A dramatic portrayal, clearly biased toward the northern point of view, of an incident in Congress which inflamed sectional passions in 1856. The artist recreates the May 22 attack and severe beating of Massachusetts senator Charles Sumner by Representative Preston S. Brooks of South Carolina. Brooks's actions were provoked by Sumner's insulting public remarks against his cousin, Senator Andrew Pickens Butler, and against Illinois senator Stephen A. Douglas, delivered in the Senate two days earlier. The print shows an enraged Brooks (right) standing over the seated Sumner in the Senate chamber, about to land on him a heavy blow of his cane. The unsuspecting Sumner sits writing at his desk. At left is another group. Brooks's fellow South Carolinian Representative Lawrence M. Keitt stands in the center, raising his own cane menacingly to stay possible intervention by the other legislators present. Clearly no help for Sumner is forthcoming. Behind Keitt's back, concealed in his left hand, Keitt holds a pistol. In the foreground are Georgia senator Robert Toombs (far left) and Illinois senator Stephen A. Douglas (hands in pockets) looking vindicated by the event. Behind them elderly Kentucky senator John J. Crittenden is restrained by a fifth, unidentified man. Above the scene is a quote from Henry Ward Beecher's May 31 speech at a Sumner rally in New York, where he proclaimed, "The symbol of the North is the pen; the symbol of the South is the bludgeon." David Tatham attributes the print to the Bufford shop, and suggests that the Library's copy of the print, the only known example, may have been a trial impression, and that the print may not actually have been released. The attribution to Homer was first made by Milton Kaplan.|Probably printed by John H. Bufford, Boston.|Signed with monogram: WH (Winslow Homer).|Title appears as it is written on the item.|Tatham, "Pictorial Responses to the Caning of Senator Sumner," p. 15-16.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1856-1.|Exhibited: American Treasures of the Library of Congress.

Signed in stone: J. Cn.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

A small card bearing a vitriolic indictment of the Confederacy. The artist particularly attacks the the institution of slavery, the foundation of Southern economy. A large shield is flanked by two figures: a planter (left) and a slave. The planter wears spurs and a broad-brimmed hat and smokes a cigar. The slave is clad only in breeches, and his hands are manacled. Above the shield are two crossed flags, the Confederate flag and one bearing a skull and crossbones and the number 290. Between the flags are a rooster and a streamer with the motto "servitudo esto perpetua." On the shield are images associated with the South: a mint julep, a bottle of "Old Rye," a pistol and dagger, a whip and manacles, cotton, tobacco, and sugar plants, and slaves hoeing. In the background left, dominated by the palmetto tree of South Carolina, three planters, one holding a whip, play cards at a table. Beyond, two men duel with pistols. On the right, a female slave is auctioned as two slave children stand by and a black woman watches from a cabin doorway.|G.H. Heap Inv. [i.e., published].|H.H. Tilley Del. et Sc.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1862-13.

This is a ten-week course broken into thematic topics. Its current design is asynchronous online, though you will find a mix of asynchronous and synchronous activity options. It can be modified for any modality. Included are weekly activities, exercises, projects, and slides following the provided syllabus.

• ART102 Syllabus
• Week 1: What is Art? What do you want from art?
• Week 2: Elements of Art: Formal Elements
• Week 3: Elements of Art: Principles of Design
• Week 4: Describing Art
• Week 5: Media & Materials: Images
• Week 6: Media & Materials: Objects
• Week 7: Symbols & Iconography
• Week 8: Contexts of Art
• Week 9: Art and Artists
• Week 10: Public Art/Art & Controversy

Art museums are powerful and contested institutions. They are also innovative sites of architectural and artistic practice. From the exhibitionary complex of the nineteenth century to the experiential complex of today, this course investigates the art museum from historical and contemporary perspectives, striking a balance between theoretical investigation and case studies of recent exhibitions and museum buildings. Where and why did the concept of the public art museum emerge, and how have its functions changed over time? How do art museums continue to shape our definitions of what art is? How have they responded to recent critiques of the self-described 'universal' museum and to claims for the ethical display of ill-gotten artifacts or the restitution of such objects as Greek vases and bronzes looted from Benin? And why is the Euro-American art museum so compelling a model that it has spread around the globe?
To address these and other questions, we will also go behind the scenes. Visits to local museums and discussions with curators are an essential component of the course.

Grade level: graduate students, advanced undergrads, persons with analyzed research results

Course length: 1 semester, 4-6 months

Objective: This course empowers scientists to engage with their own data, each other, and the public through art. Through collective brainstorming, prototyping, and feedback from professional artists, students will create a project that expresses their own research through any artistic medium of their choice. The course typically culminates in a public art exhibition where students interact with a general audience to discuss their research, art, and what it means to be a scientist.

