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robert abrams resume Honors and Awards. 2010 Hall of Fame, Polk County, FL. 2009 “40 in creative writing courses 40” outstanding alumni, 40 th anniversary of school personal, University of writing courses colleges, South Florida Alumni Association. 2008 Art Building of Auburndale High School named Robert Stackhouse Art Center . Artist Lifetime Achievement Award, Polk Museum of value of critical thinking, Art, Lakeland, FL. First Night International Creative Programming Award: Peace O’ Eight , a sculpture by Carol Mickett and Robert Stackhouse. 2006 Honorary Doctorate, University of South Florida. 2000-03 Lamar Dodd Distinguished Chair, Lamar Dodd School of Art, Univ of creative writing courses, Georgia, Athens, GA. 2001 Richard Koopman Distinguished Chair, Hartford School of Art, Univ of Hartford, Hartford, CT. 1992 Leo Block Honorary Chair, University of cornell application questions, Denver, Denver, CO.

1992 Distinguished Alumnus Achievement Award, University of creative london, South Florida. 1991 National Endowment for tips a medical personal the Arts, Individual Artist Fellowship, Works of Paper. 1987 Professor Emeritus, Corcoran School of writing colleges, Art, Washington, D.C. 1983 National Endowment for of critical thinking in business the Arts, Individual Artist Fellowship, Works on writing, Paper. 1981 Artist in Community Grants (CAPS), State of persuasive language, New York. 1977 National Endowment for courses the Arts, Individual Artist Fellowship, Sculpture. 1969 Morris Gwendlyn Cafritz Foundation Grant. 2010 Five Paintings (working title), (collaboration w/ Carol Mickett) Art in State Buildings Program, University of cover, South Florida – St.

Petersburg, St. Petersburg, FL. (in progress). Place In The Woods , (collaboration w/ Carol Mickett), Hunter Museum of writing colleges london, American Art, Chattanooga, TN. 2008 In The Blue , (collaboration w/ Carol Mickett), St. Petersburg Art Center, St. Petersburg, FL.

2007 Peace o’ Eight , (collaboration w/ Carol Mickett), First Night , St. Petersburg, FL. 2006 50 th Anniversary Poster/Print, University of university questions, South Florida, Tampa, FL. Factor 24 , Arts Alive 2006, Tampa, FL. 2005 Seven Prints, University of Central Florida, Public Art Project, Orlando, FL. 2004 Confluence , (collaboration w/ Carol Mickett), ARTSPARK, Indianapolis Art Center, Indianapolis, IN. 2001 American Print and creative writing courses colleges london, Cortona Print , (collaboration w/ Carol Mickett). Published by Lamar Dood School of for writing a medical statement, Art, University of creative courses colleges, Georgia at the International Print Symposium , Cortona, Italy. Label Design, Imagery Estate Winery, Glen Ellen, CA. 1998 Missouri Bones , Albrecht-Kemper, St. Essay Newspaper Name. Joseph, MO.

1997 Chicago Structure , Klein Art Works, Chicago, IL (2004 moved to creative london Harper College, Palatine, IL). 1991 Label Design, Imagery Series, Benziger, Glen Ellen, CA. Divers , Marine Science Building, University of essay newspaper, Hawaii, Manoa, HI. Delaware Passage , Delaware Art Museum, Wilmington, DE. 1989 Oliver Ranch Project/Russian River Bones , Geyserville, CA. 1988 St. Courses. Louie Bones , Laumeier Sculpture Park, St. Newspaper. Louis, MO. 1984 On The Beach Again , Australia National Galley, Canberra, Australia.

1980 Prudential Installation , Prudential Life Insurance Company of writing colleges, America, Mpls,, MN. 2008 Robert Stackhouse , Belger Art Center, Kansas City, MO. Waves of Meaning , (collaboration w/ Carol Mickett), St. Petersburg Art Center, , FL (catalogue). Robert Stackhouse: Editions Archive , Contemporary Art Museum, USF, Tampa, FL (catalogue). 2007 Robert Stackhouse: Swimmers Floaters , Polk Museum of value of critical thinking, Art, Lakeland, FL (catalogue). Robert Stackhouse , Museum of Texas Tech University, Lubbock, TX.

2003 Works from Studio 101and a collaboration with Carol Mickett , Univ of creative courses, Georgia, Athens, GA. Crossing Dimensions , University of essay figurative language, Wisconsin-Eau Claire, Eau, Claire, WI. Robert Stackhouse: Passages and courses colleges london, Journeys , Arkansas Art Center, Little Rock, AR (catalogue). New Painting and Sculpture , Klein Art Works, Chicago, IL. Robert Stackhouse: A Print Retrospective , University of value, Missouri-St.

Louis, St. Louis, MO (catalogue). Carol Mickett/Robert Stackhouse: A Collaboration , University of Georgia, Athens, GA. Robert Stackhouse , Klein Art Works, Art Chicago, Chicago, IL. Robert Stackhouse: Prints , Morgan Art Gallery, Kansas City, MO.

Falling Water , University of writing courses colleges, Georgia, Athens, GA. Still Water , University of Hartford, Hartford, CT. r stackhouse , University of Arizona Museum of value of critical in business, Art, Tucson, AZ. Robert Stackhouse: Works on Paper , University of Central Florida, Orlando, FL. 2000 Resurgent , Joseloff Gallery, University of creative colleges london, Hartford, West Hartford, CT. Mortal Rock , Urban Architecture, New York, NY.

Resurgent: New Paintings and Sculpture , Klein Art Works, Chicago, IL. 1999 Robert Stackhouse: Major Works 1969-1999 , Morris Museum of Art, Augusta, GA. Major Works 1969-1999 , Kalamazoo Institute of Arts, Kalamazoo, MI. The Prints , Western Michigan University, Kalamazoo, MI. 1998 Robert Stackhouse: Paintings A Site-Specific Sculpture , Klein Art Works, Chicago, IL. ART 1998-CHICAGO , Navy Pier, Chicago, IL. Evanescence , Robischon Gallery, Denver, CO. Someways , Albrecht-Kemper, St. Tips Statement. Joseph, MO. Waterworking , Morgan Gallery, Kansas City, MO. 1997 Recent Works , Klein Art Works, Chicago, IL.

1996 Transplace , Illinois Wesleylan University School of Art, Bloomington, IL. 1995 Where we are and writing courses, what is it to essay be there , Morgan Gallery, Kansas City, MO. 1994 r. Courses Colleges London. Stackhouse , University of the great gatsby cover essay, Wyoming Art Museum, Laramie, WY. 1993 Recent Works , Morgan Gallery, Kansas City, MO. Robert Stackhouse , Struve Gallery, Chicago, IL. Robert Stackhouse , Baumgartner Galleries Inc., Washington, D.C. Robert Stackhouse , University of Denver, Denver, CO. 1992 Robert Stackhouse , Pace Prints, New York, NY.

Works on Paper , Posner Gallery, Milwaukee, WI. 1991 Common Places , Delaware Art Museum, Wilmington, DE (catalogue). Robert Stackhouse , Dolan Maxwell Gallery, Philadelphia, PA. Soundless , Contemporary Art Museum, University of creative colleges london, South Florida, Tampa, FL. 1990 Encounterings , Virginia Museum of Fine Arts, Richmond, VA (catalogue). Robert Stackhouse , Honolulu Academy of Arts, Honolulu, HI.

Robert Stackhouse , Dolan/Maxwell , New York, NY. Robert Stackhouse , Cantor/Lemberg Gallery, Birmingham, MI. Robert Stackhouse , B R Kornblatt Gallery, Washington D.C. 1989 Robert Stackhouse , Dolan/Maxwell Gallery, New York, NY. Robert Stackhouse , B R Kornblatt Gallery, Washington, D.C. Ruby’s Way , The Washington New Art Association, Herb’s Restaurant, Washington, D.C. 1988 St. Louie Bones , Laumeier Sculpture Park, St. Figurative Language. Louis, MO (catalogue).

Robert Stackhouse , Koplin Gallery, Los Angeles, CA. 1987 Crossings , Dolan/Maxwell Gallery, Philadelphia, PA. 1986 Blue Swimmers , Koplin Gallery, Los Angeles, CA. Robert Stackhouse: Deep Swimmers , Laumeier Gallery, Laumeirer Sculpture Pk, St. Creative Colleges. Louis, MO. Recent Works , Morgan Gallery, Kansas City, MO. 1985 Drawings From Three Projects: Toledo, Australia and figurative, Tennessee , Max Hutchinson Gallery, New York, NY. 1984 Deep Swimmers , University of writing courses colleges london, Tennessee Art Architecture Gallery, Knoxville, traveling through 1986 to mind Clemson University, Clemson, SC; Greenville County Museum of creative, Art, Greenville, SC; Huntsville Museum of essay, Art, Huntsville, AL; Hunter Museum of creative courses colleges, Art, Chattanooga, TN; Cheekwood Fine Art Center, Nashville, TN; Northern Illinois University, Laumeier Sculpture Park, St. Love. Louis, MO (catalogue). On the Beach Again , Australia National Gallery, Canberra, Australia.

Ohio Prospect Bones , Crosby Gardens, Toledo, OH. Masters of American Drawing VII: Robert Stackhouse , Anderson Gallery, Virginia Commonwealth University, Richmond, VA. 1983 Couples II , P.S. #1 Gallery, Donald Kuspit, curator, New York, NY (catalogue). Mountain Climber , Max Hutchinson Gallery, New York, NY and creative courses london, The Museum of tips for writing a medical school statement, Modern Art, New York, NY. 1982 Robert Stackhouse, Max Hutchinson Gallery, New York, NY. Robert Stackhouse, Feigenson Gallery, Detroit, MI. Robert Stackhouse, Newberger Museum, Purchase, NY. Artquake , Portland Center for creative writing colleges the Visual Arts, Portland, OR.

Robert Stackhouse, Middendorf-Lane Gallery, Washington, D.C. 1981 Robert Stackhouse, Dorbrick Gallery, Chicago, IL. David Haxton/Robert Stackhouse-Two Distinguished University of contemplative life mind, South Florida Alumni, USF, Tampa, FL. 1980 Robert Stackhouse, Feigenson-Rosenstein Gallery, Detroit, MI. Dreamers , Max Hutchinson Gallery, New York, NY. Robert Stackhouse, Henri Gallery, Washington D.C. Passings , Nassau County Museum of Fine Art, Roslyn, NY (catalogue) 1979 Robert Stackhouse, Dobrick Gallery, Chicago, IL. Sailors , Sculpture Now, Inc., New York, NY. Eau Claire Sailings , University of Wisconsin, Eau Claire, WI. 1978 Robert Stackhouse, Dobrick Gallery, Chicago, IL.

Sailings , Hudson River Museum, Yonkers, NY. 1976 Running Animals/Reindeer Way , Sculpture Now, Inc., New York, NY. Robert Stackhouse, Henri Gallery, Washington D.C. 1973 Sleeping King Ascending , Corcoran Gallery of courses colleges london, Art, Washington D.C. Robert Stackhouse: Sleeping King, Henri Gallery, Washington D.C. 1972 Robert Stackhouse: Journeys, Henri Gallery, Washington D.C. Selected Group Exhibitions. 2010 American Printmaking Now , National Art Museum of of critical thinking, China, Beijing, China. 50 th Anniversary Invitational Show , (in collaboration w/Carol Mickett), International Sculpture Center, New York, NY. Visual Unity 2 , (in collaboration w/Carol Mickett), Polk Museum, Lakeland, FL. 2009 First Class , (in collaboration w/Carol Mickett), Terrasanti, Penngrove, CA.

2008 Site Matters: Proposed Installations for creative writing courses london the New TMA , (in collaboration w/Carol Mickett), Tampa Museum of Art, Tampa, FL. Sparks! The William T Kemper Collecting Initative , Nelson-Atkins Museum of the great gatsby cover, Art, Kansas City, MO. Harper College 40 th Anniversary Art Invitational , (in collaboration w/Carol Mickett) Harper College, Palatine, IL. Selections from the Imagery Estate Winery Permanent Collection , Carnegie Art Museum, Oxnard, CA. 2007 The Water is courses colleges london, Wide: The Art of Boat Making , (in collaboration w/ Carol Mickett), The Studio @ 620 w/The Florida Maritime Museum of Cortez, St. Thinking. Petersburg, FL. 2006 redefined: Modern and Contemporary Art from the Collection , Corcoran Gallery of courses london, Art, Washington D.C.

Tandem Press Highlights, 1995-2005 , Chazen Museum of Art, Univ. of value of critical, Wisconsin-Madison, Madison, WI. American Dream: By Design , Belger Arts Center, Kansas City, MO. The Lawrence Lithography Workshop , Gallery 210, Univ of creative writing colleges, Missouri-St. School Personal Statement. Louis, St. Writing Courses London. Louis, MO. 2004 United States Embassy Belgrade, ART in for writing Embassies Program, U.S. Writing Courses London. Ambassador’s Residence, Belgrade, (Serbia) Yugoslavia. 2002 Crossing Over , City Gallery East, Atlanta, GA. Prints by figurative Georgia Artists: Holiday Show , Swan Coach House Gallery, Atlanta, GA. 20 th Annual Pancake Breakfast Show , Klein Art Works, Chicago, IL.

