349,273 research outputs found
Hayes, Robert S. : Confederate Service Record, 1900.
No full textThis service record is an account of military actions during the American Civil War by veteran Robert S. Hayes dated from 1900.All descriptive lists and service records in this United Confederate (Civil War) Veterans manuscript collection believed to be based out of Robert E. Lee Camp #158 of the United Confederate Veterans (Fort Worth, Tex.).The Southwest Collection Manuscript Record can be accessed at the following URL: http://www.lib.utexas.edu/taro/ttusw/00119/tsw-00119.html1 leaf, 2 pdf pages
Love meetings: impersonality and intimacy in the art of Sharon Hayes
No full textThe study that follows establishes the work of contemporary artist Sharon\ud
Hayes as critically engaged with some of modern art???s central concerns. Hayes???s art asserts\ud
itself principally in terms of vying to produce a field of relations directed toward\ud
creating collective form, and it explores varied tones, performances, and uses of language\ud
as the substantive sources of connection.\ud
Sharon Hayes???s art speaks to possibilities of a creating a connected public in\ud
what is increasingly understood as a sustained state of crisis that characterizes and consumes\ud
living in the contemporary world. It asks how best to use art???s concrete signs in\ud
their specificity and abstraction to speak to or construct this public, and it considers\ud
whether beings in the present can be productively optimistic or inevitably remain situated\ud
in loss and longing. Some viewers have interpreted Hayes???s body of work as in essence about failure. Developing this project means opening up the possibility that\ud
along with showing a viewer failure, Hayes also offers forms that make connectivity\ud
and possibility available. In this study I will investigate how Hayes???s art engages art???s\ud
audience with the immediacy of the intimate language found in what the artist terms\ud
???love addresses.??? With its simultaneous presentation of these and universalizing aesthetic\ud
forms that register modernist aspirations to make collective social form, such art\ud
also explores how the conditions for publicness can be developed in the present.CSU, Chic
Letter from Harry Jay Hayes to S. B. Simmons
No full textLetter from Harry Jay Hayes to S. B. Simmons, concerning information on forms and new job
Letter from Harry Jay Hayes to S. B. Simmons
No full textLetter from Harry Jay Hayes to S. B. Simmons, giving him his address
Made in Hayes
No full textIn 2012 John McDonnell MP invited The Cass School of Art, Architecture and Design to propose and establish public arts and architecture projects in Hayes: “We want to explore the potential for launching over the next few years a series of public arts projects in Hayes that could create a focal point for community activity." CASS Projects asked students and tutors to propose and deliver a series of ‘live projects’. These took place in Hayes between 2012 and 2017. Students worked directly with clients to develop project briefs, and in some cases, delivered realisations of their projects.
www.cassmadeinhayes.com presents the student projects, student events and student realisations (projects that were realised) in response to this invitation to a wide internet community. They are grouped and presented into four Hayes areas: the High Street, the Austin Estate (a town centre housing estate), around the Grand Union Canal, and Industry and the Station.
Project clients were groups nominated by Hayes Town Partnership and local communities: these included housing estate residents, The Sharks canoeing club, young people “Not in Education Employment or Training” and local businesses. Audiences for the projects included Hayes residents and businesses, Cass Summer Show visitors, Hayes FM radio station listeners, canal festival attendees and local business and industry people.
Projects that were realised included: awards for volunteer play ambassadors, the Made in Hayes ‘shop’ that hosted workshops and exhibitions on the High Street, and ‘Record Player Orchestra’ events in London. Some projects that were proposed and initiated by students were taken up by the community groups and the received external funding. These include Susan Kudo’s ‘Austin Sewing Club’ at a local housing estate(funded by Hillingdon Community Trust and a local toy company), and Architecture Studio 3’s ‘Shelter for the Sharks’ canoeing club facilities within a residential scheme that has been recommended for planning approval. These projects achieved the aims of the Made in Hayes programme and have been taken up by the local community and become projects that are self-sustaining
Mary Hayes
No full textMary and William Hayes as well as their children moved to Central Australia in 1884. They worked as contractors fixing fences and sinking dams on Mount Burrell and Owen Springs stations. They used horse and bullock teams to carry their equipment, belongings and steel telegraph poles which they used to replace the old wooden ones on the Overland Telegraph Line.
Mary, William and their children's life was very nomadic, until Mary convinced William to settle in one place. They leased Deep Well Station and later purchased Mount Burrell, Undoolya and Owen Springs Stations.
Twenty years later they became the most successful pastoralists in Central Australia. Mary as well as her two daughters Mary and Elizabeth learnt how to brand, drove, muster and slaughter cattle as well as build and maintain fences.
Mary also reared a number of Aboriginal children whose parents were not able to provide for them.
The Hayes family station was: 5,204 square miles (13, 478 kilometres) with 11,339 cattle, 1,316 horses, 1,192 goats and 400 sheep.Pastoralis
Hayes, E S, 405178
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/391245Surname: HAYES. Given Name(s) or Initials: E S. Military Service Number or Last Known Location: 405178. Missing, Wounded and Prisoner of War Enquiry Card Index Number: 46881.207515
Item: [2016.0049.23538] "Hayes, E S, 405178
Hayes, S J, 432172
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/391249Surname: HAYES. Given Name(s) or Initials: S J. Military Service Number or Last Known Location: 432172. Missing, Wounded and Prisoner of War Enquiry Card Index Number: 55486.207519
Item: [2016.0049.23542] "Hayes, S J, 432172
Hayes, M C S, 401090
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/391242Surname: HAYES. Given Name(s) or Initials: M C S. Military Service Number or Last Known Location: 401090. Missing, Wounded and Prisoner of War Enquiry Card Index Number: 53924.207512
Item: [2016.0049.23535] "Hayes, M C S, 401090
Helen Hayes (audio only)
No full textActress Helen Hayes visited the School of Drama from March 10-11, 1971, as the first artist in the E. Melba Johnson Kirkpatrick Foundation Theatre Artist Series. The series was made possible by a 1968 donation from Charles S. Kirkpatrick and named for his sister-in-law, a director of IWU\u27s theatre. The visit coincided with the Festival production of Shakespeare\u27s The Tempest, and she provided a critique of one of the performances along with two other guests, Willard Welsh and Alvina Krause. She also talked informally with drama students
- …
