We – Jan Serr & John Shannon – want to change things, looking where we don’t normally look. In a sense, we want to see the “arts” upside down.
It’s common when we talk about the arts in Milwaukee that we talk about actors on stage, musicians playing music, dancers wading across a Marley floor, or artwork hanging in a gallery or museum. We talk about the artists – if we could generalize – and their performance, what the sets or gallery walls looked like, what sounds were heard.
Sometimes we’ll dig a little deeper and ask about the director, conductor, or curator; the lighting designer; the customer ; and other people involved in a production.
We would like to turn on the lights and the camera around. Let’s talk about the audience, the Milwaukee audience. Let’s talk about us and you.
As an audience, we buy a ticket to a show or a museum membership. We care a lot about what we do and where we go. We could even take it a step further and donate to something or an institution we love.
The Milwaukee public is supportive. We share our enthusiasm with others, sometimes in person or via social media.
In our dark post-covid world, audiences are more important than ever. During covid many sites closed or had reduced hours or programs. People weren’t going to events. We have lost the habit of going there. Now people are coming back and hopefully new people will experience live, in-person events.
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The best way to support the arts right now is to make the decision to attend events again and bring a friend or two.
Friends double the fun. Be the friend of your friends and at the same time a “friend” of theatre, dance, music and the arts.
When you do that, you become a star, which is “arts” rearranged.
Founded in 2012 by Jeff Lawson, Untitled Art has become both a Miami Art Week staple and a perennial favorite of collectors and art aficionados for its showcase of diverse artists and galleries, engaging programming, and curation. stimulating. Born out of a desire for a new kind of art fair, Lawson created Untitled Art as the first curated exhibition of its kind that emphasizes experience, discovery, and a cohesive curatorial narrative. Now in its eleventh year, the focus of the next edition is collaboration between the local and global art community – and with over 140 galleries from 31 countries participating, Untitled Art 2022 will be the most diverse presentation yet.
Speaking about the upcoming fair, Lawson said: “For this year’s edition of Untitled Art, we are looking to stage an ambitious, forward-thinking presentation that reconsiders the role of an art fair in today’s cultural landscape. In response to the increasing commercialization of the art world, we prioritize collaboration, inclusiveness and provide space for collectors, art historians, curators, writers and scholars to interact, learn and discover. Supporting this approach, the curator of the fair will promote dialogue by staging interesting and unexpected juxtapositions between the galleries, artists and associations that will be present.
The Untitled Arts “Nest” section will also be back for its second year, launched by Lawson in response to the impact of the Covid-19 pandemic on galleries around the world. Nest offers subsidized booths to young and emerging galleries, mitigating what might otherwise be a prohibitive expense to participate. This year’s Nest Prize is sponsored by the fair’s digital partner, Vortic, a platform for art institutions to extend their digital reach through cutting-edge technology. Untitled Art was the first art fair to introduce a virtual reality version of an art fair during the pandemic and continues to facilitate the fair’s ongoing commitment to making contemporary art accessible to a wider audience. .
Opening next week on November 29, 2022, the new iteration promises to be an incredible opportunity to discover various new artists and galleries, experience innovative programming and immerse yourself in the best of the contemporary art scene.
According to Lawson, “We say it every year, but this year’s fair is one of the best we’ve had in our 11 years of presenting on the sands of Miami Beach. We have more exhibitors than ever, coming from more regions around the world. Galleries and associations bring in young artists with really interesting things to say, and we are also prioritizing the spotlighting of historical voices through a new dedicated presentation – this year with Imi Knoebel, presented by Galerie Christian Lethert It has been a major priority for us to examine all facets of the art industry to see how the fair can truly have an impact beyond the market. We have some very exciting things to come.
See highlights from the next edition of Untitled Art below.
Ricardo Gonzalez, girl peeping (2022). Courtesy of Daniela Elbahara, Mexico.
Manuela Viera Gallo Open (2022). Courtesy of Locker Room Gallery, New York.
Mickalene Thomas, Kindred Spirits Tamika and Qusuquzah sitting on a couch (2022). Courtesy of Yancey Richardson Gallery, New York.
Shiva Noroozi, Victory (2022). Courtesy of Sarai Gallery (Saradipour), Mahshahr and London.
Oreste Hernandez, Besos, Candies And Mariposas (2022). Courtesy of El Apartamento, Havana.
Timothy Curtis, 3h10 (2022). Courtesy of Albertz Benda, New York and Los Angeles.
Laura Noguera, Era Solo Version (2022). Courtesy of SGR Galería, Bogota.
Untitled Art Fair Miami Beach will be open from November 29 to December 3, 2022.
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Some Native American artifacts are hidden in the vaults of the Oklahoma History Center. KOCO 5 has toured some Native American artifacts, not on display, for Native American Heritage Month. “, said Jeff Briley, acting director of the Oklahoma History Center. Right now, in the basement of the Oklahoma History Center, it is safely stored in a drawer. There are more than one century, it belonged to Black Dog the Second, who Briley said led an extraordinary life.” In the 1890s he became one of the chief leaders of the Osage. He also became, along with Tall Chief, the main person in bringing the Native American church to the Osage. He spent much of his life working for the greater benefit of the Osage Nation,” Briley said. The shield was very personal to Black Dog.” It’s a greenhouse and a little medicine bag. There are things we will never know about this that are entirely personal to the life of Black Dog,” Briley said. How did the shield end up on our state flag? It all started in the 1920s with the idea of changing our flag. “The big red field, the star of DAR, has launched a contest to design the state flag,” Briley said. Contest winner Louise Funk Fluke was inspired when she saw something on the wall in the story center. “This one is not only spectacular, but historically significant because it was hand painted by the woman who designed the state flag,” Briley said. Years later, the word Oklahoma was added to the flag, creating what Oklahomans know today.
OKLAHOMA CITY –
Some Native American artifacts are hidden in the vaults of the Oklahoma History Center.
KOCO 5 has toured some Native American artifacts, not on display, for Native American Heritage Month.
“So that’s the shield that’s on the Oklahoma state flag,” said Jeff Briley, acting director of the Oklahoma History Center.
Right now, in the basement of the Oklahoma History Center, it’s safely stored in a drawer. More than a century ago, it belonged to Black Dog the Second, who Briley says led an extraordinary life.
“In the 1890s he became one of the chief leaders of the Osage. He also became, along with Tall Chief, the principal person in bringing the Native American church to the Osage. He spent much of his life working for a greater purpose for the benefit of the Osage Nation,” Briley said.
The shield was very personal to Black Dog.
“It’s a greenhouse and a little medicine bag. There are things we’ll never know about it that are entirely personal to Black Dog’s life,” Briley said.
How did the shield end up on our national flag? It all started in the 1920s with the idea of changing our flag.
“The big red field, the star of DAR, held a contest to design the state flag,” Briley said.
Contest winner Louise Funk Fluke was inspired by seeing something on the wall in the history center.
“This one is not only spectacular, but historically significant because it was hand painted by the woman who designed the state flag,” Briley said.
Years later, the word Oklahoma was added to the flag, creating what Oklahomans know today.
Gallery Art Scene West, in Solana Beach, announces an exciting event open to the public, the Black Friday “Performance Art” weekend event and the opening of the Holiday Art Exhibit. The Black Friday Weekend event will feature a live art performance on Black Friday, 11/25/22, from 12pm to 4pm (only!) by internationally acclaimed artist Hugo Rivera. Hugo will create one of his large-scale paintings from start to finish in a mesmerizing outdoor creative performance lasting four hours or less. This artist knows how to throw paint creatively! There will be live music and refreshments on Black Friday and refreshments also throughout the rest of the weekend event. Canvases painted by Hugo will be exhibited in our courtyard as well as canvases painted by Esau Andrade, Mexican surrealist.
Hugo Rivera is an internationally acclaimed contemporary Mexican American figurative artist, born and raised in Guadalajara, who came to California to pursue his career. Trained as a civil engineer in Mexico, Hugo began painting murals wherever he could in his spare time as a student. He painted his first large mural on his bedroom wall, a print of Michael Jackson’s “Thriller” album cover, which was the start of his passion for large-area painting. In the United States, Hugo began painting murals in the Huntington Beach area for private clients in their homes, restaurants, and churches. In 2000 Hugo opened his own gallery in Laguna Beach, where he now lives with his wife and son. Hugo’s work has won awards at prestigious national juried fairs including the Indian Wells Art Festival, Malibu Art Festival, La Jolla Festival of Arts, Beverly Hills Art Festival and Sawdust Art Festival, and he was honored with a permanent exhibition of his works at the Vladimir Cora Museum in Nayarit, Mexico. Hugo’s large-scale paintings are now part of private and corporate collections around the world. Hugo has developed a reputation as a performance artist over the years as he works very quickly with his brush and can easily create a large scale figurative painting in four hours or even less from start to finish.
Esau Andrade is a prominent Mexican contemporary surrealist painter. Born in 1963 in Tepic Nayarit, Mexico, Andrade began drawing at the age of three and his passion for art eventually led him to attend La Escuela de Artes Plasticas de la Universidad de Guadalajara. Heavily influenced by two of the giants of Mexican fine art, Diego Rivera and Rufino Tamayo, Andrade developed his own creative style, and his soul is reflected in his symbolic paintings reflecting his childhood, his dreams and the joyful universe that characterizes the culture. mexican. Andrade was recently honored with an exhibition of his works in Bern, Switzerland.
In August 2008, Sasha Huber landed by helicopter near the summit of the Agassizhorn mountain in Switzerland. She carried a metal plate which she hammered into the ice, symbolically renaming the mountain Rentyhorn in honor of a Congolese-born slave, Renty Taylor, who had spent most of his life in captivity on a plantation of the US state of South Carolina. “As an artist,” says Huber, “I wanted to investigate Switzerland’s involvement in the slave trade, because no one told us about this story.”
The year before, Huber had joined a committee of activists, historians, and artists involved in a campaign called Demounting Louis Agassiz. Their goal was to remove the name of the eminent 19th-century Swiss geologist and glaciologist not just from the mountain, but from the many sites around the world that honor him. As such, their actions foreshadowed the widespread questioning of historic monuments, sites and statues that accompanied the 2020 Black Lives Matter protests. In 2015, Huber discovered that a statue of Agassiz at the Stanford University had been knocked down in the 1906 San Francisco earthquake. She then created three protest posters based on photographs of the toppled statue, to denounce police brutality against black people and call for the removal of statues that honor figures linked to racism.
Huber had been invited to the Demounting Louis Agassiz campaign committee by left-wing Swiss activist and historian Hans Fässler, who was the first person to break the silence on Agassiz’s lesser-known role as a leading proponent of nineteenth-century scientific racism. century. A creationist, Agassiz believed that God deliberately created black people as an inferior species, a view he expressed tirelessly during several lecture tours in America. He also advocated racial segregation and called for urgent legislation to prevent “by all means” the procreation of “half-breeds” which he said would dilute the purity of the white race. His antipathy for people of color, expressed in his personal correspondence as well as in his public appearances, borders on a kind of mania.
“A lot of people would say he was just a product of his time,” says Huber, who is of Swiss and Haitian descent. “But even by [those] standards, he was extreme. Many of the things he said about race were echoed a century later by Adolf Hitler in Mein Kampf. And yet, Agassiz has about 80 places named after him around the world. He even has sites named after him on the moon and on Mars. As I got to know him, I felt that as an artist I had to do more. Placing the plaque on his mountain and creating a visual record of the action was a starting point. It kind of made the possibility of that more real. Actually be renamed.
As a new exhibition at the Autograph Gallery in London makes clear, Agassiz has occupied a prominent place in Huber’s creative imagination ever since. Titled You Name It, the exhibition features photographs, films, texts, performances and historical images, distilling 15 years of her trying to heal the wounds of colonialism by appropriating the legacy of a scientist still held in high esteem in Switzerland.
The exceptions are two new pieces specially commissioned for the Autograph exhibition, one of which was made in memory of Khadija Saye, a Gambian-born photographer who was born in London and died in the Grenfell Tower fire. Huber used a digital print of one of Saye’s tintype self-portraits – the originals, which were made during a workshop at Autograph, were destroyed in the fire. By printing it on burnt wood and recreating her dress in staples, Huber created an effect akin to an enhanced photographic negative. “Even though I didn’t know Khadija, I was very upset when she passed away,” Huber says. “I felt I would like to remember her through a portrait.”
The exhibition includes a video of her descending by helicopter to the summit of the Agissizhorn to lay the plaque in honor of Renty, as well as a selection of the letters she sent to the mayors of the two Swiss cantons and the three municipalities bordering the Mountain. “All mayors must say yes for the mountain to be renowned,” she says. “But only one responded, saying he needed to know more about the campaign.”
The exhibition also includes Huber’s portraits of Renty Taylor and his daughter Delia, from his most recent Tailoring Freedom series. These are based on “slave daguerreotypes” which were commissioned by Agassiz in 1850 and created by a photographer called JT Zealy. The originals were donated to the Peabody Museum of Archeology and Ethnography at Harvard University by Agassiz’s son, in recognition of his father’s time there as a professor and founder of the Museum of Comparative Zoology.
Renty and Delia were among several individuals selected by Agassiz for anthropological examination and forced to stand naked in front of Zealy’s camera. In the original daguerreotypes, they are, in Huber’s words, “stripped down, dehumanized, and stripped of their dignity.” In response, she has reproduced these portraits, printed them on wood, and “dressed” them in what looks like lace adornment, but is actually intricately patterned metallic stitching that she has painstakingly applied. created using an air pressure stapler. “It looks like a weapon and actually looks like a gun,” she says. “So in that sense, it’s very charged.”
Huber first used the stapling process to do work that helped her come to terms with her own Haitian ancestry. “I saw it as a way to kind of go back in history. I wanted to engage with people whose voices had been silenced by colonialism. For me, stapling became a suture of colonial wounds.
Despite the violence implicit in the process, his reimagined portraits of Renty and Delia are delicately crafted and incredibly resonant acts of recovery and restoration. Renty is “dressed” in a costume inspired by a famous portrait of Frederick Douglass, the black abolitionist and social reformer who became the most photographed American of the 19th century. Delia is “dressed” as a tribute to Harriet Tubman who, like Douglass, was born into slavery before becoming a fearless abolitionist and anti-slavery activist. “In a way,” Huber says of the resulting portraits, “their clothes become their armor.”
Huber’s work is dense with meaning and allusion, both contemporary and historical, and the catalog that accompanies the exhibition includes penetrating essays by academic heavyweights such as Paul Gilroy and Ariella Azoulay. Yet, as the documentation that forms a crucial part of her practice attests, Huber is an artist whose interventions are essentially political rather than conceptual – they are undertaken in the hope of triggering real change.
So far, however, the Demounting Louis Agassiz campaign has not led to the mountain being renamed. But, after hearing about it, Tamara Lanier, Renty’s great-great-great-granddaughter, traveled with her daughters to Switzerland from the United States to meet the artist. Huber then gifted the portraits of Renty and Delia to the Lanier family.
In 2017, Lanier filed a lawsuit against Harvard University over ownership of the original daguerreotypes, which were taken without the subject’s approval. In June of this year, a Massachusetts court ruled against her, but also found that Harvard’s continued use and reproduction of the images could be considered a “reckless infliction of emotional distress”, allowing Lanier to sue Harvard.
Thus, the posthumous fates of the eminent scientist and the enslaved father and daughter – whom Agassiz considered mere objects of his pseudo-scientific curiosity – remain inextricably linked, just as their respective tales remain unfinished. In Huber’s complex and challenging art, however, an abiding sense of restorative justice prevails.
Archaeologists are sharing images of ancient Roman artifacts discovered in southern Spain earlier this year. The rare collection is on display at the Museum of the City of Antequera according to the museum’s Facebook page.
The discovery was made at a construction site in the city of Antequera.
