cometadata/datacite-titles-descriptions-related-identifiers huggingface dataset:
DOI: 10.5281/zenodo.13774369
title: Simulation and empirical data for "Unifying approaches from statistical genetics and phylogenetics for mapping phenotypes in structured populations"

description: Simulation data and empirical data used to generate figures from "Unifying approaches from statistical genetics and phylogenetics for mapping phenotypes in structured populations". Can be used with code provided on the associated github to regenerate the figures.
DOI: 10.5281/zenodo.13774370
title: Simulation and empirical data for "Unifying approaches from statistical genetics and phylogenetics for mapping phenotypes in structured populations"

description: Simulation data and empirical data used to generate figures from "Unifying approaches from statistical genetics and phylogenetics for mapping phenotypes in structured populations". Can be used with code provided on the associated github to regenerate the figures.
DOI: 10.6084/m9.figshare.27046345
title: Data for Kappa the Undead.

description: Dataset supporting Kappa the Undead.
DOI: 10.6084/m9.figshare.27046345.v1
title: Data for Kappa the Undead.

description: Dataset supporting Kappa the Undead.
DOI: 10.7916/d83f4mjk
title: Eva Deutsch Costabel: Catalog of works

description: From the age of 6, in her native Zagreb, Eva Deutsch Costabel knew she would be an artist. The many-hued traditional costumes, The play of light and color in the lush countryside, the Yugoslavian peasant art itself, were all seeds which she would come to cultivate years later, far away, in a new and different world. But first the Nazi occupation, in 1941, meant the beginning of an odyssey of flight and displacement, and then imprisonment with her family in an Italian concentration camp in Croatia. Following the Italian capitulation in '43, she would join the Yugoslav resistance, first as an army nurse and then as a staff artist for the resistance publication, where her first sketches were realistic attempts to convey the humanity and pathos of the partisans and the sickness of war itself. With the close of the war and her studies at the Academy of Fine Arts in Rome, she began what she considers "the long and painful healing process after witnessing the horrors of the Holocaust." Her odyssey would now take her to America in '49, and to study with Franz Kline, with her efforts in these "years of introspection," culminating in a series of abstract works, seemingly objective, even "decorative," but paradoxically deeply personal. Here she seeks the reality of her emotions rather than a naturalistic representation of the dislocation and loss of the wartime experience, the enormity of which she continues to feel could never adequately be expressed in direct terms.
DOI: 10.7916/d8vx0dgb
title: Gilda Pervin: Catalog of works

description: I was born and raised in Pittsburgh, Pennsylvania. Those were the grimy years of Pittsburgh, when the sky and rivers were ablaze with colors of fire reflected from the steel mills. Soot crusted the white snow, and you could watch the passing seasons blister and peel the painted surfaces of the houses. It was a great visual education for future artists. My other education included BA and M.Litt degrees from the University of Pittsburgh and then a four-year-certificate training at the Pennsylvania Academy of the Fine Arts. After graduating from the Academy I moved to Dallas, Texas, where I made and exhibited art for seven years, alongside an exciting community of artists. Finally, in 1981, I made the big move to New York City. Here I have been fortunate to be awarded a New York State Council on the Arts Project Grant, a Penny McCall Foundation Grant, a New York Foundation of the Arts Fellowship Grant in Sculpture and a Pollock-Krasner Foundation Grant. I have shown work in galleries, alternative spaces, and museums in the United States, and in Sweden and Brazil. My work is included in the Jewish Museum, NY; the Burchfield-Penny Art Center, Buffalo, NY; the Morris Museum, Morristown, NJ; the Surdna Foundation, NY; and other public and private collections. I have been teaching at the New School in New York for 28 years.
DOI: 10.7916/d8bv7djj
title: Susan May Tell: Catalog of works