Fish, Flowers, Flying Things , Spencer Museum, The University of Kansas, Lawrence, KS. 2001 Inside Out: Contemporary Sculpture, Video and courses colleges, Installation , Bass Museum, Miami Beach, FL. Impact, Georgia Museum, Athens, GA. Underfoot , Sao Paulo Brasilia, Brazil. Morgan Gallery, Kansas City, MO. Klein Art Works, Chicago, IL. Urban Architecture, New York, NY. 1999 Perspectives on for writing personal statement, Terrain, Dolan/Maxwell, Philadelphia, PA.

Water: A Contemporary American View , Gibbes Museum of writing colleges, Art, Charleston, SC, traveled to Mobile Museum of Art, Mobile, Alabama, and Leigh Yawkey Woodson Art Museum, Wausau, WI (catalogue). 1998 Contemporary Abstraction , Klein Art Works, Chicago, IL. Pier Walk ’98 , Navy Pier, Chicago, IL. Graphicstudio: El Campo Expandido De La Grafica , Biblioteca Luis Angel Arango, Banco de la Republica, Bogata, Colombia. 1997 Abstract Confluence , Klein Art Works, Chicago, IL.

Charles Burchfield , Columbus Museum of contemplative life love, Art, Columbus, OH. 1994 Emmersed , University of Wyoming Art Museum, Laramie, WY. Tandem Press: Five Years of writing, Collaboration and Experimentation at essay language the Elvehjem Museum of creative writing colleges london, Art , Elvehjem. Museum of Art, University of Wisconsin – Madison (1994) and Butler Institute of American Art, Youngstown, Ohio (1995) (catalogue). 1991 43 Annual Purchase Exhibition , American Academy Institute of contemplative, Arts Letters, New York, NY. New Editions , Pace Prints, New York, NY. 5th International Biennial Print Exhibit , Taipei, Taiwan, R.O.C.

1990 New Editions , Pace Prints, New York, NY. Voyages of the courses Modern Imagination , William Farnsworth Library Art Mus., Rockland, ME. National Drawing Invitational , Arkansas Arts Center, Little Rock, AR. Persuasive Figurative Language. (catalogue) Group Exhibition , Dolan/Maxwell, New York, NY. The Boat Show: Fantastic Vessels, Fictional Voyages , Renwick Gallery of the creative courses colleges london National Museum of cornell essay, American Art, Smithsonian Institution, the Museum of creative writing colleges london, Art, Portland, ME, and the Museum of Art, Ft. Lauderdale, FL (catalogue). 42nd Annual Purchase Exhibition , American Academy Institute of cornell university questions, Arts Letters, NY, NY. 26th Annual Exhibition of courses london, Art on Paper , Weatherspoon Gallery, Univ. of North Carolina, Greensboro, NC. 1989 Water-Color: Contemporary Currents , Riverside Art Museum, Riverside, CA. 41st Annual Purchase Exhibition , American Academy Institute of essay newspaper, Arts Letters, NY, NY. Projects Portfolios , The 25th National Print Exhibition, Brooklyn Museum, Brooklyn, NY (catalogue).

The Boat Show: Fantastic Vessels, Fictional Voyages , Renwick Gallery – National Museum of creative courses london, American Art, Smithsonian Institute, Washington D.C. Recent Accessions , Smith College Museum of value, Art, Northampton, MA. Great American Prints , 1987-89, Dolan/Maxwell Gallery, Philadelphia, PA. 5th Anniversary Exhibition , Dolan/Maxwell Gallery, New York, NY. Collectors Gallery XXIII , Marian Doogler McNay Art Museum, San Antonio, TX. Paysages Verticaux , Musee du Quebec, Quebec City, Canada (catalogue) Sculpture/Commerce Square , Commerce Square, Philadelphia, PA.

Works on Paper by courses Sculptors , Alice Simsar Gallery, Ann Arbor, MI. Prints: Suites Series , Middendorf Gallery, Washington D.C. Coming of Age: Twenty-one Years of thinking in business, Collecting by creative courses colleges the Madison Art Center , Madison Art Center, Madison, WI. 1988 Revelations Drawing/America , Organized by The Arkansas Arts Center, Little Rock, AR for in business the United States entry in colleges london the 1988 International Festival of the great gatsby cover essay, Contemporary Drawing, Paris, France. Traveled to creative writing courses colleges london Umjettnicka Galerija Bosne I Hercegovine in gatsby Sarajevo, Yugoslavia (June 7 28, 1988), Moderna Galerija in courses london Ljublijana, Yugoslavia (July 5-August 5, 1988), Galerija Josip-Bepo Benkovic in application questions Herceg Novi, Yugoslavia (August 11-25, 1988), Museo de Arte Contemporaneo in writing Seville, Spain (October 3-21, 1988), Washington Irving Center in essay name Madrid, Spain (November 3-22, 1988), Festival International du Dessin Contemporain Grand Palais, Paris, France (December 14-31, 1988), and The Arkansas Arts Center in Little Rock, AR, USA (January 19-March 26, 1989). Mary Beth Edelson, Martin Puryear, Italo Scanga, Robert Stackhouse , SPECTRUM series, Corcoran Gallery of Art, Washington D.C. (catalogue). American Academy Institute of Arts Letters, New York, NY.

1987 Ruby Birth , Sao Paolo Biennal, San Paolo (two catalogues) Walk On , Sit Down, Go Through, Socrates Sculpture Park, Long Island City, NY. (catalogue) Outside In , City Gallery, sponsored by creative courses london the Socrates Sculpture Park, Long Island City, NY. The Structural Image , Dolan/Maxwell Gallery, Philadelphia, PA. Down By the Sea , Snug Harbor Art Center, Staten Island, NY. American Masters-Works on Paper From the cornell essay Corcoran Gallery of creative courses london, Art , Oklahoma Museum of value thinking in business, Art, Oklahoma City, OK; Queens Museum, Flushing, NY.; Corcoran Gallery of Art Washington D.C.; Burling Library, Grinnell, Iowa; Cincinnati Art Museum, Cincinnati, OH; and writing colleges, the Society of the a medical school statement Four Arts, Palm Beach, CA. 1986 Monumental Drawings: Works by Twenty American Artists , Brooklyn Museum, Brooklyn, NY. (catalogue) Recent Acquisitions , Hirshorn Museum and Sculpture Garden, Washington D.C. American Masters: Works on Paper from writing The Corcoran Gallery of Art , Smithsonian Institution Traveling Exhibition Service: Corcoran Gallery of Art, Washington, D.C., Burling Library, Grinnell, IA, Cincinnati Art Museum, Cincinnati, OH, and value of critical in business, Midland Art Council, Midland, MI (catalogue).

1985 Environmental Concerns , Project Drawings, Evelyn Aimis Fine Art, Toronto, Canada. 1984 Drawing Since 1974 , Hirshhorn Museum and writing london, Sculpture Garden, Washington D.C. 1 + 1 = 2 , Bernice Steinbaum Gallery, New York, NY. Application. (traveling exhibition) Varieties of courses, Sculptural Ideas , Max Hutchinson Gallery, New York, NY. Large Drawings , Wesleyan University Center for the Arts, Middletown, CN. Value Of Critical Thinking In Business. Traveled to Toledo Museum of colleges london, Art, Toledo, OH. An International Survey of essay figurative, Painting and creative writing courses colleges, Sculpture , Museum of tips for writing personal statement, Modern Art, New York, NY (catalogue).

Washington Project for colleges the Arts , Washington D.C. School Statement. (catalogue) Landmarks , Bard College, Annandale-0n-Hudson, New York, NY (catalogue). The New York Art Experience , Modern Art Consultants, April Kingsley, curator, New York, NY. 1983 1983 Sculpture Invitational , Oscarsson-Hood Gallery, New York, NY. Mile of Sculpture at Navy Pier , Chicago Art Exposition, Chicago, IL. Creative Time’s Art in the Anchorage , The Centennial of the courses colleges london Brooklyn Bridge, Brooklyn, NY (catalogue).

Max Hutchinson Gallery, New York, NY. The Trisolini Print Project , Trisolini Gallery of gatsby cover analysis essay, Ohio University, Athens, OH. 1982 Citysite Sculpture , Toronto, Canada (catalogue). Citysite Sculpture , Market Gallery, Toronto, Canada. Women Choose Men , A.I.R. Writing Courses. Gallery, New York, NY. 1981 Working Drawings , Hunter Gallery, Hunter College, New York, NY. Schemes , Elise Meyer, New York, NY. Ritual , Touchstone Gallery, New York, NY. Dobrick Gallery, Chicago, IL.

CAPS at the State Museum, State Museum, Albany, NY. CAPS at essay figurative the Fashion Institute of creative writing courses colleges london, Technology, Fashion Institute of a medical statement, Technology, New York, NY. The Image of the writing london House in essay love Contemporary Art , Lawndale Annex, University of Houston, Houston, TX (catalogue). 1980 Painting Sculpture Today 1980 , Indianapolis Museum of courses colleges london, Art, IN (catalogue). Architectural Sculptures , Los Angeles Institute of Contemporary Art, Los Angeles, CA.

International Drawings and analysis essay, Paintings, Pleven, Bulgaria. NY 8 , Joe and Emily Lowe Art Gallery, Syracuse Univerisyt, Syracuse, NY (catalogue). 1979 Maquettes and Drawings , Feigenson-Rosenstein Gallery, Detroit, MI. Dance At Tyler , Tyler School of creative writing courses london, Art, Philadelphia, PA. New York 7 , Lowe Art Center, Syracuse University, Syracuse, NY. Weatherspoon Art Gallery, University of North Carolina, Greensboro, NC. 1978 Sculptor’s Drawings , Touchstone Gallery, New York, NY.

Outdoor Environmental Sculpture , Cranbrook Academy of Art, Bloomfield Hills, MI. 1977 Drawings of the essay newspaper 70’s , Art Institute of Chicago, Chicago, IL (catalogue) Scale and Environment: Ten Sculptors , Walker Art Center, Minneapolis, MN (catalogue). The City Project 1977: Outdoor Environmental Art , New Gallery of Contemporary Art and Cleveland State University, Cleveland, OH (catalogue). Niagara Dance, Artpark, Lewiston, NY (catalogue). The Material Dominant: Some Current Artists and Their Media , The Pennsylvania State University, University Park, PA (catalogue). 1976 Personal Mythologies , Fine Arts Building, New York, NY. 1975 North, East, West, South, Middle , Moore College Art Gallery, Philadelphia, PA. Traveled to Pratt Graphics Center, NY., Corcoran Gallery of courses colleges london, Art, Washington D.C., Fort Worth Art Museum, Fort Worth, TX, and La Jolla Museum of cornell application essay questions, contemporary Art, La Jolla, CA (catalogue).

Recent Acquisitions , Corcoran Gallery of colleges, Art, Washington, D.C. 1974 Contemporary Religious Imagery in essay figurative language American Art , Ringling Museum of creative courses colleges london, Art, Sarasota, FL (catalogue). 1973 Washington Sculpture , Philadelphia Art Alliance, Philadelphia, PA. 1972 Instituto Guatemalteco-Americano, Guatemala. Second Annual Exhibition of Washington Artists: Paintings, Sculpture, Drawings, and Graphics , The Phillips Collection, Washington, D. Cornell Application Essay Questions. C. (catalogue). 1970 20 Years of Washington Art , Baltimore Museum of creative writing colleges london, Art, Baltimore, MD (catalogue). New Sculpture: Baltimore, Washington, Richmond , Corcoran Gallery of Art, Washington D.C. The Great Gatsby Essay. (catalogue). 1969 Other Ideas , Detroit Institute of creative writing london, Art, Detroit, MI (catalogue). 2009 Place In The Woods , (collaboration w/ Carol Mickett), Hunter Museum of essay name, American Art, Chattanooga, TN, bronze and brass, 14’H x 14’W x 28’L. 2008 In The Blue (collaboration w/Carol Mickett), St.

Petersburg Art Center, St. Petersburg, FL, painted wood, 11’H x 2,400 sq. Courses. ft. (wall-to-wall installation in four rooms). 2007 Peace o’ Eight , (collaboration w/Carol Mickett), First Night, St. Contemplative Essay Life Love. Petersburg, FL, wood and creative writing courses colleges london, muslin, lights, flammable material, 8’H x 4’W x 24’L. Tropetorre , Laumeier Sculpture Park Benefit, St. Louis, MO, walnut and brass, 25 3/8?H x 6?W x 14?L. 2006 Factor 24 , Arts Alive 2006, Tampa, FL. 2004 Confluence , (collaboration w/ Carol Mickett), ARTSPARK, Indianapolis Art Center, Indianapolis, IN, Indiana Limestone, 13’H x 12’W x 500’L. 2002 Impact: New Faculty in figurative the Lamar Dodd School of creative writing courses, Art , Georgia Museum of for writing school statement, Art, University of creative writing courses colleges, Georgia, Athens, GA. Wall Torre , Klein Art Works, Chicago, IL, wood, 10’H x 2’W x 3.5’L.

Proto Torre , Klein Art Works, Chicago, IL, wood, 10’H x 2’W x 4’L.. Falling Water , University of Georgia, Athens, GA, wood, 36’H x 8’W x 28’L. 2001 Missouri Bones , Bass Museum, Miami Beach, FL. 2000 Mortal Rock , Urban Architecture, Ny, NY, Kansas Post Rock, 10”H x 14’W x 30’L. Resurgent, Joseloff Gallery, University of contemplative love mind, Hartford, West Hartford, CT, aluminum Kansas Post Rock,9’H x 5’W x 34’L. Resurgent , Klein Art Works, Chicago, IL, aluminum Kansas Post Rock, 9’H x 5’W x 34’L.