Antequera Mayor Manuel Barón called the finds “spectacular”.
Mayor Barón, Municipal Heritage Delegate Ana Cebrian and Museum Director Manuel Romero reviewed the artifacts.
Romero explained that each artifact will undergo further examination and will be carefully preserved at the museum.
According to Olive Press, Antequera has one of the largest prehistoric Bronze Age burial sites in Spain.
Ancient Roman artifacts include double urn burial
According to the media Nius, during preparatory works in Antequera, Spain, an ancient Roman necropolis (city of the dead) was discovered. It contains 54 tombs dating between the first and second centuries AD. 30 of the graves were direct burials. And 24 were cremations.
Officials said one funeral, in particular, grave 307, was an incredibly rare find. The tomb is a lead sarcophagus, with two bodies inside and two on top. Authorities say a teenager between 14 and 16 and a baby several months old are inside. And after the grave was buried, another teenager and a baby were placed on it.
Glass pots of ointments, gambling chips, a coin minted in the 2nd century AD, and some glass beads were also found in the first section of the double burial. Tokens for the same game, glass beads, glass marbles and an oil lamp from the 2nd century AD have been recovered from the second.
Besides the “double urn” burial, archaeologists said that even rarer was the discovery of a trousseau. A trousseau is the personal possessions of an ancient Roman bride usually including accessories and wares
The keychain included 15 glass ointment bottles, two jugs, 25 tokens of the most popular game of ancient Rome, a coin from the 2nd century AD and several glass beads.
Anonymous and unconventional graffiti artist Banksy posted an unusual request on Friday, asking any potential shoplifters among his fans to visit the Regent Street Guess store in London and “help themselves”.
Banksy penned the pro-shoplifting post on Instagram in response to some of his iconic designs used in a Guess clothing collection. The collection includes t-shirts and jackets printed with Banksy’s “Thug for Life Bunny” displayed in front of an enlarged backdrop, which featured the artist’s famous image of a looter throwing a bouquet of flowers. On InstagramBanksy wrote:
“Beware of all shoplifters. Please go to Guess on Regents Street. They used my artwork without asking me, how can it be wrong for you to do the same with their clothes? »
It’s unclear how serious Banksy’s message really was, or if the artist was personally consulted on the clothing line before it went into production, but the offending Guess collection is in partnership with the company. Brandalised, who would have has a license to market and use Banksy artwork on merchandise.
Speaking last month about the collection, Guess Creative Director Paul Marciano said: “Banksy’s graffiti has had a phenomenal influence that resonates throughout popular culture. This new capsule collection with Brandalised is fashion’s way of showing gratitude.”
While Banksy indulged in stunning publicity stunts in his time (e.g. arranging one of his works of art to be automatically shredded after being sold), his rallying cry to shoplifting at Guess seems to have been a veritable outburst of annoyance on social media.
Banksy appears to have been busy making politically charged art in Ukraine recently, with several murals painted in his distinctive style appearing in the town of Borodyanka, painted on crumbling walls shattered by Russian bombing.
Banksy posted one of the works on Instagram, which depicts a gymnast doing a headstand among the rubble. Another piece by Borodyanka, whose work by Banksy has yet to be confirmed, appears to show Vladimir Putin being defeated in a judo match by a child.
While Banksy has remained anonymous, his art is known for being subversive, politically charged, and containing anti-establishment sentiments. Many of the comments under Banksy’s copyright complaint showed support from loyal fans, who appeared outraged on behalf of the artist.
While some commenters suspected that Banksy’s Instagram post criticizing Guess may have been part of a “guerrilla marketing campaign” (which would fit in with the artist’s unorthodox approach), the shamefully named Guess store doesn’t didn’t seem to be part of it.
In response to the Instagram post, Guess temporarily closed the Regent Street store to the public, covered the Banksy-themed window display and even placed security outside.
UC schools slow to return human remains and artifacts to tribes | EdSource
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The University of California is slow to return human remains and cultural artifacts to native tribes, despite recent improvements, according to a state auditor in a report released Thursday. Four UC schools maintain large collections of items, some of which have been held by the system for centuries.
This is the second report in three years the state auditor has issued on the UC system’s compliance with federal law of 1990 and state law of 2001 requiring the return of human remains and cultural artifacts, according The Sacramento Bee.
According to the report, the current pace would mean it would take at least a decade to return all the items. The Sacramento Bee reported that UC Berkeley committed more funds to the effort and repatriated some cultural remains and artifacts to the Wiyot people in January, who live in Humboldt Bay. However, there is still a long way to go.
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Tonight in New York, Christie’s will hold its 20e Evening Sale of the Century at Rockefeller Center.
Among the works offered for sale are two works on paper from Early 20e Austrian expressionist artist of the century Egon Schiele, from the collection of Viennese film and cabaret star Fitz Grünbaum. Grünbaum was reminiscent of Joel Gray in Cabaret, famous for his biting commentary as emcee.
And while it’s not really for me to say, I hope the works sell for a colossal fortune, many times their already generous estimate. And if it were up to me, I hope that the Neue Gallerie will host these two works so that the public can enjoy and appreciate them.
Both works are Woman in black chasuble from 1911 and Woman hiding her face of 1912. They are both works of gouache, watercolor and pencil on paper. But they present two very different aspects and styles of Schiele’s work.
The woman in the black chasuble is a masterpiece in terms of the subtlety of the work and the amount of information Schiele provides in his use of color and with what appears to be a series of stains. We see the woman’s hair and the puffed sleeves of her dress, but the black apron itself conveys the body underneath as well as the pleats in the fabric and a pop of color at the fringe helps finish the image. There’s a childlike delicacy to the work that’s quite winning. Strangely, this work reminded me of David Hockney’s recent Ipad drawings – surely if Schiele were alive today he would be experimenting with this new medium.
The woman hiding her face, the later work is in many ways more sophisticated, experimental, and more significant in terms of the elements for which Schiele is known today. A woman is lying on her side. Her torso is leaning forward, she rests on his forearm while her upper arm covers her face. The pose is unnatural and reminiscent of a fruit bowl by Cézanne, there is something unreal about the way the body is twisted.
At the same time the image reminds me of that of Duchamp Nude descending a staircaseand the first proto-cubist exercises in the deconstruction of a body into its geometric forms.
Schiele was known in his day for the sexual content of his work, and here the woman is on the floor, her dress ruffled. A black tuft of his armpit hair is exposed and Schiele no doubt wants us to think about his gender. Finally: Why is she hiding her face? Presumably Schiele knew his model intimately (like many of his models). Compare her to the woman matron in the black chasuble, and you can see how in just one year Schiele’s work was far more controversial in every aspect. So, no surprise, the estimate for this work is two or three times higher.
Schiele died in 1918 victim of the Spanish flu after the First World War. By then Grünbaum, whose father had been an art dealer, was already building up an impressive art collection that would include works by Albrecht Durer, as well as a collection of Russian icons and religious art.
However, Grünbaum’s passion for the Viennese avant-garde led him to amass an extensive art collection of some 400 works of Austrian modernist art, including some 80 works by Schiele.
Following the Nazis’ rise to power in Germany in 1933, Grünbaum, who was Jewish, could no longer work in Germany and remained in Vienna. In 1938, after the annexation of Austria by the Nazis, Grünbaum was arrested and sent to Dachau, Buchenwald and returned to Dachau where he died in January 1941.
While incarcerated, Grünbaum’s art collection disappeared. Portions resurfaced among the collections of Swiss dealers from the 1950s. His heirs sued to recover the art and failed in a 2005 case in which the court said too much time had passed. had passed.
In 2015, two works by Schiele were seized from a London art dealer at the Salon of Art + Design in the Park Avenue Armory. The heirs filed a new lawsuit and it was feared the result would be the same as before. However, in late 2016, Congress passed the Expropriated Holocaust Art Recovery Act (the HEAR Act) which was intended to provide victims of Holocaust-era persecution and their heirs are not unjustly barred by a statute of limitations from recovering their art.
Raymond Dowd of Dunnington Bartholow & Miller LLP, the attorney for the heirs, was able to argue that the HEAR Act should apply in this case. Judge Charles Ramos agreed, “The HEAR ACT requires us to return Nazi-looted art to its heirs.” Judge Ramos rejected the art dealer’s lawyer’s assertion that the Schieles were legally acquired. “A signature at gunpoint cannot lead to a valid transfer,” Judge Ramos wrote. The works were returned to the Grünbaum heirs.
There are many more missing works left in the Grünbaum collection than have been located and even fewer that have been returned. Today, nearly 80 years after the end of World War II, the looting of Jewish-owned art remains for so many families an unsolved case and a great personal loss and tragedy. Tonight’s sale hopes to balance the balance slightly.
Tonight Schiele’s works will be auctioned. May their new owners find joy in them even as we remember their sad history.
The Smithsonian’s National Museum of African American History and Culture will open its latest exhibit, “The Spirit in the Dark: Religion in Black Music, Activism, and Popular Culture,” on November 18. Through never-before-seen objects from the museum’s permanent collection, alongside rare photographs and stories presented in Ebony and Jet magazines, the exhibit explores the ways in which religion is part of the cultural fabric of the African-American experience. “Spirit in the Dark” will be shown in the Earl W. and Amanda Stafford Center for African American Media Arts (CAAMA) gallery until November 2023.
The exhibit includes photographs of several prominent African Americans, such as Aretha Franklin, Duke Ellington, Marvin Gaye, Angela Davis, Malcolm X, Maya Angelou, Reverend Ike, and Jesse Jackson, examining the impact of religion on their lives and on the wider black community. The photographs featured in the exhibit are from the recently acquired archives of the Johnson Publishing Company, which are jointly owned by the museum and the Getty Research Institute. “Spirit in the Dark” features 37 framed photographs from the JPC archives and approximately 25 objects from the museum’s collection.
“The role of the black press has always been essential in amplifying African-American social and religious life,” said Eric Lewis Williams, curator of the Museum of Religion. “Ebony and Jet have captured and given rare insight into the lives of influential black people, often revealing how religion has inspired, supported and animated the work of black artists, activists and change-makers. Through these photographs, objects, and the larger stories they represent, we are able to highlight the tremendous diversity of black religious experience and bear witness to the role of religion in black people’s struggle for dignity. human and social equality.
The exhibition highlights the presence of religion in African American popular culture through three sections, offering a visual exploration of religion’s shadow in the sacred and the profane through images and artifacts. Each section examines the juxtaposition of various diverse aspects of religion and its place in African-American life:
Blurred lines: Saint | Profane: This section explores how African American musicians and singers blur and transgress the boundaries between the sacred and the profane. Artists often take the power of black sacred music – historically performed in places of worship – into secular or secular spheres, often merging modalities and moving back and forth between genres.
Testimony: Protest | To rent out: The second section examines black religious leaders who both served the spiritual needs of their people and led as activists during times of social protest. Bearing witness to wrongs and lighting the way to freedom, these individuals embodied both priestly and prophetic functions in their contributions to leadership in the struggle for black liberation.
Lived Realities: Suffering | Hope: The final section surveys the social and political creative endeavors of black artists and activists. They deployed their faith, talents, and moral visions to expose the harsh realities of black suffering and trauma in America. These same people offered bold visions of black fulfillment and hope, emboldening the oppressed in their fight for justice and social equality.
Visitors will also be able to listen to the sounds of the exhibition with a curated playlist of music by artists included in “Spirit in the Dark” and experience the exhibition virtually with a special complementary digital exhibition on the Searchable museum website.
About the Johnson Publishing Company Archives
In 2019, a consortium of five nonprofit organizations, including the Ford Foundation, the Getty Trust, the MacArthur Foundation, the Mellon Foundation, and the Smithsonian Institution, purchased and curated the JPC Archive, which includes more than 4 million prints , negatives, slides, and other photographic formats, as well as 10,000 audiovisual pieces. The archive is jointly owned by the museum and the Getty Research Institute, which work together to preserve, catalog and digitize these records so they can be shared and studied for generations to come.
The archival pigment prints for this exhibition were made in 2022 from digital files from a legacy collection comprising 2,800 of JPC’s most iconic images, which were digitized between 2007 and 2012 from original prints, slides , negatives, contact sheets and oversized formats.
About the Center for the Study of African American Religious Life
Museums Center for the Study of African American Religious Life organizes public programs and collects religious artifacts that seek to explore the place of religion in African American history and culture and the contemporary roles and needs of African American religious leaders, faith-based organizations, and communities. Through innovative scholarship, the Center expands the ways religion is recognized and explored by our nation’s research and cultural institutions. The Centre’s work, including the current exhibition, Spirit in the Dark, is generously supported by Lilly Endowment Inc.
About the Earl W. and Amanda Stafford Center for African American Media Arts
The Earl W. and Amanda Stafford Center for African American Media Arts is the Museum’s home for visual culture and innovation. Through its changing exhibits, public programs, and publications, CAAMA showcases the formation of African American history and culture through the media arts, including photography, film, video, and audio recordings.
About the National Museum of African American History and Culture
Since opening on September 24, 2016, the National Museum of African American History and Culture has welcomed more than 8.5 million in-person visitors and millions more through its digital presence. Occupying a prominent location next to the Washington Monument on the National Mall in Washington, D.C., the nearly 400,000 square foot museum is the nation’s largest and most comprehensive cultural destination devoted exclusively to exploring, documenting and presenting African-American history and its impact. on American and world history. For more information about the museum, visit nmaahc.si.edu follow @NMAAHC on Twitter, Facebook and Instagram or call Smithsonian information at (202) 633-1000.
The city of Paris has a brand new museum dedicated to the life and work of the Swiss surrealist sculptor Alberto Giacometti. Opened in 2026 at the former Invalides station and in the basement of the esplanade, the Giacometti Museum-School will be the new headquarters of the Giacometti Foundation, which has the world’s largest collection of works by the artist.
“The foundation has a fantastic collection – huge, huge, huge – but it was all in storage. Giacometti’s widow, Annette, kept everything she had inherited from her husband, but she didn’t have the money for a space,” foundation director Catherine Grenier told Artnet News, noting that the 10,000-item collection includes not just sculptures, but paintings, prints, drawings, and even decorative art by the artist, as well as photographs. and archival documents.
“We have a very large collection of Giacometti masterpieces from all eras. With each sculpture, he kept an edition for himself,” Grenier said. “There are fantastic examples from the surrealist period, like hanging ball and The invisible objectas well as Giacometti’s most popular post-war works, including The walking man and The nose.”
Grenier also noted that the foundation has 550 rare plaster sculptures by the artist, fragile works that were not prized by collectors during his lifetime compared to the more durable bronze. “Today they are considered perhaps the most beautiful, in a way, and the most expensive too.”
When Grenier took over running the organization in 2014, she made finding a physical home a priority, securing a 3,700 square foot space in the Montparnasse neighborhood where Giacometti lived and worked. The Giacometti Institute opened in 2018, with a large-scale reconstruction of the artist’s studio as he left it when he died in 1966. (It will be moved to the new museum.)
The Gare des Invalides in Paris, recently the headquarters of Air France, will become the Musée-Ecole Giacometti. Photo: Luc Castel.
“If you look at the pictures of his workshop, you will see how stacked it was with multiple works and tools,” Grenier said. “Giacometti loved working in an environment with pieces from all periods of his career around him. He worked very early, when he was only 16 or 17 years old.
At the current location of the foundation, the recreated studio occupied a significant portion of the space, and the need for expansion became apparent almost immediately. A plan to move to Paris’ former Saint-Vincent-de-Paul hospital fell through in 2019, jeopardizing the foundation’s ability to stay in Paris long-term.
That’s when French telecom billionaire and art collector Xavier Niel stepped in, helping to involve the foundation in a project to redevelop the old train station. (He’s also said to be opening his own cultural foundation at the city’s historic Lambert Hotel, which he bought in February.)
