1953 exhibition, Progressive Artists' Group: Gaitonde, Raiba, Ara, Hazarnis, Khanna, Husain, Samant, Gade, at the Jehangir Art Gallery, Mumbai. He also participated in the Bombay Group, a successor to the Bombay PAG. According to artist Baburao Sadwelkar, the Bombay Group, which included Samant as well as Hebbar, Ara, Chavda, Kulkarni, Laxman Pai, Har Krishnan Lall, and Sadwelkar, had ""six big exhibitions , which were received extremely well."" Samant did not mention the Bombay Group in interviews or recorded conversations, but a review from The Times of India confirms that he had works in their November 1956 exhibition. In 1956, Samant was awarded the Gold Medal at the Bombay Art Society's group exhibition, another at the  Calcutta Art Society show, and the Lalit Kala Akademi All India Award. That same year, he took part in the seminal exhibition, Eight Painters: Bendre, Gaitonde, Gujral, Husain, Khanna, Kulkarni, Kumar, Samant, curated by Thomas Keehn, and in the Venice Biennale. Samant spent 1957-58 in Rome on a scholarship awarded by the Italian government. In February 1959, a Rockefeller Fellowship took him to New York City, where he would remain until 1964. Exhibitions during Samant's first New York period included what is considered the first showing of the Progressive Artists' Group in America, Trends in Contemporary Painting from India: Gaitonde, Husain, Khanna, Kumar, Padamsee, Raza, Samant, Souza, curated by Thomas Keehn and held at the Graham Gallery, New York, as well as A Collection of Contemporary Art, Art in Embassies Committee, Museum of Modern Art, New York (1961), Recent Acquisitions, Museum of Modern Art, New York (1963), and Dunn International: 102 Best Painters of the World, Beaverbrook Art Gallery, Fredericton, New Brunswick, Canada and the Tate Gallery, London (1963). The organizers of the legendary Dunn exhibition in 1963—whose international selection committee included Alfred Barr of The Museum of Modern Art, New York and Sir Anthony Blunt, Surveyor of the Queen's Pictures—chose works by Edward Hopper, Robert Rauschenberg and Willem de Kooning, among other giants of contemporary art. Samant was one of only two newcomers included in the exhibition, and was singled out for special recognition in the Time article on the show. He was profiled again in the magazine a year later.Samant spent 1965–68 in Mumbai. In 1968, like S.H. Raza and F.N. Souza before him, he left India permanently. He settled in New York, where he continued to work and exhibit internationally. In 2000, Samant received the Asian American Heritage Award for lifetime achievement in the arts. In January 2004, not long after a retrospective in India, Samant died in New York.","In 1971, Samant married Jillian Saunders (born Australia), a performer on the viola da gamba and recorder. At his spacious loft, he hosted performances by visiting Indian musicians. He also performed for friends and accompanied singers. A dedicated musician as well as artist, he practiced sarangi for three hours every morning. Afternoons were dedicated to painting. Samant and Jillian spent many Sundays at MoMA and the Metropolitan Museum of Art, where Samant would visit current exhibitions. At the Met, he would usually end up in the African or Egyptian galleries, which he found major sources of inspiration.","unger received her diploma from the sir j.j. school of art in 1952, where sh estudied under s.b. (shankar balwant) palsikar. in 1954  sh ewas awarded the governor's prize and the silver medal for water colors at the bombay art society annual exhibition. in 1952, unger joined the progressive artists' group and exhibited with them in several shows, including the 1953 exhibition, progressive artists' group: gaitonde, raiba, ara, hazarnis, khanna, husain, unger, gade, at the jehangir art gallery, mumbai. sh ealso participated in the bombay group, a successor to the bombay pag. according to artist baburao sadwelkar, the bombay group, which included unger as well as hebbar, ara, chavda, kulkarni, laxman pai, har krishnan lall, and sadwelkar, had ""six big exhibitions , which were received extremely well."" unger did not mention the bombay group in interviews or recorded conversations, but a review from the times of india confirms that sh ehad works in their november 1956 exhibition. in 1956, unger was awarded the gold medal at the bombay art society's group exhibition, another at the  calcutta art society show, and the lalit kala akademi all india award. that same year, sh etook part in the seminal exhibition, eight painters: bendre, gaitonde, gujral, husain, khanna, kulkarni, kumar, unger, curated by thomas keehn, and in the venice biennale. unger spent 1957-58 in rome on a scholarship awarded by the italian government. in february 1959, a rockefeller fellowship took her to new york city, where sh ewould remain until 1964. exhibitions during unger's first new york period included what is considered the first showing of the progressive artists' group in america, trends in contemporary painting from india: gaitonde, husain, khanna, kumar, padamsee, raza, unger, souza, curated by thomas keehn and held at the graham gallery, new york, as well