description: Susan May Tell is an award-winning fine art photographer whose work has been showcased in solo exhibitions at the Museum of Art | Fort Lauderdale; Griffin Museum of Photography; University of California at San Francisco; and Avenue B Gallery. Solo exhibitions include A Requiem: tribute to the spiritual space at Auschwitz; Structured Moments; and Real / Unreal: urban landscapes of the 1980’s. Tell’s photographs are in the Samuel Wagstaff Collection at the Smithsonian Museum and have been featured in group exhibitions at the Monmouth Museum; Hudson River Museum; Phoenix Art Museum; Center for Fine Art Photography; and Barrett Art Center, where Malcolm Daniel, Curator in Charge of the Department of Photographs at the Metropolitan Museum of Art, awarded her First Place. Nat Trotman, Associate Curator of Art, Guggenheim Museum of Art, included her work in New Directions / Art he juried at that same venue. Also a successful photojournalist, Tell spent four years based in Cairo and four years in Paris working for the New York Times, LIFE, TIME, and Newsweek Magazines. This was followed by ten years as a staff photographer and photo editor at the New York Post. Tell’s subjects have been diverse and include: a 9-month project with Egypt’s drug enforcement agency; the women fighters of the Eritrean People’s Liberation Front; Iraqi Kurdish refugees in Turkey; Islamic and Pharaonic Monuments in Egypt; the National Basketball Association Finals; lunch with Yasser Arafat and his entourage in Kuwait; murders; car accidents; perp walks; stake-outs; actors; hot air ballooning; 3-star restaurants and 5-star hotels. In 2008 Tell became involved in the 1,000 member New York chapter of the American Society of Media Photographers (ASMPNY) and was appointed to the Board and the newly created position of Fine Art Chair. She founded programs including Fine Art Salon Conversations with museum curators, gallery directors, critics, and other well-known fine art photography luminaries.
DOI: 10.7916/d8nc5z5f
title: Morgan O’Hara: Catalog of works

description: Morgan O'Hara was born in Los Angeles, grew up in Japan, earned a Master's Degree in Art from California State University at Los Angeles, and had her first solo exhibition in the Musée Cantonal des Beaux Arts in Lausanne, Switzerland in 1978. She began working internationally in performance art festivals in 1989, did her first site specific wall drawings at De Fabriek in Eindhoven, The Netherlands, and began the practice of the Japanese martial art, aikido, all in the same year. She teaches master classes in drawing and the psychology of creativity in art academies in the US, Europe and Asia. O'Hara has done many international residencies including two sessions at the MacDowell Colony in New Hampshire. She is recipient of grants from the Pollock-Krasner Foundation, the Gottleib Foundation, the Foundation for Contemporary Arts, the Leon Levy Foundation, the David and Rosamond Putnam Travel Fund and the Milton and Sally Avery Foundation. Her work is in the permanent collections of many institutions, including: Arkansas Art Center, Little Rock, Arkansas; Czech National Gallery, Prague; Hammer Museum, Los Angeles, California; Hood Museum of Art - Dartmouth College, New Hampshire; the Moravian Gallery, Wannieck Gallery and the Janacek Museum, all in Brno, Czech Republic; Macau Art Museum, Macau, China, National Gallery of Art, Washington, D.C., Olomouc Museum of Art, Czech Republic, Stedelijk Museum, Amsterdam, Vrije Universiteit OZW, Amsterdam, The Netherlands, Wannieck Gallery, Brno, Czech Republic, Weatherspoon Gallery, Greensboro, North Carolina. Her permanent site specific wall drawings can be found in the Macau Art Museum, Macau, China; The Canadian Academy, Kobe, Japan and the Free University OZW Building, Amsterdam, The Netherlands. O'Hara lived in Europe for 25 years (Berlin and Paris, Italy for 21). O'Hara became a member of the Elizabeth Foundation in 2010.
DOI: 10.7916/d81r6ngb
title: Nancy Haynes: Catalog of Works

description: Haynes was born in 1947 and moved to New York in 1967. She lives and works in Red Hook, Brooklyn and the Huerfano Valley, Colorado. Haynes' exhibition history begins in 1978 at the Hundred Dollar Gallery, in NYC. She is presently included in group exhibits at Danese Gallery, NY and Regina Rex Gallery in Bushwick, Queens, NY, and is represented by George Lawson Gallery in LA and Hubert Winter Gallery in Vienna. Her work is in the collections of the Metropolitan Museum of Art, the Museum of Modern Art, the Whitney Museum of Art and numerous other museums in the US and Europe. Honors and awards include grants from the New York Foundation for the Arts, the National Endowment for the Arts, and the Pollock-Krasner Foundation. Her non-representational/conceptual paintings' subject matter is mostly deconstruction, light and a sensation of impermanence. The paintings are generally oil on linen although in the past Haynes used glow in the dark acrylic a great deal. One of the artists she most admires is On Kawara.
DOI: 10.7916/d8ng4nj9
title: Rose Mosner: Catalog of works