The city had already launched an open call for projects for the redevelopment of the station, selecting a project from property developers Groupe Emerige and Nexity.
Niel’s firm, NJJ Holding, had been tapped to carry out renovations to the space as it underwent an overhaul from architects Dominique Perrault and Pierre-Antoine Gatier, and landscape designer Louis Benech, but the project lacked a cultural tenant until he suggests teaming up. with the Giacometti Foundation.
Built for the Universal Exhibition of 1900 and designed by the architect Juste Lisch, the building ceased its activities as a station after the Second World War and became the headquarters of Air France. The airline left in early July and Group Emerige and Nexity now have a 50-year lease with the city, although the esplanade gardens will first host the archery competitions of the Summer Olympics in 2024 in Paris.
The nearly 20,000 square foot space is built in the style of a greenhouse, providing incredible natural light. The exhibition galleries will house a permanent showcase for hundreds of examples of Giacometti’s work, envisioned as a kind of cycling retrospective.
“It’s a fantastic location in the center of Paris,” Grenier said, citing its proximity to other major cultural sites, such as the Grand Palais, the Petit Palais, the Hotel des Invalides and the Rodin Museum.
The bronze sculpture The nose Where The nose by Alberto Giacometti casting a shadow at the Schirn Art Hall in Frankfurt/Main, Germany. Photo: Boris Roessler/picture alliance via Getty Images.
There will also be space for temporary exhibitions, where Grenier hopes to offer programming featuring works by Giacometti’s contemporaries, including writers, photographers and philosophers, as well as artists following in his footsteps today. .
In addition, the public will be able to visit the archives and the library of the foundation, relax in the green courtyard, visit new restaurants and a bookstore. Admission will be comparable to other Parisian art institutions.
The foundation will also offer art classes at the School of Creation for All, which, inspired by Giacometti’s open studio policy, accepts students of all levels of ability and expertise, whether they wish to sign up for a one-year course or a few lessons. . There will also be tuition assistance for those with limited economic means.
“His studio was always open, there was no lock. And people always came because people were fascinated,” Grenier said. “Giacometti would create amazing work inside this very simple place, and that’s something we want to recreate at the museum. We want the spirit of the studio to be the DNA of our project.
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Who needs sleep when you can muster your best Building Genshin Impact Layla and treat your party to one of the best anime RPG defenders and supporters. Akademiya’s perpetually exhausted student in Update 3.2 takes on a unique role in Genshin Impact’s roster, with her sturdy shields and icy stars.
While more recent characters since the release of the Sumeru region tended to fill DPS or healer roles, Layla is a defender whose shield ranks among the strongest. She’s also a reliable source of Cryo and a catalyst for powerful Freeze and Vapor reactions, and while her HP scaling abilities have few perfectly matched weapons, Layla does benefit from a set of artifacts. which you can acquire quite early in the game.
Just be sure to stock up on Nilotpala Lotus as you travel around Sumeru. Layla needs it for her level up.
Is Layla a DPS character?
Layla’s function as primary DPS is a bit murky for similar reasons to Candace and Kuki Shinobu. Layla’s setup makes her shine as a Cryo DPS sub and support character. His skill creates a shield with impressive damage absorption capacity that is matched only by Zhongli and Thoma, and which gets even stronger based on his max HP. Layla’s second passive talent, Like Nascent Light, increases the active character’s shield by 6% each time her shield gains a Nightstar, for a total of 24%.
While the shield is active, it accumulates these Night Stars and triggers them in rounds of four, dealing Cryo damage that also scales with Layla’s HP. His latest passive talent, Sweet Slumber Undisturbed, increases the star damage his shield creates by an additional 1.5% of his max HP,
Layla’s burst is similar to Ganyu’s. It creates an orb that fires Cryo projectiles continuously for 12 seconds. These too are based on Layla’s max HP. so if you haven’t figured it out yet, HP is Layla’s most important stat.
The ease and consistency with which she applies Cryo makes Layla a flexible solution for almost any party. Pair it with Nilou’s Tranquility Aura or Xingqiu’s Rain Swords for an easy freeze setup or Raiden Shogun, Yae Miko, or Cyno for Superconduct. Layla also makes Melt easy for Hu Tao, Diluc, Yanfei, and Yoimiya.
The only potential downside is that Cryo doesn’t have any interaction with Dendro, so if you planned a Dendro team with Nahida or Collei, that comp would resign Layla to the role of shield maker and nothing else.
Either way, Layla’s skill setup makes her perfect for off-field support, Cryo application, and damage, but you might want to experiment with using her in a primary DPS ability or at least keep her on. the field from time to time. Layla’s base attack is 18 and her normal attack scale is higher than what you usually get from 4-star characters. If you pair it with a powerful sword, it could defend itself with physical attacks and stay safe with its shield.
Should I shoot for Layla?
If you don’t have a reliable way to spread Cryo, need a strong shield character, or both, then the answer is absolutely yes, you should shoot for Layla. Genshin Impact still has relatively few characters that generate powerful shields, with Noelle, Xinyan, and Diona’s shield strength being about half that of Layla.
Outside of a replay of Diona and Ganyu, Cryo characters have also been in short supply lately, so Layla is a good opportunity for new players to add a strong elemental support character to their roster.
What is the best version of Genshin Impact Layla?
Layla needs HP, but with few weapon choices available that offer health boosts, you can let Artifacts carry that burden and get a little creative in the swords department.
Best Layla Weapon – Key of Khaj-Nisut
Layla’s best weapon is technically the Key of Khaj-Nisout the sword, as it increases HP twice, but unless you were very lucky during Nilou’s Banner, you probably missed it or need it for Nilou.
Primal Jade Carver is a strong second choice. It also increases the user’s HP and grants an attack bonus based on their max HP. This one makes using Layla as a field DPS even more viable.
On the 4-star side, the sacrificial sword is a handy option thanks to its unique skill which has a high chance of resetting the user’s skill cooldown. Layla’s skill has a fairly long cooldown of 12 seconds. This reset is especially useful in environments where his shield can break quickly, such as the Spiral Abyss.
Layla’s Best Artifacts – Tenacity of the Millelith
Millelith Tenacity is almost tailor-made for Layla, with HP, shield, and attack buffs – everything Layla does well – all in one package.
2-element effect: increases HP by 20%
4 Piece Effect: When an elemental skill hits an opponent, the attack of nearby party members increases by 20% and their shield strength increases by 30% for three seconds. This effect can still be triggered even when the character using this artifact set is not on the field
HP should be your main focus, followed by elemental damage and offense.
You can also opt for nobility obligeswhich is often easier to obtain since you earn 5-star sets by increasing your Adventure Rank.
2-Piece Effect: Increases elemental burst damage by 20%
4 Piece Effect: After using an Elemental Burst, your party’s attack is increased by 20%.
Finally is the Vagabond Blizzard set, which helps boost your Cryo damage and is especially useful on a Freeze team.
2-Piece Effect: Increases Cryo damage by 15%
4-part effect: Critical hit rate increases by 20% against enemies affected by Cryo and by 40% if they are frozen
What is the best version of Layla F2P?
The F2P version of Layla struggles a bit with weapon variety, but thanks to her high normal attack scaling, a craftable weapon comes in particularly handy.
Best Layla F2P Weapon – Rancor Prototype
grudge prototype increases the user’s physical attack damage, then buffs their attack and defense even further when their hits land. It doesn’t do anything for Layla’s elemental skill and burst, but since neither infuses her normal attacks, you can still deal a respectable amount of damage while both abilities are in cooldown. recharge or in conjunction with them.
Best Layla F2P Artifacts – Millelith Tenacity
Regardless of her weapon, HP and shield strength are still Layla’s most important stats, so her artifacts should reflect that in her F2P build as well.
Since the focus is slightly more on physical attacks with Prototype Rancor, you can complement it with Pale Flame, as its 2 piece effect
Also keep a thought for upcoming Genshin Impact characters to see how they might fit in with Layla, and be sure to redeem all active Genshin Impact codes, because everyone loves freebies.
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High jewelry designate Cindy Chao, known for its sculptural style and unique pieces, has so far presented its exclusive pieces only in international museums, art fairs, auctions or by appointment. This month, the artist opens his first public space, a museum-like gallery in Taipei, Taiwan.
Chao, whose business name is Cindy Chao The Art Jewel, is the daughter of a sculptor who taught her the techniques and skills used in carving, which strongly shaped her style as a jewelry designer. His work is also influenced by his grandfather, an architect who designed temples across Taiwan. Her designs are inspired by nature and rendered in incredible detail – with waving petals, curling leaves and budding flowers – and usually set with thousands of precious stones.
Chao’s annual Black Label Masterpiece collection consists of unique pieces that are each named, numbered and dated. Part of the current collection will be on display in the new gallery, including the Caribbean Summer brooch and the Spring Cardamom brooch. Both are typical of the Chao style, with flowing, undulating lines and gemstones in their thousands.
The Caribbean Summer brooch is the star of the show. Designed to resemble Musa leaves native to the Caribbean, it is set with a 3.80-carat Colombian Muzo emerald, surrounded by 2,000 diamonds, 375 of which are Asscher cut (Asscher cuts total 62.54 carats), as well than 1,731 tsavorites totaling 24.67 carats, for a total of 91.8 carats of precious stones. In the center of the coin is a piece of highly polished European cow horn. In order to perfectly represent the vein texture of a Musa leaf, Chao first adopted the technique of channel setting, which uses tension rather than claws. The metal is lightweight titanium, ideal for large pieces (because it is lightweight) with delicate edges (for stability; titanium is much harder than gold and twice as hard as steel).
The Spring Cardamom Brooch, also in titanium, is sculpted in the shape of a budding pod, anchored by an oval-shaped 81.11-carat Colombian emerald cabochon. It is surrounded by 5,356 gemstones, including diamonds, brown diamonds, color change garnet, demantoid garnet, tsavorite, green sapphires and alexandrite, for a total weight of 235.07 carats. . The pod leaves are jointed, allowing them to move slightly with the movement of the wearer.
The new space is located in one of the best hotels in Taipei, the Regent Taipei. Four freestanding showcases in the center of the gallery display five Black Label Masterpiece creations. Another focal point is a large display case embedded in a mirrored wall where nine of the designer’s jewels seem to float weightlessly. The levitating pieces are constantly in motion, their appearance changing depending on how they catch the light. The space was designed by Dutch architect Tom Postma in collaboration with French designer Ingrid Donat who created the gallery’s handcrafted bronze wall.
Chao is the first Asian jewelry artist to receive a chivalry of Chevalier in the Order of Arts and Letters of France. started The Art Jewel in 2004, and since then has worked with A-list celebrities and exhibited at the world’s biggest shows, including Haute Couture Jewelery Week in Paris. His works have been collected by connoisseurs and exhibited at art fairs and institutions around the world, including the Smithsonian National Museum of Natural History.
WINNEBAGO, Neb. (KMTV) – It’s easy to assume that the purpose of a museum is to share stories and exhibits about ancient artifacts or contemporary pieces. But, when the story is about your people, your culture, and your history, it becomes more personal and far more relevant. This is the goal of the Angel De Cora Museum and Research Center in Winnebago. The museum tells the story of the Ho Chunk people and their lives in the Upper Midwest and Nebraska. It provides people with an educational opportunity to learn more about the Native citizens of Nebraska during Native American Heritage Month.
The museum is primarily dedicated to welcoming and educating citizens of the Ho Chunk Nation, said Sunshine Thomas Bear, director of tribal cultural preservation and museum curator.
“It’s about being able to teach our people and bring them back to the culture and the language,” Thomas Bear said. “There is a lot of lateral oppression that we face as a people. We were kind of taught that, after we were kidnapped and turned against each other.
The Winnebago – Ho Chunk in the traditional language – were originally an indigenous nation of the Upper Midwest, living in and around Wisconsin, Illinois and Iowa. But, as white settlers expanded west, they were eventually driven from their homeland, with part of the tribe settling in northeast Nebraska, about an hour north of Omaha. Other Ho Chunks returned to central Wisconsin and continue to live there today.
The Winnebago reservation was established as part of an agreement between the tribal nation and the federal government, which included Chief Little Priest and approximately 75 soldiers joining the United States Army, serving as scouts in battles against d other indigenous nations. Little Priest, while he disliked being opposed to those he considered brothers, saw the need for a permanent homeland for his people, which served as the driving force behind his decision.
The Angel De Cora Museum provides insight into the history of Winnebago, as well as the previous lives of Native Americans in the area. From pottery remains to arrowheads, visitors can witness Winnebago history firsthand.
Thomas Bear said De Cora was abducted as a child, along with other children, while playing along the train tracks.
“We asked her if she had ever been on a train before, and when she said no, they caught her with the others,” Thomas Bear said.
The children ended up in Virginia. After attending school in Hampton, Virginia, she graduated from college and became an artist. Learning of her heritage, De Cora returned to Winnebago, but with her family having perished over the years, there was nothing to connect her to Winnebago, so she returned east, Thomas Bear said. However, De Cora, who died of the flu at 47, became an artist and activist.
Museum exhibits are mostly gifts from local families, as well as items on loan from other museums and agencies. One piece – a jar designed by Winnebago artist Jacquie Stevens – was donated by her relative Emmy Scott, who, along with other supporters, hopes it will serve as inspiration for future artists. The jar, like others, has its own life, personality and character, the artist said when creating the work in 2001. Stevens, who died of Covid-19 in 2021, had her art exhibited at the Smithsonian Institute in Washington, DC, as well as the Joslyn Museum in Omaha.
In addition to beads, including sling belts, headbands, and hair ties, museum exhibits include ornately designed moccasins, dresses, and shirts. The paintings depict traditional leaders, including Chief Little Priest. The designs showcase the contemporary works of tribal citizen Chuck Raymond.
Although it’s open 9 a.m. to 4 p.m. Monday through Friday and 10 a.m. to 2 p.m. Saturday, the museum’s purpose is more than just a public display of culture and history, Thomas Bear said. .
“A lot of what we have are objects that we repatriated from other museums,” she said. “That’s another part of my job, as a tribal historical preservation officer, representing the tribe for the Native American Graves and Repatriation Act. I was recently in Chicago at the Field Museum. I work there a lot. They have a lot of our stuff. We’re really trying to get away from the NAGRA side where the museums have been hiding behind the culturally unidentified.”
“We’re trying to get away from that and bring it back to the tribes — not just my tribe — but everyone’s tribe,” Thomas Bear said. “Things were taken, obviously, against our will. Some things were given, but those items have to go back to the tribes.
While tribes go to great lengths to identify objects – they are more easily recognizable than most people realize – each historically has artistic styles. So while Thomas Bear may not recognize an item as Winnebago, she may know which tribe it belongs to or know someone who can better identify their home.
The work continues and the institutions are not always willing to work with the Aboriginal nations. But she and other historical experts continue.
While visitors won’t see the behind-the-scenes work of Thomas Bear and others, they can check the museum’s Facebook page for Native American Heritage Month events throughout November. Some of the activities, she said, include moccasin making, beading and learning to sew, as well as a sunset parade (similar to a Christmas parade) at the end of the month.
The Winnebago also offers visitors the opportunity to learn about the 12 clans of Ho Chunk at the Honoring-the-Clans Sculpture Garden and Cultural Plaza. The carvings face each other in a circle, with the name of each clan and its role within the tribal community.
Other Nebraska tribes also have museums. The Ponca Museum and Library houses exhibits featuring traditional headdress, beads and skin acknowledging the restoration of the tribe in 1990. A heritage trail takes visitors along a path, which includes a mud hut, historical markers and carvings, culminating in a statue of Chief Standing Bear, overlooking the Niobrara River Valley. Chief Standing Bear won the first civil rights case in Native American history, when in 1879 an Omaha judge ruled that Native Americans were persons under the United States Constitution, allowing him to to return to his native land in northeastern Nebraska to bury his son.