1998 Missouri Bones , Albrecht-Kemper, St. Joseph, MO, aluminum, 4”H x 6’W x 60’L. Angel Way , Navy Pier, Chicago, IL, wood, 17’H x 10’W x 70’L. A Augusta , Morris Museum of creative courses london, Art, Augusta, GA, wood, 12’H x 20’W x 60’L. Michigan Swell , Western Michigan University, Kalamazoo, MI, wood, 16’H x 12’W x 100’L. Incomplete Angel, Morgan Gallery, Kansas City, MO, wood, 12’H x 20’W x 20’L.

1997 Missouri Shift , Drury College, Springfield, MO, wood, 17’H x 16’W x 96’L. Blue Ryder , Klein Art Works, Chicago, IL, wood, 7’H x 14’W x 20’L. Chicago Structure , Klein Art Works, Chicago, IL, wood, 8’H x 11’W x 38’L (2004 moved to contemplative essay life love Harper College, Palatine, IL.). 1996 K.C.Way , Kansas City Art Institute, Kansas City, MO, wood, 17’H x 16’W x 36’l. 1994 Wyoming Immersed , University of writing, Wyoming, Laramie, WY, copper, 6’H x 5’W 36’L. Copper Naja , John and Maxine Belger Family Foundation, Kansas City, MO, copper, 1’H x 2’7?W x 12L. 1991 Divers , Marine Science Building, Univ. of application questions, Hawaii, Manoa, HI, extruded red brass, 4?H x 6’W x 40’L.

Delaware Passage , Delaware Art Museum, Wilmington, DE; extruded red brass, 6’H x 6W’ x 17L’. Naja’s Deck , Delaware Art Museum, Wilmington, DE, extruded Red Brass, 4 1/2”H x 20’W x 4 1/2’L. Soundless , Contemporary Art Museum, University of writing courses, South Florida, Tampa, FL, wood, 12’H x 16’W x 34?. 1990 Encounterings , Virginia Museum of Fine Arts, Richmond, VA, wood, 10’H x 20W’ x 30’L. Encounterings , Dolan/Maxwell Gallery, New York, NY, wood, 10’H x 20’W x 30’L.

Encounterings, Kornblatt Gallery, Washington D.C., wood, 10’H x 20’W x 30’L. Blue Diviner , Honolulu Academy of essay figurative, Arts, Honolulu, HI, painted wood, two sections, 10’H x 5? 6?W x 11L 10’H x 8’W x 8’L. 1989 Oliver Ranch Project/Russian River Bones , Geyserville, CA, wood, 6’H x 12’W x 99’L. Les Os du Quebec , Musee du Quebec, Quebec City, Canada, wood, 14H’ x 8W’ x 200L’. Blue Diviner , Dolan/Maxwell Gallery, New York, NY, wood, two sections, 10’W x 5’6?W x 11’L 10’H x 8’W x 15’L. Blue Diviner , Sculpture/Commerce Square, Philadelphia, PA. wood, two sections, 10’W x 5’6?W x 11’L 10’H x 8’W x 15’L.. Blue Diviner , Barbara Kornblatt Gallery, Washington D.C., two sections, 10? x 11? x 5? 6? 10? x 15? x 8?. 1987 East River Bones , Socrates Sculpture Park, Long Island City, NY, wood, 4’H x 10’W x 70’L.

Crossings , Dolan/Maxwell Gallery, Philadelphia, PA, wood, 9’H x 10’W x 28’L. Ruby Birth , 19th Sao Paulo Biennal, Sao Paulo, Brazil, wood, 8’H x 12’W x 44’L watercolor on paper, 10’H x 30’L. 1986 Blue Swimmers , Kopling Gallery, Los Angeles, CA, wood, 4 1/2’H x 10’W x 28’L. 1984 On the colleges Beach Again , Australia National Gallery, Canberra, Australia, bronze, 6”H x 8’W x 30’L. Ohio Prospect Bones , Crosby Gardens, Toledo, OH, painted wood, 7’H x 37’W x 160?L.

Deep Swimmers , University of language, Tennessee Art Architecture Gallery, Knoxville, TN; (traveling installation), wood, 10’H x 8’W x 28’L. 1983 Red Deck , Chicago International Art Expo, Chicago, IL, wood, 8’H x 1 1/2?W x 30’L. Brooklyn Bridge Installation , Brooklyn Bridge Anchorage, Brooklyn, NY, wood and creative writing courses london, chain, 45’H x 16’W x 3?Deep. Bones , Portland Center of the Visual Arts, Portland, OR, wood, 2 secs, each 3”Hx16’Wx130’L. Mountain Climbers , Max Hutchinson Gallery, New York, NY, wood, 6”H x 4’9?W x 20’L.

1980 China Clipper Sea Witch , Indianapolis Museum of cornell university essay, Art, Indianapolis, IN, wood, 20’H x 2’W x 120’L. Passings , Nassau County Museum of colleges, Fine Art, Roslyn, NY, wood, two sections, each 20’H x 2’W x 220’L. Prudential Installation , Prudential Life Insurance Co. of for writing personal, America, Minneapolis, MN, wood and creative colleges london, painted shadow, 4’H x 15’W x 55’L. 1979 Dance at of critical in business Tyler , Tyler School of Art, Philadelphia, PA, wood, 11’H x 11’W x 60’L. Eau Clair Sailings , University of Wisconsin, Eau Claire, WI, wood, 10’H x 8’W x 80’L.

Sailors , Sculptor Now, Inc., New York City, NY, wood, 18’H x 20’W x 72’L. 1978 Sailings , Hudson River Museum, Yonkers, NY, wood, 8’H x 14’W x 48’L. Cranbrook Dance , Cranbrook Academy of creative writing london, Art, Bloomfield Hills, MI, wood, 11’H x 11’W x 168’L. 1977 Ship at name St. Agnes , New Gallery of Contemporary Art and Cleveland State University, Cleveland, OH, wood, 8’H x 10’W x 96’L. Niagara Dance , Artpark, Lewiston, NY, wood and stone, 9’H x 16’W x 112’L. Shiphall: A Passage Structure Borrowing Some Lines From the Oesberg Ship Burial , Walker Art Center, Minneapolis, MN, wood, 10’H x 16’W x 66’L. Running Animals/Reindeer Way , Sculpture Now, Inc., NYC, NY, wood and creative writing courses london, deer skulls, 11’H x 6’W x 66’L. Sky Song , Ringling Museum of Art, Sarasota, FL, wood 3’H x 4’W x 4?Deep and drawing (graphite and mylar) 22?H x 30?L.

1973 Sleeping King Ascending , Corcoran Gallery of Art, Washington D.C., wood, 20’H x 4’W x 40?L. Sleeping King , Henri Gallery, Washington, D.C., wood, 8’H x 3’W x 8’L. Abracadbra , Henri Gallery, Washington, D.C., wood and cornell application essay, graphite, 4’H x 1’W x 8’L. Winged Goddess , Henri Gallery, Washington, D.C., wood, 5’H x 2’W x 6’L. Hunting Magic , Henri Gallery, Washington, D.C., wood, 5’H x 8’W x 16’L. Graphiteside , Henri Gallery, Washington, D.C., wood and creative writing courses colleges, graphite, 4’H x 1’W x 8’L. Leatherwood , Henri Gallery, Washington, D.C., wood and essay life love, leather, 8’H x 2’W x 2’Deep. #5 , Henri Gallery, Washington, D.C., wood, 3’H x 6?W x 6?Deep. 1972 Mother Form/Journey , Henri Gallery, Washington, D.C., wood, 8’H x 1’W x 6?Deep.

Male Form/Journey , Henri Gallery, Washington, D.C., wood, 9’H x 1’W x 6?Deep. Tall Form/Journey , Henri Gallery, Washington, D.C., wood, 10?H x 6?W x 6?Deep. Boat Shape/Journey , Henri Gallery, Washington, D.C., wood, 36?H x 11?W x 17’6?L. Eye Shape – Boat Shape/Journey , Henri Gallery, Washington, D.C., wood, 36?H x 11?W x 25’L. Clipper Shape/Journey , Henri Gallery, Washington, D.C., wood, 36?H x 2’W x 13’L. Deck Shape/Journey , Henri Gallery, Washington, D.C., wood, 36?H x 1’W x 10’L. Small Piece 1 , Henri Gallery, Washington, D.C., wood, 3’H x 6?W x 6?Deep. Small Piece 2 , Henri Gallery, Washington, D.C., wood, 3’H x 6?W x 6?Deep.

Small Piece 3 , Henri Gallery, Washington, D.C., wood, 3’H x 6?W x 6?Deep. 1970 Watching , Baltimore Museum of Art, MD; wood aluminum, 5’H x 20’W x 30’L. Watching , Corcoran Gallery, Washington, D.C. ; wood and aluminum, 5’H x 20’W x 30’L. The Great Rain Snake , Corcoran Gallery, Washington, D. C., oak, 4’2?H x 3’8?W x 40’10?L. 1969 Blades , Detroit Art Institute, Detroit, MI, aluminum and acrylic fiber, in courses colleges three parts: 2?H x 4’W x 6’L and 2?H x 48?W x 4?L and 3’H x 2?W x 4?Deep. Museum and the great gatsby cover analysis essay, Corporate Collections.

Contemporary Art Museum, University of South Florida, Tampa, FL. Oliver Ranch Sculpture Park, Geyserville, CA. Australian National Gallery, Canberra, Australia. Laumeier Sculpture Park, St. Writing Colleges. Louis, MO.

Museum of essay life mind, Modern Art, New York, NY. Hunter Museum of creative courses london, American Art, Chattanooga, TN. John and Maxine Belger Family Foundation, Kansas City, MO. Museum of Contemporary Art, Chicago, IL. Walker Art Center, Minneapolis, MN. Art Institute of tips for writing, Chicago, Chicago, IL.

International Sculpture Center, Hamilton, NJ. Museum of london, Fine Arts, St. The Great Gatsby Cover. Petersburg, FL. Polk Museum of Art, Lakeland, FL. Allen Memorial Art Museum, Oberlin College, Oberlin, OH. Baltimore Museum of Art, Baltimore, MD.

Corcoran Gallery of Art, Washington D.C. Philadelphia Museum of Art, Philadelphia, PA. Indianapolis Museum of colleges london, Art, Indianapolis, IN. Prudential Life Insurance Company of tips for writing a medical statement, America, Minneapolis, MN. Kemper Insurance Company, Long Grove, IL. Exxon Corporation, New York, NY.

Citicorp, New York, NY. Sunrise Foundation, Inc., Charleston, WV. Madison Art Center, Madison, WI. Thomas LoCicero, Tampa, FL. Philadelphia Savings Fund Society, Philadelphia, PA. The Pennsylvania Academy of the Fine Arts, Philadelphia, PA. Phillip Morris, New York, NY. Delaware Art Museum, Wilmington, DE.

Museum of Fine Arts, Boston, MA. Smith College Museum of Art, North Hampton, MA. Newsweek Magazine, New York, NY. J.P. Creative Colleges London. Morgan Co. Tips For Writing School Personal. Incorporated, New York, NY. American Express, New York, NY. Hirshhorn Museum and creative writing, Sculpture Garden, Washington D.C. The Phillips Collection, Washington D.C. Hallmark Cards Inc., Kansas City, MO. Rayovac, Madison, WI.

Texaco USA, Houston, TX. Corndisco, Inc., Rosemont, IL. Morris Museum of contemplative essay life love mind, Art, Augusta, GA. Beach Museum, Kansas State University, Manhattan, KS. Knoxville Museum, Knoxville, TN.

Arkansas Art Center, Little Rock, AR. Fort Wayne Museum of Art, Fort Wayne, IN. Nelson-Atkins Museum of writing, Art, Kansas City, MO. Imagery Estate Winery, Sonoma, CA. Books, Catalogues, and Literary Journals. 2009 “Meet Our 40 in 40 Outstanding Alumni,” Alumni Voice , University of South Florida, Tampa, FL, October 2009. Tampa Review . Of Critical Thinking. Cover image and creative colleges, essay by essay newspaper Richard Matthews, editor (Tampa, FL, University of Tampa, Vol. 36, 2009). Karla Jackson, “Stackhouse: snapshots of an artist,” Alumni Voice , University of South Florida, Tampa, FL, April 2009. Colleges London. (Cover image). 2008 Robert Stackhouse: Editions Archive . Essay Name. Essays by creative london Michael D. Hall, artist and art writer, and gatsby, Mary Lee Corlett, National Gallery, Washington, DC (Tampa, FL: Institute for courses colleges london Research in analysis Art, University of colleges, South Florida, 2008).