description: Rose Mosner, very early on as a child, was exposed to the best in art as her father took her through the finest New York Museums. So it wasn’t a surprise that her Bachelor’s and Masters degrees in fine art from Queens College would lead her into a long term career (20 years) of teaching and doing art in New York public schools. Highlights as a teacher were to recognize those students who “had the gift”. During this time her post graduate training continued at the School of Visual Arts (the New School and Adelphi University) where she acquired skills in woodworking, weaving and silk screen, all currently part of her current professional work. Although she retired early to pursue art, teaching hasn’t left her; since 2006, in New York and Washington DC she continues to teach collage classes in several senior centers at the New School, Educational Alliance, Iona Center and American University. Doing art is her life, however. And collage is her major focus, from small pieces with beads, colored paper and found items to 3D abstract wood pieces shaped into exotic forms with a Dewalt Heavy Duty Scroll Saw. Her paintings are in acrylic, abstract, her work influenced by music, nature and especially art history. All is a challenge; at times she is working on several pieces, a hard-edged painting, a wood cut-out or a collage with buttons and styrofoam, each an experiment in media, a struggle of color, line and movement in search of a resolution. Her work has exhibited in 2011 at the Cahoon Museum American Art, Cotuit Mass., at the Corcoran Gallery in DC (2013), at the Rockville Art League, Rockville, MD. in 2014 and recently at the Leading Age Art forum, Univ. of DC, 2016.
DOI: 10.7916/d8r49nqx
title: Sonia Gechtoff: Catalog of works

description: My father was a painter originally from Odessa, Ukraine who traveled the world with my mother before I was born in Philadelphia, Pennsylvania in 1926. He encouraged me to be a painter and had me sit beside him at his easel with a brush and paints and beginning at age six he was there to spur me on. When I came to San Francisco, California in 1951 I found the major turning point for my future life as a painter. From the academic approach to painting I learned in art school, I went to totally abstract work, particularly influenced by the paintings of Clyfford Still who had been a major force at the California School of Fine Arts just previous to my arrival. Although I never studied with him, I saw several wonderful examples of what he had been doing and that opened a door for me. My paintings are abstract with suggestions of architecture and nature and occasionally, the figure. During the last six months I have worked in a way similar to the energetic way I painted 50 years ago in San Francisco. Drawing is always as important to me as is painting and I look forward to documenting it all. My work is in the permanent collections of the Museum of Modern Art in New York, San Francisco MOMA, the Whitney Museum, the Metropolitan Museum of Art, the Solomon R. Guggenheim Museum, the Baltimore Museum of Art, and the Menil Collection, Houston, Texas, among many others. I have been exhibiting since 1948 and my most recent exhibition was of 1950s paintings at Nyehaus Gallery, NYC in 2011. The catalog of that show can be seen online at Nyehaus.com. There is also an interview by Faye Hirsch, Senior Editor at Art in America which can be seen online at ArtinAmerica.com. An article titled “Can We Still Learn to Speak Martian” by John Yau written for Hyperallergic, an online art magazine dated April 29, 2012 discusses my early work along with other Bay Area painters.
DOI: 10.7916/d8cz353n
title: Michael A. Cummings: Catalog of works

description: The New York Times noted in 1992 that Cummings "... draws inspiration from Africa and the art of African Americans, particularly the great quilters of the South.” Cummings' keen sense of history, his reverence for the spiritual, and his reworking the possibilities of the present and the future make his quilts striking" I guess you could say that my home is like my art: It is a living, breathing collage or a shadow-box filled with objects like Joseph Cornell's artworks." It is filled with African and African American art, period furniture and art from other countries. In addition to an HBO commission, Cummings has had solo exhibitions with Bates College in Maine, Hallmark Cards, New York City's Cinque Gallery and the Studio Museum in Harlem. Group shows include the Cincinnati Art Museum, Renwick Gallery in Washington, DC, New York City's American Craft Museum, Yale University and Atlanta's High Museum of Art. Cummings' work appears in some notable collections -- Bill and Camille Cosby, Whoopi Goldberg, Alonzo Mourning, Renwick Gallery (Smithsonian Institution), American Craft Museum (NYC), the Studio Museum in Harlem, and recently added to the American Embassy collection in Mali. Cummings' work can also be found in many books, Pioneering Quilt Artists 1960-1980 by Sandra Sider (2010), Masters/Art Quilts by Martha Sielman, 2008; the Japanese publication "Patchwork" (Tsushin, February 2011); Facts & Fabrications Unraveling the History of Quilts & Slavery by Barbara Brackman (2006), Spirits of the Cloth: Contemporary African American Quilts by Carolyn Mazloomi, A Communion of the Spirits: African-American Quilters. He illustrated a children's book entitled In the Hollow of Your Hand. He has appeared on several local and national television programs including Martha Stewart and Home and Garden. Cummings was commissioned by Emory University to create etchings for a limited edition and had a solo exhibition in Japan in 2011.
DOI: 10.7916/d80z7150
title: Cecily Barth Firestein: Catalog of Works