The iSanti Dakota (Santee Dakota) Tribal Museum is located inside the headquarters building in Santee, about nine miles east of Niobrara. The museum includes a rifle used by Chief Little Crow and a masked map of the Santee Trail of Tears, when tribesmen traveled nearly 200 miles from the Crow Creek agency in central South Dakota to the new reserve in Knox County.
While the Umo Ho Nation (Omaha) does not have a Tribal Museum on the reservation, the Dr. Susan La Flesche Picotte Center, on the site of her hospital in Walthill, is scheduled to open in 2023. The center will include exhibits and exhibits recognizing the tribe and the first Native American woman (and Native American woman) to become a physician.
As for non-Native visitors to the Winnebago Museum—or any Native American-related museum—Thomas Bear seeks to provide them with an understanding of Native history, culture, and traditions.
“Some of the questions asked can be a little insulting,” she said. “But, I think there is healing and there is truth. I try not to be hard on them, but as honest as possible. Because then they know about the atrocities. We know it’s not their fault, but we want to educate and change the ideals of the people who walk through those doors. And hopefully they will leave being someone who wants to learn more about our tribes, our country, in our area, Nebraska, and be an ally for us. And, you know, understand that we’re not gone, we’re still here.”
“We are still fighting to be seen and for our treaty rights. But, I think it’s still an ongoing fight, but one we’re fighting,” Thomas Bear said.
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DOYLESTOWN, PA – Five hundred artifacts from the Mercer Museum’s historic 1916 central courtyard will be cataloged, inventoried, cleaned and appraised thanks to a grant to the Bucks County Historical Society (BCHS).
The Institute of Museum and Library Services (IMLS) has awarded the Mercer Museum a matching grant of $111,907 through its Museums for America grant program, which will support the museum’s goal of preserving and providing access to collections entrusted to it.
The grant will allow the museum to conduct a full inventory, clean, catalog and assess the condition of the objects that are freestanding and suspended from the ceilings and mezzanines of the museum’s historic central courtyard.
Starting this month, a hydraulic elevator will be used to inspect the artifacts suspended in the heart of the Mercer Museum, otherwise inaccessible from the ground. The survey is expected to be completed in 2024.
In the meantime, the grant project team will photograph artifacts and collections, assess lighting conditions, and conduct historical and contextual research to inform future planning for the museum and enhance the knowledge of museum staff and guests. .
In the future, Central Court artifact data could improve visitor engagement through an online catalog, as well as in person at the museum.
Henry Mercer’s unusual display of artifacts “wowed” visitors in 1916 when the museum opened, and Mercer’s vision continues to evoke surprise, awe, and curiosity in modern visitors. By documenting and gathering historical information about the approximately 500 artifacts at the heart of the museum, this project aims to satisfy that curiosity and fill any gaps in knowledge about the artifacts.
“This project will allow the museum to more fully document the collections in the central courtyard, perform comprehensive up-close photography, and steer us toward new creative methods of delivering this content to future guests,” said the Vice President of collections of the Bucks County Historical Society. and Acting Cory Amsler.
The Mercer Museum project was one of 120 projects nationwide funded by IMLS’s Museums for America grant program in 2022. Of those 120 grants, only eight were for projects in Pennsylvania. The matching portion of the Mercer Museum grant, $112,504.00, is funded by community contributions and museum operating funds.
The Institute of Museum and Library Services is the primary source of federal support for libraries and museums nationwide. They advance, support, and empower museums, libraries, and related organizations in the United States through grantmaking, research, and policy development. Their vision is a nation where museums and libraries work together to transform the lives of individuals and communities.
The project was made possible in part by the Institute of Museum and Library Services.
Climate activists targeting masterpieces around the world are not fully aware of the fragility of artworks, directors of nearly 100 galleries have warned, saying they are “deeply shaken” by the attacks.
“In recent weeks, there have been several attacks on works of art in international museum collections. The activists responsible for them gravely underestimate the fragility of these irreplaceable objects, which must be preserved as part of our global cultural heritage,” the gallery and museum directors wrote in a joint statement posted online.
“As museum directors entrusted with the custody of these works, we were deeply shaken by their dangerous endangerment.
“Museums are places where people from very diverse backgrounds can engage in dialogue and therefore enable social discourse,” the statement continued. “In this sense, the fundamental tasks of the museum as an institution – to collect, research, share and preserve – are now more relevant than ever. We will continue to advocate for direct access to our cultural heritage. And we will maintain the museum as a free space for social communication.
The statement was co-signed by nearly 100 heads of prominent institutions, many of whom have previously been targeted by militants.
Signatories include officials of the Metropolitan Museum of Art, the Museum of Modern Art and the Guggenheim Museum in New York; the British Museum, the Victoria and Albert Museum and the National Gallery in London; the Uffizi Gallery and the Peggy Guggenheim Collection in Italy; the Louvre, the Musée d’Orsay, the Center Pompidou and the Musée national Picasso-Paris in France; and the Museo Nacional del Prado and the Guggenheim Museum Bilbao in Spain.
So far, most galleries have remained silent after the attacks, unwilling to draw attention to themselves or their security protocols. Following the defacement of Warhol’s work in Canberra, a National Gallery of Australia spokesperson said: “The National Gallery does not wish to promote these actions and has no further comment.”
None of the works targeted suffered any lasting damage as many are covered in glass. Climate activists apparently target the most famous works not to damage them, but to draw media attention to the lasting damage of the climate crisis.
During the attack on Van Gogh’s Sunflowers in London, Just Stop Oil protesters shouted, ‘What’s worth more? Art or life? Is it worth more than the food? Worth more than justice? Are you more concerned about protecting a painting or protecting our planet and people?
Last Generation, the German environmental group behind the attack on Monet’s painting, echoed that sentiment in a post afterwards, asking: “Which is worth more, art or life?
“More protests are coming, this is a rapidly growing movement and the next two weeks will hopefully be the most intense period of climate action yet,” said Margaret Klein Salamon, executive director of the Climate Emergency Fund. “So hang in there.”
The air is a chill inside a new Brooklyn museum where 110 human spines hang on the wall, whole skeletons stand upright from the ground and more than 90 skulls are in a display case for everyone to see inside. from next month.
While the sight of human remains may conjure up thoughts of serial killers, Jon Pichaya Ferry uses his large collection to educate people about the stigmatized market of the bone trade.
Ferry, 22, told DailyMail.com that there are hundreds of thousands of human skeletons in the United States that were used for medical purposes, but now they are gathering dust in attics because people don’t don’t know what to do with it – and he created his company Jon Bones as a solution.
“People feel stuck with the bones because schools won’t take them and it’s illegal to dispose of them improperly,” Ferry said.
“JonsBones provides them with a service. Every piece we have in the showroom is from people who inherited them from a family member who was once in the medical field.
Jon Pichaya Ferry showcases his large collection of human bones at his new Brooklyn museum in hopes of educating the public about the bone trade market
The museum features a wall filled with 110 human spines. All bones were once used for medical or educational purposes and are legally owned. Many remains belonged to doctors and professors in the 1950s who have since died and left the bones to their next of kin.
The collection, worth around $500,000, is displayed in a 175 square foot space in the center of a trendy Bushwick neighborhood and while visitors can feast on the remains, they will also learn the history of the way the bone trade came about during the one hour tour.
The humble beginnings of the bone trade date back to 18th century Britain, when a group of body thieves called the Resurrectionist stole human remains for medical schools.
In the United States, people stole the remains of Native Americans for profit.
Word of these night thefts began to spread, forcing governments to step in and create regulations against such acts.
Ferry has over 90 skulls which are displayed in a large glass display case which he uses to educate people on the history of human remains sold in the market
Ferry told DailyMail.com that there were hundreds of thousands of human skeletons in the United States that were used for medical purposes, but now they’re gathering dust in attics because people don’t know what to do with them. – and he created his company JonsBones as a solution
The bones were then purchased in the United States from China and India.
“In 1983, 63,000 skulls were shipped to the US and UK in one year,” Ferry said.
“People don’t realize the scale and volume and even though many of these institutions have moved [from purchasing human bones]the bones still exist.’
Outsourcing stopped once “medical companies started springing up to fuel that demand,” Ferry continued.
“There were 14 major bone companies that supplied all of the global trade, but only four or five are still in operation.”
And that’s where JonsBones comes in.
Many of the skeletons in the museum were in people’s attics because they had been passed down from a family member and the new owners didn’t know what to do with them. Ferry offers these people a place to dispose of leftovers that can eventually be used by educational institutions
The collection, valued at around $500,000, is displayed in a 175-square-foot space in the center of a trendy Bushwick neighborhood. Pictured is the location at 44 Stewart Avenue
JonsBones’ website claims that it sells “responsibly sourced human osteology” and that its mission is to “de-stigmatize a stigmatized industry”.
Ferry only focuses on bones that show indications of medical use – nothing archaeological, he told DailyMail.com.
At JonsBones, the remains are photographed, preserved, documented and preserved “so that future generations can learn”.
Ferry, who is studying product design full-time at Parsons, discovered his love for bones when he was just 13 and his father gave him a mouse skeleton. Pictured is Ferry as a young boy with his father
Ferry said his collecting service institutions might need a skeleton or two — which can sell for at least $6,000 each.
Bones for sale also include femurs, skulls, spines, and whatever Ferry has in bulk at the moment.
“These bones are not for decoration or vanity and are not used as a gadget, but are used for education and learning,” he said.
“We’re getting these coins into the hands that can benefit from them.”
Ferry, who is studying product design full-time at Parsons School of Design in New York, discovered his love for bones when he was just 13 and his father gave him a mouse skeleton.
“I wanted to study osteology, but I couldn’t access the bones in the state I was in,” he said.
This led him to realize that there are human bones in people’s homes and they don’t know what to do with them.
These bones were largely from the 1950s and 1960s, when medical students had to buy the remains for classes.
Decades later, these people have passed away and now their next of kin are the new owners of the bones – and many fear the legality of their possession and disposal.
Ferry said he has received thousands of emails from people who have skeletons in their closets and are terrified of getting into trouble because of it.
He went on to explain that his degree in product design allowed him to adopt a different methodology for identifying skeletons.
“I look at it from a design perspective, from the way it was made,” Ferry said. “I can determine where it came from by looking at the pins.
For example, brass and copper were used from 1920 to 1960 and then people switched to brass.
These small details, according to Ferry, help him discover how the remains were prepared, helping him identify where they came from.
The Brooklyn Museum, which will officially open next month, features a total of nine complete skeletons, more than 90 skulls and a wall of 110 human spines, as well as thousands of detached bones.
“I’ve always preached open accessibility and transparency,” said Ferry, who went on to explain that the museum allows people to ask questions and voice their opinions about the bone trade.
“People in Western cultures have romanticized the true crime theories that exist,” he said.
“When people see bones, their minds jump to pop culture and not to a scientific or educational point of view, and we want to have a conversation about that.”
While Ferry’s business is legal, there are plenty in the United States that aren’t — and most of them are setting up shop on social media.
In 2020, Facebook opened an investigation into several private groups selling and soliciting human remains, including skulls, fetal remains and even a six-year-old mummified child dated to the 1700s.
While Facebook has a policy that explicitly prohibits “the buying or selling of human body parts or fluids,” some users have found a workaround by taking advantage of the site’s private groups feature.
A seller listed a human skull for $1,300, claiming it was from a “young teenage girl”, but offered no further information about its origin.
And a separate listing described an elongated skull allegedly from Peru, on sale for $10,500.
There are no federal laws in the United States that prevent individuals from possessing, buying, or selling human remains, unless the remains are Native Americans.
KO WAI KOE? WHO ARE YOU ? : ATHENS, AOTEAROA AND THE ART OF MARIAN MAGUIRE
Opening on Friday November 18, Who Are You?: Athens, Aotearoa & the Art of Marian Maguire will present a selection of works by New Zealand artist Marian Maguire at the Hellenic Museum. From several series of works by Marian, including The Odyssey of Captain Cook, The Labors of Herakles, Titokowaru’s Dilemma and A Taranaki Dialogue, Who Are You? seeks to open a discussion about identity and its intersection with history and myth. British, Maori and ancient Greek cultures collide in Marian’s works. This triad of cultures opens up a visual conversation that touches on colonialism, memory, cultural interaction, history and myth, and invites viewers to consider how these factors contribute to the construction of identity at the personal, cultural and national.
When: Thursday, November 17, from 6 p.m. to 7 p.m.
Where: Hellenic Museum, 280 William St, Melbourne VIC
DARDALIS ARCHIVES OF THE DIASPORA 25th ANNIVERSARY
Those interested in Greek history will have the opportunity to be fully immersed in an event presented by La Trobe University Library, in partnership with the Hellenic Studies and Research Society. The 25th anniversary event of the Dardalis Archives of the Hellenic Diaspora will allow visitors to browse the Greek archives and learn about Greek history, culture and the wider Hellenic Diaspora. It will feature a unique collection of artifacts from La Trobe University’s archives, including photographs, costumes, records, journals, and more. Visitors will see our collections come to life through traditional Greek dancing, costumes, food, live music and the official launch of the Greek Costume Digital Exhibition.
When: Sunday, November 27, from 12 p.m. to 5 p.m.
Where: The Dardalis Archives of the Hellenic Diaspora, corner of Ernest Jones Drive and Heritage Court, Macleod, VIC
OAKLEIGH TRAILS – THE GREEK GASTRONOMY WALKING TOUR
The highly anticipated Oakleigh Trail; a 40-minute walk along the restaurant and cafe-bar district of Melbourne’s most Greek suburb begins. Renowned for its strong European influence, with the most prevalent vibe in the area being Greek restaurants and live music venues, Eaton Mall continues to gain momentum as a major Hellenic neighborhood. On the Greek Food Walking Tour, which takes place not once but three times this year, participants can share their stories of migration and the role food has played in maintaining culture and tradition. Interested parties can taste traditional bakery products prepared daily on site, taste cold cuts and learn more about the products that feature heavily in Mediterranean family kitchens, visit a cultural store to learn more about customs and religious traditions and, finally, enjoy a delicious progressive meal. and a conversation. Vegan options are available – ensure option is selected when booking.
When: December 3, 2:30 p.m.
Where: Outside Oakleigh Station – Portman Street Side, Oakleigh, VIC
Prices & tickets: $138.51 via www.eventbrite.com/e/oakleigh-trails-tickets-80613594431?aff=ebdssbdestsearch&keep_tld=1
New South Wales
FiloXenia SUNSET SESSIONS – SEADECK BOAT PARTY
FiloXenia Sunset Sessions is partnering with SEADECK Sydney this summer to bring locals multiple events on their brand new ship. The boys of the FiloXenia Band are back to perform their biggest opus after a two-year hiatus in Sydney Harbor on the Seadeck, a fully refurbished 42-metre Mediterranean craft vessel. The project promises to embark on a new floating adventure, enjoying a fun-filled night of FiloXenia, complete with 360-degree harbor views that will bring an essence of Greek Isles summer to Sydney’s coastline. The music selection will include bangers from the Eurohouse, EDM, Techno, NRG and Trance genres as well as plenty of remixes of Greek music and classics that will run through the DJ sets. Lineup includes FiloXenia (live) with special guests, Indigo and Starlight (live), Connor Hart, DJ Paro, George Svolos Klarino (live), Bongo Ange (live). VIP table bottle service will be available. Seadeck and FiloXenia cruises are 18+ events. Please ensure you have a valid photo ID to produce upon request.
