455 research outputs found
Oral history of Raymond Proctor (Family)
No full textRaymond Proctor (1934-1988) was born in New Orleans, Louisiana, and after high school moved to New York City, following his brother Richard. After attending Seton Hall in northern New Jersey, he was drafted into the army, and spent 1954-56 traveling widely, including Germany, Morocco, and elsewhere. Returning to New Jersey, he worked for the Essex County Welfare Board and got involved in the African American civil rights movement, eventually becoming chairman of the Newark-Essex chapter of CORE (Congress of Racial Equality) in 1964, where along with Richard he led important activist efforts for black employment rights.
Leaving CORE and Essex County a year later, Ray traveled to Europe, though he eventually wound up teaching sociology and directing the Urban Institute Masters Program at Essex County College in Newark. Later jobs included both academic institutions such as the New School for Social Research and Columbia University and also the famous Studio 54, where he worked as business manager. Ray also taught and spoke extensively about metaphysics, which he considered his life's work.
We at the Queer Newark Oral History Project became aware of Ray when we found his obituary, which listed no cause of death, in the records of the Newark Community Project for People with AIDS at Newark Public Library. On it, a handwritten note asked for donations to the group instead of flowers. Without Ray himself around to narrate his story, we located his brother, Richard Proctor, and Richard's three adult children, Angela Proctor Weaver, Deborah P. Carter, and Kevin Proctor. Together, they recall their brother and uncle's life and career, their perception of his struggles with his sexuality as a gay man, and his physical decline as he struggled with AIDS, which ultimately led to his death. While there is much about Raymond Proctor's private life and inner thoughts that will likely remain unknown, this rich oral history provides the most substantive account of an important figure who contributed to the black freedom struggle, AIDS activism, spirituality, and more
Proctor Photographic Studio, Huntington, W.Va.
No full textProctor Photographic Studio Huntington, W.Va., image in black and white. Date is approximate.https://mds.marshall.edu/lambert_papers/2168/thumbnail.jp
Proctor Hall Residents, Westbrook Junior College, 1956
No full textOne half of the Westbrook Junior College Proctor Hall residents pose for the 1956 Tower yearbook in this black and white photograph by Jackson-White Studio, Portland, Maine. The thirteen young women, dressed in dark skirts and white tops, include: Front Row, Left to Right: Miriam Beard, Mary Sue Williamson, Jane Genthner, Deidra Mayer, Faith Hutchins, Patsy Morse. Second Row: Joyce Copeland, Peggy Gulliver, Lois Chick, Dorothy Krasenics, Barbara Mills. Third Row: Dorothy Efstration, Geraldine Johnson.https://dune.une.edu/wchc_photos_students1950s/1132/thumbnail.jp
Proctor\u27s new studio, Huntington, W. Va., ca. 1890.
No full textCaption on print: Proctor\u27s new studio, Huntington, W. Va. ca. 1890. A photomontage of four images show the building on the northwest corner of Fourth Avenue and Ninth Street, interiors of the studio and show room, and a portrait of A. T. Proctor, photographer. A black and white glass lantern slide of a photomechanical print, mounted on cardboard. Lantern slide. Original slide copy of photomechanical print. Ca. 36 cu. ft. of glass plate negatives from Proctor studio were donated by Cabell-Wayne historical society in 1973: Manuscript accession 104.https://mds.marshall.edu/cabell_wv_public_public_library/1044/thumbnail.jp
Cary House Proctor Academy, Andover, N.H.
No full textCary House Proctor Academy, Andover, New Hampshire, circa 1907-1914; Postmark Date: April 1, 1913; Message reads: "Dear Mary. Happy Birthday from the Curriers. Isn't old New Hampshire great. Haven't heard from anyone but Esther. She says she is sewing hard. We are too. April love - Hazee"; Message included
Proctor and Matthews in dettaglio
No full textL'articolo restituisce approfonditamente i dettagli costruttivi di tre edifici dello studio Proctor e Matthews che attraverso una ricercata articolazione tridimensionale della tessitura dei rivestimenti in mattoni propongono declinazioni inedite del tema della muratura faccia a vista
4430: Proctor, Vermont. Union Church.