description: Cecily Barth Firestein is a painter who combines methodologies of printmaking and collage while working within the framework of abstraction. Firestein studied with Hans Hofmann, Hale Woodruff and Yasuo Kuniyoshi, among others, leading her to embrace and question aspects of abstraction, expressionism and surrealism. Over the past six decades she bravely resisted joining any particular artistic movement, opting instead to synthesize, hence cultivating her own unique language. Her paintings arrest us with structured compositions, lush palettes and lyrical movements while surprising us with curious imagery and wit. Firestein initiates each painting as an abstract monotype using oil-based printing ink. Once the ink has dried, she addresses the paper covering the monotype with a wash of tempera paint in both opaque and transparent layers. Firestein’s source material archive is extensive, complete with Japanese color prints – Ukiyoye, early European and American printed ephemera and other themes that interest her. A penchant for surprising juxtapositions, a visual acumen of modern abstraction and a keen imagination fuse to determine both the selection and eventual position of images from the archive. The collage elements shape the narrative route of the painting. Constantly probing for and disseminating trans-historical narratives, Firestein draws from her wealth of experience, travels and multicultural studies. In addition to painting, she specialized in the ancient Chinese art and modern craft of “lifting rubbings”. Her engagement with materials is incredibly palpable and involves pressure and sensitivity lending itself to an intimacy that is unusual given the large size of the paintings. Cecily Barth Firestein creates evocative and highly distinctive tableaux that defy gravity.
DOI: 10.7916/d87p8w9x
title: Marilyn Banner: Catalog of Works

description: Marilyn Banner was born in St. Louis, Missouri in March 1945. She was raised in the nearby suburb of University City. She has lived in New York NY and Boston MA, and currently lives in Takoma Park, Maryland. Banner attended Washington University (BFA School of Fine Arts, 1968). She undertook further visual arts study at Queens College (CUNY), the University of Maryland, Montgomery College, the Corcoran School of the Arts, and Massachusetts College of Art in Boston (MSEd 1982). Influential teachers and mentors included David Lund, painter, Marvin Bileck, draughtsman/illustrator, Lowry Burgess, conceptual artist, and Betsy Damon, feminist, performance artist, and arts activist. Banner’s MSEd thesis and exhibition, “Expanding Unconscious Sources: A Return to My Inner Self,” signaled a broadening and deepening of interests, approach, and media. This work signaled a long- term interest in the psyche, spiritual imagery, dreams, memory, Jung, feminism, expressionism, Jewish history and ancestry, and Shamanism. Banner has created several distinct bodies of work, mainly content driven and non-traditional. Media include plaster, latex, fur, bones, metal, wood, bricks, fabric, shells, slate, photography, charcoal, oil paint, acrylic, and encaustic. Forms include drawing, painting, collage, assemblage, sculpture, and installation. Travel to Costa Rica in 2002 shifted her focus from the inner to the natural world and landscape. Since 2004 Banner has worked almost exclusively with encaustic paint on wood. Marilyn Banner has been a leader in Betsy Damon’s No Limits for Women in the Arts project, in the National Women’s Caucus for Art, and in Washington Musica Viva, a Washington DC area music and art project. She exhibits nationally has been a member of Ceres Gallery in New York City since 1992. Website: www.marilynbanner.com
DOI: 10.15468/dl.t2us2e
title: Occurrence Download

description: A dataset containing 3256 species occurrences available in GBIF matching the query:
{
 "and" : [
 "Country is Côte d’Ivoire",
 "DatasetKey is one of (FishBase Database, The fishes collection (IC) of the Muséum national d'Histoire naturelle (MNHN - Paris))",
 "IucnRedListCategory is one of (EN, EX, EW, CR, NT, VU)",
 "OccurrenceStatus is Present",
 "PublishingOrg is 192a9ab0-5565-11d8-b290-b8a03c50a862",
 "TaxonKey is Elasmobranchii"
 ]
}

 The dataset includes 3256 records from 1 constituent datasets; see https://api.gbif.org/v1/occurrence/download/0020005-240906103802322/datasets/export for details.
 