A puzzling caricature, probably dealing with Reconstruction under Andrew Johnson's administration. The work is quite crudely drawn. An acrobat, with mustache and sideburns and wearing a jester's cap, holds in each hand a mask, one grinning and one frowning. His legs stretch from the head of Pennsylvania congressman Thaddeus Stevens, who holds a paper labeled "Committee of 15" and is seated on a black man, who crawls on all fours, to the head of an unidentified man (probably Johnson) who holds the U.S. Constitution. The latter's back is turned to the viewer and several geese, some alive and some dead, appear at his feet. Stevens, an abolitionist, was one of the most prominent members of the Joint Committee on Reconstruction, composed of fifteen members of Congress. The fool remarks, "As yet, I have found no difficulty in standing upon my own platform."|Entered according to Act of Congress June 8th 1866.|Title appears as it is written on the item.|Weitenkampf, p. 153.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1866-3.

The artist conveys some of the profound disappointment and anger among Henry Clay's many supporters at the nomination of Zachary Taylor at the June 1848 Whig convention in Philadelphia. The convention's act was seen as a betrayal of the elder Whig statesman. In a scene based on act 3, scene 1 of Shakespeare's "Julius Caesar," the artist portrays Clay's opponents as treacherous conspirators stalking the unsuspecting statesman. Clay is pictured seated in the library of his estate at Ashland in Kentucky, reading the New York "Tribune," whose editor Horace Greeley was a Clay stalwart. Ten men with raised daggers prepare to attack him from behind. These include various Whig powers Daniel Webster, editor James Watson Webb, former New York mayor William V. Brady, Pennsylvania congressman David Wilmot, Kentucky senator and former Clay ally John J. Crittenden, and New York state party boss Thurlow Weed. Webster: "How many times shall Caesar bleed in sport" Webb: "Liberty! Freedom! Tyranny is dead!!!" Wilmot: "Go to the Pulpit Brutus" Brady: "And you too Cassius" Crittenden: "Stand fast together, lest some friend of Caesar's Should Chance" Weed: "By the necessity of my Nature, Your Enemy".|Drawn by "W.J.C."|Entered . . . 1848 by H.R. Robinson.|Published by H.R. Robinson 31 Park Row, (Opposite the Park Fountain) N. York.|Title appears as it is written on the item.|Lorant, p. 188.|Weitenkampf, p. 93.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1848-22.

The National Union Convention met in Philadelphia in August 1866 to create a political party that would back President Andrew Johnson's Reconstruction program and to elect a new Congress. Here, the convention is portrayed as a gathering of muzzled dogs, their collars inscribed with state names, who file toward a large doghouse, the "Wigwam." Except for the unwelcome arrival of Copperheads or Peace Democrats Fernando Wood and C. L. Vallandigham, the meeting was surprisingly harmonious even with the participation of representatives from both North and South. Here two dogs, "Massachusetts" and "South Carolina," side by side, lead the pack toward the Wigwam. Wood and Vallandigham are portrayed as cats, each held by the scruff of its neck by guard dogs Edgar Cowan and J. R. Doolittle. At bottom left stands a dog with a brush and a pail marked "N.Y. Times" tied to its tail. In the background "The Dead Dog of The White House," incumbent Andrew Johnson, lies in the road in front of the presidential mansion, which flies from its roof an American flag labeled "My Policy." "My Policy" was Johnson's campaign catchword. The Philadelphia movement ultimately failed, and anti-Johnson Republicans achieved more than a two-thirds majority in both houses of Congress. |Title appears as it is written on the item.|Weitenkampf, p. 154.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1866-4.

Again partisan bitterness, over the perceived Whig betrayal of Henry Clay's hopes for the presidential nomination and over subsequent efforts to obtain Clay's endorsement of Zachary Taylor's candidacy, is vented in this scene. The "available" label is applied in a pejorative sense, suggesting a party whose choice of a candidate was guided not by principles but by public image or popularity. Henry Clay is seated at a desk before three men who present him with a document that reads: "MR. CLAY, we have called on you to humbly request that you will state to your Friends, that you approve of the Philadelphia Convention, and that you Endorse General Taylor as a good Whig." William V. Brady, former mayor of New York City, stands closest to Clay and explains, "Mr. Clay while I was Mayor of the City of New York I used all the Influence I had to have you nominated, you have always been my first choice." Seated in a chair at far right is Senator John J. Crittenden, who urges Brady to tell Clay ". . . that he was our first Choice." Standing next to Brady, holding the endorsement document, is James Watson Webb, publisher of the New York "Courier & Enquirer. " He warns, "hold your tounge [sic] Crittenden you will ruin every thing." Clay responds to their request, "Gentlemen I cannot endorse a note that the drawer himself has not signed," a cunning reference to Taylor's well-known reluctance to specifically commit himself to Whig principles. Portraits of George Washington and Thomas Jefferson hang on the wall behind Clay. |Drawn by "W.J.C."|Entered . . . 1848 by H.R. Robinson.|Published by H.R. Robinson 31, Park Row directly opposite the Park Fountain, adjoining Lovejoys Hotel.|Title appears as it is written on the item.|Weitenkampf, p. 93.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1848-23.

