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carmenvicinanza · 1 month ago

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Naomi Weisstein

Sono femminista perché ho visto la mia vita e quella delle donne che conosco molestate, ignorate, danneggiate, distrutte. Sono femminista perché senza le altre posso fare ben poco per fermare l’indignazione. Senza il movimento politico e sociale di cui faccio parte, la mia determinazione e perseveranza, le mie risposte intelligenti, le mie ore di paziente spiegazione, i miei anni di esortazione valgono a poco.

Naomi Weisstein, psicologa cognitiva, neuroscienziata, autrice e accademica.

I suoi scritti hanno offerto importanti spunti di riflessione sul sessismo in psicologia.

Ha condotto ricerche in psicologia sociale e cognitiva, biologia matematica e psicologia clinica e aperto la strada allo studio della percezione e dell’elaborazione visiva. Nei suoi lavori ha dimostrato come le aspettative sociali influenzano e confondono la ricerca.

Figura fondamentale del movimento femminista, ha identificato distorsioni e pregiudizi in psicologia.

Ha contribuito a fondare la Chicago Women’s Liberation Union e utilizzato il teatro, la stand up comedy e la musica per diffondere le sue idee.

Nata il 16 ottobre 1939 a New York, da Mary Menk e Samuel Weisstein, l’interesse per il femminismo le era stato tramandato dalla madre, mentre l’amore per la scienza era nato quando, giovanissima, aveva letto il libro Microbe Hunters di Paul de Kruif.

Dopo la laurea al Wellesley College, ha svolto un dottorato di ricerca dall’Università di Harvard, ma venne costretta a completare gli esperimenti sull’elaborazione parallela del cervello a Yale perché non aveva accesso al laboratorio. Non le veniva permesso di usare le attrezzature perché riservate agli uomini, avrebbe potuto danneggiarle in quanto donna!

Non poteva neppure studiare in biblioteca, perché le donne potevano distrarre gli studenti maschi.

Ha completato il post-dottorato all’Università di Chicago con il Committee of Mathematical Biology. La sua tesi di laurea verteva sul concetto di elaborazione parallela, ovvero la nozione che il cervello sia un agente attivo nel plasmare la realtà. Concetto che è ancora oggi oggetto di studio.

Durante gli anni universitari si è unita a diversi gruppi politici tra cui lo Student-Non-Violent Coordinating Committee, il Women’s Radical Action Project e University of Chicago Students for a Democratic Society.

Ha insegnato all’Università di Chicago, alla Loyola University e alla State University di New York, ma la vita da docente è stata come quella da studente, irta di ostacoli e discriminazione.

La diseguaglianza di trattamenti l’ha spinta a diventare un’attivista politica femminista. Alcune delle sue azioni includevano la pubblicazione di articoli nel campo della psicologia che descrivevano in dettaglio la mancanza di comprensione delle donne, così come l’adesione al Congresso sull’uguaglianza radicale.

Nel 1969 ha contribuito a fondare la Chicago Women’s Liberation Union che includeva l’omonima rock band di cui ha scritto due canzoni. L’organizzazione aveva come priorità il miglioramento della vita delle donne e delle comunità emarginate, come quella LGBT.

Ha lavorato alla Loyola University dal 1966 al 1973 e fatto parte dell’American Association for the Advancement of Science e dell’American Psychological Society.

Nel 1968 ha pubblicato l’articolo Psychology Constructs the Female, testo determinante del femminismo della seconda ondata che evidenzia il fallimento degli uomini nell’adattare le loro opinioni su natura e ruoli delle donne.

Nel 1979 le venne assegnata la borsa di studio Guggenheim Fellowship.

In seguito alle molestie subite dai colleghi, le intimidazioni nei confronti e le contestazioni, nel 1983, ha smesso di insegnare alla State University di New York a causa della sindrome da stanchezza cronica.

Si è spenta a Buffalo il 26 marzo 2015 a causa di un cancro.

Le sue scelte le hanno posto davanti sfide continue, a partire dalla disapprovazione del padre, proseguendo con la discriminazione subita a Harvard fino ai colleghi maschi che tentavano di rubarle il lavoro. La credibilità della sua ricerca è stata spesso messa in discussione e tante opportunità di lavoro le sono state negate, soltanto perché era una donna.

Ha resistito finché ha potuto e usato la sua voce e la posizione accademica per gettare le basi del femminismo nel campo della psicologia, lasciando un impatto notevole nella storia.

#unadonnalgiorno #naomi weisstein #feminism

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apexwellesleydoorservices · 1 year ago

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From Functionality to Aesthetics: Elevating Your Wellesley Property with a Garage Door Upgrade

Embarking on a journey to enhance your Wellesley property through a garage door upgrade encompasses not only improving its functionality but also adding an aesthetic dimension. This comprehensive guide navigates through the intricate process of garage door enhancement, considering both practicality and visual appeal. From understanding Wellesley's architectural nuances to selecting materials that endure New England's weather, each aspect is meticulously explored. By delving into the specifics of garage door replacement, you're not just upgrading an essential aspect of your property; you're investing in an elegant blend of functionality and aesthetics for your Wellesley residence. While you are at it also take a look at: Top 10 Garage Door Replacement In Wellesley, MA

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cacharchitect · 1 year ago

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CACH Architecture

cacharchitecture.com

13 Eaton Court Wellesley Hills, Massachusetts 02481 (781) 591-3502

CACH Architecture 13 Eaton Court, Wellesley Hills, Massachusetts 02481 ph: (781) 591-3502 https://cacharchitecture.com Find us at: https://www.google.com/maps?cid=15319757791380801469

Wellesley MA Architect CACH Architecture is an interdisciplinary, design-driven practice with sustainability at the center of our mission. Founding Architect, Jonathan D. Cavanagh AIA, CPHP is Certified Passive House Consultant specializing in residential architecture. Jonathan has extensive experience working on large residences in towns around Boston and is intimately familiar with large house planning requirements for Wellesley and Weston Massachusetts. As a home designer with a passion for green building and energy efficient homes, he also has a broad network of general contractors and consultants who service this market. CACH Architecture works closely with clients as well as teams of consultants, contractors, artisans, and other stakeholders to produce engaging enduring architecture while also meeting schedule and budget constraints.

CACH Architecture firmly believes that clear communication across project teams is the key to the success of every project, and fully embraces high performance envelope solutions both with or without Passive House Certification. Believing that the most successful projects emerge through a sustained team effort, we offer a full set of custom home design services across all phases of design and construction.