When: Friday, November 25, 2022, the ship sets sail at 7:30 p.m. sharp
Where: King Street Wharf, Sydney Harbor
BE A GREEK COMEDY TOUR | SYDNEY
Peter Kypri, also known as Cypriot Smurf, returns to Australia with his alter ego Souvlakis for a night of comedy. The “Be a Greek” tour is his first post-pandemic tour and will be full of laughs, relatable anecdotes and an interactive experience that promises to provide audiences with heartbreaking laughs for the best part of two and a half hours. Kipri made headlines with his show Souvlakis the Legendary Tennis Star, taking on Nick Kyrgios and Stefanos Tsitsipas sharing all his tips and tricks from the epic failures of the tennis world.
When: Saturday, November 26, 8 p.m.
Where: Arena Sports Club 140 Rookwood Road Yagoona, NSW
The Cyprus Community Center of SA has organized a night of Hellenic music, dancing and delights for an unforgettable Friday night at the Cyprus club’s headquarters which will be transformed for the night with ‘gods and goddesses’ themed decor. There will be music in the evening by ENOSIS Live Band featuring clarinetist Theo Skaltsas followed by a greatest hits dance set from DJ Kosta Nico of Sigma Club, Melbourne. Attendees are encouraged to dress to impress as this is a black tie event with all arrivals captured by GC Photography. A Mirror Photobooth 2022 will also be available on site. The arrangement includes platters of Mediterranean dishes and a dessert with a 5-hour drinks package for $95 per person.
When: Friday, November 25, 7:30 p.m. (AEDT)
Where: Cyprus Club, 8 Barrpowell Street, Welland, Adelaide, SA
QUIZ EVENING – GREEK LANGUAGE AND CULTURE
Evangelismos Greek Language and Culture Institute is hosting a fundraising quiz night. Enjoy an evening of fun as we come together to support the Greek School in its continued operation. Customers can bring BYO food to share; drinks and hot food will be available for purchase at the bar. Children will also be catered for with entertainment including a movie, pizza, popcorn and a drink at just $10 per child. Strictly no professional quiz groups.
When: Saturday, November 12, 9 p.m. (AEDT)
Where: Floreat Athena Football Club, 41 Brittania Rd, Perth, WA
Reservations: contact Georgios on 0402 137 691 or visit www.allevents.in/perth/quiz-night-greek-language-and-culture-institute-of-evangelismos/200023465149103
This is a decisive step towards the restitution of cultural heritage: the works of art of the former Kingdom of Benin, which are currently in 131 museums in 20 countries, are listed on the “Digital Benin” online platform, which was presented in Berlin on Wednesday (11.09.2022).
The project, which officially started two years ago, offers for the first time an overview of all the elements identified by official institutions.
Even if the debate around the return of cultural objects to their country of origin has not always been fluid, cooperation with museums has been open and constructive, Felicity Bodenstein, lecturer at the Sorbonne University in Paris and “Digital Benin” project manager, says DW.
The idea for the project was born four years ago, when Bodenstein was working at the Technical University of Berlin in the team of French art historian Bénédicte Savoy. In 2018, Savoyard and Senegalese writer and economist Felwine Sarr wrote a report on the restitution of African cultural property for French President Emmanuel Macron. For the project, Bodenstein researched the history of Beninese bronzes scattered across Europe and America.
The Digital Benin project was made possible thanks to funding from the Ernst von Siemens Art Foundation of more than 1.5 million euros ($1.5 million). Under the aegis of the Museum am Rothenbaum in Hamburg — Kulturen und Künste der Welt, an international team of scientific advisors was created. Investigators contacted museums around the world to collect data from their collections and listed relevant objects on the platform.
A total of 5,246 objects located in Australia, New Zealand, the United States, Canada and Israel, as well as 14 European countries, were cataloged at the launch of the platform.
However, it is impossible to determine the precise number of objects scattered around the world and to hope for a conclusive list, explains Felicity Bodenstein. The many pieces lost or now in private collections – especially as the black market for such works continues to grow – cannot be traced.
Looted by British colonialists
In 1897, British troops conquered Benin City, then the capital of the Kingdom of Benin. The colonial rulers then ceded the kingdom to what was then the British Protectorate of Nigeria. They also looted the royal palace and other important cultural sites, shipping the items around the world.
A few years ago, a public debate began on how to manage the colonial heritage and return these cultural assets to the African countries of origin, in particular the treasure of works of art in bronze, ivory and in wood which became known as the “Bronzes of Benin”.
For Bodenstein, the project goes beyond the objectives of restitution.
“There is more to it, including the preservation of knowledge surrounding cultural assets,” she explained. In some cases, for example, it has been possible to determine the path of objects to their current location through soldiers’ diaries or old auction house catalogues.
Beyond the colonial history of works of art, the head of the “Digital Benin” project says her Nigerian colleagues want to determine the original historical value of objects that embody the cultural identity of the societies that created them.
Along with Chinese imperial treasures, you’ll soon get a glimpse of the priceless art of another royal family, as masterpieces collected by the princes of Liechtenstein arrive at the Hong Kong Palace Museum this month.
The Hong Kong Palace Museum opened in late summer and has already won high praise for the innovative and fresh perspective its curators have given to China’s imperial treasures. But that’s not all the museum has in store for us. Until February next year, it begins its first intercultural exchange, exhibiting the valuable art collections of the princely family of Liechtenstein.
Gallery 8 at Hong Kong Palace Museum is dedicated to the special exhibition, which presents paintings, prints, tapestries, sculptures and decorative art objects selected from over 30,000 works from the collections of the Princes von und zu Liechtenstein, dating from the 16th century. Focusing on their collecting habits over time, the exhibit traces the evolution of the family’s taste and sophisticated eye for art. As early as the 17th century, we can see how the first princes of Liechtenstein, Karl I and his son Karl Esebius I, created landmarks with the acquisition of the works of Adrian de Fries and the first paintings of Peter Paul Rubens. Later, during the time of Prince Karl I’s grandson, Prince Johann Adam Andreas I, we see the rise of the works of artist Anthony van Dyck.
At the turn of the 17th century, the family devoted itself to matters of art and architecture, which is illustrated in the theoretical treatises composed by Prince Karl Eusebius I, as well as in selected correspondence between Prince Johann Adam Andreas I and his favorite artists. Later, in the mid-18th century, French and Italian art entered the scene, with Prince Joseph Wenzel I amassing one of the most important collections of Venetian veduta painting of the time.
Gardens, another favorite pastime of the Liechtenstein family, also have their own chapter in the exhibition. Chinese motifs and elements have long played an important role in the history of European art, which is reflected in the Chinese temple at the Eisgrub Estate.
The last chapter of the exhibition is devoted to the new acquisitions of the current reigning Prince Hans-Adam II von und zu Liechtenstein, as well as the process of reconstituting the collection following the sale of works of art during the Second World War and subsequent expropriations by then communist Czechoslovakia.
If you’re curious why a small European principality has a connection to Chinese treasures, museum director Dr. Louis Ng explained earlier that Liechtenstein was created almost at the same time as the Forbidden City, under the Ming dynasty. From the perspective of the Hong Kong Palace Museum, it was worth exploring the similarities between two ruling families who shared over 400 years of art collection.
And from the perspective of main sponsor LGT Private Banking, which celebrated its 100th anniversary last year and opened a branch here in 1986, Hong Kong has long been important to the princely family of Liechtenstein. A leading international private banking and asset management group, with more than 20 locations worldwide, LGT is 100% owned by the Princely Family of Liechtenstein and has been the family office of the Princely House of Liechtenstein for more than nine decades.
Learn more about Art Odysseys: Masterpieces Collected by the Princes of Liechtensteinexhibition, which runs from November 9, 2022 to February 20, 2023 here
The first comprehensive online catalog listing looted works of art from the Kingdom of Benin is now live, with the potential to have a profound impact on the return of these objects to institutions around the world.
The database, called Digital Beninidentifies the location of over 5,000 African artifacts that have become flashpoints in the debate over whether Western cultural institutions should return cultural heritage taken during periods of colonization.
The Bronzes from Benin are a group of thousands of historical objects that were removed from the Royal Palace of Benin, in present-day Nigeria, during a violent 1897 expedition by British troops.
Digital Benin currently identifies 131 institutions in 20 countries with Beninese cultural heritage in their collections. Entries include provenance details provided by participating institutions, high-resolution images, and the title of the work in English and Edo languages. Visitors to the website can also access a collection of oral histories told by Beninese artists and elders who expand on the importance of artworks to local art and culture.
The website also includes a disclaimer stating that “it is important to emphasize that the quality of provenance data provided by museums varies considerably from institution to institution and from object to object. The number of objects associated with these names is therefore only an indication of what has been documented by museums and not of the actual number of objects linked or even looted by them.
The initiative is led by Barbara Plankensteiner, director of the Museum am Rothenbaum Kulturen und Künste der Welt (MARKK) in Hamburg and funded by the Ernst von Siemens Art Foundation in Munich. Digital Benin’s 14-person project team, which includes experts based in Nigeria, Kenya and the United States, conducted science outreach activities with museums around the world for about two years prior to launch. Among the participating museums are the Metropolitan Museum of Art in New York, the Cleveland Museum of Art in the United States, the Ethnological Museum of Berlin, the National Gallery of Australia, the Benin City National Museum and the Royal Ontario Museum.
The Bronzes from Benin have faced calls for their return, both inside and outside Nigeria, for decades, but it is only in recent years that substantial repatriations have been made. Over the past two years, museums in Glasgow, the Smithsonian and the Metropolitan Museum of Art have either returned Beninese works to their collections or begun the process of disposing of the looted bronzes. This summer, the German government signed an agreement transferring ownership of more than 1,100 bronzes to Nigeria.
Germany will also contribute to the construction of the Edo West African Art Museum. The new museum is designed by architect David Adjaye and is expected to open in 2025 in Benin City. It should house the most comprehensive collection of bronzes from Benin to date.
ROME (AP) – Italian authorities on Tuesday announced the extraordinary discovery of bronze statues more than 2,000 years old at an ancient Tuscan hot spring and said the discovery will “rewrite history” of the transition of Etruscan civilization to the Roman Empire.
The find, in the archaeological excavations of San Casciano dei Bagni near Siena, is one of the largest ever made in the Mediterranean and certainly the largest since the 1972 underwater discovery of Riace’s famous bronze warriors, said Massimo Osanna, director of the Ministry of Culture. museums.
Thanks to the mud that protected them, the figurines were found in a perfect state of preservation. Alongside the numbers were 5,000 gold, silver and bronze coins, the ministry said.
As proof of the significance of the find, the ministry announced the construction of a new museum in the area to house the antiquities.
Jacopo Tabolli, who coordinated the excavations at the University for Foreigners in Siena, said the find was important because it sheds new light on the end of Etruscan civilization and the expansion of the Roman Empire between the 2nd and the 1st century BC.
The period was marked by wars and conflicts in the regions of present-day Tuscany, Umbria and Lazio, and yet the bronze statues show that the Etruscan and Roman families prayed together to the deities in the sacred sanctuary of the thermal springs. The statues bear both Etruscan and Latin inscriptions.
“While there were social and civil wars outside the sanctuary…inside the sanctuary, the great elite of Etruscan and Roman families prayed together in a context of peace surrounded by conflict,” said Tabolli. “This possibility of rewriting the relationship and the dialectic between the Etruscans and the Romans is an exceptional opportunity.”
Some of the two dozen bronzes are whole figures of humans or gods, while others are individual body parts and organs that would have been offered to the gods for intervention for medical cures via hot spring waters, it said. the ministry in a statement.
Copyright 2022 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed without permission.
The Brother War is upon us and covers one of the most significant conflicts in Magic: The Gathering history as brothers Urza and Mishra clash. With the two Artificers battling, there’s an influx of new Artifacts that are sure to change the landscape of Magic going forward.
Related: Magic: The Gathering – What Was The Brothers War?
Artifacts can be some of the most powerful cards in Magic: The Gathering. When used correctly, they can turn a game on its head. Brothers’ War does not disappoint in that it brings incredible artifacts to create powerful new decks and combos or add to the ones you love so much.
GAME VIDEO OF THE DAY
10/10 Symmetry Matrix
Small but good, Symmetry Matrix lets you pay generic mana to draw a card if a creature with power equal to its toughness enters the battlefield under your control. It might not be a game-changer, but it will give you a huge advantage.
It should be mentioned that it is not limited to once per round. As many times as a creature with equal power and toughness enters the battlefield, you may activate the ability. Since it works with creature tokens as well as normal creatures, any deck that has a heavy tokenization aspect will benefit greatly from the Symmetry Matrix.
9/10 Urza Sylex
For two generics and two white mana, you can exile Urza’s Sylex to destroy everything on the board except six lands that each player chooses themselves. This is great if you need a good escape plan from an overwhelming board. While exiled, you may pay two additional generic mana to search your library for a planeswalker card and put it into your hand.
This exile ability is where Urza’s Sylex shines. Simply because you don’t need to activate that card’s ability to exile it and repeat the ability to fetch a planeswalker. Flickering, which is the act of exile a card and returning it to the battlefield, will allow you to use this ability as much as you want, which could greatly turn the tide of a game.
Prototype is a new ability introduced with Brothers’ War that lets you cast a card for less mana, but for a weaker build. This ability is also going to be repeated quickly by those familiar with the many flicker effects, because when these prototype cards are brought back after being flickered, they arrive in their most powerful form, not the prototype form. This is going to allow a lot of cheap casts to get stronger for a lot less.
Related: Magic: The Gathering – The Best Whiteboard Wipes
Hulking Metamorph has a pretty high cost at nine generic mana, but getting to a 7/7 and copying whatever other strong artifact you have there is big. Even for its prototype ability, a 3/3 is by no means a bad creature when copying another powerful artifact.
7/10 The Stasis Coffin
It’s a card that’s going to be very boring in the right hands. Stasis Coffin lets you pay two generic mana to exile it and receive protection from everything until your next turn. While it won’t protect your creatures, it will definitely keep your life total sitting nicely. In a big game of Commander, this could easily save your life.
Pair it with Karn, the Grand Creator, and you can pick it up in exile to use turn after turn to shield you from anything.
6/10 Rootwire Amalgam
Another card with the prototype ability, Rootwire Amalgam has the potential to be a really big hitter. Costing five generic mana, it comes in the form of a 5/5. However, its activated ability requires you to sacrifice Rootwire Amalgam to create an X/X colorless Golem artifact creature token, where its power and toughness are three times its base power. This means you have a 15/15 with the rush to go all out on your opponent.
Since the required mana is green, chances are you can reach this one very quickly in the right game.
5/10 Phyrexian Fleshpit
Phyrexian Fleshgorger is yet another prototype card. For seven generic mana, Phyrexian Fleshgorger comes as a 7/5 with protection, threat, and lifelink, which is a huge combo.
Related: Magic: The Gathering – Best Phyrexian Cards
Again, this is a card that can be played cheaply with its prototype cost and sparkled to bring the strongest build on a budget. His life cost equal to his power is a great way to keep opponents from messing with him as well, especially in Standard where it’s a third of your starting life total.
4/10 The stone brain
Chances are that this card or Karn, the Great Creator may be banned in some formats in the future. The combo created by Karn and The Stone Brain is going to be very strong. Stone Brain lets you pay two generic mana to exile it, name any card, and search your opponent’s hand, graveyard, and library for up to four cards with the same name to exile them. . Any card name means you can target lands if you want. Your opponent is playing Tron against you, so go for it.
What makes it so strong is that Karn will have the ability to pick it up from exile and allow you to do it over and over again, removing any strong card from your opponents as you see fit.
3/10 Portal to Phyrexia
Portal To Phyrexia is a very powerful artifact that causes each opponent to sacrifice three creatures upon entering the battlefield and lets you draw a creature from any graveyard onto the battlefield each turn. Here’s the kicker – this sacrifice ability is triggered whenever this artifact enters the battlefield. Yet another card that will have the potential to be used again and again by flicker effects.