Robert Stackhouse: Swimmers and Floaters . Essay by gatsby essay Todd Behrens, curator Polk Museum of Art (Lakeland, FL: Polk Museum of creative colleges, Art, 2008). Waves of Meaning: Robert Stackhouse and name, Carol Mickett . Essay by writing colleges london Roy Slade, Director Emeritus, Cranbrook Art Museum and Former Director, Corcoran Gallery of newspaper, Art (St. Courses. Petersburg, FL: St. Petersburg Art Center, 2008) Margaret Buchen, Harper College 40 th Anniversary Art Invitational: A Celebration of essay, Collecting Art at writing courses the College (Palatine, IL: Harper College, 2008)

2007 Laumeier Sculpture Park Benefit Catalogue (St. Louis, MO: Laumeier Sculpture Park, 2007). r. Analysis. stackhouse: Paintings, Sculpture, Drawings, 1969-2000 . Writing Colleges London. Essay by Dr. Essay. Peter Briggs (Lubbock, TX: The Museum of Texas Tech University, 2007). 2006 Bob Nugent, ed., Art for colleges london Wine , Forward by thinking Donald Kuspit (Sonoma, CA: Imagery Estate Winery, 2006). 2004 United States Embassy Belgrade . Writing. Essay by Hallie and essay newspaper name, Michael Polt, Ambassador (Washington, D.C.: ART in Embassies Program.

2004) 2003 Elisabeth Kirsch, “Robert Stackhouse: Artist as Shapeshifter,” New Letters , Vol 69, Nos. Creative Writing. 23 (Cover Image). Carol Mickett and Robert Stackhouse, “Collaborations,” The Georgia Review , Vol. LVII, No. A Medical School Statement. 1, Spring 2003 (Cover Image). Wayne Enstice and creative writing, Melody Peters, Drawing: Space, Form, and university application, Expression , 3 rd . Ed. Courses. (NJ: Pearson, Prentice Hall, 2003) pp. Essay Newspaper Name. 277-8 (Cover Image).

2002 Robert Stackhouse: A Print Retrospective . Essay by Elisabeth Kirsch (St. Courses Colleges London. Louis, MO: University of cornell university questions, Missouri-St. Creative Writing Courses. Louis, 2002). Robert Stackhouse: Passages and Journeys . Essay by Brian Young, Curator (Little Rock, AR: Arkansas Arts Center, 2002). Cortona International Print Symposium . Essays by of critical thinking Carol Mickett and Paul Krainak (Cortona, Italy: The University of creative writing courses colleges, Georgia Studies Abroad Program, 2002). Sculpture Tour 2002 ((Kalamazoo, MI: Western Michigan University, 1999). 2001 A Creative Legacy: A History of value thinking in business, The National Endowment For the Arts Visual Artists’ Fellowship Program, 1966-1995 (New York: Harry N. Abrams, Inc., Publishers, 2001). Underfoot (Brazil: Bob Nugent, 2001) 2000 Robert Stackhouse, Major Works in Full Scale since 1969 . Creative Courses Colleges London. Essay by essay Phil Vander Weg, Chair, Department of Art, Western Michigan University (Kalamazoo, MI: Kalamazoo Institute of courses colleges, Arts).

1999 Stackhouse . Essay by J. Persuasive Figurative. Richard Gruber, curator, Morris Museum of courses london, Art (Augusta, GA: Morris Museum of essay life love mind, Art). Water: A Contemporary American View . Creative Writing Courses Colleges London. Essay by Thomas H. Garver, guest curator (Charleston, SC: Gibbes Museum of cornell application essay questions, Art, 1999). Sculpture (Kalamazoo, MI: Western Michigan University, 1999). 1998 Robert Stackhouse: Missouri Bones . Colleges. Essay by newspaper name Mark Spencer, Director, The Albrecht-Kemper Museum of Art (St. Joseph, MO: The Albrecht-Kemper Museum of Art, 1998) Pier Walk ’98 (Chicago, IL: 3-D CHICAGO, 1998). Graphicstudio: El Campo Expandido De La Grafica , (Santafe de Bogota D. Writing Courses. C.: Biblioteca Luis Angel Arango and essay, Graphicstudio, University of creative writing courses colleges london, South Florida, 1998). 1997 Sculpture Garden . For Writing A Medical School Personal Statement. Essay Jenny Manning (Canberra, Australia: National Gallery, 1997). Nannette V. Maciejunes and Michael D. Hall, The Paintings of creative writing london, Charles Burchfield North by value Midwest (NY: Harry N. Courses London. Abrams, Inc., Publishers, and for writing a medical school personal, Ohio: Columbus Museum of Art, 1997). 1996 Robert Stackhouse . Essay by Roberta Lord (KC, MO: Kansas City Art Institute, 1996).

1996 Acquisitions , Hallmark Art Collection, Kansas City, MO. 1994 r. Writing Courses London. stackhouse . Of Critical. (Laramie, WY: University of courses colleges, Wyoming Art Museum, 1994). Tandem Press: Five Years of Collaboration and value thinking in business, Experimentation at courses colleges london the Elvehjem Museum of Art . Essay Name. Essay by Andrew Stevens (Madison, WI: University of Wisconsin, 1993). 1993 Robert Stackhouse . Courses London. Essay by tips for writing school Douglas Gatanis (Tampa, FL: Graphicstudio, University of london, South Florida, 1993). 1992 Ten Sites: Works, Artists, Years . Debra l. Essay Love. Reinhardt, editor. Courses London. Essay by a medical personal statement Susan Waller (St. Louis, MO: Laumeier Sculpture Park, 1992).

1991 Robert Stackhouse . Courses. Essay Carter Ratcliff (Wilmington, DE: Delaware Art Mus, 1991). 1990 Robert Stackhouse , Encounterings: An Installation with Drawings . Cornell Questions. Essay Margo A. Creative. Crutchfield, curator, Virginia Mus. of cornell application, Fine Arts (Richmond, VA: Virginia Mus. of Fine Arts). The Boat Show: Fantastic Vessels, Fictional Voyages . Courses Colleges London. (Portland, ME: Portland Museum of essay newspaper, Art, 1990). 1989 Territoires D’Artistes Paysages Verticaux . Essay by Louise Dery (Quebec, Canada: Musee Du Quebec, 1989). Water-Color: Contemporary Currents . Courses Colleges. Essay by cornell university application essay Ross Anderson, Director (Riverside, CA: Riverside Art Museum, 1989).

Projects Portfolios . Essay Barry Walker, curator (Brooklyn, NY: The Brooklyn Mus 1989). Very Special Arts (New York: Christie’s, 1989). 1988 Alice Aycock and creative courses london, Robert Stackhouse, Sculpture at cornell application Laumeier . Essay by writing colleges Susan Waller (St. Cornell University. Louis, MO: Laumeier Sculpture Park, 1988). Mary Beth Edelson, Martin Puryear, Italo Scanga, Robert Stackhouse . Essay by Chrisopher French (Washington, D.C.: The Corcoran Gallery of Art, 1998). Townsend Wolfe, Revelation Drawing/America (Little Rock, AR: The Arkansas Arts Center, 1988). Chicago International Art Exposition (Chicago, IL, Chicago International Art Exposition, 1988).

1987 Sculpture: Walk On/Sit Down/Go Through . Essay by courses Janice Parente Phyllis Stigliano, Curators (Socrates Sculpture Park, Long Island City, NY: The Athena Foundation Inc., 1987). 1986 Edward J. Nygren and figurative, Linda Crocker Simmons, American Masters: Works on writing courses london, Paper from The Corcoran Gallery of Art (Washington, D.C., Smithsonian Institution Traveling Exhibition Service and contemplative, The Corcoran Gallery of Art, 1986). Laumeier Sculpture Park: First Decade 1976-1986 (St. Louis, MO, Laumeier Sculpture Park, 1986). 1985 Robert Stackhouse, “Deep Swimmers,” Essay by writing colleges Donald Kuspit (Knoxville, TN: University of Tennessee). 1984 Kynaston McShine, An International Survey of Recent Painting and Sculpture (New York: The Museum of contemplative essay mind, Modern Art, 1984). Masters of courses london, Contemporary Drawing VII: Robert Stackhouse . Essay by newspaper Max Hutchinson (Richmond, VA: Virginia Commonwealth University, 1984). Bernard Brett, A History of writing colleges, Watercolor (New York: Excalibur Books, 1984). 1983 Creative Time’s: Art In The Anchorage . Tips A Medical Personal. Essay by Richard Flood (New York: Creative Time, Inc., 1983).

The Trisolini Print Project . Essay by Gary J. Colleges. Schwindles (Athens, OH: Trisolini Gallery of Ohio University, 1983). 1983 Recent Acquisitions (Chattanooga, TN: Hunter Museum of the great cover analysis essay, Art, 1982). 1981 The Image of the House in colleges london Contemporary Art . Newspaper. (Houston, TX: Univ. of writing colleges london, Houston, 1981). 1980 Passings: Robert Stackhouse . Essay Newspaper Name. Essay by colleges london April Kingsley (Roslyn, NY: Nassau County Museum of Fine Arts). NY 8 . Essay by gatsby cover Jason D. Wong, Curator (Syracuse, NY: Syracuse University, 1980). 1979 E. Creative Courses London. M. Hatton, The Tent Book: A Celebration of contemplative essay life mind, Tents (Boston: Houghton Mifflin, 1979). 1978 Kemper Art Collection (Long Grove, IL: Kemper Insurance Companies, 1978). 1977 The Material Dominant: Some Current Artists and Their Media , (University Park, PA: The Pennsylvania State University, 1977).

The City Project 1977: Outdoor Environmental Art (Cleveland, OH: New Gallery of writing courses colleges, Contemporary Art and of critical thinking, Cleveland State University, 1977). 1975 North, East, West, South and creative writing courses london, Middle . Essay by Peter Plagens (Philadelphia, PA: Moore College of persuasive figurative language, Art, 1975). 1972 Richard Friedman, Second Annual Exhibition of london, Washington Artists: Paintings, Sculpture, Drawings, and Graphics (Washington, D.C.: The Phillips Collection, 1972). 1970 Renato Danese. New Sculpture: Baltimore, Washington, Richmond (Washington, D. C.: The Corcoran Gallery of cornell application essay, Art, 1970). Articles and creative writing london, Reviews. 2010 Kevin Sims, “Park Sculpture is persuasive language, Work in courses london the Woods, “ News Channel 9, Chattanooga, TN, March 5, 2010. Michael Crumb, “Organic Dynamic,” The Pulse, Chattanooga, TN, February, 24, 2010. 2009 “Place In The Woods,” Chattanooga Times Free Press, Chattanooga, TN, Nov 8, 2009. 2008 James Borchuck, “Last Night in St.

Petersburg,” St. Petersburg Times , January 1, 2008. “New Year’s Resolve Before The Fire, St. Figurative Language. Petersburg Times , January 1, 2008. Megan Voeller, “Home Port,” Creative Loafing , January 9 – 15, 2008.

George Basley, “An Artist’s Journey: Robert Stackhouse Returns to creative writing courses colleges london his Alma Mater,” The Oracle , January 23, 2008. Lennie Bennett, “Dual Nature,” St. Essay Mind. Petersburg Times , January 27, 2008. Megan Voeller, “Super Nova,” Creative Loafing , February 20 – 26, 2008. Megan Voeller, “Fertile Opportunity,” Creative Loafing, February 27 – March 4, 2008. “Robert Stackhouse,” News Chief , March 9, 2008. Catherine Ward, “Art Goes Big in colleges Haven Park,” Lakeland Ledger , March 11, 2008. Pierre Ducharme, “Artist of Achievement ,” Lakeland Ledger , March 21, 2008. Paul Swinder, “Whole-Brain Approach to Art,” St. Petersburg Times , April 9, 2008. Gayle Worland, “Designers At Home Inside Mmoca,” Wisconsin State Journal , April 20, 2008.

Mary Jane Park, “Artist’s name, like his work, will live on,” St. Petersburg Times , Ap 24, 2008. Carol Mickett and Robert Stackhouse, “Sculpture 2008,” 7 th Annual Florida Outdoor Sculpture Competition Catalogue (Lakeland, FL: Polk Museum of cover analysis, Art, 2008). “City’s First Night Wins For Creative Programming,” St. Writing Courses Colleges London. Petersburg Times , July 6, 2008. Nick Maleski, “Robert Stackhouse at Belger Arts: The Range of value of critical, Possibilities,” Kansas City Star , November 27, 2008.

Elizabeth Alex, “Magic Among Snakes and Ships in colleges london the Belger Art Center,” NBC Action News KSHB-TV 41, December 16, 2008. Dana Self, “A Career-Spanning Survey of Robert Stackhouse’s Work Docks at the Belger,” Pitch , December 25, 2008. 2007 Kenneth Baker, “A Man Who Can,” Art + Auction , Sept 2007, Volume XXXI, No. Newspaper Name. 1. Richard D. Creative Colleges. Finch and application essay, Veda M. Creative Writing Courses Colleges. Rives, eds., Marks from the Matrix , Normal Editions Workshop, Collaborative Limited Edition Prints, 1976-2006, (Normal, IL: Normal Editions Workshop, Illinois State University, 2007). Carol Mickett and tips a medical school personal, Robert Stackhouse, “ True Dutterer,” True Dutterer: The Work of William S. Creative London. Dutterer (Washington, DC: American Univ Museum, 2007).

David Ellis, The Water is Wide: The Art of Boat Making (St. Essay. Petersburg, FL: The Studio @ 620, 2007). Esther Hammer, “Symbol of Divide Unifies Past, Future,” Tampa Tribune , May 4, 2007. Mary Jane Park, “On The Town,” St. Petersburg Times , November 4, 2007. Jessica Levco, “Auburndale fish camp focus of writing courses colleges london, art exhibit,” News Chief , Vol. For Writing School Personal. 97, Issue 77, Nov. 26, 2007. Anne Shamas, “The Artistry of First Night,” Best in creative writing courses St. Pete , Nov/Dec 2007.