CACH offers extensive home design experience with new construction, renovations, and additions in Boston/MetroWest regions, Rhode Island, and Connecticut. Project locations have included urban, suburban, and rural areas, with experience in historically and ecologically sensitive contexts. Our approach to design is based in collaboration with clients, contractors, consultants, artists and artisans, town officials, and other stakeholders.

Underpinning our philosophy is a commitment to sustainability, resilience, and justice. For us, human and ecological health are deeply intertwined; one cannot have one without the other. Expanding our knowledge base to engage with building performance, community resiliency, material life cycles, and resource consumption is a driving force in our practice. As such, we are committed to pursuing projects that offer opportunities to expand our collective responsibility to produce a healthier planet.

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cormiercustomhomes · 1 year ago

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Cormier Custom Homes

Cormier Custom Homes- Premier Custom Home Builders with the highest standards in new home construction in the finest communities in Massachusetts.

Cormier Custom Homes is a reputable family-owned construction company specializing in high-end residential construction. With over 65 years of combined industry experience, brothers Bernie and Francis Cormier are second generation home builders. From an early age both were instilled with a strong and honest work ethic. Under the mentorship of their father Oscar, the brothers started in the business from the ground up, working a variety of roles throughout the years, including sitework; landscape; administrative; sales; and project management, as their father developed real estate subdivisions throughout Massachusetts. Upon Oscar's passing in the early 90's, Bernie and Francis teamed up as partners to complete subdivisions both in North Reading and Maynard. The brothers have since transitioned primarily to new custom home builds and renovations in such affluent communities including Beverly, Boxford, Wellesley and Weston.

Our Philosophy is simple: Treating every client's home as if it was our own, while looking out for their best interests, form the partnership foundation of every Cormier-Built home.

A combination of teamwork and communication is essential in creating a harmonious home building process environment.

Our collaboration with architects, interior designers, structural engineers, and other professionals ensures continual success to achieve today's highest standards in residential construction.

From new home construction to luxury rennovations, Cormier Custom Homes will take your vision to create the perfect space. Our portfolio features home sports complexes, pool houses, outdoor living areas, entertainment areas to dream ktchen and bathroom remodeling.

Address:

52 Hickory Lane,Boxford, MA 01921

Phone:

(978) 490-7823

www.cormierbuilders.com

Our Social Pages:

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blackkudos · 5 years ago

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Carrie Mae Weems

Carrie Mae Weems (born April 20, 1953) is an American artist who works with text, fabric, audio, digital images, and installation video, and is best known for her work in the field of photography. Her award-winning photographs, films, and videos have been displayed in over 50 exhibitions in the United States and abroad, and focus on serious issues that face African Americans today, such as racism, sexism, politics, and personal identity.

She said, "Let me say that my primary concern in art, as in politics, is with the status and place of Afro-Americans in the country." More recently however, she expressed that "Black experience is not really the main point; rather, complex, dimensional, human experience and social inclusion ... is the real point."

Early life and education

Weems was born in Portland, Oregon, in 1953, the second of seven children to Carrie Polk and Myrlie Weems. She began participating in dance and street theater in 1965. At the age of 16 she gave birth to her first and only child, a daughter named Faith C. Weems. Later that year she moved out of her parents’ home and soon relocated to San Francisco to study modern dance with Anna Halprin at a workshop Halprin had started with several other dancers, as well as the artists John Cage and Robert Morris. She decided to continue her arts schooling and attended the California Institute of the Arts, Valencia, graduating at the age of 28 with her B.A. She received her MFA from the University of California, San Diego. Weems also participated in the folklore graduate program at the University of California, Berkeley.

While in her early twenties, Carrie Mae Weems was politically active in the labor movement as a union organizer. Her first camera, which she received as a birthday gift, was used for this work before being used for artistic purposes. She was inspired to pursue photography after she came across The Black Photography Annual, a book of images by African-American photographers including Shawn Walker, Beuford Smith, Anthony Barboza, Ming Smith, Adger Cowans, and Roy DeCarava, who Weems found inspiring. This led her to New York City, and the Studio Museum in Harlem, where she began to meet other artists and photographers such as Coreen Simpson and Frank Stewart, and they began to form a community. In 1976 Weems took a photography class at the Museum taught by Dawoud Bey. She returned to San Francisco, but lived bi-coastally and was invited by Janet Henry to teach at the Studio Museum and a community of photographers in New York.

Career and work

In 1983, Carrie Mae Weems completed her first collection of photographs, text, and spoken word, called Family Pictures and Stories. The images told the story of her family, and she has said that in this project she was trying to explore the movement of black families out of the South and into the North, using her family as a model for the larger theme. Her next series, called Ain't Jokin', was completed in 1988. It focused on racial jokes and internalized racism. Another series called American Icons, completed in 1989, also focused on racism. Weems has said that throughout the 1980s she was turning away from the documentary photography genre, instead "creating representations that appeared to be documents but were in fact staged" and also "incorporating text, using multiples images, diptychs and triptychs, and constructing narratives." Sexism was the next focal point for her. It was the topic of one of her most well known collections called The Kitchen Table series which was completed in over a two year period, 1989 to 1990 and has Weems cast as the central character in the photographs. About Kitchen Table and Family Pictures and Stories, Weems has said: "I use my own constructed image as a vehicle for questioning ideas about the role of tradition, the nature of family, monogamy, polygamy, relationships between men and women, between women and their children, and between women and other women—underscoring the critical problems and the possible resolves." She has expressed disbelief and concern about the exclusion of images of the black community, particularly black women, from the popular media, and she aims to represent these excluded subjects and speak to their experience through her work. These photographs created space for other black female artists to further create art. Weems has also reflected on the themes and inspirations of her work as a whole, saying,

... from the very beginning, I've been interested in the idea of power and the consequences of power; relationships are made and articulated through power. Another thing that's interesting about the early work is that even though I've been engaged in the idea of autobiography, other ideas have been more important: the role of narrative, the social levels of humor, the deconstruction of documentary, the construction of history, the use of text, storytelling, performance, and the role of memory have all been more central to my thinking than autobiography.

Other series created by Weems include: the Sea Island Series (1991–92), the Africa Series (1993), From Here I Saw What Happened and I Cried (1995–96), Who What When Where (1998), Ritual & Revolution (1998), the Louisiana Project (2003), Roaming (2006), and the Museum Series, which she began in 2007. Her most recent project, Grace Notes: Reflections for Now, is a multimedia performance that explores "the role of grace in the pursuit of democracy."