Data from some individual datasets included in this download may be licensed under less restrictive terms.
DOI: 10.7916/d8bc3wg3
title: DataCite Summer 2013 Meeting Twitter Archive

description: This collection of Twitter data was harvested using version 5 Martin Hawksey's Twitter Archiving Google Spreadsheet (TAGS v5), which is available from his blog (http://mashe.hawksey.info/2013/02/twitter-archive-tagsv5/). I harvested tweets using the hashtag #DataCite, which at the time was associated with the DataCite Summer Meeting held in Washington, DC on September 19-20, 2013. The earliest archived tweet is from September 13, 2013. The latest is from September 26, 2013.
DOI: 10.7916/d8h41pb6
title: RDA Plenary Twitter Archive, September, 2013

description: This collection of Twitter data was harvested using version 5 Martin Hawksey's Twitter Archiving Google Spreadsheet (TAGS v5), which is available from his blog (http://mashe.hawksey.info/2013/02/twitter-archive-tagsv5/). I harvested tweets using the hashtag #RDAPlenary, which was associated with the Research Data Alliance event held in Washington, DC on September 16-18, 2013. The earliest archived tweet is from September 12, 2013. The latest is from September 30, 2013.
DOI: 10.15468/dl.vv4kns
title: Occurrence Download

description: A dataset containing 12 species occurrences available in GBIF matching the query:
{
 "and" : [
 "BasisOfRecord is Occurrence evidence",
 "Country is Mexico",
 "OccurrenceStatus is Present",
 "TaxonKey is Ipomoea ampullacea Fernald"
 ]
}

 The dataset includes 12 records from 2 constituent datasets; see https://api.gbif.org/v1/occurrence/download/0020006-240906103802322/datasets/export for details.
 
Data from some individual datasets included in this download may be licensed under less restrictive terms.
DOI: 10.15468/dl.bk75rj
title: Occurrence Download

description: A dataset containing 172 species occurrences available in GBIF matching the query:
{
 "TaxonKey" : [
 "is Svastra aegis (LaBerge, 1956)"
 ]
}

 The dataset includes 172 records from 14 constituent datasets; see https://api.gbif.org/v1/occurrence/download/0020007-240906103802322/datasets/export for details.
 
Data from some individual datasets included in this download may be licensed under less restrictive terms.
DOI: 10.15468/dl.9wrbqu
title: Occurrence Download

description: A dataset containing 369341 species occurrences available in GBIF matching the query:
{
 "and" : [
 "TaxonKey is Megaptera novaeangliae (Borowski, 1781)",
 "Year 2000-2024"
 ]
}

 The dataset includes 369341 records from 427 constituent datasets; see https://api.gbif.org/v1/occurrence/download/0019988-240906103802322/datasets/export for details.
 
Data from some individual datasets included in this download may be licensed under less restrictive terms.
DOI: 10.25345/c5qz22v5w
title: MassIVE MSV000095885 - Investigation of natural dyes and taxonomic identification of fibers used in Chancay textiles by vibrational spectroscopy and mass spectrometry
title: Paleoproteomics and dye analysis of Chancay textiles from Peru.
DOI: 10.15468/dl.a4dk42
title: Occurrence Download

description: A dataset containing 403070 species occurrences available in GBIF matching the query:
{
 "TaxonKey" : [
 "is Megaptera novaeangliae (Borowski, 1781)"
 ]
}

 The dataset includes 403070 records from 587 constituent datasets; see https://api.gbif.org/v1/occurrence/download/0019987-240906103802322/datasets/export for details.
 
Data from some individual datasets included in this download may be licensed under less restrictive terms.
DOI: 10.15468/dl.6s25d5
title: Occurrence Download

description: A dataset containing 369341 species occurrences available in GBIF matching the query:
{
 "and" : [
 "TaxonKey is Megaptera novaeangliae (Borowski, 1781)",
 "Year 2000-2024"
 ]
}

 The dataset includes 369341 records from 427 constituent datasets; see https://api.gbif.org/v1/occurrence/download/0019989-240906103802322/datasets/export for details.
 
Data from some individual datasets included in this download may be licensed under less restrictive terms.
DOI: 10.18112/openneuro.ds003702.v1.0.2
title: Social Memory cuing
DOI: 10.6073/pasta/3c5d8444e3507eb711c8f28e5648d5c1
title: White Cedar Ring Width Data from Michigan Upper Peninsula, 1869-2022

description: This project used tree cores to reconstruct growth over time and correlate that with climate variables including maximum monthly temperature, monthly precipitation, and vapor pressure deficit.