Great progress has been made for women in the workplace in the past 40 years. The Glass Ceiling, a term used to describe an invisible barrier that prevents someone (usually women and minorities) from achieving further success, seems to have almost no place in design, according to some in the field.

attempting to research this work and topic results in articles surrounding her partner, Jock Kinneir.

Margaret Calvert, a designer who defined the British network of roadways with her typeface design in the 1960s, never received wide recognition for this development.

In a basic sense, women’s careers have rarely followed the same path of men’s, since there has historically been immense pressure placed on women to be solely homemakers and nurture families (see: Beyond The Glass Ceiling: an open discussion, Astrid Stavro, Elephant #6) with more sinister pressures of socially-accepted sexism and segregation discouraging, or even disqualifying, the career ambitions of capable women.

Michael P. Glimcher, CEO of Glimcher agrees: “While shopping will always be the primary reason people go to the mall, the survey supported our notion that going to the mall is about the experiences—whether that’s having a salad and a glass of wine with your girlfriends or enjoying a movie on a Friday night.” Those sights, smells, and tactile experience are things the Internet can’t replicate—yet.

Often, the mall’s anchors, the big chain department stores, are the first to go. It seems that the 2008 recession and dominance of the Internet—where you can buy anything and everything with a few clicks—have taken their toll on brick-and-mortar behemoths like JCPenney, Sears, and even Macy’s

After its conservation the painting is likely to be installed first, attached to steel beams embedded in a grand room of the new galleries, which are to be named after the late collector Peter Jay Sharp, whose foundation is a major contributor. Then the frame will be placed around the canvas, attached to the wall separately.

Less than a year ago Dr. Barratt, while studying an 1864 album of Brady’s Art Exhibition photographs in the collection of the New-York Historical Society, noticed an image of the Leutze painting in a dramatic gilded frame dominated by a 12-foot-wide American-eagle crest at the top.

(The design of the fluttering American flag, for example, was not yet in use.)

“The crossing was a pivot point in a crucial campaign that rescued the revolution from failure,” Professor Fischer said, adding that it burnished not only Washington’s reputation as a leader, but also brought foreign support for the rebels’ cause.

Metropolitan Museum of Art