In her almost 30-year career, Carrie Mae Weems has won numerous awards. She was named Photographer of the Year by the Friends of Photography. In 2005, she was awarded the Distinguished Photographer's Award in recognition of her significant contributions to the world of photography. Her talents have also been recognized by numerous colleges, including Harvard University and Wellesley College, with fellowships, artist-in-residence and visiting professor positions. She taught photography at Hampshire College in the late 1980s. She was awarded a MacArthur Foundation Fellowship in 2013. In 2015 Weems was named a Ford Foundation Art of Change Fellow. In September 2015, the Hutchins Center for African & African American Research presented her with the W. E. B. Du Bois Medal.

The first comprehensive retrospective of her work opened in September 2012 at the Frist Center for the Visual Arts in Nashville, Tennessee, as a part of the center's exhibition Carrie Mae Weems: Three Decades of Photography and Video. Curated by Katie Delmez, the exhibition ran until January 13, 2013, and later traveled to Portland Art Museum, Cleveland Museum of Art, and the Cantor Center for Visual Arts. The 30-year retrospective exhibition opened in January 2014 at the Solomon R. Guggenheim Museum in New York City. This was the first time an "African-American woman [was] ever given a solo exhibition" at the Guggenheim. Weems' work returned to the Frist in October 2013 as a part of the center's 30 Americans gallery, alongside black artists ranging from Jean-Michel Basquiat to Kehinde Wiley.

Weems' work is included in the collections of the Metropolitan Museum of Art and the Museum of Modern Art, New York; the Museum of Fine Arts, Houston, the Minneapolis Institute of Arts, the Cleveland Museum of Art, the Portland Art Museum, the Tate Museum in London and the Museum of Contemporary Art, Los Angeles. Weems has been represented by Jack Shainman Gallery since 2008.

A full-color, visual book, titled Carrie Mae Weems, was published by Yale University Press in October 2012. The book offers the first major survey of Weems' career and includes a collection of essays from leading and emerging scholars in addition to over 200 of Weems' most important works.

Weems lives in Fort Greene, Brooklyn and Syracuse, New York, with her husband Jeffrey Hoone. She continues to produce art that provides social commentary on the experiences of people of color, especially black women, in America.

Weems is one of six artist-curators who made selections for Artistic License: Six Takes on the Guggenheim Collection, on view at the Solomon R. Guggenheim Museum from May 24, 2019, through January 12, 2020.

Select exhibitions

Presentations of her work have included exhibitions at:

Women in Photography, Cityscape Photo Gallery, Pasadena, CA, 1981

Multi-Cultural Focus, Barnsdall Art gallery, Los Angeles, CA, 1981

Family Pictures and Stories, Multi-Cultural Gallery, San Diego, CA, 1984

People Close Up, Fisher Gallery, University of Southern California, Los Angeles, CA, 1986

Social Concerns, Maryland Institute of Art, Baltimore, MD, 1986

Past, Present, Future, The New Museum, New York, NY, 1986

Visible Differences, Centro Cultural de la Raza, San Diego, CA, 1987

The Other, The Houston Center for Photography, Houston, TX, 1988

A Century of Protest, Williams College, Williamstown, MA, 1989

Black Women Photographers, Ten.8, London, England, 1990

Who Counts?, Randolph Street Gallery, Chicago, IL, 1990

Biological Factors, Nexus Gallery, Atlanta, GA, 1990

Trouble in Paradise, MIT List Visual Arts Center, Boston, MA, 1990

Whitney Biennial, The Whitney Museum of American Art, New York, NY, 1991

Of Light and Language, Pittsburgh Center for the Arts, Pittsburgh, PA, 1991

Pleasures and terrors of Domestic Comfort, MOMA, New York, NY, 1991

Calling Out My Name, CEPA Gallery, Buffalo, NY (traveled to PPOW gallery, New York, NY), 1991

Disclosing the Myth of Family, School of the Art Institute of Chicago, Chicago, IL, 1992

Schwarze Kunst: Konzepte zur Politik und Identitat, Neue Gesellschaft fur dingende Kunst, Berlin, Germany, 1992

Dirt and Domesticity: Constructions of the Feminine, Whitney Museum of American Art, at Equitable Center, New York, NY, 1992

Art, Politics, and Community, William Benton Museum of Art, University of Connecticut, Mansfield, CT (traveled to Tyler School of Art, Temple University, Philadelphia, PA), 1992

Mis/Taken identities, University Art Museum, University of California, Santa Barbara, CA (traveled to Museum Folkwang, Essen, Germany; Forum Stadtpark, Graz, Austria; Neues Museum Weserburg Bremen im Forum Langenstraße, Germany; Louisiana Museum of Modern Art, Humlebaek, Denmark; Western Gallery, Western Washington University, Bellingham, WA), 1992–1994

Photography: Expanding the Collection, Whitney Museum of American Art, New York, NY, 1992–1994

Sea Island, The Fabric Workshop, Philadelphia, PA, 1993

Carrie Mae Weems (traveling exhibition), The National Museum of Women in the Arts, Washington, DC, 1993

And 22 Million Very Tired and very Angry People, Walter/McBean gallery, San Francisco Art Institute San Francisco, CA, 1993

Enlightenment, Revolution, A Gallery Project, Ferndale, MI, 1993

Fictions of the Self: The Portrait in Contemporary Photography, Weatherspoon Art Gallery, University of North Carolina, Greensboro, NC; Herter Art Gallery, University of Massachusetts, Amherst, MA, 1993–1994

The Theatre of Refusal: Black Art and the Mainstream Criticism, Fine Arts Gallery, University of California, Irvine, CA (traveled to University of California, Davis, CA; and University of California, Riverside, CA), 1993–1994

Women's Representation of Women, Sapporo American Center Gallery, Sapporo, Japan (traveled to Aka Renga Cultural Center, Fukuoka City, Japan; Kyoto International Community House, Kyoto, Japan; Aichi Prefectural Arts Center, Nagoya, Japan; Osaka Prefectural Contemporary Arts Center, Japan; Spiral Arts Center, Tokyo, Japan), 1994

Imagining Families: Images and Voices, The Smithsonian Institution, Washington, DC, 1994–1995

Black Male, Representations of Masculinity in Contemporary American Art, The Whitney Museum of American Art, New York, NY, and The Armand Hammer Museum of Art, Santa Monica, CA, 1994–1995

Carrie Mae Weems Reacts to Hidden Witness, J. Paul Getty Museum of Art, Malibu, CA, 1995

Projects 52, Museum of Modern Art, New York, NY, 1995

StoryLand: Narrative Vision and Social Space, Walter Phillips gallery, The Banff Center for the Arts, Banff, Canada, 1995