Mary Jane Park, “Water Retreat,” bay: a magazine of the St. Petersburg Times , December 2007. Aurora Rodrigues, “Serpents the value thinking in business Sea,” The Ledger , December 1, 2007. Sharon Kennedy, “New Year’s Eve,” St. Petersburg Times , December 27, 2007. Scott Keeler, “Building it to burn,” St. Writing Courses London. Petersburg Times , December 28, 2007. Cristina Silva, “Welcome 2008 at tips for writing a medical personal statement First Night,” St. Creative Courses Colleges. Petersburg Times , December 30, 2007.

“Auburndale High School Alumni to tips a medical personal statement Exhibit Work at creative colleges Polk Museum of contemplative love mind, Art,” Artifacts (Bartow, FL: The Polk Arts Alliance),Volume 10, Number 2, Winter 2007/2008. 2006 Kevin Lynch, “Tandem Masters,” The Capital Times , January 20, 2006. Jacob Stockinger, “Tandem Show Just Too Safe,” Wisconsin State Journal , March 23, 2006. Kassy Reyes, “Robert Stackhouse:Artist, Former Bloodhound,” Trail of the creative courses colleges london Hounds , Ap/M 2006. Mary Jane Park, “On The Town,” St. Petersburg Times , April 16, 2006. “Scene Heard,” Tampa Tribune , April 20, 2006. Mary Jane Park, “On The Town,” St.

Petersburg Times , May 14, 2006. Kevin Lynch, “On Wings of cornell essay questions, Art,” The Capital Times , July 21, 2006. 2005 Mary Jane Park, “LiveArts Recalls Bay’s Early Days,” St. Petersburg Times , Feb 12, 2005. Mary Jane Park, “Arts Events Share Lot of creative courses colleges, Weekend Attention,” St.

Petersburg Times , March 9, 2005. Edward J. Gatsby Cover Analysis. Sozanski, “Delaware Art Museum Gets Its New Director From Philadelphia,” The Philadelphia Inquirer, March 31, 2005. Alice Thorson, “Gallery Owner Transformed K. C. Scene,” The Kansas City Star , May 12, 2005. S. L. Creative Writing Courses Colleges. Berry, “Open-air park celebrates sensory perceptions,” The Indianapolis Star , Sunday August 21, 2005. Sam Yates, 58 th Annual Student Art Competition (Knoxville, TN: Univ of language, Tennessee, 2005). 2004 Jenny Manning, Sculpture Garden (Canberra: National Gallery of Australia, 2004). Mary Jane Park, “Artist’s Glass Brightens Stuart Society Benefit,” St. Petersburg Times , January 25, 2004. Mary Jane Park, “Hoosiers Huddle With Newcomers,” St.

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Alice Thorson, “UMKC Plans Art Center Near Campus,” December 2, 2000. 1999 Alice Thorson, “Making Ends Meet East Meets West,” Kansas City Star , Feb 21, 1999. Mary Cadden, “What’s Happening,” USA Today , Friday, May 14, 1999. Kent Kimes, “Structural Expression,” The Augusta Chronicle , Sunday, May 16, 1999. Laura R. Writing Courses. Hockaday, “KCAI Art Auction Nets Record Proceeds,” Kansas City Star , My 16, 1999. Donnie Fetter, “Stackhouse Creates Sculpture for contemplative essay love Augusta State,” Metro Spirit , April 29, 1999. Art Hove, Tandem Press , University of Wisconsin-Madison, Spring 1999.

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Kathleen Whitney, “Robert Stackhouse: The Ritual of creative london, Labor,” Sculpture , Vol. The Great Gatsby Essay. 17, No. 5, May/June 1998. Alice Thorson, “A Critics Guide To the Commercial Art Galleries, The Kansas City Star , August 29, 1998. “Robert Stackhouse: Someways,” The Albrecht Kemper Museum of creative colleges, Art , Summer 1998. 1996 Paul Richard, “Henri Dies at cornell university 87: Vibrant Dealer in Art, Antigues.” The Washington Post , February 20, 1996. “Master/Apprentice: Stackhouse at creative writing courses london KCAI,” New Times Arts and Entertainment , March 7, 1996. Fred Blocher, “Sculpture Structure,” The Kansas City Star , March 13, 1996. Michelle Lozano, “Thirty Years…and counting,” St. Joseph News-Press , Friday, May 12, 1996. Kathleen Whitney, “Robert Stackhouse: The Ritual of persuasive language, Labor,” Sculpture , May/June 1996.

Timothy J. London. Lamorte, “Port Chester Landmark Finds New Identity,” Port Chester Guide, June 19, 1996. Alice Thorson, “St. Cornell Application. Joseph exhibit stacks up as strong sculpture,” Kansas City Star , Jn 21, 1996. 1995 Kristen Gladsky, “Robert Stackhouse’s Works Build on the Minimalists-Sculptor’s Repetitious Shapes Reflect a Nautical Theme,” The Kansas City Star , May 18, 1995. Kevin Lynch, “Print-makers Make It Big,” The Capital Times , June 1, 1995. 1994 Kevin Lynch, “Ghost Haunt Arist’s Work,” The Capital Times , April, 28, 1994. Susan Blocker, “Working in creative writing Tandem Draws Artists,” Wisconsin State Journal , May 1, 1994. Cathy Curtis, “Art Review: ‘Sculptors’ Look Good on Paper Show of essay figurative, Prints and creative writing courses, Drawings Reveal Some Interesting Paths to essay life mind 3-D,” Los Angeles Times , December 10, 1994. 1993 “Brush Up On Madison Galleries,” Wisconsin State Journal , January 8, 1993. Lee Fleming, “In the Coils of the Serpent,” The Washington Post , February 13, 1993. Paul Richard, “Soul Survivor: Sam Gilliam, the courses Last of the value thinking color Painters, Toughs it Out in writing colleges D.C.,” February 28,1993.

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Edward J. Writing Courses Colleges. Sozanski, “Ships and gatsby, Snakes in Stackhouses’ Mid-Career Works,” Philadelphia Inquirer , May 2, 1991. Elleb Goldman Frasco, “Hands-On Fun, From Turtles to creative writing colleges london Tales,” The Philadelphia Inquirer , May 4, 1991. Phil Toman, “Common Places’ Exhibit at value of critical thinking Delaware Art Museum,” Newark Post , May 16, 1991. Carolyn Roland, “Common Places: Painting and creative colleges, Sculpture by the great cover analysis essay Robert Stackhouse,” Art Matters , June 1991. Vivien Raynor, “Art: The Works of an courses colleges london Artist Said to analysis have ‘Retired’ from courses london Painting,” The New York Times , August 4, 1991. Mary Ann Marger, “Shipshape Show Drops Anchor,” St.

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Marlise Simons, “Utopia Versus Reality in contemplative essay life love Brazil’s Art Biennial,” New York Times , Dec 9. 1987. 1986 Colin Gardner, “La Cienega Area,” Los Angeles Times , February 14, 1986. Paul Richard, “Ins Outs At the creative Hirshhorn, The Washington Post , May 18, 1986. Paul Richard, “The Hirshorn’s Harvest,” The Washington Post , November 18, 1986. “The Best of cornell university application questions, Art in creative writing courses colleges london 1986,” The Washington Post , December 28, 1986. 1985 Suzanne Muchnic, “Intriguing Sum of a medical statement, Parts,” Los Angeles Times , January 20, 1985. 1984 Corine Robbins, The Pluralist Era (New York: Harper Row, 1984).

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Valerie Brooks, “Sculpture Invitational” Flash Art , May 1983. Grace Glueck, “Brooklyn Bridge Unveils its Own Gallery,” New York Times , My 27, 1983. John Russell, “Art: Thoughts of Spring and Grand Tour Views,” New York Times , My 27, 1983. Paul Richard, “It’s a Draw: Sculptors on creative writing courses colleges london, Paper,” The Washington Post , November 19, 1983. 1982 John Cadwell, “Neuberger Show Off Permanent Works,” New York Times , Feb 28, 1982.

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Micky Donnelly, “Lofting It,” Circa , July-August 1982. Heather Hatch, “Citysite-The Final Stage,” Artview , Visual Arts, Ontario, Canada, Fall 1982. Alan Hayakawa, “Stackhouse’s Ships are Vessels for the Imagination,” Oregonian , September 30, 1982. “Museums,” The Washington Post , November 5, 1982. JoAnn Lewis, “Galleries,” The Washington Post , November 11, 1982. “Galleries,” The Washington Post , November 19, 1982. 1981 David Shirley, “A Horizon Created of creative writing courses london, Wood,” The New York Times , January 4, 1981. Ann Wooster-Sargent, “Review” Art in value of critical thinking in business America , February 1981.

“Other Business: New on courses colleges london, the Gallery Tour,” The New York Times , March 8, 1981 . “Austria’s Arik Brauer,” The Washington Post , August 15, 1981. Judy Vick, “The Old Gray Corporation Ain’t What She Used To Be,” Minneapolis Star , September 1981. Edie Cohen, “Prudential North Central Operations Center,” (Cover Image), Interior Design , October 1981. Corrine Robbins, “Sculpture Now, 1974-79,” Arts Magazine , November 1981. Lynne Dietrich, “Art Paradoxes Explored in value of critical Show,” Tampa Tribune , November 30, 1981. 1980 Jerry Herman, “Robert Stackhouse,” Arts Magazine , June 1980. “Galleries,” The Washington Post , April 11, 1980. Paul Richard, “Article 1-No Title,” The Washington Post , April 12, 1980. “Galleries,” The Washington Post , April 18, 1980.

JoAnn Lewis, “Paintings for colleges the Partners,” The Washington Post , September 7, 1980. “Robert Stachouse Drawings and Sculpture,” O.C.D. Essay Mind. News , Nassau County, Vol. Creative Writing Courses London. 8, No. The Great Gatsby Cover Analysis Essay. 3, 1980. 1979 Alan Artner, “Review,” Chicago Tribune , February 23, 1979. Robbie Erlich, “Robert Stackhouse: Sculpture Now” Arts Magazine , December 1979. April Kingsly, “Review” The Village Voice , May 28, 1979. Mike Hannon, “Sailings,” The View , Winter 1979. Karen Hardner, “Symbolic Ship at writing courses Waters Edge: Stackhouse Conveys Passage.” Spectator , (Eau Claire, Wisconsin: University of Wisconsin at Eau Claire, 1979). 1978 William Hegemen, “Minneapolis: Sculpture to Walk Through” ArtNews , 1978.

Wendy Hoffman, “Robert Stackhouse,” The New Art Examiner , February 1978. “News-Welcome to the World of essay, Aycock, Stackhouse,” The Cranbrook Quarterly , Aug 1978. JoAnn Lewis, “Photorealism With a Naturalist’s Touch and writing courses colleges london, a Newcomer Worth Watching, The Washington Post , November 18, 1978. David Shirley,”Engaging Construction,” The New York Times , November 26, 1978. 1977 Paul Richard, “From Trendy Commnnents To Timeless Images,” The Washington Post , March 15, 1977.

William Miller,”Trash-Filled Land in the Inner City May Soon Become Lots of Art,” Cleveland Plain Dealer , March 20, 1977. Helen Cullinan, “Environmental Sculptures Shaping UP: Neighbors Aid Outdoor Art,” Sunday Plain Dealer , , Cleveland, Ohio. Dick Wooten, “Outdoor Art Brightening the City” The Cleveland Press , May 28, 1977. “Freiluft-Kunst in kie Slums,” Der Spiegal , August 8, 1977. France Morin, “Artpark 1977,” Parachute , Autumn 1977. Richard Olsenis, “Walker Art Center Opens Fall Sculptural Show,” Minneapolis Tribune , October 2, 1977. Eileen Thalenberg, “Site Work: Some Sculptures at Artpark,” Arts Canada , Oct.-Nov 1977. Darlene Pfister, “A Story in the great cover analysis Pictures: A Sunday Afternoon at creative colleges the Walker Art Center.” Minneapolis Tribune , November 26, 1977. Nancy Toblin Willig, “The Nation: the Season at contemplative love mind Artpark.” ArtNews , November 1977. 1976 Jean-Louis Bourgeoise, “Review,” Art in America , January-February 1976. Paul Richard, “Galleries,” The Washington Post , April 21, 1976.

Ann Sargent-Wooster, “Review,” ArtNews , November 1976. “Calendar,” The Washington Post , November 26, 1976. David Bourdon, “Robert Stackhouse: On the Trail of courses colleges london, Legend,” Arts Magazine , December 1976. Phil Patton, “Review,” Artforum , December 1976. 1975 Paul Richard, ” ‘Appropriate Art’ for a Pristine Metro,” Washington Post , Mar 15, 1975. Paul Richard, “Corcoran Gallery: Been Down So Long, It’s Great To Be Up,” The Washington Post , April 27, 1975. Gene Baro, “A Look at essay Life Straight-On,” The Washington Post , June 1, 1974. 1973 Donna Ari and writing courses london, Cynthia Field, “Beau-Arts Tradition at the Corcoran,” Museum News , No.

54, Jan-Feb 1973. Gary Arnold, “Ceasar Est Omnis Divisus in Partes X,” The Washington Post , Times Herald , May 19, 1973. “Gallery,” The Washington Post , Times Herald , November 9, 1973. “Gallery,” The Washington Post , Times Herald , November 23, 1973. “Gallery,” The Washington Post , Times Herald , November 30, 1973. “Gallery,” The Washington Post , Times Herald , December 7, 1993. 1972 Roy Slade, “Report from essay newspaper Washington,” Studio International , January 1972. Paul Richard, “Evocative Wooden Form,” The Washington Post , Times Herald , March 25, 1972.Susan Sollins, “Washington Report,” Arts Magazine , September-October 1972.

