He is the regional manager for the Rocky Mountain West region and a sustainable agriculture project coordinator. Rocky Mountain West Regional Director Andrew CogginsĪndrew came to NCAT in 2016, having moved to the United States with his wife and three children. Linda serves on the board of the Arkansas Grazing Lands Coalition (AGLC) and on the American Consortium for Small Ruminant Parasite Control (see ), and enjoys being part of the team at NCAT’s Southeast Office. Today, Maple Gorge Farm consists of 50 acres of woods and pasture, stocked with Gulf Coast sheep and Alpine dairy goats. Linda and her husband and children have raised sheep in Kansas and then in Arkansas, adding dairy goats to the farm in 2001. An internship at the United States Sheep Experiment Station in Dubois, Idaho, during lambing time was highly interesting and educational, and her job at the MU sheep farm also built her experience. Linda majored in animal science at the University of Missouri. She came to this work from her beginnings on a diversified livestock farm near Westphalia, Missouri, where she greatly preferred the sheep to the hogs and cattle that were the main enterprises. Linda is a livestock specialist focusing mostly on sheep and goats and grazing. She has lived and worked with farmers in Central and South America and the Salinas Valley and Central Coast regions of California. She holds a bachelor’s degree in biology from Lewis and Clark College and a master’s degree in international agriculture development with specialization in agronomy from the University of California-Davis. She has helped develop organic system plan templates for CCOF, the Montana Department of Agriculture Organic Program, and USDA’s National Organic Program. She served four years on the board of directors of the International Organic Inspectors Association (IOIA).
Furthermore, the article argues that a significant part of British antipathy towards art nouveau lay in art nouveau's overt commercialism, and suggests that Liberty and Company's canny compromise between historicism and art nouveau led to the success of Celtic-inspired design in England between 18.Sustainable Agriculture Specialist Ann BaierĪnn is a sustainable agriculture specialist who has organized and led workshops for farmers and other agricultural professionals on topics such as organic regulations, the organic certification process, recordkeeping for crop and livestock producers, production of poultry on pasture, enterprise planning and business decision-making, and representation and labeling for market differentiation.Īnn has been an organic inspector for California Certified Organic Farmers (CCOF) and other organic certifiers since 2000.
The debates were also informed by literature employing metaphors of disease to describe social and aesthetic change, and by uncertainty about how to 'read' art nouveau and to define a particularly 'British' visual, modern aesthetic patrimony in the decorative arts. At the heart of these important discussions lay concerns about what made art nouveau 'new' or 'modern' did 'the new art' truly signify a foreign-inspired rupture with the past, and if so, what possible aesthetic (or political) effects might art nouveau have within the borders of Britain? This article undertakes a close reading of the language and metaphors employed in these public debates, and argues that broader cultural concerns about urbanism, corruption, anarchy, nationalism and empire supply much-needed historical context for the understanding of British paranoia about foreign influence in the arts and art education between 19.
In the first four years of the twentieth century, British designers, artists and critics engaged in a heated series of debates about art nouveau.