Embedded Metaphor, Traveling exhibit, curated by Nina Felshin, 1996

Inside the Visible, Institute of Contemporary Art, Boston, MA; The National Museum of Women in the Arts, Washington, D.C., international traveling exhibition, 1996

Gender - Beyond Memory, Tokyo Metropolitan Museum of Photography, Tokyo, Japan, 1996

2nd Johannesburg Biennale, Africus Institute for Contemporary Art, Johannesburg, South Africa, 1997

Bearing Witness: Contemporary Works by African-American Artists, traveling exhibition, 1998

Taboo: Repression and Revolt in Modern Art, Gallery St. Etienne, New York, NY, 1998

Tell me a Story: Narration in Contemporary Painting and Photography, Center National d'Art Contemporain de Grenoble, Grenoble, France, 1998

Recent Work: Carrie Mae Weems 1992–98, Everson Art Museum, Syracuse, NY, 1998–1999

Who, What, When, and Where, Whitney Museum of American Art at Phillip Morris, New York, NY, 1998–1999

Ritual & Revolution, DAK'ART 98: Biennale of Contemporary Art, Galerie National d'Art, Dakar, Senegal, 1998–1999

It's Only Rock and Roll, traveling exhibition, 1999

Claustrophobia: Disturbing the Domestic in Contemporary Art, traveling exhibition, 1999

Histories (Re)membered, The Bronx Museum of Art, New York, NY, 1999

Carrie Mae Weems: The Hampton Project, Williams College Museum of Art, Williamstown, MA, 2000–2003

Looking Forward, Looking Back, Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, CT, 2000

Material and Matter: Loans to and Selections from the Studio Museum Collection, The Studio Museum in Harlem, NY, 2000

The View From Here: Issues of Cultural Identity and Perspective in Contemporary Russian and American Art, Tretyakov Gallery, Moscow, Russia, 2000

Strength and Diversity: A Celebration of African-American Artists, Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA, 2000

Reflections in Black: A History of Black Photographers 1840 to the Present, Smithsonian Anacostia Museum and Center for African American History and culture, Washington, DC, 2000

History Now, touring exhibition beginning at the Liljevalchs Konsthall and Riksutstallningar, Stockholm, Sweden, 2002

Pictures, Patents, Monkeys, and More... On Collecting, traveling exhibition curated by Independent curators International, Institute of Contemporary Art, Philadelphia, PA, 2002

The Louisiana Project, Newcomb Art Gallery, Tulane University, New Orleans, LA, 2003

Cuba on the Verge, International Center of Photography, New York, NY, 2003

Crimes and Misdemeanors: Politics in U.S. Art of the 1980s, Lois & Richard Rosenthal center for Contemporary Art, Cincinnati, OH, 2003

Double Consciousness: Black Conceptual Art Since 1970, Contemporary Arts Museum, Houston, TX, 2004

Beyond Compare: Women Photographers on Beauty, BCE, Toronto (traveling exhibit), 2004

African American Art - Photographs from the Collection, Saint Louis Art Museum, Saint Louis, MO, 2005

Figuratively Speaking, Miami Art Museum, Miami, FL, 2005

The Whole World is Rotten, Jack Shainman gallery, New York, NY, 2005

Common Ground: Discovering Community in 150 Years of Art, Corcoran Gallery of Art, Washington, DC, 2005

Out of Time: A Contemporary View, Museum of Modern Art, New York, NY, 2006

Black Alphabet: Contexts of Contemporary African-American Art, Zacheta national gallery of Art, Warsaw, Poland, 2006

Hidden in Plain Sight, Metropolitan Museum of Art, New York, NY, 2007

Embracing Eatonville, University of Michigan Museum of Art, Ann Arbor, MI, 2007

The 21st century, The Feminine Century, and the century of Diversity and Hope, 2009 International Incheon Women Artists' Biennial, Incheon, South Korea, 2009–2010

Colour Chart: Reinventing Color, 1950 to Today, Tate Liverpool, UK, 2009–2010

Afro Modern: Journeys through the Black Atlantic, Tate Liverpool, UK, 2009–2010

From Then to Now: Masterworks of Contemporary African American Art, Museum of Contemporary Art, Museum of Contemporary Art, Cleveland, OH, 2009–2010

Carrie Mae Weems: Estudios Sociales, Centro Andaluz de Arte Contemporáneo, Seville, Spain, 2010

Pictures by Women: A History of Modern Photography, Museum of Modern Art, New York, NY, 2010

Slow Fade to Black, Jack Shainman Gallery, New York, NY, 2010

The Record: Contemporary Art and Vinyl, Nasher Museum, Durham, NC, 2010

Myth, Manners and Memory: Photographers of the American South, De La Warr Pavilion, East Sussex, UK, 2010

Off the Wall: Part 1 – Thirty Performative Actions, Museum of Contemporary Art, Cleveland, OH, 2010

The Deconstructive Impulse: Women Artists Reconfigure the Signs of Power, 1973–1991, Neuberger Museum of Art, Purchase College, Purchase, New York, NY, 2010

Posing Beauty: African American Images From the 1890s to the Present, Newark Museum, Newark, NJ, 2010

Stargazers: Elizabeth Catlett in Conversation with 21 Contemporary Artists, Bronx Museum, Bronx, NY, 2010

Unsettled: Photography and Politics in Contemporary Art, Philadelphia Museum of Art, Philadelphia, PA, 2010

Carrie Mae Weems: Three Decades of Photography and Video, Frist Center for the Visual Arts, Nashville, TN, 2012

This Will Have Been: Art, Love & Politics in the 1980s, Walker Art Center, Minneapolis, MN, 2012

La Triennale: Intense Proximity, Palais de Tokyo, Paris, France, 2012

Havana Biennial, Havana, Cuba, 2012

The Maddening Crowd (video installation), McNay Art Museum, Sa Antonio, TX, 2012

Carrie Mae Weems: Three Decades of Photography and Video, Portland Art Museum, Portland, OR; Cleveland Museum of Art, Cleveland, OH; Cantor Center for the Visual Arts, Stanford, CA, 2013

Feminist And..., The Mattress Factory, Pittsburgh, PA, 2013

Seven Sisters, Jenkins Johnson Gallery, San Francisco, CA, 2013

Carrie Mae Weems: Three Decades of Photography and Video, Solomon R. Guggenheim Museum. New York, NY, 2014