Related: Magic: The Gathering – The Best Artifacts That Could Fit In Almost Any Commander Deck
Also, it’s not a legendary artifact. This means you can copy it or play more than one, which will stack the ability to fetch the strongest creatures from any graveyard.
2/10 Mishra, lost to Phyrexia
One of the few fusion cards that is brought back into Brother’s War, Mishra makes the work worth it. First, to earn Mishra, Lost To Phyrexia, you must play both Phyrexian Dragon Engine and Mishra, Claimed by Gix, both of which are good cards on their own.
If you’re lucky, you might get Mishra, Lost To Phyrexia on turn five, which is essentially game over for your opponent thanks to the very powerful abilities you can choose from when they enter the battlefield or attack. Not to mention that it comes in the form of a 9/9. Mishra, Lost To Phyrexia is worth the effort to go there.
1/10 Liberator, Urza’s Battlethopter
Liberator, Urza’s Battlethopter is not only a great card, but it also has strong potential as a good commander in the right artifact deck. With a low mana cost of three generic mana, it can be played at any time thanks to its flash ability. An ability he then gives to all colorless spells and artifact spells while he’s on the battlefield.
This ability can also be enhanced by casting spells with higher mana costs than Liberator, Urza’s Battlethopter. At first glance, this card might not look like much, but all the positives it gives you when available are just too hard to ignore.
Next: Best Artifact Commanders in Magic: The Gathering
BRANFORD – The Beacon Hill Reserve is tucked away behind Route 1, somewhat secretive and hidden. Leaves of purple, brown, yellow and rust cover its stone path, the entrance to which is lined with two lichen-covered rocks.
This raw land is the subject of a book of poetry and artwork that will be launched at a special event on November 13, a unique collaboration between the Branford Land Trust, the Branford Arts & Cultural Alliance, local poets and artists.
Melbourne-based organization Liquid Architecture announced the appointment of Kristi Monfries and Dr. Lucreccia Quintanilla as Co-Directors; the duo will take office on Monday, November 14, 2022.
Kristi Monfries is an Australian Javanese art producer, researcher and project curator with a deep understanding and committed commitment to contemporary arts practice. Together with colleagues in Indonesia and Australia, she runs Volcanic Winds, an arts organization based in Yogyakarta, Indonesia. For the past decade, she has focused on how artists from the region are transforming traditional Southeast Asian music into radical contemporary works for public presentation. Monfries’ passion is supporting new experimental voices, with a particular interest in Asian artists and their geographic relationship to Australia, including work created by Australian Diaspora and Asian creators.
Dr. Lucreccia Quintanilla is a researcher, writer, DJ and artist. She is a Salvadoran woman who grew up in New York and El Salvador and has lived in Melbourne for 20 years. She recently completed her doctoral research project, Who owns the myth? The echo and the diaspora, at Monash University. Recently she has also created sound works for West Space, Kunstraum Niederoesterreich and the Art Gallery of NSW. She presented her research at the Sound System Outernational Conference organized by Goldsmiths (a college of the University of London) in Naples, and was artist-in-residence at the Banff Center for Arts and Creativity. Quintanilla is a sound system operator for General Feelings Sound, who was recently part of the Heavy Congress at RISING. A longtime collaborator of Liquid Architecture, Quintanilla’s work addresses the potential of sound and amplification.
Their appointment comes as Liquid Architecture takes stock of a massive phase of growth and development under the leadership of Artistic Director Joel Stern (2013-2022) and Executive Director/CEO Georgia Hutchison (2017-2022).
The LA Board sought leadership from those whose voices would resonate with emerging communities of practice and solidify the organization’s fledgling platforms for diverse voices. Under the leadership of Monfries and Quintanilla, Liquid Architecture will broaden its reach, building on the institution’s history as Australia’s leading organization for artists working with sound and listening: refining its platform for experimental practices, supported and energized by discourse and research, and carried out in collaboration with communities in Melbourne and the region.
The duo are deeply engaged in the local experimental sound ecosystem and are recognized and respected in various local and international communities for having a thoughtful and thorough approach to supporting and encouraging experimental and cross-cultural practices, and placing “First Peoples First”. as a key pillar of their work. They share a common ethos around positionality, experimentation, relationality, mentorship and genuine collaboration with a particular interest in the diaspora and regional communities of Southeast Asia.
In a joint statement, Quintanilla and Monfries said, “As women from the Global South, we couldn’t be more excited to bring our experience and perspectives to this new chapter in Liquid’s future. Architecture. We recognize that we support an organization with a very deep and important legacy with the many people who have collectively built and contributed to this huge body of work. We know that the future of Liquid Architecture will be in community and collective efforts by fostering trust, opportunities to learn, careful curation, and a co-design approach. We look forward to being a strong resource and creative place for sound artists and communities of diverse backgrounds and emerging voices to do work and connect those creative energies to international artistic networks.
Naretha Williams, Co-Chair of the Liquid Architecture Board, said, “We are confident that the combined and complementary expertise of Kristi and Lucreccia will be an incredible asset to our organization, bringing strength and agility at a time of great change. Their culture-based, collaborative leadership style is centered on artistic practice, community engagement and sector sustainability. We are excited about their vision and excited about what lies ahead for Liquid Architecture.
Danny Butt, co-president, added, “We are delighted to appoint the dynamic duo of Kristi and Lucreccia as co-directors of Liquid Architecture after a highly competitive process. Kristi and Lucreccia stand out for their ability to align a strong conceptual analysis of the state of experimental practice today with a collaborative ethos and a long history of delivering programs and projects with exciting artists.
Active since 2000, Liquid Architecture is an organization based in Naarm (Melbourne) supporting experimental, interdisciplinary and critical work dealing with sound and listening in context. Liquid Architecture is based in Wurundjeri Woi Wurrung Country in Victoria’s artsy Collingwood Yards district.
MQFF program director steps down
The Melbourne Gay Film FestivalMQFF program director Spiro Economopoulos will leave the festival following the conclusion of its 32nd festival in November 2022.
Economopoulos joined the festival in 2015 and has scheduled eight main festivals and two mini-festivals, each showcasing over 100 feature films, documentaries and shorts celebrating the stories of LGBTIQ+ people.
His work at MQFF has enabled the festival to showcase the work of renowned and emerging Australian and international filmmakers and has also helped to support local talent.
Most importantly, Economopoulos’ work has helped entertain and enrich audiences through festivals and regional tours by bringing important stories to the screen for queer communities to enjoy. Her work has also supported the festival’s move online during the COVID-19 pandemic, helping to entertain LGBTIQ+ audiences across Australia throughout the lockdowns.
MQFF Co-Chair David Micallef said: “On behalf of the Board, Staff, Volunteers, Lovers and Members, we would like to thank Spiro for his service to MQFF and wish him the best of luck wherever may his journey lead him.”
The MQFF will be looking for a session program director ahead of its 33rd season, with recruitment starting for the 33rd Melbourne Queer Film Festival in early 2023. An announcement will be made in due course.
32n/a The MQFF runs from Thursday 10 to Monday 21 November.
In a statement, STCSA said: ‘Many would know that Jude has walked a different kind of stage, having graced the stage at the State Theater Company South Australia on several occasions over the past decade in shows such as After dinner, comedy of errors and Mr Burns, a post-electric piece.
‘Jude comes to the company with a wealth of artistic experience as the founder of a theater company is this yours?former artist associated with Windmill Theater CoParade Director at Adelaide Fringe and is currently a Strategic Advisor for Global Entrepreneurship Network Australia, Founder and CEO of Peak and Senior Producer at Sandpit.
“We look forward to having Jude’s knowledge and expertise on the board and know that she will be a valued member of the company family,” the statement said.
NFSA appoints Chief Digital Officer
Keir Winesmith will join the National Film and Sound Archive (NFSA) as Chief Digital Officer to help drive the organization’s digital transformation strategy.
Reporting to the CEO, Winesmith will lead the delivery of NFSA’s strategic digital roadmap, with a focus on developing new products and services designed to improve the discoverability and shareability of the national audiovisual collection for all Australians. He will also lead NFSA’s information and communications technology activity in the areas of data management, storage, cybersecurity, business systems, infrastructure and connectivity.
Another important priority will be to further develop the institution’s digital preservation capacity as it undertakes to meet the challenges of collecting complex digital objects, including video games and interactive media.
Winesmith joins the NFSA from the National Gallery of Australia, where he is currently Chief Digital Officer for Tim Fairfax. Previously, he held the positions of Chief Technology Officer at Old Ways, New, an Indigenous-owned and managed social enterprise; and Director of Digital Experiences/Head of Web and Digital at the San Francisco Museum of Modern Art. He has also worked at the Museum of Contemporary Art Sydney and SBS Online.
He holds a doctorate in new media and a degree in computer science and physics. Winesmith is the co-author of the 2020 book The digital future of museumsco-founded the Sydney Cultural Data Salon and is the inaugural mentor for the Australian Council’s Digital CEO Mentorship Program.
Patrick McIntyre, CEO of NFSA, said: “Keir has unparalleled experience at the intersection of arts and technology. I am truly delighted that he is joining the NFSA at such a critical time as we develop a digital strategy that opens up the archives to all Australians, wherever they are.
Winesmith added: “The NFSA is uniquely positioned to thrive in the digital age. I am thrilled to join the team during this transformative time, to help engage the entire nation through NFSA’s rich collection.
Winesmith will join the NFSA in mid-January.
March Dance Farewell Program Manager
march danceSydney’s annual independent dance showcase, has bid farewell to program manager Lauren Vassallo.
In a statement, the organization said Vassallo “has done an extraordinary job over the past two years and [we] thank her for her incredible dedication and passion for dance and the dance artists of NSW’.
Simultaneously, March Dance announced the appointment of new Program Manager Matt Perst ahead of the 2023 iteration of the festival.
The Athenaeum has around 1,300 members, who have access to around 70,000 traditional books and 80,000 e-books. Hessel said that over the past few years membership has grown at an increasing rate, with around 30 or 40 new people joining each month. She believes her popularity is growing due to a desire for direct interaction with a community of people, a desire that began long before the pandemic forced everyone into self-isolation for a period of time.
“The original mission of the Athenaeum when it was established in 1814 was to create a space for conversation and recreation with a chess and learning room with periodicals and a reading room,” Hessel said. “We remain so today, as a community of people who care about arts and culture, literature, music, the built environment, history, anything Philadelphia related. “
The Athenaeum reopens to the public with a gallery exhibition of a rare set of prints by Henri Matisse, the same French modernist artist whose work is currently on display in a major exhibition at the Philadelphia Museum of Art, “Matisse in the Years 1930”.
Francis and Michael Baylson, Matisse collectors and members of the Athenaeum, lent 20 prints of “Jazz,” a 1947 artist’s book in which Matisse developed his signature collage technique, which involved cutting colored paper into shapes and to compose works by moving them.
The works are geometric abstractions, including circus scenes, myths and fairy tales, lagoon landscapes and even funerals.
“Jazz” is not about music nor does it attempt to portray music, but rather draws inspiration from the improvisational nature of jazz. Mattise worked in collage in the 1940s after being diagnosed and treated for abdominal cancer which left him bedridden for long periods, unable to paint.
The Athenaeum Library is known for its material related to architecture and design, particularly the built environment in Philadelphia. While a French modernist’s collage art may seem out of place with the reputation of the Athénée, Hessel disagrees.
“We think it fits perfectly with the Athenaeum,” she said. “It’s a book and we’re a library. We celebrate all the different forms of the book.
Matisse’s “Jazz” exhibition is part of the larger Matisse exhibition at the Art Museum and will take place at the same time, on January 29.
Visitors, members and non-members, can see the Matisse exhibition for free. Non-members can take guided tours of the building, attend programming events, or purchase a day pass to explore the space and collection on their own. Memberships range from $35 annual dues for students, to $75 for young adults 18-35, to regular subscribers for $150 per year and up.
Highlighting the war machines created by Urza and Mishra, The Brothers War is stacked with Colorless and Prototype Magic: The Gathering Artifacts designed to dominate the limited meta.
Artifacts have been thematically designed to fit into each limited archetype of The Brothers War. Similar to the multicolor Rare and Mythic Rare cards in BROTHERthere are several colorless and prototype artifacts that will shape the draft meta, as well as a few honorable mentions.
Costing only three colorless mana, Thran Spider has a decent 2/4 stat line with Reach. The spider has the disadvantage of creating a Powertone token for you and an opponent. But he can search for an Artifact Bomb on the road for only seven mana, six if you don’t use the Powerstone. The standalone assembler has a strong synergy with the tribal theme of assemblers in BROTHER, costing only five mana at full value. The artifact also has Vigilance and a cheap activated ability that puts +1/+1 counters on an Assembly Worker creature you control.
From thopters to reanimators, here are the seven best rare and rare colorless artifacts and mythic prototypes in The Brothers War Limited format.
Seraph of Steel
The BROTHER The limited format is full of big artifacts and cheap chump blockers, which is why Steel Seraph is a solid draft pick. The Artifact Angel offers flexibility capable of impacting board states with its prototype cost or regular paid mana cost. To help complete games, Steel Seraph allows players to give another creature one of three keywords. Lifelink can help stabilize a player. Vigilance is important for strong attackers. And flying in conjunction with a 5/4 Steel Seraph can end games.
Liberator, Urza’s Battlethopter
Flash and Flying is a powerful combo in the BROTHER Limited size. Liberator, Urza’s Battlethopter has both, making it a solid creature without any abilities. The Thopters’ abilities are what set it apart from the rare. Liberator, Urza’s Battlethopter gives Flash to all colorless spells and artifact spells. And as a bonus, its power increases when the mana spent to cast these spells is greater than the power of the Thopter. Liberating, Urza’s Battlethopter is excellent in the early game while also having value in the late game.
Instant and sorcery spells play a major role in limited formats. The Mythic Rare Artifact wizard with Prototype in Blue copies spells from its controller’s graveyard, then lets them cast it for free. On its own, Arcane Proxy’s value is above average in Limited. As an added bonus, it also comes with a decent base stat 2/1 or 4/3 chump block body. Suppression spells are great targets for Arcane Proxy, as well as rebound or stall spells.
Casting a seven-drop colorless wurm is not difficult in the BROTHER Limited format thanks to Powerstones, which is why Phyrexian Fleshgorger can easily disrupt a plateau state with its 7/5 stats. Even at its prototype cost, the Wurm still pulls its weight by having Menace and Lifelink. Phyrexian Fleshgorger is also very difficult to remove from the battlefield, having Ward equal to his power.
Portal to Phyrexia
Portal to Phyrexia is a powerful commander card that is sure to see a lot of play. The Artifact is also good in the BROTHER Limited format. Opponents can bypass sacrificial creatures, especially through soldier tokens. But as long as you or your opponent have an above average creature in the graveyard, Portal of Phyrexia can swing the game in your favor. The Phyrexia Portal is best at limited control-style builds and shouldn’t be drafted if you’re creating an aggressive archetype.
Similar to paying mana for Phyrexian Fleshgorger, Cityscape Leveler in a ramp archetype like Blue and Green is one of the best finishers in the game. BROTHER Limited format. He only needs to attack once to affect a card state. And if it is deleted, it has Unearth. The mechanic can’t be countered, and the only way to stop it from resolving is to first remove the Unearth permanent from the graveyard. Players can even target their own non-earth permanents, like tokens, creating a Powerstone if needed.
Automaton caller of the woods
Woodcaller Automaton is a bomb in the RG Stompy or UG ramp. 10 mana sounds intimidating, and it is. Players will more often take advantage of the cost of the prototype than dropping the build in 10 drops. Getting two 3/3 creatures for a cost of 2GG is a good deal in Magic. Getting two 8/8 creatures can end games, even if the cost is 10 mana.
Alison Neighbors from Kemp and Audrey Jeanes from Canton are featured in a new exhibition at 211 Art Gallery in Athens.