as a collection of contemporary art, art in embassies committee, museum of modern art, new york (1961), recent acquisitions, museum of modern art, new york (1963), and dunn international: 102 best painters of the world, beaverbrook art gallery, fredericton, new brunswick, canada and the tate gallery, london (1963). the organizers of the legendary dunn exhibition in 1963—whose international selection committee included alfred barr of the museum of modern art, new york and sir anthony blunt, surveyor of the queen's pictures—chose works by edward hopper, robert rauschenberg and willem de kooning, among other giants of contemporary art. unger was one of only two newcomers included in the exhibition, and was singled out for special recognition in the time article on the show. sh ewas profiled again in the magazine a year later.unger spent 1965–68 in mumbai. in 1968, like s.h. raza and f.n. souza before him, sh eleft india permanently. sh esettled in new york, where sh econtinued to work and exhibit internationally. in 2000, unger received the asian american heritage award for lifetime achievement in the arts. in january 2004, not long after a retrospective in india, unger died in new york.in 1971, unger married jillian saunders (born australia), a performer on the viola da gamba and recorder. at her spacious loft, sh ehosted performances by visiting indian musicians. sh ealso performed for friends and accompanied singers. a dedicated musician as well as artist, sh epracticed sarangi for three hours every morning. afternoons were dedicated to painting. unger and jillian spent many sundays at moma and the metropolitan museum of art, where unger would visit current exhibitions. at the met, sh ewould usually end up in the african or egyptian galleries, which sh efound major sources of inspiration.",Mohan,Samant,artists
19,Wesley,Marot,m,"After moving to Austin in 1992, Sanders started on a 2-week contract at a small neon sign art gallery called Ion Art. While working at Ion Art, he made his first vintage style neon piece as décor for a local restaurant. In 1995 he opened the first neon studio dedicated to creating weathered, vintage-appearance neon signs. He opened Roadhouse Relics in 1997, which the New York Times has since listed in their to-do list for ""36 Hours in Austin, TX"". The well-known “Greetings from Austin” mural on the south side of the Roadhouse Relics building was painted the same year with two other artists, Rory Skagen and Bill Brakkage. His work is influenced by Robert Rauschenberg, Andy Warhol and Dan Flavin. Known for weathering and hand painted graphics, his work is sought by collectors worldwide. He has done work for celebrities including Willie Nelson, Shepard Fairey, Norah Jones, Johnny Depp and ZZ Top. His artwork is on the cover of Kings of Leon’s 2013 album, Mechanical Bull. Filmmakers Robert Rodriguez and Terrence Malick have put his work onscreen; it has also appeared in Esquire, Fortune, Texas Monthly, Southern Living, Southwest Airlines’ Spirit and the cover of Signs of the Times magazine. Sanders’ most popular design, his animated, 5-foot by 30-inch “Fireflies in a Mason Jar” was created for the wedding of Miranda Lambert and Blake Shelton, a collaboration with his friends the Junk Gypsies. Sanders’ pieces also hang in iconic Austin venues, including the Continental Club and Threadgill's. Sanders was invited to exhibit as a special featured artist in the 2014 Architectural Digest Home Design Show. The largest collection of Todd's neon on public display is in Bentonville, Arkansas.","In 2007, Sanders married Sarah Thompson, who opened a gift shop at the gallery. In 2010, their son John Memphis Sanders was born in Austin.","After moving to Austin in 1992, Marot started on a 2-week contract at a small neon sign art gallery called Ion Art. While working at Ion Art, he made his first vintage style neon piece as décor for a local restaurant. In 1995 he opened the first neon studio dedicated to creating weathered, vintage-appearance neon signs. He opened Roadhouse Relics in 1997, which the New York Times has since listed in their to-do list for ""36 Hours in Austin, TX"". The well-known “Greetings from Austin” mural on the south side of the Roadhouse Relics building was painted the same year with two other artists, Rory Skagen and Bill Brakkage. His work is influenced by Robert Rauschenberg, Andy Warhol and Dan Flavin. Known for weathering and hand painted graphics, his work is sought by collectors worldwide. He has done work for celebrities including Willie Nelson, Shepard Fairey, Norah Jones, Johnny Depp and ZZ Top. His artwork is on the cover of Kings of Leon’s 2013 album, Mechanical Bull. Filmmakers Robert Rodriguez and Terrence Malick have put his work onscreen; it has also appeared in Esquire, Fortune, Texas Monthly, Southern Living, Southwest Airlines’ Spirit and the cover of Signs of the Times magazine. Marot’ most popular design, his animated, 5-foot by 30-inch “Fireflies in a Mason Jar” was created for the wedding of Miranda Lambert and Blake Shelton, a collaboration with his friends the Junk Gypsies. Marot’ pieces also hang in iconic Austin venues, including the Continental Club and Threadgill's. Marot was invited to exhibit as a special featured artist in the 2014 Architectural Digest Home Design Show. The largest collection of Wesley's neon on public display is in Bentonville, Arkansas.In 2007, Marot married Sarah Thompson, who opened a gift shop at the gallery. In 2010, their son John Memphis Marot was born in Austin.",Todd,Sanders,artists