P.3 Prospect New Orleans, The McKenna Museum, New Orleans, LA, 2014

Color: Real and Imagined, Pippy Houldsworth Gallery, London, England, 2014

Carrie Mae Weems: The Museum Series, Studio Museum in Harlem, New York, NY, 2014

Wide Angle: American Photographs, University of Kentucky, Lexington, KY, 2014

The Memory of Time, The National Gallery of Art, Washington, DC, 2015

Triennale di Milano, Milan, Italy, 2015

Winter in America, The School (Jack Shainman Gallery), 2015

An Exhibition of African American Photographers from the Daguerreian to the Digital Eras, Marshall Fine Arts Center at Haveford College, Haveford, PA, 2015

Represent: 200 years of African American Art, Philadelphia Museum of Art, Philadelphia, PA, 2015

Under Color of Law, The Philip and Muriel Berman Museum of Art and Ursinus College, Collegeville, PA, 2015

30 Americans, Detroit Institute of Arts, 2015

Grace Notes: Reflections for Now, Spoleto Festival, Spoleto, Italy, 2016

The Ethelbert Cooper Gallery of African & African American Art. Cambridge, MA, 2016

Viewpoints, Henry Art Gallery, University of Washington, Seattle, WA (February 18–June 18, 2017)

We Wanted a Revolution: Black Radical Women, 1965–85, Brooklyn Museum, Brooklyn, NY (April 21–September 17, 2017)

Blue Black, Pulitzer Arts Foundation, St. Louis, MO (June 9–October 7, 2017)

Matera Imagined: Photography and a Southern Italian Town, American Academy in Rome, Rome, Italy (2017)

...And the People, Maruani Mercer, Knokke, Belgium (August 5–September 4, 2017)

Medium, Zuckerman Museum of Art, Kennesaw State University, Kennesaw, GA (August 29–December 3, 2017)

Carrie Mae Weems: Ritual and Revolution, Block Museum of Art, Northwestern University, Evanston, IL (September 12–December 10, 2017)

Dimensions of Black, Manetti Shrem Museum of Art, University of California, Davis, Davis, CA (September 17–December 28, 2017)

Posing Beauty in African American Culture, Mobile Museum of Art, Mobile, AL (October 6, 2016 – January 21, 2018)

We Wanted a Revolution: Black Radical Women, 1965–85, California African American Museum, Los Angeles, CA (October 13, 2017 – January 14, 2018)

Edward Hopper Citation of Merit in the Visual Arts Recipient Exhibition, Carrie Mae Weems: Beacon, Nyack, NY (November 10, 2017 – February 25, 2018)

Making Home: Contemporary Works From the DIA, Detroit Institute of Arts, Detroit, MI (December 1, 2017 – June 6, 2018)

We Wanted a Revolution: Black Radical Women, 1965–85, Institute of Contemporary Art, Boston, MA (June 27–September 30, 2018)

Be Strong and Do Not Betray Your Soul: Selections from the Light Work Collection, Light Work, Syracuse, NY (August 27–October 18, 2018)

Carrie Mae Weems: Strategies of Engagement, McMullen Museum of Art, Boston College, Boston, MA (September 10–December 13, 2018)

Family Pictures, Milwaukee Art Museum, Milwaukee, WI (September 14, 2018 – January 20, 2019)

Heave, 2018 Cornell University Biennial, Cornell University, Ithaca, NY (September 20, 2018–November 5, 2018)

Carrie Mae Weems: Strategies of Engagement, Allentown Art Museum, Allentown, PA (January 13, 2019–May 5, 2019)

Carrie Mae Weems II Over Time, Goodman Gallery, Johannesburg, South Africa (September 7, 2019–October 5, 2019)

Awards

2005: Distinguished Photographers Award

2007: Anonymous Was A Woman Award

2013: Congressional Black Caucus Foundation's Lifetime Achievement Award

2013: MacArthur Fellow, "Genius" Award

2014: BET Visual Arts Award

2014: Lucie Award

2015: ICP Spotlights Award from the International Center of Photography.

2015: Ford Foundation Art of Change Fellow

2015: W.E.B. Du Bois Medal from Harvard University

2015: Honorary Doctorate from the School of Visual Arts

2016: National Artist Award, Anderson Ranch Arts Center

2016: Roy and Edna Disney Cal Arts Theatre

2016: College Arts Association

2016: DeFINE ART

2016: Art of Change Fellow, Ford Foundation

2017: Honorary Doctor of Fine Arts degree from Syracuse University

2017: Inga Maren Otto Fellowship, The Watermill Center

2019: Honorary Fellowship of the Royal Photographic Society, Bristol.

Publications

Carrie Mae Weems : The Museum of Modern Art (N.Y.), 1995.

Carrie Mae Weems : Image Maker, 1995.

Carrie Mae Weems : Recent Work, 1992––1998, 1998.

Carrie Mae Weems: In Louisiana Project, 2004.

Carrie Mae Weems: Constructing History, 2008.

Carrie Mae Weems : Social Studies, 2010.

Carrie Mae Weems : Three Decades of Photography and Video, 2012.

Carrie Mae Weems: Kitchen Table Series, 2016.

#04/20

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pablomarbleandgranite · 3 years ago

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New construction. Silestone Calacatta Gold @silestonebycosentino with a miter edge all around to give it that thick appearance with full backsplash as well in Wellesley. Specializing in commercial work and new construction 10 Breed Avenue Woburn MA 01801. 781-696-2990 #quartzite #boston #homeconstruction #kitchencountertops #kitchencounter #kitchendesign #countertops #kitchenremodel #kitchenrenovation #kitchensofinstagram #kitchen #pablomarbleandgranite #kitchenideas #beautifulkitchen #kitchendecor #boston #massachusetts #amazingkitchen #kitchenisland #kitchens_of_insta #dreamkitchen #kitcheninspiration #quartzcountertops #kitchen_posts_daily #homeimprovement #newkitchen #bostonconstruction #bostoncontractor #buildingboston #bostonbuilder (at Wellesley, Massachusetts) https://www.instagram.com/p/CVdwOtqP-io/?utm_medium=tumblr

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architectnews · 3 years ago

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Global Flora Conservatory, Wellesley College

Global Flora Conservatory, Massachusetts Real Estate, Martha’s Vineyard Architecture Design Images

Global Flora Conservatory at Wellesley College

Jul 11, 2021

Design: Kennedy & Violich Architecture

Location: Wellesley, Massachusetts, USA

Global Flora Conservatory

The Global Flora Conservatory, an internationally renowned botanical collection at Wellesley College, has been selected as the 2021 Architizer A+ Awards Jury Winner for Architecture + New Technology. The project was designed by the American architecture firm of Kennedy & Violich Architecture, Ltd. (KVA Matx) in collaboration with an interdisciplinary team at Wellesley College led by Kristina Jones, Professor of Botany and Director of the Botanic Gardens, and Cathy Summa, a Professor of Geoscience and Director of the Wellesley College Science Center.