1971 Douglas Davis, “Washington,” Arts Magazine , February 1971. 1970 Paul Richard, “A Depressing Exhibition of Washington Artist’s Work,” The Washington Post , Times Herald , May 17, 1970. Paul Richard, “Sculpture At the Corcaran, Washington Post , Times Herald , Oct 18, 1970. Paul Richard, “Neither Somber Nor Sacred,” Washington Post , Times Herald , Dec 3, 1970. 2010 Public Art Expert Webinar , (w/Robert Stackhouse), Klien Art Works, Chicago, IL. Carol Mickett and courses colleges, Robert Stackhouse , Artist Table, Morean Art Center, St.Petersburg, FL.

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Artpark, Lewiston, NY. Cleveland Institute of cornell university application essay, Art, Cleveland, OH. 1967 University of Maryland, M.A. 1965 University of creative writing london, South Florida, B.A. 2000-03 Lamar Dodd Distinguished Chair, Lamar Dodd School of Art, University of Georgia, Athens, GA. 2001 Richard Koopman Distinguished Chair, Hartford School of cornell essay questions, Art, University of Hartford, Hartford, CT. 1992 Leo Block Honorary Chair, University of creative courses, Denver, Denver, CO. 1997 Visiting Professor, Department of university questions, Architecture, Drury College, Springfield, MO. 1996 Visiting Professor, Kansas City Art Institute, Kansas City, MO.

1994 Visiting Professor, University of writing courses colleges, South Florida, Tampa, FL. 1966-87 Professor, Professor Emeritus, Chair, B.F.A. Tips A Medical School Personal Statement. Program, Corcoran School of courses colleges, Art, Washington, D.C. :: Design by: TecTao Designs. Website Design and life, Development, Internet Marketing Strategies::

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For this reason, would-be accounts payable and creative writing courses colleges london receivable clerks often pursue associate’s degrees in accounting, finance or payroll accounting. In today’s competitive job market, candidates with specialized skills and training may have an contemplative essay love, advantage over those who lack formal education that gives them some background in the field in lieu of experience. Courses Colleges. Employers rarely require job candidates to hold a bachelor’s degree in accounting or a related field in order to be considered for persuasive figurative language, accounts payable and writing courses colleges london receivable clerk positions. However, individuals holding bachelor’s degrees often seek clerk positions as a way of contemplative essay mind, gaining employment in creative writing colleges a specific company or industry, while ultimately intent on pursuing promotions. Many online and value of critical thinking in business campus based colleges and technical schools offer certificate programs specific to accounts payable/receivable. These programs involve courses in basic financial accounting, business math, computerized accounting and written business communication. The Institute of colleges, Financial Operations is a professional association that offers two distinct levels of accounts payable certifications: Certified Accounts Payable Associates (CAPA) is a designation specifically geared toward individuals that have less than five years of accounting or bookkeeping experience. This certificate allows accounts payable clerks to essay newspaper demonstrate their skills within the profession while still holding entry-level positions within a company or organization.

CAPA candidates must have at least one year of experience working with accounts payable and have an associate’s degree in accounting or a related field, or three years of relevant work experience in lieu of writing london, formal education. Once experience and/or educational qualifications are met, candidates sit for the CAPA exam. Cornell University Application Questions. The CAPA designation is creative writing awarded upon tips for writing a medical personal, successful completion of the exam. Certified Accounts Payable Professional (CAPP) is creative colleges london a designation reserved for accounts payable professionals who meet one of the following qualifications: At least 2 years of managerial experience with a bachelor’s degree or higher At least 3 years of managerial experience with an associate’s degree or higher At least 5 years of managerial experience with no degree required. All candidates must successfully complete the CAPP certification exam. The Institute of Financial Operations is essay newspaper also in the process of developing a new certification program dedicated to creative courses colleges london accounts receivable professionals that is expected to be available by 2013. An alternative certification is provided by the American Institute of Bookkeepers (AIPB). This nationally recognized professional association offers the Certified Bookkeeper Designation (CB) to essay newspaper name qualified candidates. In order to qualify for the designation, candidates must have at least two years of professional experience in accounting, bookkeeping, accounts payable or a related field.

Once the minimum qualifications are met, candidates are required to pass a 4-part exam that covers several accounting-related topics. The first two portions of the exam must be taken at one of the 300 Prometric Testing centers that are located nationwide. The remaining two sections are in creative courses colleges london open-book format and can be taken online at candidates’ convenience.

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explicative essay An explication of a student essay in writing courses colleges, critical analysis. Here we will be doing (a particular kind of) critical examination of an expository/argumentative essay. That essay itself is cornell, doing a critical analysis of a piece of fictional narrative. (The writer of the essay has asked to remain anonymous, so we'll refer to her here as Mary.) [Keep in mind that criticism, in the sense in writing colleges, which we are using the gatsby cover essay term, is not synonymous with fault-finding. Creative Courses. See the general discussion of a medical school, critical analysis.] In the left-hand column below you will see how Mary notices what some of the moves are by which Katherine Mansfield went about setting up the courses colleges situation we are confronted with in her story “Miss Brill.” In particular, she is watching how the author’s moves work to get the reader to questions make certain moves. In the course of her calling attention to the features of the writing london story that “work” to produce certain effects, she has occasion as well to call attention to the conventions the author takes for granted that readers will be working under if they are to produce these effects (infer these meanings, have these reactions) on the basis of the facts she chooses and arranges to construct what the narrator explicitly conveys. In the right-hand column you will see me doing a particular kind of the great gatsby analysis, critical analysis (in the most general sense of the term) of Mary’s essay. In particular, I am doing the kind of running commentary that constitutes what we call an “explication.” Notice that the order of my points there is writing courses, dictated by the order in contemplative essay love mind, which the features commented upon unfold in the essay that is their subject. This is the mark of explication.

Its organization is creative colleges, passively determined by newspaper, something outside it – the already-existing order of points in its subject. In writing an explication we don’t have to confront the creative courses problems of organization that “higher forms” of value of critical thinking in business, exposition must solve: I just took over (followed) the organization that was already embodied in Mary’s essay. We could say that the organization of my explication is parasitic upon the organization of what it discusses. This is not the writing colleges case with Mary’s essay itself. She is persuasive language, not doing running commentary on the narrator’s story in courses, “Miss Brill.” She is showing how the point of view by which the story is disclosed to the reader contributes to newspaper the overall theme of the piece. Creative Writing Courses Colleges. This confronts her with three basic tasks. Gatsby Analysis. She has to produce (and clarify and demonstrate) a sub-thesis that states what precisely the point of view is. She has to commit herself to a statement (another sub-thesis) about what the story’s theme is creative writing courses, (or at least about what some essential part of it is).

This means discovering, formulating, unpacking, and proving some insight that she didn’t have when she sat down to start writing. And she has to shape the particular way in which she develops each of these theses in such a way that we can see how the newspaper name features of point of view that she’s calling attention to make possible the features of the theme she’s calling attention to. Courses Colleges. The logical relationships among these three sub-tasks are what determine the organizational strategy of her essay, as a whole and within its respective modules. What does not determine the organizational strategy is the plot of Mansfield’s story. Hence her essay exhibits a “logical” rather than a “chronological” structure. This structure is something she herself had to fashion, in response to the logical properties of the task at hand. She had to assume the responsibility for actively making it. Before getting into the detailed explication provided below, read the language essay itself all at one go. Ask yourself if you can detect what its thesis is and what the distinct lines of development are by writing courses london, which Mary clarifies and earns it. When you are done, return here, and work through the frames carefully.

Always read all the way through a box on questions the left-hand side before proceeding to creative courses london the corresponding. comments in the right-hand column. When you turn your attention to the right-hand column, you'll make best use of the comments if you don't read them all at once, but instead work carefully back and for writing school personal forth, refreshing your sense of courses colleges, exactly what each comment points to before thinking your way through it. When you come to university questions the comment following the first paragraph, you'll need to have a fresh sense of what was said both in the original paragraph and in the comments upon it. Consult the courses original paragraph again after you've worked through the long summary comment following it. This is rather dense stuff, so you may want to take a rest from the great analysis, time to time. When you’ve finished writing your essay, give some careful thought to fashioning an courses, appropriate title.

It should reflect something particular about your particular angle on your specific subject. Just one example: “Inside an persuasive language, Outsider: The Pathos of colleges london, Loneliness in of critical thinking, Mansfield’s ‘Miss Brill’”. This short story is narrated in creative courses colleges, the third person from the point of view of the limited omniscient narrator who primarily acts as the voice of the story’s protagonist , Miss Brill. By telling the story through the eyes of the protagonist, Mansfield is able to convey to the reader the protagonist’s loneliness and the lack of self-awareness. She offers no explanation as to the Miss Brill’s past, leaving it to the readers to draw their own conclusions. At the same time the author provides XX illuminating insights into the protagonist’s character and lifestyle that effectively communicate to the reader the theme of this short story . The central theme of contemplative essay, “Miss Brill” is the pain of loneliness, and inadvertent attempts to experience life through the experiences of total strangers. Right on. You get right to the point, and you are accurate about both the concept and the story in creative colleges, question. Now you’ve turned your opening insight to essay name account by posing answering the question “So what?” The answer is logically eligible to serve as a thesis within the framework of the assigned topic.

You point out how the author’s adoption of these means to that end affects the activities the reader is called upon to undertake – i.e, how it defines the reader’s task. That is: you show how it establishes a certain kind of game for the reader to play. (In effect, this indicates the kinds of moves we can expect you to be undertaking, in the body of your essay, as you unpack and back up your thesis.) See how your point would be more accurate if you were to insert here a phrase like details from which the reader can derive or specific facts about Miss Brill’s mental experience the reader can use to infer ? At the climax of your introduction you sharpen your thesis still further. Courses. We have an exact idea of what you will be driving at through the body of your essay. Here you give a restatement of your thesis, but you do it in a way that advances it beyond mere repetition. “Starving for warmth and companionship” is a particular mode in which one might be lonely. You then back this up with an example. And, in fact, the one you feature at just this juncture is life mind, a gesture on Miss B’s part that speaks especially to the “warmth” idea (“fur”) in connection with the companionship idea (“pet”), intensifying each in that the “pet” is not only not a real person but dead, an effigy. You proceed to give an additional example. This one requires to be developed in writing courses london, steps, and you undertake each. You promise something more and anchor it in name, a specific fact.

Then you provide a citation to anchor that characterization in turn. Then you explain, in creative writing, two parts (“Despite….But….”), how this detail establishes the point you promised. Now you set out to thinking in business give still a third example. This one requires still a different strategy of development than either of the first two. Moreover, your move into it flows smoothly from creative writing courses colleges london, what you’ve just nailed home in respect of the personal statement second example. It’s only at the end that we realize you’ve taken us to writing courses colleges london a third supporting line of evidence. Your second sentence in this section ups the value in business ante, since it raises the creative writing courses anxiety in us that you may be wandering from the point (or that we may not be getting your drift). Gatsby Cover Analysis. This drives us forward to london look for clues as to for writing school personal statement how this might be on-point after all. Writing. First, though, following the colon, you slip us 3 particular details that back up the point you’ve just made. And then you serve up the confirmation we’ve been looking for . You show us what ties all these together (a disposition to feel envy). And then you show how this (envy) in turn can be turned to account on life behalf of the thesis you started out the paragraph with.

When we think back over writing london the paragraph as a whole, three things stand out: It is unified . There is nothing there that does not serve the topic sentence (which in turn is a specific twist the essay’s thesis overall) It is for writing statement, richly developed . Mary didn’t produce a piece of confirmation and then move on to another point. She showed how to get to the same point from two additional other sorts of starting points (the last of which, in fact, is creative writing, a “staging area” she gets to newspaper from three distinct particular points in creative colleges, turn) It is coherent . We don’t lose our way in tips a medical statement, the trees as we go through the forest. The one place the writer toys with our doubt she exploits as a kind of “dramatic question:” (Will she pull it off? Or will she drive over the cliff?”) This suspense she then proceeds directly to creative writing courses resolve in a way that provides us the satisfaction of reassurance as an underlining of the point she makes that recoups the venture. Part of what serves this coherence is a pleasing overall strategy of deployment of the evidence that she has discovered she is able to give. Newspaper Name. We notice that she begins with the shortest subtask to creative writing london get through, then takes up the essay figurative next longest, and concludes with the one that takes the most elaboration to pull off. This has the effect of communicating the thoroughness of her thesis’ grounding in creative colleges london, the facts of the story: we appreciate that it not only runs close to the surface but also runs more widely and deeply through (behind) the explicit facts of Miss Brill’s consciousness that the gatsby cover essay narrator directly acquaints us with.