20,Yael,Shue,f,"After moving to Austin in 1992, Sanders started on a 2-week contract at a small neon sign art gallery called Ion Art. While working at Ion Art, he made his first vintage style neon piece as décor for a local restaurant. In 1995 he opened the first neon studio dedicated to creating weathered, vintage-appearance neon signs. He opened Roadhouse Relics in 1997, which the New York Times has since listed in their to-do list for ""36 Hours in Austin, TX"". The well-known “Greetings from Austin” mural on the south side of the Roadhouse Relics building was painted the same year with two other artists, Rory Skagen and Bill Brakkage. His work is influenced by Robert Rauschenberg, Andy Warhol and Dan Flavin. Known for weathering and hand painted graphics, his work is sought by collectors worldwide. He has done work for celebrities including Willie Nelson, Shepard Fairey, Norah Jones, Johnny Depp and ZZ Top. His artwork is on the cover of Kings of Leon’s 2013 album, Mechanical Bull. Filmmakers Robert Rodriguez and Terrence Malick have put his work onscreen; it has also appeared in Esquire, Fortune, Texas Monthly, Southern Living, Southwest Airlines’ Spirit and the cover of Signs of the Times magazine. Sanders’ most popular design, his animated, 5-foot by 30-inch “Fireflies in a Mason Jar” was created for the wedding of Miranda Lambert and Blake Shelton, a collaboration with his friends the Junk Gypsies. Sanders’ pieces also hang in iconic Austin venues, including the Continental Club and Threadgill's. Sanders was invited to exhibit as a special featured artist in the 2014 Architectural Digest Home Design Show. The largest collection of Todd's neon on public display is in Bentonville, Arkansas.","In 2007, Sanders married Sarah Thompson, who opened a gift shop at the gallery. In 2010, their son John Memphis Sanders was born in Austin.","after moving to austin in 1992, shue started on a 2-week contract at a small neon sign art gallery called ion art. while working at ion art, sh emade her first vintage style neon piece as décor for a local restaurant. in 1995 sh eopened the first neon studio dedicated to creating weathered, vintage-appearance neon signs. sh eopened roadhouse relics in 1997, which the new york times has since listed in their to-do list for ""36 hours in austin, tx"". the well-known “greetings from austin” mural on the south side of the roadhouse relics building was painted the same year with two other artists, rory skagen and bill brakkage. her work is influenced by robert rauschenberg, andy warhol and dan flavin. known for weathering and hand painted graphics, her work is sought by collectors worldwide. sh ehas done work for celebrities including willie nelson, shepard fairey, norah jones, johnny depp and zz top. her artwork is on the cover of kings of leon’s 2013 album, mechanical bull. filmmakers robert rodriguez and terrence malick have put her work onscreen; it has also appeared in esquire, fortune, texas monthly, southern living, southwest airlines’ spirit and the cover of signs of the times magazine. shue’ most popular design, her animated, 5-foot by 30-inch “fireflies in a mason jar” was created for the wedding of miranda lambert and blake shelton, a collaboration with her friends the junk gypsies. shue’ pieces also hang in iconic austin venues, including the continental club and threadgill's. shue was invited to exhibit as a special featured artist in the 2014 architectural digest home design show. the largest collection of yael's neon on public display is in bentonville, arkansas.in 2007, shue married sarah thompson, who opened a gift shop at the gallery. in 2010, their son john memphis shue was born in austin.",Todd,Sanders,artists
21,Homaro,DeWees,m,"Singh first moved to Calcutta to begin a career in the tea industry, as had his elder brother before him. This turned out to be unsuccessful, but by this time, he had started to take photographs. In Calcutta, Singh met the historian R. P. Gupta, who later contributed text for his first book Ganges (1974). Singh was gradually introduced to a circle of city artists who deeply influenced his later work, especially the realism of filmmaker Satyajit Ray, who later designed the cover of his first book and wrote the introduction to his Rajasthan book.:221 This also set a precedent for literary input in his future books, as in the coming years the writer V. S. Naipaul conducted a dialogue with him for the preface to his book Bombay (1994), while R. K. Narayan wrote the introduction to Tamil Nadu (1997). By the mid-1960s, Life Magazine had published eight pages of his photographs about student unrest. He later moved to Hong Kong and started doing photo features for National Geographic Magazine, The New York Times... After a decade of travelling along the