The Global Flora project reimagines the “stand-alone” typology of the greenhouse as an interlinked and synergistic set of Wet and Dry biomes that are heated and cooled using renewable resources. The design integrates a curved building form that follows the east-west sun path and engages the hillside topography of the Wellesley Campus.

The iconic Durant Camellia tree, over 140 years old, is exhibited in a transparent pavilion linked with the new facility. The new Global Flora is one of the first public conservatories in North America that is clad with a transparent ETFE building skin that enables the direct visual comparison and study of plant form across biomes, advancing public education and scientific research on plant adaptation and the ecology of climate change.

Kristina Jones, Ph.D., states, “Global Flora builds on the rich history of botanical education and research at Wellesley College established in the 1920s by Dr. Margaret Ferguson, who advocated for interdisciplinary botanical education as a Center for the College’s intellectual life. The new space will be an amazing platform for student engagement with nature and with the systems thinking that underpins progress in sustainability.”

The architecture integrates innovative passive and active sustainable systems to meet the Net Zero Water criteria of the Living Building Challenge, the most rigorous contemporary criteria for measuring sustainable design. The elegant, curved form of the Global Flora Conservatory follows the east-west arc of the sun to maximize solar heat gain in winter which is captured through the thermal mass of a wall. In summer, the architecture’s environmentally responsive ETFE skin allows the biomes to be cooled entirely through natural ventilation.

“The Global Flora project is the first contemporary Conservatory that is designed in vertical section,” said architect Sheila Kennedy, FAIA, a Principal of KVA Matx. “The need to accommodate different tree heights produces a dynamic and varying interior space which works together with the configured ground of the site’s topography. This offers diverse spatial experiences of plant form that are slowly revealed as people move through the biomes.”

Public education and scientific research in the Global Flora project are enhanced by an Interactive Sensor Platform integrated into the Conservatory design that provides real-time air, water, soil, and energy data, expanding knowledge of natural and architectural systems and public access to the collection for on-site and online users around the world.

The Global Flora Project has also won the prestigious Lafarge Holcim Design Award and has been selected as Building of the Week by World-Architects. Completed in 2020, the project was built by Turner Construction and supported by the generosity of Wellesley College Trustee Mary White.

Global Flora Conservatory in Wellesley College, Massachusetts – Building Information

Architect: Kennedy & Violich Architecture Design Team: Managing Principal: Frano Violich, FAIA Principal Consulting on Design: Sheila Kennedy, FAIA Project Architect: Ben Widger, AIA Project Designers: Shawna Meyer, AIA LEED AP, Kyle Altman, Bob White, Nick Johnson, Daniel Sebaldt, Michael Bennet, Diana Tomova, Peteris Lazovskis, Mark Bavoso, Lynced Torres, Noam Saragosti

Structural, MEP & Envelope Engineering: Buro Happold Consulting Engineers, PC Civil Engineer: Nitsch Inc. Landscape Architect: Andropogon Associates, Ltd. Lighting Designer: Tillotson Design Associates Code Consultant: Jensen Hughes Associates Inc. Climate Consultant: Transsolar KlimaEngineering Exhibit Consultant: Small Design Firm Energy Consultant: ReVision Energy

About Kennedy & Violich Architecture Kennedy & Violich Architecture, Ltd. (KVA Matx) is an internationally recognized design practice that works at the intersection of architecture, natural ecology, digital networks, and emerging public needs. Led by Principals Sheila Kennedy, FAIA, and Juan Frano Violich, FAIA, the KVA team creates innovative projects that explore the material culture of architecture and advance the sustainable design of materials, buildings, and urban regions.

About Wellesley College Since 1875, Wellesley College has been a leader in providing an outstanding liberal arts education for women who will make a difference in the world. Its 500-acre campus near Boston is home to some 2,400 undergraduate students from 49 states and 58 countries.

Photography: KVA

Global Flora Conservatory, Wellesley College, Massachusetts images / information received 110721

Location: Wellesley, Massachusetts, USA

Massachusetts Buildings

Massachusetts Architecture

Franklin County Justice Center, Greenfield, MA Design: Leers Weinzapfel Associates photograph © Brad Feinknopf Franklin County Justice Center Building in Massachusetts

Perles Family Studio, Jacob’s Pillow Dance, Becket Design: David Croteau of Flansburgh Architects photo : Robert Benson Photography Jacob’s Pillow Dance Building in Becket

Massachusetts College of Art and Design – Design and Media Center Design: Ennead Architects photograph © Peter Vanderwarker Massachusetts College of Art and Design Building

New York State Buildings

New York State Architecture – NY State

Olnick Spanu House, Garrison Design: Alberto Campo Baeza Contemporary New York House

HSU House, Ithaca Design:EPIPHYTE Lab, Architects

Holley House, Garrison Design:hanrahanMeyers architects

A classic Modern US house:

Farnsworth House

Comments / photos for the Global Flora Conservatory, Wellesley College page welcome

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artsandsciencesprojects · 5 years ago

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Note posted April 10, 2020: the Arts & Sciences Projects website will be transitioning entirely to Tumblr as of May 1, 2020 due to our web host shutting down. We are posting images and texts from previous exhibition, events, and publications.

Get bitter, and cling to guns or religion or award shows...

Tanyth Berkeley Gina Dawson Jenny Drumgoole Calvin Lee Christine Rogers

Opening Reception: 6-8pm, Saturday, Jan 29, 2011 Exhibition dates: Jan 25 - Feb 13, 2011.

Arts & Sciences Projects presents “Get bitter, and cling to guns or religion or award shows…” a group exhibition curated by Brooklyn-based photographer Carl Gunhouse.

“Get Bitter” continues Gunhouse’s exploration of consumer culture and the failed American dream, themes explored in his recent American Desire exhibition at Arts & Sciences PROJECTS. Featuring a range of works in photography, video, sculpture, and performance from Tanyth Berkeley, Gina Dawson, Jenny Drumgoole, Calvin Lee and Christine Rogers, “Get Bitter” brings together artists that focus on the intersections between popular culture and the current state of America.