This site from the BBC hosts a brief primer on the Arabic language. It discusses such topics as where the language is spoke, where it came from, and tips on etiquette. The guide also includes interesting examples of the Arabic language, such as tongue twisters, jokes, and famous quotations.

The City of Cincinnati, Ohio converted twenty blocks into a festival of art and light, showcasing projection mapping along with a number of other emerging media art forms. The goal was to create a public event celebrating the arts, culture, and creativity of the city in an atmosphere that promoted audience interaction with dynamic art. After watching this video, select one or more videos in the BLINK series for your class to watch to learn more about specific installations and the artists who created them.

DISSENT BY DESIGN is a book that was produced during 2022-2023 in response to the Russian invasion of Ukraine on February 24, 2022.  It was on this date that I began a social media campaign on LinkedIn that directly addressed the invasion of a Sovereign country by a rogue super power. As a Graphic Designer I felt it was my obligation to do all I can to bring attention to this atrocity and bring the narrative to the forefront of the conversation so that we help end this conflict in all theways we can.  This book is a call to action, in the form of 'social media' posts throughout a one year period of time in our collective past, it is a documentation in chronological order of what happened, when and who was to blame and how many sufferred.   FInally, this book illustrates how Graphic Designers can use their knowledge as storytellers to forward a conversation about the most important things in our lives and how to preserve them.  We can be a vehicle of change and/or social engagement, to help people understand all the complex problems we face and to begin the process of solving those problems.  This is a way forus to bring past narratives to light once again, to rejoin the conversations that have been lost, and to further discuss and provide solutions through dialogue and change.

The artist predicts a decisive Whig victory in the presidential election of 1848, with Whig candidate Zachary Taylor "bagging" all of the states in an electoral sweep. (Taylor actually carried only fifteen of the thirty states.) A kneeling Taylor (left) gathers fallen pigeons, each bearing a state's name, into a bag. Holding up the New York bird he muses, "My purpose would be suited without this fellow, however I'll take him: the more the merrier for the 4th of March next." Taylor's strength in New York was considered questionable before the election. Standing to the right is Lewis Cass with a musket at his side. Looking over at Taylor, he marvels, "What an all devouring appetite the fellow has: I expect he'll bag me in the bargain!" In the background Martin Van Buren is caught by the seat of his trousers on the nails of a fence. Holding a rooster labeled "Proviso" he cries, "Cass, come and help an old crony won't you!" Peering over from behind the fence is Pennsylvania congressman David Wilmot, author of the Wilmot Proviso, who threatens Van Buren with a switch, "I'll teach you to come ta robbing my barn!" Van Buren and the Barnburner Democrats adopted the proviso, which barred slavery in American territory gained in the Mexican War, as the main plank in their 1848 campaign platform.|Probably drawn by E.F. Durang.|Pubd. by Able [i.e., Peter E. Abel] & Durang. Philada.|Title appears as it is written on the item.|Weitenkampf, p. 97.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1848-46.

Reflecting Whig preelection confidence in the campaign of 1844, the artist portrays that party's ascendancy over the Democrats in the race for the presidency. Bucholzer uses the metaphor of a hot-air balloon race between Whig candidates Henry Clay and Theodore Frelinghuysen (on the right) and Democratic nominee James K. Polk. The Whigs ascend with ease; Clay waves a flag and Frelinghuysen points toward the "Presidential Chair" which appears at left on a bed of clouds. The Democratic balloon fails to rise for lack of gas and is prodded with a cane by Andrew Jackson. Jackson says, "I'll use my best endeavours to "poke" [i.e., "Polk"] it up. But it's harder work than gaining the battle of New Orleans!" In the balloon's carriage (actually a wooden tub) are Polk, a Loco Foco Democrat (looking upward through a telescope), and a bag of "Mint drops" (symbolizing the hard-money policies pursued by the Democrats). The carriage is supported by party stalwarts Thomas Hart Benton and John C. Calhoun. Polk says: "I think my friends have placed me in a very ridiculous position! They set me up here only to "poke" fun at me." Calhoun warns: "Push hard, Benton, or they'll never get any higher." Benton: "I'm afraid they'll have to throw the mint drops overboard!" From above, Clay offers: "Throw us a line, Polk, and we'll give you a tow!" Meanwhile, in the background a fox with the head of Martin van Buren slinks away saying, "If you had had the wit to put me in there, it would have gone up." He voices his disappointment at not being chosen Democratic nominee.|Entered . . . 1844 by James Baillie.|Lith. & pub. by James Baillie 33 Spruce St. N.Y.|Signed: H. Bucholzer.|The Library has two states of the print, one a proof before title (Landauer Collection; LC-USZ62-90665). The titled impression was deposited for copyright on June 26, 1844. It was followed two weeks later by the same artist's "Bursting the Balloon" (no. 1844-33), a companion piece or sequel.|Title appears as it is written on the item.|Weitenkampf, p. 78.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1844-32.