The fact that we can confirm the notions we start with suspecting only by going deeper into the texture of the facts’ implications connects with the fact that the point of creative writing courses colleges london, view of the essay newspaper name story is creative writing colleges, so contrived as to afford us a double vision: we get to participate “directly” in Miss Brill’s consciousness of the scene; and, on life reflection, we are enabled to understand some aspects of what that signifies that Miss Brill herself is screening out of that experience, because they are too painful — namely the creative writing courses london intensity of the pain of loneliness that is driving her to these delightful attempts to “connect.” We are thus invited to become aware of an irony: what motivates (and thus explains) her conscious experience is something that is not a part of this conscious experience, something that that experience excludes (until the epiphany at the story’s end). (Note, by persuasive, the way, that there are some points here that Mary could have explicitly incorporated into her analysis.) Mary's organizational strategy is thus not only pleasing (from small to big, from the easier to pull off to the harder to pull off) but implicitly supports in a subtle way the overall thesis of her essay , about how the point of view serves the story’s theme. We might ask ourselves: was Mary really consciously aware of all this while she was writing? She may well have been. This is a pretty deft piece of writing, and there's no reason we shouldn't suppose that the writing colleges london author of it was not deliberately working with these factors in mind.

But it is also possible that she was acting on the kind of tacit feel that we develop with experience. The organizational strategy works for any reader who is responding to the overall structure of the paragraph as a whole, and it's hard to imagine a writer being able to craft a paragraph like this without working from a sense of how the entire paragraph unrolls. Such a reader doesn't need to reflectively say to himself the points I made in the paragraph before last. The feel of the for writing a medical personal statement paragraph can communicate those ideas to us tacitly. But it is crucial that we be the kind of reader that can register such a progression (small to large, obvious to subtle) in the deployment of successive pieces of courses colleges, evidence on of critical thinking in business behalf of a claim. If we are the kind of reader who can only creative writing colleges london attend to figurative language one thing at a time, we are not yet ready even to register structure. Creative Courses London. Until we are, we can't appreciate the organizational merits of a well-written piece. Worse yet, we can't design rational and effective organizational structures for our own discourse. We won't be able to application essay gradually shape our initial drafts into something cogent and insightful. We'll always end up with more or less the same jumble of claims with which we began.

More on this later on. At this point in the story the reader still does not know much about the protagonist, except that she is a lonely voyeur. Then one of her observations about the “odd, silent, nearly all old people, and writing colleges from the way they stared they looked as though they’d just come from dark little rooms or even – even cupboards! (p.51)” whom she sees every Sunday at the park hints to the reader that she might be one of those people. Essay Figurative. The pieces of the puzzle, of course, fall into place at the end of the story, when the protagonist’s room is described as “the little dark room-her room like a cupboard (p.52).” This is the creative writing london conclusion of the story, when Miss Brill is able to see herself and her surroundings in the new light. Her new self-awareness is brought about by gatsby essay, disparaging remarks of the young lovers who refer to Miss Brill as “that stupid old thing (p.52),” and to her precious fur as “a fried whiting (p.52).” This is Miss Brill’s moment of epiphany. Creative Courses London. She is as old as the other park-goers, her fur is a pitiful necklet, and she foregoes her usual Sunday slice of honeycake. In spite of school statement, her newly found self-awareness, Miss Brill still denies some of her own emotions when “she thought she heard something crying (p.52)” at the very end of the creative london story. The tears are obviously her own. This turns out to be an effective transition. It summarizes the school personal statement understanding we’ve so far arrived at while promising something beyond it, which it does not immediately deliver. It tells us what sort of thing to be on writing london the look-out for, and thus shapes our attention in a relevant way for what’s down the pike. Cornell University Application. [Here the opening claim of the paragraph is usefully assigned a function other than stating the topic of the paragraph itself.

Instead it sets up the line of development that will eventually culminate in the statement of that comprehensive point and does so in a way that reminds us how where we’re going relates to where we’ve been.] Fine job of making connections (here, between the facts of one moment, seen from the protagonist’s initial point of view, and the facts of another moment, seen from the colleges london protagonist’s changed point of view). A Medical. And in each node (between which the connection runs) the writer provides the concrete details that establish her specific point. Finally , the courses colleges london particular connection you’she's decided to mention here is relevant to her overall concerns. Now the writer shifts gears to a different line of development of her point — from for writing school personal, “what shows this?” to “how did it come to be?” (What, in the plot, makes this changed vision plausible for the character? That’s a concern we have since we’re playing under the rules of “realism..” Mary's raising it indicates the fact that she's operating under the appropriate assumptions about the kinds of conventions at work in a story like this, which aims to present a convincing portrait of writing courses colleges london, a character with some presumed claim on our attention.) [Minor point of mechanics: when giving a parenthetic page reference for textual citation presented in quotation marks, the parenthetical material goes outside the terminal quotation mark.] The writer now shifts to tips for writing school personal statement still another line of development: you spell out specific implications of what you have established. Creative Writing Colleges London. (She began by spelling out specific facts that made for that point itself.) That is: she now asks “So what?” She concludes her characterization of Miss Brill’s final state of awareness by noting its limitations –– a point of connection with, a hold-over from, where the protagonist was at the beginning.

· Mary is thus striving both for precision in capturing the state of affairs itself and for relationship to what it developed out of. · And she shapes the presentation of this point in such a way as to make it serve the purposes of her overall thesis, about how the author’s choice of point of view serves the particular effect the author is driving at. Here: once again, the reader is able both to share Miss Brill’s experience , and to cornell university go beyond it to an understanding of it that is creative writing, not a part of it . In other words, even after the protagonist’s epiphany, our insight is more comprehensive than her own. · [Note, by tips for writing a medical personal statement, the way, that the creative courses colleges london thrust of school personal, this sentence might be made clearer at the outset if Mary were to insert something line “And yet” at the beginning.] · Another thing Mary's final sentence accomplishes: in a different (and more sharply focused) way than at the outset of this paragraph, the courses reader is shown how where we’ve just arrived relates to where we’d been before. Mansfield, Katherine. Figurative. “Miss Brill.” An Introduction to Fiction.

Ed. X.J. Kennedy and Dana Gioia. Creative Colleges. 7 th ed. New York: Longman, 1999. 50-52. [Don’t forget the period at the end of the page references.] My comments on Mary's essay should drive home the point that critical attention in our sense of the term is not a matter of looking for cornell application questions flaws. Creative London. It is rather a matter of picking out what features of something are responsible for the great gatsby analysis essay its working the way it does. Courses London. (If something is not working well, we come to notice that, too, of course.

But it is critical examination that is called for if we are to appreciate a job well done. By appreciate here I mean something more than just experience a feeling of approval. I mean to have a clear rational understanding of why something works .) Let's finish up by using what we've seen here to drive home some important distinctions. The term critical analysis is often used to refer to tips for writing a medical school statement the common denominator between what Mary has done in her essay and what I have been doing upon it. In both case the writer is picking out writing colleges what works in some way and explaining why it works that way and why its doing so is important. But among ourselves we will foster clarity on an important point if we reserve the the great analysis term critical analysis to refer to the sort of thing that Mary has been up to, and use some other term to refer to the kind of thing you have just seen me do. Creative Courses Colleges London. For what I've been doing, the term explication comes to essay life love mind mind, and we'll use it for that purpose. Creative Writing. When we want to refer to the common denominator, we'll use the term critical examination or critical attention or simply criticism. But there is more than one distinction between what I've been doing and what Mary has been doing.

Which one am I proposing to use the critical analysis/explication terminology to mark? A difference otherwise worth noting but not the one I'm suggesting we use this terminological practice to highlight has to do with the object subjected to critical examination. In the one case, what was analyzed was a piece of narration (it happened to essay life be fictional). In the other, what was under commentary happened to be an essay. These differences are important, but they are like the difference between bringing critical attention to writing london bear on a political decision and bringing it to bear upon a rat's brain, or a painting, or a marketing strategy. In each case the things it makes sense to notice -- to select for attention -- and the kinds of functions one wants to explain are obviously different. (That's why we need some experience in each domain if we are to do competent critical thinking about the objects in those domains. [At the same time, the more experience we have doing either explication or critical analysis of football or poems, the cornell more quickly we'll get the hang of doing critical thinking in regard to essays in philosophy or anthropology or in business.]) The distinction I'm proposing we use explication and critical analysis in this particular way to keep ourselves clear upon has rather to do with the kind of writing courses colleges london, overall organizational strategy at work . Notice that Mary is university application essay questions, not doing running commentary on the narrator’s story in “Miss Brill.” In accordance with the assignment, s he is showing how the point of view by which the story is disclosed to the reader contributes to the overall theme of the piece . This confronts her with three basic tasks. She has to produce (and clarify and demonstrate) a sub-thesis that states what precisely the point of courses london, view is. She has to commit herself to a statement (another sub-thesis) about what the story’s theme is cornell university questions, (or at least about what some essential part of writing colleges london, it is).

This means discovering, formulating, unpacking, and proving some insight that she didn’t have when she sat down to start writing. And she has to shape the particular way in which she develops each of these theses in such a way that we can see how the features of point of application questions, view that she’s calling attention to make possible the features of the theme she’s calling attention to. It is the logical relationships among these three sub-tasks that determine the organizational strategy of Mary's essay, both as a whole and within its respective modules. What does not determine the organizational strategy is the creative writing courses london plot of Mansfield’s story. Hence her essay exhibits a “logical” rather than a “chronological” structure. This structure is something she herself had to fashion, in response to the logical properties of the task at hand. She had to assume the responsibility for essay life mind actively making it. In contrast, though my comments do exhibit logical structure individually and courses colleges london internally, nevertheless the order by which one comment follows another is given not by any comprehensive hierarchy of tasks of my own, but by the order in tips school personal statement, which Mary ’s moves happened to emerge, as determined by the necessities under which they were governed. My overall structure thus has no inherent logic of its own. Internally, it is “accidental,” because it is parasitical, passively received from something external.

If Mary had done the equivalent, she would have organized her points strictly according to courses london the order in which the details with which they are associated happen to tips personal statement emerge in Mansfield’s story. But that would not have been a proper means to adopt for the end in view. Writing Courses. She would have been compelled either to persuasive figurative language ignore the assigned topic altogether, or continually to be at creative writing colleges london cross-purposes with it. She would be trying to cover analysis cut boards with a hammer (or to drive nails with a saw). Am I then doing the creative writing colleges wrong thing in providing an explication instead of an essay in critical analysis? No, because my purposes here are different from Mary’s. My job here is a particular sort of persuasive figurative, coach’s job. I want to help students to come to writing colleges read expository/argumentative prose with a critical eye, noticing what needs to be noticed as it unfolds . Application Essay Questions. Why is that? What has that got to creative courses do with why you are reading this, which is to learn something about writing?

Well, if we learn to appreciate what makes cogent exposition and argument work, then we can register when something isn’t “coming together” in a satisfying way. We can trouble-shoot any emerging draft we are writing so as to figure out how to make it work better — to bring it to the next stage, to tinker it into a superior draft. The key point here is for writing school personal, this: composition is not a process of expressing clearly an idea that we have already arrived at by some prior (and mysterious) process of creative inspiration. Writing is a process by which we arrive for ourselves (and thus for others) at writing courses some clear and pertinent insight that we did not have when we started out to write. Think how weird this sounds: the goal in improving our writing is not to persuasive figurative learn how to express our ideas clearly! I am denying here what most people think writing courses are all about. Instead, I'm proposing that the goal in improving our writing is to learn how to arrive at clear ideas.

But isn't that the job of subject-matter courses? Of course it is, and that's why these courses, if they are really intellectually serious, will be requiring writing of students! (The fact that even higher-level university courses -- to say nothing of large-enrollment lower-level courses -- try to dispense with requiring essay writing from students only creative means that society as a whole is not willing to provide the resources it would take to offer students a real education. Out of senior professors it [understandably] wants research, and with large lecture classes it wants to essay proceed on the cheap. By issuing credit without backing it up with affording students the requisite experience, it does the intellectual equivalent of printing money to pay its debts: it says it does what accreditation as an writing courses colleges, institution of learning should require; but it doesn't. [Somewhat like the U.S. in Vietnam, it declares a victory and gets out.) Why do we have to set aside the idea that good writing is clear expression of application essay questions, our ideas, and take on instead the idea that writing is a process of arriving, by stages, at clear ideas?

Let's first get a little clearer about what this latter idea contains. In the beginning we have a confused welter of partial insights and apparent insights, some inconsistent with each other, all more or less in a fragmentary state, and many of them vague and confused in their own right. We begin, that is, with a muddle. The art of writing is the art of creative writing colleges, getting from the initial muddle to something that we are properly satisfied with finding ourselves thinking. Of Critical In Business. And this means: the art of writing boils down to skill in revising. Revising — good news! – is something that we can learn. In fact anyone can learn it. Creative Writing Colleges. In fact, anyone who has this skill came by it only by learning: it is not a “genius” that some are born with and others not. That’s encouraging, because it means there is hope. Everyone starts with muddle.

The difference between those who end up with a muddle and those who end up with a clear and cogent piece of writing in support of an interesting idea relevant to some purpose is essay newspaper, not that some people have a mysterious capacity to conceive bright ideas and also the creative knack for finding the words to name say them. The difference is more mundane: some simply have learned how to revise — how to get, incrementally, from a draft that won’t work yet to one that works better. The paradox is that insight — we can call it “vision” — comes out of writing courses, revision. We fix something in our previous vision that we’ve noticed is not-yet-working. But for essay life love this to work, we have already to be bringing to bear certain expectations about what happens when writing does work. That is, before we can revise our own drafts, we have to creative courses colleges london be able to read with discerning appreciation argumentative prose that does work. Explication of effective writing is name, well-suited to helping others see what makes a working piece work because it demonstrates in action the mind of a reader who is courses london, making the sorts of moves you have to essay newspaper name make in order to writing do that . That is: just as you can watch Mary make some moves that work, you can watch me go about tuning into them. And that means you can rip off not only Mary’s moves, but mine.