Calvin Lee’s eloquent photographs of images and image-makers in Los Angeles invite you to lose yourself in a carefree world of decadent superficiality, a world distant from ever-increasing unemployment, slumping housing prices and political gridlock. The desire to be connected to the rewards that come to the celebrities who inhabit popular culture are lived out in Gina Dawson’s hand-carved wooden trophies, created while watching award shows. Hollywood dreams can start with the purest of desires and quickly descend into a very dark place, as captured in Jenny Drumgoole’s loving and bizarre performance videos. Yet these illusions of luxury bottom out into our current reality as seen in Tanyth Berkeley’s touching portraits of aging prostitutes, photographed just before the point when age intervenes to bring their desperate last-ditch careers to a halt. Christine Rogers rounds out the show with a disarming video in which she lip-synchs a YouTube clip of a small child reciting the Lord’s Prayer. This familiar bedtime ritual is performed for an unknown internet audience in hopes that some greater power will be looking over us in these troubled times.

BIOS

Tanyth Berkeley

Tanyth Berkeley was born in Hollywood, California, and currently lives and works in New York. She received her MFA in photography from Columbia University in 2004 and holds a BA from City College of New York in photography and creative writing. Her work has been shown in numerous exhibitions including “New Photography” at the Museum of Modern Art (MoMA) in 2007, and at Bellwether and Danziger Projects.

Gina Dawson

Gina Dawson was born in Dallas, TX and lives and works in Brooklyn, NY. She received a BFA from the University of North Texas in 2002 and an MFA from the School of the Museum of Fine Arts, Boston, in 2005. Her work has been exhibited in multiple group shows in Texas, Boston, Brooklyn, and Manhattan. In 2010 she had a solo exhibition at Galerie Jeanroch Dard in Paris, and in April of the same year she was in a two-person show at Judi Rotenberg Gallery in Boston.

Jenny Drumgoole

Jenny Drumgoole is a Philadelphia-based multimedia artist who incorporates video and performance into extradisciplinary actions inserted into the public domain. Her most recent video-based performance work involves the artist physically and virtually infiltrating competitive events with subversive art actions which question our obsessions with celebrity, desire, and the limits and illusions of individuality in popular culture. Drumgoole received her MFA in photography from Yale University in 2006. Her work has been shown at the IFC Center in New York, The Contemporary Arts Center in Cincinnati, The Center for Contemporary Art in Israel, and the Figge von Rosen Gallery in Germany

Calvin Lee

Calvin Lee is a conceptual-based photographer from Boston, MA. He received an MFA in Photography and Media from the California Institute of the Arts in 2009, and a BFA in Visual and Critical Studies from School of the Museum of Fine Arts, Boston, MA in 2007. His work combines conceptual strategies to explore the connectivity of images, the repression within representation, and the visual semiotics of an image through metonymy and metaphor. Through his analytical, personal, and experimental practice, his work deals with multiple theory based discourses in conversation that question technology, culture, representation, and language. He currently lives and works in Los Angeles, CA.

Christine Rogers

Christine Rogers received a BA in Anthropology in 2004 from Oberlin College and an MFA in Studio Art from the School of the Museum of Fine Arts/Tufts University in 2008, where she studied primarily photography and video. Her work and research has focused on revisiting the faith-based proposals that began in the Modernist period of photography in the late 1950s. Recent projects have included examining the construction of Family though the construction of the family portrait. She currently teaches photography at Wellesley College, and previously has taught at the School of the Museum of Fine Arts, Boston, The Art Institute of Boston, and Chester College of New England.

#artsandsciencesprojects #carlgunhouse #calvinlee #tanythberkely #jennydrumgoole #ginadawson

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janicecpitts · 6 years ago

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skilltradecontractor · 6 years ago

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Trex Deck Installation Contractors

Contents

Updated product features

Commercial roofing company

Outdoor living contractor

Custom homes. • lakefront

A TrexPro® deck builder has a contractor's license and carries general liability insurance as required where he conducts business. Additionally, TrexPro® Deck Builders complete installation and product training on all Trex products and successfully meet requirements to obtain the TrexPro® designation.

From treated decking to composite decking, we'll partner with an independent contractor and help you explore all the possibilites for building your dream deck.

Need help with deck planning or deck designs? We are certified TrexPro Platinum deck builders providing beautiful custom composite decks designed to your …

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charlesccastill · 7 years ago

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A New $36.3 Million Commitment to Advance Babson College Campus-Renewal Projects

WELLESLEY, MA–Robert (Bob) Weissman and his wife, Jan Weissman , have made a $36.3 million gift to Babson College, enabling construction to begin on a new collaborative environment in the center of campus where students, faculty, staff, and their ideas will intertwine.

“We are all humbled, inspired, and deeply grateful for the Weissmans’ extraordinary and unmatched generosity and commitment to Babson College,” said President Kerry Healey. “Bob and Jan’s remarkable support is a testament to their deep engagement with our mission: to prepare entrepreneurial leaders who create great economic and social value everywhere. Their guidance and support has benefited every aspect of the Babson community—our students, alumni, faculty, and the campus experience—and will continue to drive excellence at Babson for generations to come.”

While the Weissmans’ gift is unrestricted, a portion of it will be used to enable construction to begin on a new 10,000-square-foot structure in the heart of Babson’s campus. This beautiful, light-filled space will include a four-season garden for use by students and will serve as the gateway to Horn Library, making it much more accessible. Within the new structure will be group study areas and informal gathering spaces, a café, and a new home for the Stephen D. Cutler Center for Investments and Finance. This new construction will also establish centralized locations for Babson’s academic and extracurricular resource centers, create a state-of-the-art classroom, and provide additional faculty and staff offices.

“Babson plays a vital role in advancing the work of family businesses, of businesses led by women, of businesses that promote the common good for all people, and of entrepreneurs of all kinds,” said Robert Weissman. “Our entire family feels very fortunate that we are able to help sustain Babson’s mission around the world and to do so during our lifetimes so that we can see the impact our philanthropy is having now and in the months and years ahead.”

Robert and Jan Weissman are among Babson’s most generous and committed philanthropists. Their new gift brings their lifetime support of Babson to a record $100 million.

The Weissman family has deep ties to Babson. Married for more than 57 years, Robert and Janet Weissman have two sons that hold Babson degrees (Michael D. Weissman ’87, P’20, and Christopher J. Weissman MBA’90), as does one of their daughters-in-law (Wendy Munroe Weissman ’88, P’20). One of their grandsons is currently attending Babson.