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: Proctor, Vermont. Union Church
Five Students in Proctor Memorial Room, 1950s
No full textThree Westbrook Junior College students sit, and two stand, before the fireplace at an oak library table in the Proctor Memorial Room in this black and white glossy 1950s yearbook photograph by Jackson-White Studio, Portland, Maine. The five students wear skirts and sweaters. Above their heads and the fireplace mantel is a painting; to their left and right are Proctor Library book shelves.https://dune.une.edu/wchc_photos_students1950s/1011/thumbnail.jp
Expanded Studio Project
No full textThe Expanded Studio Project was a 5 month collaborative initiative between Belfast based artists and artists based at Primary Studios, Nottingham. The aim of the project was to develop external relationships, exchange ideas and explore different modes of collaboration. During this collaboration it provided time for regular exchanges in dialogue between 21 artist researchers - as a research- generation activity they conducted regular sending of images, texts, meetings and sharing of ideas and raising questions between Nottingham and Belfast contributors. A programme of site visits, city tours (Nottingham and Belfast), exhibition and Symposia was designed by the contributors and this was funded by Arts Council England and Belfast City Council. This S.H.E.D collaboration with Declan Proctor focused on SHEDDINGLIGHT, exploring how S.H.E.D can transform into a light installation. The collaboration had two phases, in Belfast the micro-light models were exhibited for a month at PsSquared Gallery in Belfast, to test out the premise for the project. Later on in the process and to time with the symposia, at Primary in Nottingham, the 10x8 S.H.E.D structure was built and installed. A micro and macro construction and play with light and materiality of sheds was created in order to reflect the micro / macro research process between Jones and Proctor from being based near and far at different times of the process. This exploratory series of activities increased their depth in exchange and to share ideas and create new works. Specifically, through this line of research it led to studying how to combine architectural and creative build elements of the design process and combine it with performative strategies for the creation of spaces. As a result it was identified that S.H.E.D is • a place for conversation • a co-creator, working with, and for community • a multidisciplinary space • a social, collaborative and generative space for the sharing of knowledge • a space for shedding preconceptions. For Jones, the Expanded Studio Project specifically provided her with research and development time for the S.H.E.D – by design of the Expanded Studio Project and through these distinct research processes applied to proposal of S.H.E.D Jones was able to test out the conceptual framework for the project within an artistic, public and research network. Working with Belfast based Light Installation Artist, Declan Proctor they spent time researching into the materiality of sheds and its relationship to light. For Jones, it raised questions about scale and form, positionality of S.H.E.D – the role of being inside and outside of spaces and how the notion of a shed as an object was triggering public discourse and engagement and in turn it was becoming a research-generation site of and for itself. It was also driving forward the question of how spaces can be repurposed as sites of curiosity and creativity. Wider research findings on the impact of this project were noted ‘… through the project artists had extended their practice; experiencing collaboration had led to insights about the importance of reciprocity, experimentation, embracing mess and a more conscious appreciation of their process by bringing external dialogue into their practice earlier’. Outcomes – What difference did the project make? For partners (Primary and PS Squared) • Enhanced profile of partners as artist-led organisations with an innovative artist development programme with UK-wide reach. • Improved skills and experience of strategies to support artist-led development to feed and grow future initiatives • Improved knowledge and access to artists, creative opportunities and professional networks in Belfast and Nottingham. For artists: • New ideas and development for personal practice • Improved confidence, skill and experience in approaches to collaborative working • Improved knowledge and access to artists, creative opportunities and professional networks in Belfast & Nottingham (Jo Wheeler, Independent Project Evaluator 2019
Dod Proctor (1892-1972)
No full textOn the occasion of a touring exhibition of Proctor's paintings that visited Liverpool, Penzance and Newcastle-upon-Tyne, England, during 1990, the author describes Dod Proctor's training, her marriage to Ernest Proctor and the reception of her exhibitions. She gives details of all Proctor's exhibitions and follows her tours abroad after Ernest's death
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