17,810 research outputs found
639: Boston, Massachusetts. E. Donald Robb.
No full textJob file for the creation/design of stained glass from either the Charles J. Connick Studio (1912-1945) or the Charles J. Connick Associates studio (1945-1986). The job file contains a job number, location information, date of completion, size, contact information, price, and a description of the project. This particular job file contains information on a job located at: Boston, Massachusetts. E. Donald Robb
Landmark
No full textAn inverted figurative monument to Victorian governor Charles Joseph Latrobe. By creating the impression that a nineteenth century statue has been made to stand precariously on its head, the work seeks to address the tension between the authority of the monument (as a civic marker and a form of portraiture) and its ‘invisibility’ in public space while simultaneously addressing (and subverting) the ‘authorless’ nature of the figurative monument. The work was awarded a judge’s commendation in the 2005 Helen Lempriere National Sculpture Award and had strong responses from the viewing public and widespread media coverage. Ironically, this parodic monument had the effect of raising the profile of Charles La Trobe in the media in ways that a conventional monument would not. Landmark now endures as part of the permanent sculpture collection of Latrobe University, Melbourne
Robb, Paul, September 16, 2016 [Interview]
No full textPaul Robb was interviewed on September 16, 2016, by Michael Birkner about his childhood during the Depression, his education, hearing about Pearl Harbor, and his World War II service as a Seabee in North Africa and in the Pacific Theatre.Roosevelt, Eleanor; Biemesderfer, Charles L.; Braddock, James J.; Truman, Harry S.World War I
Shaky Ground
No full textShaky Ground was a solo exhibition of works by Charles Robb held at Ryan Renshaw gallery, Brisbane in 2012. The exhibition comprised three sculptural works: a white rotating roundel with a drawing of the artist as seen from above; an artificial rock with a spinning aniseed ball nestled in one of its fissures; and a sculptural portrait of the artist dressed in a protective dust suit which was mounted perpendicular to the wall. The works were derivations or reorientations of previously exhibited work and established an ambiguous field of associations with each other based on formal characteristics or their proximity to the production site and processes. In so doing, the work formed part of the artist's ongoing exploration of sculpture, subjectivity and autogenous approaches to art practice
[Correspondence Between J. E. Curry and Charles W. Roth]
No full textCorrespondence between Charles W. Roth, a consultant for the Toledo Police Department, and Chief J. E. Curry. Roth writes that Curry might be interested in a newspaper clipping which accompanies the letter. The clipping, by Inez Robb, is titled "Shot That Killed Lee Oswald Nearly Ended Career of Dallas Police Chief" and puts Curry in a positive light
[Lady Bird Johnson, Lynda Bird Johnson, and Charles Robb Pose for a Picture]
No full textPhotograph of Lady Bird Johnson, Lynda Bird Johnson, and Lynda Bird Johnson's future husband Charles Robb posing for the camera
Slide: Anonymous, “Virginia Senator and former Governor Charles Robb making a speech at the grand opening of GTE in Reston,” March 1983
No full textSlide: color, photograph, 2” x 2” (5.08 cm x 5.08 cm)Slide by an anonymous photographer entitled “Virginia Senator and former Governor Charles Robb at the grand opening of GTE in Reston” dated March 1983.This is an image of Charles Robb at the opening of the GTE building in Reston, Virginia. Robb is giving a speech from a podium. At the time of this image, Robb was governor of Virginia. He would eventually become a senator for the state of Virginia. Planned Community Archives Collection, 605.2
‘From Your Ever Anxious and Loving Father’: Faith, Fatherhood, and Masculinity in One Man’s Letters to His Son during the First World War.
No full textIn the early months of 1916, Charles Robb a retired shipping clerk in the East End of London, England, wrote a series of letters to his 19-year-old son Arthur, an army private awaiting embarkation to the Western Front. Charles Robb was my great grandfather and Arthur Robb was my grandfather. The letters offer an intriguing glimpse of one man ‘doing’ fatherhood under conditions of traumatic separation and extreme anxiety. This paper presents an analysis of the letters from a psychosocial perspective, exploring the ways in which the writer exhorts his son to live up to the ideals of Christian manhood, while managing the anxiety of separation by presenting a reconstruction in language of the familiar world of home and church
Slide: Anonymous, “Virginia Senator and former Governor Charles Robb at the grand opening of GTE in Reston,” March 1983
No full textSlide: color, photograph, 2” x 2” (5.08 cm x 5.08 cm)Slide by an anonymous photographer entitled “Virginia Senator and former Governor Charles Robb at the grand opening of GTE in Reston” dated March 1983. This is an image of a ceremony at the opening of the GTE building in Reston, Virginia. In the center of the image, Charles Robb can be seen. At the time of this picture, Rob was governor of Virginia. Robb would eventually become senator for the state of Virginia. Other people can be seen in this image behind Robb. Several are holding glass. A woman playing a flute is visible on the left hand side of the image. Planned Community Archives Collection, 605.1
Natural history of trees
No full textCourtney Pedersen and Charles Robb's A Natural History of Trees was a installation mounted at Blindside ARI in Melbourne's CBD in 2012. The work took the form of a pine-panelled room containing a pair of life-sized tree trunks composed entirely of stacks of cut paper discs. A faux bois stool reinforced the sense of artificiality. Claustrophic and precarious, the installation was simultaneously a response to the complexity of our relationship with nature and place, and an evocation of the precarious quality of the collaborative process.\ud
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The exhibition was accompanied by a catalogue with an essay by writer/curator, Jane O'Neill
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