Robert Weissman is a co-founder of Cognizant Technology Solutions, an information-consulting company that has grown to 250,000 employees and sales of more than $14 billion. During the 1970s, he was a pioneer in the cable television transmission industry and later in the nascent computer-time-sharing industry. In 1980, he was named Executive Vice President of Dun & Bradstreet Corporation, and, in 1984, he was named President and COO of the company. Ultimately, he spent 17 years with Dun & Bradstreet, eventually becoming Chairman and CEO in 1994.

Babson College is the educator, convener, and thought leader for Entrepreneurship of All Kinds®. The top-ranked college for entrepreneurship education, Babson is a dynamic living and learning laboratory where students, faculty, and staff work together to address the real-world problems of business and society. We prepare the entrepreneurial leaders our world needs most: those with strong functional knowledge and the skills and vision to navigate change, accommodate ambiguity, surmount complexity, motivate teams in a common purpose to make a difference in the world, and have an impact on organizations of all sizes and types. As we have for nearly a half-century, Babson continues to advance Entrepreneurial Thought & Action® as the most positive force on the planet for generating sustainable economic and social value.

from Boston Real Estate http://bostonrealestatetimes.com/a-new-36-3-million-commitment-to-advance-babson-college-campus-renewal-projects/

#boston #condos #boston condos #boston luxury condo #boston condominium #boston rentals #boston condo

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dorcasrempel · 5 years ago

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Researchers develop a roadmap for growth of new solar cells

Materials called perovskites show strong potential for a new generation of solar cells, but they’ve had trouble gaining traction in a market dominated by silicon-based solar cells. Now, a study by researchers at MIT and elsewhere outlines a roadmap for how this promising technology could move from the laboratory to a significant place in the global solar market.

The “technoeconomic” analysis shows that by starting with higher-value niche markets and gradually expanding, solar panel manufacturers could avoid the very steep initial capital costs that would be required to make perovskite-based panels directly competitive with silicon for large utility-scale installations at the outset. Rather than making a prohibitively expensive initial investment, of hundreds of millions or even billions of dollars, to build a plant for utility-scale production, the team found that starting with more specialized applications could be accomplished for more realistic initial capital investment on the order of $40 million.

The results are described in a paper in the journal Joule by MIT postdoc Ian Mathews, research scientist Marius Peters, professor of mechanical engineering Tonio Buonassisi, and five others at MIT, Wellesley College, and Swift Solar Inc.

Solar cells based on perovskites — a broad category of compounds characterized by a certain arrangement of their molecular structure — could provide dramatic improvements in solar installations. Their constituent materials are inexpensive, and they could be manufactured in a roll-to-roll process like printing a newspaper, and printed onto lightweight and flexible backing material. This could greatly reduce costs associated with transportation and installation, although they still require further work to improve their durability. Other promising new solar cell materials are also under development in labs around the world, but none has yet made inroads in the marketplace.

“There have been a lot of new solar cell materials and companies launched over the years,” says Mathews, “and yet, despite that, silicon remains the dominant material in the industry and has been for decades.”

Why is that the case? “People have always said that one of the things that holds new technologies back is that the expense of constructing large factories to actually produce these systems at scale is just too much,” he says. “It’s difficult for a startup to cross what’s called ‘the valley of death,’ to raise the tens of millions of dollars required to get to the scale where this technology might be profitable in the wider solar energy industry.”

But there are a variety of more specialized solar cell applications where the special qualities of perovskite-based solar cells, such as their light weight, flexibility, and potential for transparency, would provide a significant advantage, Mathews says. By focusing on these markets initially, a startup solar company could build up to scale gradually, leveraging the profits from the premium products to expand its production capabilities over time.

Describing the literature on perovskite-based solar cells being developed in various labs, he says, “They’re claiming very low costs. But they’re claiming it once your factory reaches a certain scale. And I thought, we’ve seen this before — people claim a new photovoltaic material is going to be cheaper than all the rest and better than all the rest. That’s great, except we need to have a plan as to how we actually get the material and the technology to scale.”

As a starting point, he says, “We took the approach that I haven’t really seen anyone else take: Let’s actually model the cost to manufacture these modules as a function of scale. So if you just have 10 people in a small factory, how much do you need to sell your solar panels at in order to be profitable? And once you reach scale, how cheap will your product become?”

The analysis confirmed that trying to leap directly into the marketplace for rooftop solar or utility-scale solar installations would require very large upfront capital investment, he says. But “we looked at the prices people might get in the internet of things, or the market in building-integrated photovoltaics. People usually pay a higher price in these markets because they’re more of a specialized product. They’ll pay a little more if your product is flexible or if the module fits into a building envelope.” Other potential niche markets include self-powered microelectronics devices.

Such applications would make the entry into the market feasible without needing massive capital investments. “If you do that, the amount you need to invest in your company is much, much less, on the order of a few million dollars instead of tens or hundreds of millions of dollars, and that allows you to more quickly develop a profitable company,” he says.

“It’s a way for them to prove their technology, both technically and by actually building and selling a product and making sure it survives in the field,” Mathews says, “and also, just to prove that you can manufacture at a certain price point.”

Already, there are a handful of startup companies working to try to bring perovskite solar cells to market, he points out, although none of them yet has an actual product for sale. The companies have taken different approaches, and some seem to be embarking on the kind of step-by-step growth approach outlined by this research, he says. “Probably the company that’s raised the most money is a company called Oxford PV, and they’re looking at tandem cells,” which incorporate both silicon and perovskite cells to improve overall efficiency. Another company is one started by Joel Jean PhD ’17 (who is also a co-author of this paper) and others, called Swift Solar, which is working on flexible perovskites. And there’s a company called Saule Technologies, working on printable perovskites.

Mathews says the kind of technoeconomic analysis the team used in its study could be applied to a wide variety of other new energy-related technologies, including rechargeable batteries and other storage systems, or other types of new solar cell materials.

“There are many scientific papers and academic studies that look at how much it will cost to manufacture a technology once it’s at scale,” he says. “But very few people actually look at how much does it cost at very small scale, and what are the factors affecting economies of scale? And I think that can be done for many technologies, and it would help us accelerate how we get innovations from lab to market.”

The research team also included MIT alumni Sarah Sofia PhD ’19 and Sin Cheng Siah PhD ’15, Wellesley College student Erica Ma, and former MIT postdoc Hannu Laine. The work was supported by the European Union’s Horizon 2020 research and innovation program, the Martin Family Society for Fellows of Sustainability, the U.S. Department of Energy, Shell, through the MIT Energy Initiative, and the Singapore-MIT Alliance for Research and Technology.

Researchers develop a roadmap for growth of new solar cells syndicated from https://osmowaterfilters.blogspot.com/

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