An illustrated sheet music cover for a "Patriotic Song. Written, to be sung at Baltimore during the Young Men's Whig Convention" of May 1840. The composer is identified as "a Pennsylvanian." The illustration, like the song itself, celebrates the distinguished military record of Whig presidential candidate William Henry Harrison. A ring of smoke issues from two cannons and frames the central view of a log cabin in the wilderness. Outside the house are a cider barrel, a plough, a covered wagon, and (in the foreground) an ox cart and driver. Superimposed on the smoke ring are nine ovals containing scenes from Harrison's military career. They are (counterclockwise from bottom): Ensign Harrison 19 years of age" "Lieut. Harrison at Maumee Rapids" "Govr. Harrison making a treaty with the Sacke & Fox Indians" "Genl. Harrison hastening at night to the assistance of Genl. Winchester" "Harrison's Victory at the Thames" "Harrison's Victory at Tippecanoe" "Genl. Harrison & his Army going into winter quarters at the Maumee Rapids, in 1812" "Genl.Harrison in 1812 at the Head of 7000 Troops" "Genl. Harrison at the Council of Vincennes with Tecumseh." At the top of the oval is a bust of Harrison flanked by flags, muskets, bayonets, and fasces. Over his head hovers a dove holding a star.|Entered . . . 1840 by Ld. Meignen & Co.|Leopold. Meignen & Co. Publishers & Importers of Music.|On Stone by James Queen.|P.S. Duval, Lith Phila.|The Library's impression of the print is damaged slightly, with a tear running through the log house.|Title appears as it is written on the item.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1840-11.

Caricature of Fanny Elssler, in carriage being drawn by men with ears of jackasses, going to Baltimore.|Signed in stone: HB.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

Lith. & pub. by H.R. Robinson 142 Nassau St. N. York.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

A satire on the Barnburners, a radical faction of New York State Democrats, led by John Van Buren, whose commitment to social and monetary reforms was likened to a farmer's burning his barn to rid it of rats. Here the barn is ablaze, trapping several of the movement's leaders on its roof. Benjamin F. Butler, raising his arms, vows, "If I ever get out of this scrape safe it's the last act of Barn burning that I'll be guilty of." New York "Evening Post" editor and radical spokesman William Cullen Bryant despairs, "Woe is me! I can't get off, and if I stay up here it's sure destruction!" An unidentified man says, "Alas! alas! we're caught in a tight fix." At right John Van Buren vainly tries to raise a ladder to the roof, complaining, "I can't get near enough to help them down with the ladder, so old Dad you'd better jump off." His father, Martin Van Buren, appearing here as a fox, leaps from the other end of the roof, saying, "Our sufferings is intolerable! I'll take your advice my son and jump off--So here goes!" On the far right New Hampshire Democrat Franklin Pierce has mired his wagon in a muddy lane. It is loaded with boxes "Free Trade" and "No Internal Improvements," traditional Democratic planks. Pierce calls to Bryant, "there's more truth than poetry in what you say. We never needed your help more, for we are stuck in the mud and want your shoulder to the wheel." Although Weitenkampf tentatively dates the cartoon 1847, the inclusion of Franklin Pierce suggests a later date. The work apparently relates to the regular Democrats' 1852 solicitation of Barnburner support for Pierce, who was their presidential candidate that year.|Pubd. by John Childs, 84 Nassau St. N. York.|Title appears as it is written on the item.|Weitenkampf, p. 89.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1852-36.

Students hypothesize whether vinegar and ammonia-based glass cleaner are acids or bases. They create designs on index cards using these substances as invisible inks. After the index cards have dried, they apply red cabbage juice as an indicator to reveal the designs.