The show is called Colorful Moments and is open until January 1. The students were paid by an anonymous donor.
“Every time I found out that a donor wanted to refund my fees, I was shocked and didn’t know how to react,” Jeanes said. “It’s not something anyone has ever done for me. I participated in a few school exhibits at my alma mater UT-Arlington and participated in an exhibit at a gallery not affiliated with the school. I know there were donors covering the cost there, but that never happened to me. I was shocked and didn’t know how to react. Whoever it is, thank you very much and September won’t tell me.
Neighbors said news of his acceptance was kept secret.
“I haven’t spoken to them yet,” Neighbors said. “Audrey and I were talking about you have to sign your work and title your work. You never think it’s good to start, so it’s very difficult to get a title. I think as we become more secure in our work, we will be more comfortable giving our work a title.
Jeanes said feedback on her plays has been positive so far.
“I posted about it on my Instagram and a lot of my friends at UT-Arlington are happy that I’m being shown at other places,” she said. “I know my family is very happy about it and I got great feedback and responses from everyone around me.”
Neighbors and Jeanes are members of Studio Arts Instructor September Kirk’s art classes at Trinity Valley Community College this semester.
“I’m proud of Alison and Audrey! They’ve worked so hard this semester and seeing them accepted into an outside show is exciting,” Kirk said. “One of the gallery’s in-house artists, Virginia Reeder, came as a guest speaker following her participation in the exhibition and I am grateful for the opportunity to build this relationship with the community. C what a community college should strive for, right?
Neighbors has an abstract piece in the show, while Jeanes has two pieces from when she was a student at the University of Texas at Arlington.
“Those were two drawings I did at UT-Arlington, and we had a day in my drawing class where you had to choose what you see in the room and draw it,” Jeanes said. “I’m really into skeletons and facial features. I think that can say a lot about how we are as skinless people. I did them in 30 minutes and a lot of fun doing them.
For Neighbours, the focus of his painting was acrylic on paper.
“It had been done a short time ago, but I had done a pour of paint, which I thought was very interesting to see the flow of the paint,” Neighbors said. “I used it as inspiration to get the flow of it and extend it with color.”
The mission of Gallery 211 is to support, stimulate and encourage artists by providing an exhibition gallery open to the public, providing opportunities to participate in judged art exhibitions and offering art exhibitions and courses .
It’s a 501(c)(3) which is a big reason Neighbors wanted to see how to get accepted onto the show.
“It’s exciting because you had to be accepted by a jury,” she said. “I’ve never been accepted through this process before. The lady at the art gallery (Virginia Reeder) is very helpful. The best thing about it is that it’s a 501(c) ( 3), it is therefore a non-profit organization.
They also aim to educate and they made the process so easy. They explained it to you and gave a demonstration on how to prepare our work for the gallery. Not only was I able to give a presentation, but I had help throughout the process to learn how to do this.
Jeanes said she was looking for a smaller gallery when she decided to take the plunge.
“I had looked at a few art spaces in Tyler and didn’t know there was one here in Athens,” she said. “I thought I would come down and check it out and went there before applying for the show. I told him it would be a good place for me to try and show some work and that it’s local, community-based and only 30 minutes from where I live. I wanted to focus on the small galleries and not go to the big ones.
The neighbors and Jeanes both praised Kirk for helping them decide to come on this show.
“September was very good for teaching skills,” Neighbors said. “The most important thing is knowing how to see things in your mind. I think the most important thing I learned from her is that when you draw or paint something you have to shut down your brain and say okay this is what a hand looks like and just look at the shapes you draw. It was amazing for me and I am a Gold Card member being a retired teacher and decided to go back to school.
For Jeanes, the decision was hers on her submissions, but Kirk impacted her in more ways than one.
“It was my choice in what I submitted, but September has already had a huge influence on me. I came here for a year after graduating from high school and took classes with September Jeanes said, “She helped me figure out what I wanted to do in the art world. I would like to teach like September. She helped me set things up when I applied for UTA and she helps me to apply for a masters program.In terms more as a person and on the business side of art, she influenced me a lot.
Neighbors said visiting the gallery before the show and presenting the cards with Jeanes was huge.
“I’m delighted that Audrey joined us. I went to visit the gallery and spoke with Virginia about taking the class,” Neighbors said. “She is also a retired teacher, so we had a connection. I received cards and presented them to the class and there are so many talented people in there. Audrey bit and submitted and I’m so glad she did. I hope this will encourage others to do the same.
Jeanes said don’t be afraid to submit and see what happens. She also learned other tips to help her in the future.
“The most important thing is knowing how to present my work. I’ve never had to frame my work before. I provided the glass and they will put the design underneath,” Jeanes said. “The people at the gallery told me they would show me how to hang them and frame them. Definitely, learning how to better show my pieces to show or get answers is important to me.
I know it can be scary to submit your cases and have them not accepted. I would say go for it if you feel you have a piece that can match whatever this gallery is trying to say right now.
The gallery is located at 211 N. Palestine St., just around the corner from the Henderson County Courthouse. The gallery is open from 11 a.m. to 5 p.m. Wednesday to Saturday.
On October 19, Vladimir Putin imposed martial law in four Ukrainian territories illegally annexed by Russia. In doing so, he also effectively legalized the looting of cultural heritage in Ukraine, the art diary points out.
According to Russian law, the declaration of martial law grants the country the power to “evacuate” items of economic, social and cultural importance. Kherson, Zaporizhzhia, Donetsk and Luhansk are the four regions specified in Putin’s Decree.
However, looting is taking place in Ukrainian territories that have been occupied for months.
Russian forces have already energetically commandeered the Shovkunenko Regional Art Museum in the city of Kherson, and a similar fate probably awaits dozens of other institutions in the four annexed regions, including the Kherson Regional Art Museum, the Donetsk Republican Art Museum and the Luhansk Art Museum .
In Kherson, the occupiers also dismantled Soviet-era monuments dedicated to 18th-century Russian military heroes Aleksandr Suvorov, Fyodor Ushakov and Vasily Margelov.
Russian troops removed a 21st-century replica of an 1823 statue of Prince Grigory Potemkin, who orchestrated the annexation of Crimea to the Turks in 1783. The soldiers also exhumed Potemkin’s bones from St. Catherine of Kherson and transported them further into Russian-controlled territory. , according CNN.
“The massive removal of cultural values from the territory of Ukraine by the Russian occupiers will be comparable to the looting of museums during World War II and should be qualified accordingly,” the ministry statement said, citing the Hague Convention for the protection of cultural property. Property in the event of armed conflict.
“The actions of the Russian Federation constitute a violation of international law…Any seizure, destruction or willful damage to religious, charitable, educational, artistic and scientific institutions, historical monuments, works of art and science is prohibited and should be prosecuted. ”
The Ministry of Culture concluded by calling on Unesco and “all international partners” to “prevent a new violation of international law by the aggressor state”, to “refuse cooperation with Russian museums” and to “counter the illegal traffic in cultural values”.
Mykhailo Podolyak, senior adviser to Ukrainian President Volodymyr Zelensky, took to Twitter to say that the martial law decree should only be seen as a “pseudo-legalization of the looting of Ukrainian property”.
“It changes nothing for Ukraine,” Podolyak wrote. “We are pursuing the liberation and disoccupation of our territories.”
In 2011, Lorena Valenzuela packed her bags and flew from her Mexican home in Los Angeles to take part in a dance battle. The day before the pageant, she took a class at Evolution Studios in North Hollywood focusing on “punking” — a series of quick, sharp movements rooted in exaggerated looks and expressive body language that emerged in the underground queer clubs of Hollywood in the 1970s. A fellow dancer had introduced Valenzuela to the unique style when the two were on dance crew Funkdation. “It really caught my attention – all the lines, all the poses, all the expressions and the energy, the character,” Valenzuela said.
Class instructor Viktor Manoel – who was also a judge at the dance competition that year – spotted Valenzuela and asked him to freestyle that day. At the time, she only knew four movements. But that was not enough for Manoel. “He stopped the music in the middle of the freestyle and said, ‘Really? That’s all you got? Is that why you came all the way from Mexico?’ “, recalls Valenzuela. “Do it again, for real.”
“I started throwing myself on the floor, all my clothes were torn and I was going crazy,” she says. “That’s when I understood what this dance was really about.” Valenzuela realized that the moves weren’t meant to be beautiful; they expressed the harshest emotions.
She then landed in the top three at the festival that year – the only Latina to place. Eventually she moved to the United States so she could continue to develop her skills as a dancer, and she became a mentee of Manoel specifically for punk and “whacking” – a movement that evolved from punk which consists of bending the arms, raising the hands. and above the head while bringing out the chest. (The creators of the style are known as “punkers,” while newer generations of dancers are called “whackers.”) Four years ago, she launched her own Los Angeles dance festival, Strike With Force. , which aims to maintain the history of punking and whacking while fostering a community for a new generation of dancers.
Gay men developed punk almost five decades ago, while flocking to the safe space of the dance floor. The movement is particularly personal for Manoel: after the AIDS epidemic claimed the lives of many of the movement’s founders and the community around him, he is the last founding member of punking alive today. Developed in Los Angeles around the time voguing took hold in New York, punking’s roots can be hard to trace – which is why Manoel is determined that new generations understand the weight that comes with every pose and every movement. “I always fight for that truth that needs to be told,” he says. “Because gay culture can’t be forgotten in how this style started.”
When Manoel was 17 in the early 1970s, he went with a friend to the then-Paradise Ballroom on N. Highland Ave, fake ID in hand. “The men were dancing together, kissing and cuddling, and I really freaked out because when you’re not used to seeing things like that,” he recalls. Manoel had known for a long time that he was gay, but he was shocked to experience it for the first time, so much so that he turned to his friend and said: “I can’t. I’m not coming back .”
He eventually returned to Paradise Ballroom and, with friends, began creating dance drawn from pop culture, media and art – including Art Deco, paintings by Ballets Russes founder Serge Diaghilev , ice skating and silent films. Each member drew influences from their own distinct cultures and interests. Manoel grew up dancing ballet folklórico, a style of Mexican folk dance, and often imitated a deer in his performances. And founding member Tinker loved Bugs Bunny and channeled the Looney Tunes character into his moves.
The movements also highlighted how they grew up in a time when being gay meant not being “allowed to express love”, says Manoel. “The expression of this oppression via movement is where this style of punk dance came to fruition.” For Manoel and his friends, punking was about the freedom they found in the club.
In 1978, Manoel and his friends started going to Gino’s II nightclub on Santa Monica and Vine. Fellow punk Michael Angelo, the Saturday night DJ, held competitions where accomplished dancers could compete for a $1,000 prize. Punking and whacking had found a new home.
Around this time, Manoel began working professionally as a dancer, performing for artists like Grace Jones. But then his friends started dying of AIDS. “I felt uncomfortable being in a situation where everyone was dying and no one wanted to talk about it,” he says.
He walked away from the stage. In the meantime, punking and whacking were becoming more mainstream thanks to Soul Train and the Outrageous Waacking Dancers, a dance group based in Los Angeles. Its popularity grew with a new spelling—using a double “A”—which broke away from its origins. When Manoel returned to the stage in 2009 to teach punking to new generations, he realized how his origins had been lost in translation. This is changing with initiatives like Valenzuela’s strike festival, Strike With Force.
When the festival first ran four years ago, Valenzuela invited dancers from around the world and across the United States, telling them to invite anyone from their community. She then produced other Strike With Force festivals in Italy and Mexico, and smaller gatherings began to appear as the community began to grow. The goal of the festival is ultimately to “empower children and make them feel safe and feel like they belong because this dance belongs to them,” Valenzuela says. “We are the guests.” The next Strike With Force event is scheduled for March 2023, in Mexico City.
For his part, Manoel still teaches the history and movements of the dance. He shows one student at a time what it takes to move like he, Arthur, Andrew, Billy Star, China Doll/Kenny, Lonny, Michael Angelo, Tinker and Tommy all did in Paradise Ballroom. “I don’t teach to impress,” he says. “I teach you to find yourself in my movement.”
This story originally appeared in the Los Angeles Times.
A valuable cache of more than 1,500 Lincoln artifacts that were part of a multimillion-dollar acquisition 15 years ago was trucked this week from the Springfield Lincoln museum that had housed them – with no plans for them. to bring back.
It’s the latest byproduct of an acrimonious relationship between the Abraham Lincoln Presidential Library and Museum and the private foundation originally established nearly two decades ago to raise funds and acquire prized pieces from Lincoln for the state-run tourist destination.
The foundation and museum are at odds over the more than $8 million still owed for the purchase of the unique collection, and this week the foundation made the stunning decision to withdraw the collection, leaving its future and access of the uncertain public.
One of Lincoln’s top experts called the development “inconvenient”.
“It’s really very sad. This is really another blow to the prestige of the ALPLM,” said Kim Bauer, who curated the state’s own Lincoln artifact collection between 1994 and 2006.
Taken were items such as Mary Todd Lincoln’s bloodstained fan she wore the night her husband was murdered at Ford’s Theater in Washington, D.C., a cufflink he wore when he was shot, Lincoln’s walking canes, some of his early writings, and a bottle of ink from his Springfield law firm.
Also included was a beaver-skin stovepipe hat, once valued at over $6 million, which the museum and foundation once adamantly believed had placed on Lincoln’s head, but was later discredited due to intractable questions surrounding its authenticity.
These were all part of a collection of Lincoln artifacts once owned by wealthy West Coast historian and collector Louise Taper. A Lincoln Foundation board member, she sold the items to the foundation for $23 million in 2007.
Municipal bonds were sold by the City of Springfield to help fund part of the deal and private donations were guaranteed, with the understanding that once the foundation loan was repaid, the collection would become the property of the museum. .
But the debt on the collection remained a problem, and the foundation has sought unsuccessfully in the past to get state help to repay some of that debt.
A spokesperson for the foundation said the nonprofit still had more than $8 million in debt associated with the acquisition of the Taper collection, and that a 15-year agreement allowing the exhibition artifacts at the museum expired on Monday.
“In accordance with this … expiring loan agreement, we have arranged with the cooperation of the state to return this collection to our control,” said Nick Kalm, first vice president of the foundation board.
Kalm wouldn’t say what happens next for unique museum pieces.
“We don’t have any plans at this point in terms of what we’re going to do with the artifacts,” he said. “We have two key objectives: the first is to do everything we can at the request of the bank to pay off the remaining approximately $8 million of the original debt. …And #2, at the same time, we want to do everything possible to ensure that this collection, which has been in the public domain for 15 years, continues to be available to the public for years to come.
The foundation had once considered auctioning off part of the collection to pay off its original debt, but shelved it when it managed in late 2019 to have its loan refinanced for three years.
When asked if a possible auction was back on the table to help pay off his multimillion-dollar debt, Kalm reiterated the council’s stated desire to keep the items “available to the public,” but said no decision had been made on the sale of pieces from the collection.
The company hired to transport the Taper items out of state possession was no ordinary moving company — it was the Chicago-based Hindman Auction House, according to a museum spokesperson.
Museum officials have also challenged the foundation’s position that it cannot repay the debt and return the collection to the museum as promised. They say the filings indicate the foundation could repay the debt and say they have not been told what will happen with the collection.u
“It is not known where the foundation will store these artifacts or if the items will be publicly available in the future. Although it has been requested, the foundation [has] not provide this information,” Christina Shutt, executive director of the Lincoln Museum and Library, wrote in a letter to staff Monday evening.
“What is known is that in government-mandated documents required of non-profit organizations, the foundation revealed that it had the money to pay off the outstanding debt on the collection. Doing so before today would ensure that the collection would become the property of the people of Illinois,” she said.
“Unfortunately, even after raising tens of millions of dollars more than the loan of 15 years ago, and even with the repeated promise to maintain a permanent place for the collection at the ALPLM, the foundation ultimately chose to break the long-standing commitment,” Shutt wrote.