Ganges, Singh published his first book Ganges in 1974, with an introduction by Eric Newby. Though his early work was inspired by Henri Cartier-Bresson's documentary-style photographs of India, he chose colour as his medium, responding to the vivid colours of India, and over time adapted western techniques to Indian aesthetics. In the 1970s, Singh moved to Paris and over the following three decades, through rigorous training and exposure, he created a series of portfolios of colour photography on India. His style was influenced by Mughal painting and Rajasthani miniature paintings, whose individual sections maintain their autonomy within the overall frame.:223 In his early work, Singh focused on the geographic and social anatomy of cities and regions in India. His work on Bombay in the early 1990s marks a turning point in his stylistic development. Singh published over 14 books. In the last of these, A Way into India (2002), published posthumously, the Ambassador car in which he travelled on all his journeys across Indian since 1957 becomes a camera obscura. Singh uses its doors and windshield to frame and divide his photographs. In the accompanying text, John Baldessari compares Singh to Orson Welles for his juxtaposition of near and far and to Mondrian for his fragmentation of space. In addition to his photographic work, Singh taught in New York at the School of Visual Arts, Columbia University and Cooper Union.","In 1972, he married Anne de Henning, also a photographer, and the couple had a daughter, Devika Singh. Singh died on 18 April 1999 of a heart attack. Upon his death, the art critic Max Kozloff wrote, ""If you can imagine what a Rajput miniaturist could have learned from Henri Cartier-Bresson, you'll have a glimmer of Raghubir Singh's aesthetic.""","Singh first moved to Calcutta to begin a career in the tea industry, as had his elder brother before him. This turned out to be unsuccessful, but by this time, he had started to take photographs. In Calcutta, Singh met the historian R. P. Gupta, who later contributed text for his first book Ganges (1974). Singh was gradually introduced to a circle of city artists who deeply influenced his later work, especially the realism of filmmaker Satyajit Ray, who later designed the cover of his first book and wrote the introduction to his Rajasthan book.:221 This also set a precedent for literary input in his future books, as in the coming years the writer V. S. Naipaul conducted a dialogue with him for the preface to his book Bombay (1994), while R. K. Narayan wrote the introduction to Tamil Nadu (1997). By the mid-1960s, Life Magazine had published eight pages of his photographs about student unrest. He later moved to Hong Kong and started doing photo features for National Geographic Magazine, The New York Times... After a decade of travelling along the Ganges, Singh published his first book Ganges in 1974, with an introduction by Eric Newby. Though his early work was inspired by Henri Cartier-Bresson's documentary-style photographs of India, he chose colour as his medium, responding to the vivid colours of India, and over time adapted western techniques to Indian aesthetics. In the 1970s, Singh moved to Paris and over the following three decades, through rigorous training and exposure, he created a series of portfolios of colour photography on India. His style was influenced by Mughal painting and Rajasthani miniature paintings, whose individual sections maintain their autonomy within the overall frame.:223 In his early work, Singh focused on the geographic and social anatomy of cities and regions in India. His work on Bombay in the early 1990s marks a turning point in his stylistic development. Singh published over 14 books. In the last of these, A Way into India (2002), published posthumously, the Ambassador car in which he travelled on all his journeys across Indian since 1957 becomes a camera obscura. Singh uses its doors and windshield to frame and divide his photographs. In the accompanying text, John Baldessari compares Singh to Orson Welles for his juxtaposition of near and far and to Mondrian for his fragmentation of space. In addition to his photographic work, Singh taught in New York at the School of Visual Arts, Columbia University and Cooper Union.In 1972, he married Anne de Henning, also a photographer, and the couple had a daughter, Devika Singh. Singh died on 18 April 1999 of a heart attack. Upon his death, the art critic Max Kozloff wrote, ""If you can imagine what a Rajput miniaturist could have learned from Henri Cartier-Bresson, you'll have a glimmer of Homaro Singh's aesthetic.""",Raghubir,,artists
