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ABSTRACT In the early decades of the twentieth century, the pursuit of efficiency came to dominate instances of industrial and artistic production: the engineering consultants Frank and Lillian Gilbreth attempted to visualize a language of minimal waste, while Precisionist art achieved its own aesthetic of efficiency. This essay examines the Precisionist project alongside the discourses of the rationalized factory and suggests a relationship between the formal economy of Precisionism and the rhetoric of scientific management. For Precisionist art and the Gilbreths' time-motion studies, the representation of efficiency ultimately entailed the elision of artist and worker as producers of labor.

Revised text of a paper given at the `Art and labor' session at the College Art Association Annual Conference in New York (Feb. 2003), in which the author explores the effects of scientific management on representational practice, focusing on Precisionism and the work of the American painter and photographer Charles Sheeler (1883-1965) in particular. She provides historical insights into the cult of efficiency that gripped the U.S.A. in the 1910s, using as examples the cyclegraph-based wire motion models which Frank and Lillian Gilbreth evolved in an effort to show workers the most efficient way of undertaking a particular task, and enquires into the aesthetics of these and other attempts to visualize efficiency where the act of labour is completely alienated from both the worker and the product, like Morton Livingston Schamberg's Mechanical Abstractions (1916; illus.), Louis Lozowick's Machine Ornaments (1922-27; illus.) and Cleveland (1923; illus.), and Sheeler's Self-Portrait (1923; illus.). She reflects on the tendency to make labour an invisible characteristic of Precisionist painting, whose surfaces bear no mark of the means of its production, commenting on the linearity of Sheeler's Rolling Power (1923; illus.), and on the self-effacing style of Georgia O'Keeffe's White Barn (1932; illus.) and of Sheeler's Upper Deck (1929; illus.).

At the College Art Association's annual conference in 2006, the editorial board of Art journal convened a round-table discussion with eight leaders of galleries and museums affiliated with institutions of higher learning. The discussion was organized by Anna Hammond, Deputy Director for Education, Programs, and Public Affairs, Yale University Art Gallery, and John Ricco, Assistant Professor, University of Toronto. When you are a junior faculty member and working toward tenure, why would you accept my invitation to write an essay for a catalogue or to curate an exhibition, if your chair says that doesn't count as scholarship? I am very interested in how our exhibition practice can be scholarship in many different fields.

At the College Art Association's annual conference in 2006, the editorial board of Art Journal convened a round-table discussion with eight leaders of galleries and museums affiliated with institutions of higher learning. Among the topics of conversation were the challenges unique to these organizations, similarities to and differences from their civic counterparts, pros and cons of collections, and ways of involving various constituencies. The discussion was organized by Anna Hammond, Deputy Director for Education, Programs, and Public Affairs, Yale University Art Gallery, and John Ricco, Assistant Professor, University of Toronto. Hammond moderated the discussion.

This dissertation considers Precisionist art in the context of the forms, practices, and ideologies of American mass-industrial culture. It situates the art of Precisionism within a specific set of concerns that marked 1920s and 1930s America: the position of labor under scientific management, the cultural roles of the commodity and the machine, the impact of the Great Depression upon representational practice, and the depiction of the American landscape. In addition, the text launches a socio-historical inquiry into the modes of production that governed Precisionist practice and the ways in which its works were harnessed to support particular ideological programs through advertisements, trade literature, and art exhibitions. This study argues against the reductive notion that Precisionist images were simply co-opted by capitalist interests and instead insists on acknowledging the ambivalences and complexities which mark the Precisionist project. One of the sites of greatest tension occurs around the representation of working bodies and machine subjects. Questions of labor and the forces of mass industrialism thus form a central axis of this thesis and serve to install the figure of labor—both the worker's and the artist's—firmly within a history of Precisionism. Chapter One examines Charles Sheeler's 1927 photographic commission for Ford Motor Company. Sheeler's photographs of Ford's River Rouge plant depict the massive machines and monumental architecture of the Ford factory. They also, importantly, picture Ford workers. This chapter contends that these laboring figures are crucial to both a history of Ford Motor Company and a full account of Sheeler's artistic practice. Using the photographs of Margaret Bourke-White as a case study, Chapter Two explores the role of modern photography in American consumer culture, as well as the reciprocity between artists and advertisers, Precisionist art and corporate America. Chapter Three considers Precisionist painting within the rhetorics of scientific management and mass production and proposes a reading of Precisionism within an aesthetic of efficiency. Through the urban-industrial and rural-agrarian imagery of Georgia O'Keeffe and Charles Sheeler, the subjects of America's agrarian past are seen through the formal lens of its industrial present. Chapter Four argues that the Precisionist project is bound to the binary poles of technological progress and rural nostalgia.