To do this, you have only to be curious, sooner or later, about where I must have been coming from in order to notice these things. What sort of for writing a medical school personal statement, “standing curiosities” must I always be bringing to bear? What sort of “demands” am I making on the prose I read, and what seems to be the point of those demands? When you figure this out, you will realize that it’s not “the teacher’s demands” that you are being compelled, externally, to satisfy (on pain of getting a grade you don’t want). It is the demands of your own logical equipment. That means at creative london least two things: The way is open to see why writing can be powerfully gratifying, rather than simply frustrating and dispiriting. (There will be frustrations aplenty, but they won’t be dispiriting!) Arriving at a good final draft is actually a process of satisfying some of the deepest demands of your own human nature, your inborn rational equipment, and the pleasure we take in figurative language, discovery of truth through the trial and writing colleges error recognition and rectification of university essay questions, error.

If you ever enjoyed playing with tinker-toys, you’ve already been indulging this side of your constitution. You realize you have with you, always, a reliable guide (your own wits), so you don’t have to be casting about for some external authority prevent you from persisting in writing colleges, error. Analysis. Sooner or later, you can figure it out creative writing courses london yourself. Suggestions are welcome. Please send your comments to the great gatsby cover [email protected] . Contents copyright © 2000 by Lyman A. Baker.

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Hurricane Katrina – New Orleans Essay Sample. Hurricane Katrina significantly affected a vast number of people, including those who were not actually present during the storm: National Guard members, medical workers, media crew, government officials, and volunteers. This is a storm that will forever be discussed in New Orleans history. First, some background. Formation of hurricanes in the Atlantic Ocean occurs every year during a certain time period, usually referred to as the Atlantic hurricane season. The cyclones that occur during this period are usually tropical and creative courses, are often referred to as depressions and hurricanes.

This time period usually starts in June and ends in November. According to in business, the seasons, the colleges london starting of the hurricanes and cyclones usually takes place in the end of summer, because this is the time period when there is the largest difference between the essay temperature of the sea and the land (Reider, 1999). Hurricanes basically originate due to the temperature difference between the land and the sea. The peak time of these tropical cyclones is during the September season. The month of writing colleges, May is usually inactive with regard to the tropical cyclones because the temperature difference is the tips school personal statement least (Reider, 1999).

The cyclones that form in the Atlantic Ocean in the end of the summer season are referred to creative writing colleges london, as tropical cyclones because they usually originate from tropical locations. One more fact that makes them different from normal cyclones is that their cores, or center of the large spiral, is warmer as compared to any other part of the spiral at any point of height. The spiral of the cyclone comprises of the great analysis essay, thunderstorm clouds that are ready to burst out, and hence when they move, they produce high, strong winds and heavy rain falls. A special characteristic of tropical cyclones is creative writing courses colleges, that they have extremely low atmospheric pressures. Some of the pressures of tropical cyclones are the least that have been recorded above the seas. Several factors have been found out as the reason for the origination of tropical cyclones but still not all the responsible factors have been discovered, so tropical cyclones are a common topic of research and study (Reider, 1999). The year 2005 was a devastating year with respect to the hurricanes and the great analysis essay, tropical cyclones that they brought with themselves (Nelson, 2006) . Each year around 10 tropical cyclones originate and writing courses london, around half of them turn into hurricanes, yet another half of that number fall into the severe category. The Atlantic hurricane season of the year 2005 was an extremely active season in which almost 27 tropical cyclones originated and gatsby cover essay, around 17 of them turned into hurricanes.

There were 7 hurricanes that fell into the severe category, that is of category 3 or above. Among these severe hurricanes one was named Katrina. Hurricane Katrina was the deadliest of colleges london, hurricanes as compared to other hurricanes. The hurricane has been placed in the category five of hurricanes, which is the highest severity. Hurricane Katrina was 30 ft. long and came to the coast with an extremely harsh and severe thunderstorm, strong winds and heavy rainfall (Nelson, 2006). The hurricane brought a huge amount of damage and almost wiped out every infrastructure in gatsby areas on New Orleans, Mississippi, and Louisiana. Never in writing colleges london history had such a deadly and devastating hurricane struck the newspaper United States of America, so no one was prepared. Therefore, they had failed to make the required necessary preparations in order to combat with this deadly storm. Never had it happened that the tropical cyclones break the writing courses london record of severity of the typhoon season, but in the year 2005 the university application questions tropical cyclone season was so active that it, in fact did break the record of the typhoon season of the year (Nelson, 2006).

Hurricane Katrina is creative courses colleges london, considered one among the six deadliest hurricanes that have hit the United States of America. It is also considered as one of the priciest of disasters as it brought a loss of almost $81 million (Nelson, 2006). This is certainly a huge amount, almost triple the amount that had been lost in the 1992 disaster which was, till then, considered as the most costly and of critical thinking in business, deadly hurricane (Nelson, 2006). Hurricane Katrina also took the lives of almost 2000 people. The correct figure could not be calculated, and only rough estimates were used for the death toll. Many of the people went missing and could not be found, so they have also been counted among the dead.

Thousands of people were made homeless, many children were made orphans, many parents had their children snatched away from creative writing colleges london them, and university application essay, many women were made widows (Alive in Truth, 2005). National Guard members were said to have commented that the damage was like nothing they’d ever seen before, medical workers and volunteers told media they were so “shocked” and writing courses colleges, “devastated” that they felt they would never forget what they were seeing (McNulty, 2008). Hurricane Katrina started over the Bahamas due to the pressure difference. The conditions were very favorable due to the low pressure and slow winds, so the hurricane developed and moved forward to university application, reach the southern parts of Florida. When the hurricane reached Florida it was a category 1 storm, and did not cause much disaster as it was not too severe (Nelson, 2006). It took only courses colleges, a few lives and caused a few damages to the infrastructure only. But when the value of critical thinking storm reached the Gulf coast of Mexico, as this area was quite warm, the storm at this point reached a severely deadly hurricane category 5, and brought huge amounts of damage in the area and almost destroyed the Gulf coast. Courses. As it moved towards parts of Louisiana its strength weakened and reached a category 3 hurricane. The hurricane’s category changed from category 3 hurricane to a category 5 due to the unusual warm waters over which the hurricane was moving (Nelson, 2006). The greatest amount of damage was seen in New Orleans.

The main reason behind the damage of New Orleans was the love failure of the banking system that had been designed to protect the city from the rushing water. A wall had been developed for the purpose of protection of the city, to stop the london water from entering, but the value thinking hurricane that struck the writing city was severe and strong enough to break the protection. As a result, the city was flooded, reaching many kilometers inside the city, destroying everything that it came into contact with along its way. A Medical. Boats, cars, and writing courses, even remains of buildings also came along with the running water which caused further destruction and persuasive essay language, death. McNulty (2008) wrote that he “drove past yet another beached boat, a pleasure cruiser all battered, stained with muck, and grounded on writing colleges, the sidewalk”. The failure of the protection wall is considered one the worst manufacturing and engineering disasters and a case was filed against the engineer’s association (Reider, 1999). The government had completely relied on the protection system that had been designed and cornell university application essay questions, so had taken no other measures for the relief and protection of the people. The destruction of the protection wall resulted in much more damage because no other precautions had been taken by the government (Reider, 1999). No evacuations early on took place as the government was satisfied with their precautionary measures.

Due to this people of creative courses colleges, New Orleans got stuck in the city without food, water, a way out, proper health conditions and a proper place to live. The people were completely paralyzed from the outside world, and it was very difficult for the relief teams to persuasive language, even reach the people to help and save them. The water that had entered the city then remained stagnant for a number of days. New Orleans was muchly affected because the courses colleges city is actually below sea level, and although the city is protected by means of protection walls, the height and strength of the wall were not strong enough to stop the the great gatsby cover essay 30ft. high hurricane. It resulted in massive damage and destruction. Wind speeds in New Orleans could not be measured accurately as the power system also failed, and there was no electricity in the city for a number of creative writing london, days (Reider, 1999). A large number of people could not evacuate the city and questions, suffered for days. It had been reported that the rescue workers could see dead bodies lying around the streets of New Orleans or floating on the water (Reider, 1999). In order to restore the conditions back to normal, and again start the routine life, large amounts of money had to be spent to writing courses, rebuild the destroyed structures.

Many of the power stations supplying electricity had declared that it would take weeks for them to be able to supply electricity. The main supply of drinking water to the New Orleans area had also been blocked, and the people were left with no drinking water (Alive in Truth, 2005). In some parts of New Orleans water up to 20 and 30ft. were stagnant for contemplative essay love mind, several days. The highways were completely destroyed and there was no possibility that anyone could cross the highway. Several bridges and roads were also destroyed or covered under water for creative writing courses, days.

The airport of New Orleans was also flooded and closed for all incoming and outgoing flights. Tips A Medical Personal Statement. It later was opened in order to provide refuge to the victims of the creative courses colleges hurricane, but it remained closed for flights (Alive in Truth, 2005). All sorts of communications were blocked, mobile services were stopped and people were trapped in their homes and of critical thinking, other places unable to contact or call people to rescue them. As a result, many trapped people lost their lives due to this lack of communication. Many of the buildings were destroyed, and particularly taller buildings which had their windows shattered and their interiors destroyed (Virginia, 2006).

Large parts of forest reserves were also destroyed due to the floods, and colleges london, the gushing forceful water destroyed much of the essay vegetation and writing, crops (Alive in Truth, 2005). As a result, the thinking in business exports and products that were obtained from forests earlier could not be obtained and hence caused a loss economically (Alive in Truth, 2005). The port was also damaged to creative writing courses colleges london, a great extent, and many of the contemplative essay export items that were placed on the port were destroyed thus resulting in creative courses london great loss. Tips School Statement. The ships, ports and writing, all the goods were destroyed and rendered as useless. All this lead to a great fall in the economy of the country, not just New Orleans.

A number of oil refineries had to be closed and were almost destroyed by value of critical thinking in business the strong flow of water and strong winds, resulting in a complete stop in the production of writing colleges, oil from the contemplative essay love gulf of Mexico (Virginia, 2006). Halt in the production of oil resulted in a great deal of economic loss to the country as a major part of the economy had a contribution from the oil production in the oil refineries. A number of oil platforms also had to be shut down due to the destruction caused by hurricane Katrina. Many offices were destroyed, and factories and industries closed, so as a result of which, thousands of people were left unemployed. This eventually resulted in further loss in the economy (Virginia, 2006).

The hurricane also had a large environmental impact on creative writing colleges, the city and the country. The entire coastal area had gotten eroded. Aquatic life was badly damaged and the ecosystem was in name bad shape. Besides aquatic life, many insects and animals on creative courses colleges london, land were also badly affected. Many animals were deprived of their habitat as large parts of forests also got destroyed (Hurricane Katrina, 2008). Food was scarce especially as many domesticated animals were displaced from owners.

The health of the people was also badly affected as many bacterial and cornell essay questions, viral diseases became common among the people (Hurricane Katrina, 2008). This was partly due to the presence of the stagnant water in large parts of the city, as well as due to corpses lying around on the streets and floating on the water surface, as they were unable to get rescued by the rescue team. These issues lead to creative writing, the spread of a number of diseases (Hurricane Katrina, 2008). Many efforts have been made by the government and international rescue teams to restore life back to the affected areas and revive the economics and essay, the activities of the creative writing city (Virginia, 2006). The government has spent huge amounts of money for relief purposes and to reestablish and reconstruct the destroyed city. Huge amounts of funds have been raised by the government to help the university application questions suffering people and to provide them with food, shelter, water and writing, other basic necessities (Virginia, 2006). Offices, factories and industries have been rebuilt to provide jobs to the people so that they can again start their lives over. Roads, bridges and persuasive language, other means of creative writing colleges, communication have been restored to essay, ease the life of people living over there. Houses have been provided to the people who have had their homes destroyed during the writing courses colleges london hurricane. Tips School Statement. The relief projects shall continue until life in the city has been completely restored.

Although the rehabilitation process has cost a lot, the creative writing courses colleges london government is ready to bring back life at all costs (Virginia, 2006). Hurricane Katrina affected the city, the people that lived there, the future visitors, the crops and goods sent from there, and all people who came to essay, help after the storm. This storm will always be a part of New Orleans history. One person who went through the storm said, “for me, New Orleans will always be the Unsinkable Crescent City,” (McNulty, 2008). For others, it will always be the greatest, deadliest storm that any place has survived (Alive in Truth, 2005). Reider, G. M., Connecticut. Courses. (1999). A Report on Homeowners Insurance Policy Wind, Hurricane and High Windstorm Deductibles.

Hartford: State of Connecticut, Insurance Dept. Nelson, S. A. Name. (2006). Hurricane Katrina: What happened? : A Field Trip. Writing. New Orleans: Tulane University. Alive in Truth: The New Orleans Disaster Oral History Memory Project. (2005). Name. Austin, TX: Alive in creative courses Truth. Virginia. (2006). State Emergency Operations Plan. Richmond, VA: Virginia.

Dept. of a medical school, Emergency Management. Hurricane Katrina. (2008). Detroit, Michigan: Gale. McNulty, Ian. (2008). A Season of Night: New Orleans Life After Katrina. Jackson, Mississippi. University Press. Is this the perfect essay for you?

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