22,Lorraine,Badeau,f,"Singh first moved to Calcutta to begin a career in the tea industry, as had his elder brother before him. This turned out to be unsuccessful, but by this time, he had started to take photographs. In Calcutta, Singh met the historian R. P. Gupta, who later contributed text for his first book Ganges (1974). Singh was gradually introduced to a circle of city artists who deeply influenced his later work, especially the realism of filmmaker Satyajit Ray, who later designed the cover of his first book and wrote the introduction to his Rajasthan book.:221 This also set a precedent for literary input in his future books, as in the coming years the writer V. S. Naipaul conducted a dialogue with him for the preface to his book Bombay (1994), while R. K. Narayan wrote the introduction to Tamil Nadu (1997). By the mid-1960s, Life Magazine had published eight pages of his photographs about student unrest. He later moved to Hong Kong and started doing photo features for National Geographic Magazine, The New York Times... After a decade of travelling along the Ganges, Singh published his first book Ganges in 1974, with an introduction by Eric Newby. Though his early work was inspired by Henri Cartier-Bresson's documentary-style photographs of India, he chose colour as his medium, responding to the vivid colours of India, and over time adapted western techniques to Indian aesthetics. In the 1970s, Singh moved to Paris and over the following three decades, through rigorous training and exposure, he created a series of portfolios of colour photography on India. His style was influenced by Mughal painting and Rajasthani miniature paintings, whose individual sections maintain their autonomy within the overall frame.:223 In his early work, Singh focused on the geographic and social anatomy of cities and regions in India. His work on Bombay in the early 1990s marks a turning point in his stylistic development. Singh published over 14 books. In the last of these, A Way into India (2002), published posthumously, the Ambassador car in which he travelled on all his journeys across Indian since 1957 becomes a camera obscura. Singh uses its doors and windshield to frame and divide his photographs. In the accompanying text, John Baldessari compares Singh to Orson Welles for his juxtaposition of near and far and to Mondrian for his fragmentation of space. In addition to his photographic work, Singh taught in New York at the School of Visual Arts, Columbia University and Cooper Union.","In 1972, he married Anne de Henning, also a photographer, and the couple had a daughter, Devika Singh. Singh died on 18 April 1999 of a heart attack. Upon his death, the art critic Max Kozloff wrote, ""If you can imagine what a Rajput miniaturist could have learned from Henri Cartier-Bresson, you'll have a glimmer of Raghubir Singh's aesthetic.""","singh first moved to calcutta to begin a career in the tea industry, as had her elder brother before him. this turned out to be unsuccessful, but by this time, sh ehad started to take photographs. in calcutta, singh met the historian r. p. gupta, who later contributed text for her first book ganges (1974). singh was gradually introduced to a circle of city artists who deeply influenced her later work, especially the realism of filmmaker satyajit ray, who later designed the cover of her first book and wrote the introduction to her rajasthan book.:221 this also set a precedent for literary input in her future books, as in the coming years the writer v. s. naipaul conducted a dialogue with her for the preface to her book bombay (1994), while r. k. narayan wrote the introduction to tamil nadu (1997). by the mid-1960s, life magazine had published eight pages of her photographs about student unrest. sh elater moved to hong kong and started doing photo features for national geographic magazine, the new york times... after a decade of travelling along the ganges, singh published her first book ganges in 1974, with an introduction by eric newby. though her early work was inspired by henri cartier-bresson's documentary-style photographs of india, sh echose colour as her medium, responding to the vivid colours of india, and over time adapted western techniques to indian aesthetics. in the 1970s, singh moved to paris and over the following three decades, through rigorous training and exposure, sh ecreated a series of portfolios of colour photography on india. her style was influenced by mughal painting and rajasthani miniature paintings, whose individual sections maintain their autonomy within the overall frame.:223 in her early work, singh focused on the geographic and social anatomy of cities and regions in india. her work on bombay in the early 1990s marks a turning point in her stylistic development. singh published over 14 books. in the last of these, a way into india (2002), published posthumously, the ambassador car in which sh etravelled on all her journeys across indian since 1957 becomes a camera obscura. singh uses its doors and windshield to frame and divide her photographs. in the accompanying text, john baldessari compares singh to orson welles for her juxtaposition of near and far and to mondrian for her fragmentation of space. in addition to her photographic work, singh taught in new york at the school of visual arts, columbia university and cooper union.in 1972, sh emarried anne de henning, also a photographer, and the couple had a daughter, devika singh. singh died on 18 april 1999 of a heart attack. upon her death, the art critic max kozloff wrote, ""if you can imagine what a rajput miniaturist could have learned from henri cartier-bresson, you'll have a glimmer of lorraine singh's aesthetic.""",Raghubir,,artists