Corwin reviews \"Eyewitnessing: The Uses of Images as Historical Evidence\" by Peter Burke.

IntroductionConcussion affects over 400 000 Canadians annually, with a range of causes and impacts on health-related quality of life. Research to date has disproportionately focused on athletes, military personnel and level I trauma centre patients, and may not be applicable to the broader community. The TRANSCENDENT Concussion Research Program aims to address patient- and clinician-identified research priorities, through the integration of clinical data from patients of all ages and injury mechanisms, patient-reported outcomes and objective biomarkers across factors of intersectionality. Seeking guidance from our Community Advisory Committee will ensure meaningful patient partnership and research findings that are relevant to the wider concussion community.Methods and analysisThis prospective observational cohort study will recruit 5500 participants over 5 years from three 360 Concussion Care clinic locations across Ontario, Canada, with a subset of participants enrolling in specific objective assessments including testing of autonomic function, exercise tolerance, vision, advanced neuroimaging and fluid biomarkers. Analysis will be predicated on pre-specified research questions, and data shared with the Ontario Brain Institute’s Brain-CODE database. This work will represent one of the largest concussion databases to date, and by sharing it, we will advance the field of concussion and prevent siloing within brain health research.Ethics and disseminationThis study was approved by the Children’s Hospital of Eastern Ontario Research Ethics Board and preregistered on OSF (25 June 2024); https://doi.org/10.17605/OSF.IO/HYDZC. Dissemination of findings will be multifaceted, including conference presentations, peer-reviewed publications and sharing of adapted materials (eg, videos, infographics, plain language summaries) with community groups and key knowledge users.

Epithelial organ morphogenesis involves reciprocal interactions between epithelial and mesenchymal cell types to balance progenitor cell retention and expansion with cell differentiation for evolution of tissue architecture. Underlying submandibular salivary gland branching morphogenesis is the regulated proliferation and differentiation of perhaps several progenitor cell populations, which have not been characterized throughout development, and yet are critical for understanding organ development, regeneration, and disease. Here we applied a serial multiplexed fluorescent immunohistochemistry technology to map the progressive refinement of the epithelial and mesenchymal cell populations throughout development from embryonic day 14 through postnatal day 20. Using computational single cell analysis methods, we simultaneously mapped the evolving temporal and spatial location of epithelial cells expressing subsets of differentiation and progenitor markers throughout salivary gland development. We mapped epithelial cell differentiation markers, including aquaporin 5, PSP, SABPA, and mucin 10 (acinar cells); cytokeratin 7 (ductal cells); and smooth muscle α-actin (myoepithelial cells) and epithelial progenitor cell markers, cytokeratin 5 and c-kit. We used pairwise correlation and visual mapping of the cells in multiplexed images to quantify the number of single- and double-positive cells expressing these differentiation and progenitor markers at each developmental stage. We identified smooth muscle α-actin as a putative early myoepithelial progenitor marker that is expressed in cytokeratin 5-negative cells. Additionally, our results reveal dynamic expansion and redistributions of c-kit- and K5-positive progenitor cell populations throughout development and in postnatal glands. The data suggest that there are temporally and spatially discreet progenitor populations that contribute to salivary gland development and homeostasis.