Relations between the museum and the foundation began to sour years ago, amid questions over financial transparency and stalled negotiations over how the two entities would legally coexist. The dispute coincided with the report of the Sun-Times and later WBEZ who raised serious questions about the provenance of the stovepipe cap, which was once considered a cornerstone of Taper’s acquisition.
In 2019, a 16-month state study by former Illinois state historian Samuel Wheeler found no evidence to authenticate the hat, noting that it did not appear to be the size of Lincoln. Wheeler’s study also found the hat was sold in the 1950s to an upstate antique store for just $1, and its alleged connection to Lincoln was not even known to descendants. from its original owners.
Wheeler, whose report called for further study of the hat, was removed from his position by the state in 2020.
State Representative Tim Butler, R-Springfield, whose city has reaped the benefits of museum-related tourism, expressed frustration that Taper artifacts are no longer on display at the institution and said Monday’s developments challenged the original intent behind acquiring the items. .
“I am very disappointed that the Taper Collection was originally obtained in the public interest on behalf of the people of Illinois and now it appears the items will no longer benefit the public,” he said.
Butler also said he was “concerned that the items could eventually end up being auctioned off in collections not available to the public.”
Dave McKinney covers Illinois politics and government for WBEZ.
The British Museum must prioritize the renovation of its dilapidated Greek and Assyrian galleries as part of its ongoing Rosetta project, an ambitious plan to modernize its infrastructure and re-display all of its collections. A master plan for the overhaul was agreed by administrators last month.
A museum spokesperson declined to say when the renovation of the Greek and Assyrian galleries is expected to begin and end, what its expected cost is and, most importantly, where the Parthenon Marbles will go while work is underway.
The chairman of the British Museum’s board, former British Chancellor George Osborne, is now trying to raise £1billion to fund the Rosetta project, making it the most expensive museum overhaul in British history .
Although the entire museum is being revamped, no area of the building needs more urgent attention than its western block, the oldest part of the museum, which houses Greek and Roman art, Assyrian sculpture and part of the Egyptian collection.
Its shoddy conditions fueled calls for the permanent return of the Parthenon Marbles to Athens for display in the state-of-the-art Acropolis Museum, which opened in 2009.
Several galleries in this part of the museum have been closed to the public on several occasions in recent years due to leaking roofs and crumbling infrastructure. Fans to increase air circulation have been positioned throughout the West Block over the past year.
On a visit last November we found that an Assyrian antiquity was covered in plastic to protect it from dripping water from above and we also noted that the Parthenon sculptures had remained out of sight for a whole year, first because of the pandemic, then because of a leaky roof in an adjacent gallery.
At a trustees’ meeting the following month, the decision was made to prioritize the redesign of the Greek and Assyrian galleries. “After extensive discussion, the board of directors agreed that Western galleries should be the priority for the next phase of the Rosetta project,” according to the minutes of the December 2021 meeting. Three weeks ago, the directors have agreed on a master plan, the details of which will be announced in spring 2023.
The redesign of the western galleries will probably lead to their closure for several years; all works of art will need to be moved to storage, exhibited elsewhere in the museum, or sent on loan to other institutions. This may help explain the conciliatory statements made recently by museum president George Osborne regarding the exhibition of the Parthenon Marbles in Greece. On June 14, Osborne said in a radio interview that “there was a deal to be done” on sharing the Parthenon Marbles with Greece.
A spokesperson for the British Museum declined to confirm whether trustees were now seeking to arrange a loan of the 5th-century BC sculptures to Athens as renovation work is underway at the Greek galleries in London. However, in a major speech at the British Museum’s annual trustees’ dinner last night, Osborne tackled the issue of restitution head-on: there will be no dismantling of the museum’s collections ‘because we believe in a museum of common humanity,” he said. But maintaining the status quo, he added, was not enough either: “We can enter into partnerships. If you’re willing to find common ground with us, we’ll find common ground with you.
But there is little middle ground when it comes to the Parthenon Marbles. The Greeks have repeatedly said they would reject a loan of the sculptures and instead called for the permanent return of the Parthenon Marbles to Athens.
While the fate of the Parthenon Marbles is one of the most politically charged debates facing British Museum trustees, an arguably more pressing challenge is fixing the display of the museum’s exceptional collection of Assyrian antiquities. which is currently housed in shamefully dilapidated galleries with cracks. tiles, leaky roofs and outdated infrastructure.
The collection has rarely been available to the public in its entirety in recent years. Everytime The arts journal visited in the past three years, we found one or more of the Assyrian galleries closed.
Most recently, we visited the West Block on October 14 and then again on October 28. On both occasions, several of the Assyrian galleries were closed to the public. A museum employee working at the information desk told us that “these galleries are rarely all open”, but could not say why.
Asked by The Art Newspaper when all Assyrian galleries were last open for an entire month, the museum did not respond.
An installation view shows “Park Dae Sung: Ink Reimagined,” which opened Sept. 24 at the Hood Museum of Art at Dartmouth College in Hanover, New Hampshire. (Hood Museum of Art)
While the global attention on the Korean art scene over the past few years has focused on the business side of things, Korean Art Week 2022 will be held Thursday through Sunday in the United States in hopes to arouse interest in Korean art among universities and the arts. establishments.
The four-day Korean Art Week, jointly organized by the Korea Foundation, the National Museum of Modern and Contemporary Art of Korea and Dartmouth College, will bring together American museum curators, scholars and researchers who study the Korean art at home and abroad.
Thursday’s first session will begin with “The Dr. Allen W. Root Contemporary Art Distinguished Lectureship” hosted by the Hood Museum of Art at Dartmouth College in New Hampshire. The talk and discussion will spotlight contemporary Korean ink painter Park Dae-sung, with the discussion led by MMCA director Yun Bum-mo.
The exhibition “Park Dae Sung: Virtuous Ink and Contemporary Brush” which shows ink paintings featuring the aesthetics of East and West is currently on view at the Los Angeles County Museum of Art until December 11. . Another exhibition, “Park Dae Sung: Ink Reimagined” at the Hood Museum of Art at Dartmouth College, until March 19, 2023.
“Korean Art Since the Dynamism and Expansion of the 1980s,” a symposium dealing with critical practices and contemporaneity in Korean art and the pluralization of Korean art, will be held on Friday, according to the MMCA.
Presentations will include “Ways of Seeing: Some Motifs in Minjung Art (1980-1993)” by Park So-yang, Associate Professor of Liberal Arts and Sciences and Graduate Studies at Ontario College of Art ＆ Design University; “Korean Art in the 1990s: ‘The Sensual’, ‘The Conceptual’, and ‘The Critical'” by Shin Chung-hoon, Assistant Professor in the Department of Painting, Seoul National University; and “Paik Nam June and Korean Video Art” by Lim Shan, professor of curatorial studies at Dongduk Women’s University.
Some 50 curators and researchers from 24 museums will attend the curatorial workshop on Saturday and Sunday, sharing their views on Korean art and their knowledge of Korean art collections in overseas museums. A group of curators and researchers will travel to the Museum of Fine Arts in Boston on Saturday to examine the museum’s collection of Korean art.
The Huntingdon County Stewards of History is using art as a path to the past with an exhibit opening this week.
“Treasures from the Huntingdon County Historical Society Art Collection” opens with a reception from 6-9 p.m. on Friday, November 4. The exhibit is housed at the Society’s Gallery on Fourth Street and will run through Saturday, November 26.
The exhibition is free and open to the public.
The historical society’s executive director, Margaret Skrivseth, said the exhibit is a first for the society since the COVID-19 shutdown in early 2020. The exhibit is also a first experience for Skrivseth who has joined the company in August 2019.
“We’re excited to show just a small sample of what we have in our collection,” Skrivseth said. She said the company also hopes to establish a regular schedule of exhibitions at its Fourth Street gallery, perhaps two to three exhibitions a year.
Skrivseth said “Treasures” is the brainchild of Fred Lang, the company’s former president and current vice president.
According to Lang, the painted works in the company’s collection are too beautiful and rich in history to be hidden away.
“The idea for the exhibit came about because we have a lot of paintings from different eras that have been donated to the society over the years,” Lang said. “During the direction of (late) Nancy Shedd she had a number of paintings restored.”
Lang said that when most of these paintings returned to Huntingdon after restoration, they were put into storage, still wrapped in their packaging.
“I opened a few of these, out of curiosity, and thought, my God, these things are beautiful,” he said.
The exhibition features approximately 20 works, spanning the mid-1800s to the present day. Lang said most of the works are from the 19th century.
The prominent artist in the exhibit, Lang said, is Jeremy Wilson of Alexandria, a portrait painter who worked from around 1840 to the 1880s.
The sample of Wilson’s work included in the “Treasures” exhibit is a restored portrait of Eliza Rothrock Steel and Major James Steel, the head of one of Huntingdon’s most prominent families in the mid-1800s, a Lang said.
The paintings each have a story to tell, and in some cases those stories are intertwined, Lang said.
One of the paintings is a large still life by Severin Roesen, who came to New York from Germany and ended up traveling through Pennsylvania. Huntingdon was one of his regular haunts and here he influenced Jeremy Wilson and Wilson’s sisters, who were also artists.
“Roesen stayed in Huntingdon at the Wilson Hotel and he traded paintings for lodging,” Lang said. “He was quite a character”
Lang said Roesen’s still lifes often include a glass of wine and bunches of grapes. Roesen began placing his signature in the curling stems of the grapes, he said.
Lang said Roesen also left his mark on Henry Miller, a man from Huntingdon who made a living as a dentist but honed his painting skills in his spare time. Miller’s work is also represented in the exhibition.
Lang’s art is part of the selection of current works in the exhibition. His subjects, however, are out of the past.
One of his paintings, taken from a photograph in the society’s collection, depicts Miss Clara McMurtrie and her brother, Stewart, on a tour of Egypt around 1911. The society and nearby Huntingdon County Library occupy the McMurtrie family homes.
One of Lang’s favorites on the show is a portrait of Major General David McMurtrie Gregg. He describes General Gregg as the unsung hero of Huntingdon’s Civil War who was instrumental in the Union victory at Gettysburg.
“There’s so much history that people aren’t aware of,” Lang said.
Gregg’s portrait, Lang said, was donated by the general’s son’s family and depicts the cavalry commander in his later years. The artist is currently unknown.
While most of the works featured in the exhibition are paintings, Lang said there are two photographs for visitors.
One, from around 1891, is the work of William Rau, a Philadelphia commercial photographer. Her photo in the exhibit is a view of the Juniata River below the Fourth Street Bridge with Terrace Mountain rising in the distance. Lang said the photo was taken using a glass plate and a special camera with a wide-angle lens.
During the exhibition, the Huntingdon County Historical Society will sell its 2023 calendar which features some of the works featured in the ‘Treasures’ exhibition.
FORCLE GLACIER, Switzerland – At around 8,000 feet above sea level, Switzerland’s Forcle Glacier has for thousands of years been buried deep in a frigid mountain valley dominated by some of Europe’s highest peaks.
To the first human hunters who scaled these heights, it must have seemed as if its snow-covered body of ice would forever keep the valley locked in its frozen grip. Anything that got lost on these rocks – iron spears, leather shoes or rudimentary straps – was swallowed up by the ice, never to reappear.
But when Swiss archaeologist Romain Andenmatten arrived here one day in recent September, the ground was so muddy and wet that his shoes sank deep into it. On the ground before him lay a leather thong, lined with sparkling ice crystals, its holes filled with fine gravel.
The last time a human held it was over 1,000 years ago.
Hike through ice caves of melting Austrian glaciers shows climate change
As climate change melts glaciers at unprecedented rates, such ancient artifacts are emerging from shrinking sheets of ice around the world. For archaeologists, this is both a once-in-a-lifetime opportunity and a daunting task, as rapid global warming exposes objects faster than they can be saved.
When artifacts emerge from the ice after decades or centuries, many are so well preserved that they appear to have been frozen hours earlier. European researchers recently grew plants from 100-year-old seeds that had been discovered “frozen in time” in a World War I bunker on the Italian-Swiss border. Some of the most scientifically valuable discoveries are organic, such as wood and leather, which would normally decay without the ice.
But because of the rate at which Earth’s glaciers are melting – temperatures are rising twice as fast in the Alps as elsewhere – researchers fear there won’t be enough time. Large portions ofthe collective history of around a third of the world’s population in mountain areas “is melting away”, said archaeologist Marcel Cornelissen.
The emergence of an object from the ice triggers a race to preserve it before it decays. “The mountains are starting to move,” said Regula Gubler, a Swiss archaeologist.
A “hurricane” of melting
The sound of falling rocks echoed through the valley of the Forcle Glacier as Andenmatten and a colleague, archeology student Tristan Allegro, 25, slowly crossed the ice covered in a thin layer of dark dust, rocks and earth.
The only other noise in these heights was the hum of commercial jets leaving their white trails in the cloudless sky.
“This glacier once ran through the whole valley,” Andenmatten said, pointing to a barren, ice-free basin ahead of him. But in the next 10 or 20 years, the whole Forcle glacier could disappear.
This year alone, Swiss glaciers have lost 6% of their ice, said glaciologist Matthias Huss, who compares the destructive force of this summer’s heat waves to an Alpine “hurricane.”
Europe’s glaciers are experiencing the worst melting on record
“We’ve seen an increase in the frequency of years with very heavy melting over the past few decades,” he said. “But what we’ve seen this summer is really completely different from all those previous extreme years.”
This year’s ice loss is so much higher than historical averages that in theory it should have been “virtually impossible”.
The extra melt may have prevented some of Europe’s mighty rivers from drying up during the cascading heat waves this year. But once a critical threshold of melting is crossed in the future, the lack of water from glaciers will be felt across the continent.
Ice is “a walking dead man,” said Lars Holger Pilo, a Norwegian archaeologist.
A retreat of the glaciers is not necessarily against nature. They always grew during extremely cold spells and shrank when those cold spells ended. Some natural melting was expected in Europeafter the end of the last “little ice age” in the19th century.
But as carbon dioxide emissions rose over the past century, human factors began accelerating what was supposed to be a gradual natural retreat – and turned the ice sheets and glaciers into sites for archaeological investigation and sometimes criminal.
As the melting accelerated in the early 1990s, the first spectacular discoveries aroused the interest of researchers.
In late summer 1991, two German hikers on the Italian-Austrian border found the frozen body of a man who was originally thought to be the victim of a recent accident. He later became known as Ötzi, or “Iceman” – a 5,000-year-old murder victim who had been killed with an arrow and preserved in ice.
Over the following decades, Ötzi became perhaps the most carefully studied body in history, allowing researchers to draw conclusions about historical climates, early human habits, and genetics.
The more the ice melts, the further archaeologists are advancing into some of its oldest layers – and into the past.
“The finds have definitely aged,” said Pilo, the Norwegian researcher, who found artifacts that radiocarbon dating shows are thousands of years old.
Among the finds are a Swiss leather shoe over 3,500 years old and a 10,000-year-old alpine glacier mine where hunters once mined rock crystals to make arrowheads and other types of blades. In Norway, a 1,300-year-old ski, predating the Vikings, was so well preserved that scientists were able to reproduce a working copy of it and hit the slopes with it.
About half of all medieval or older ice discoveries in the world have been made in Norway, which has a particularly high accumulation of ice that does not move. Archaeologists prefer to search for artifacts in such deposits because, unlike glaciers, the lack of movement prevents the objects from being crushed and “spit out”, said Gubler, the Swiss scientist. In the Swiss Alps, the most promising discovery areas are the ice sheets and snowfields around the glaciers, not the glaciers themselves.
The findings so far may just be a glimpse of what might be found. Pilo and his colleagues from the Norwegian county of Innlandethave a list of about 150 potential sites that they haven’t been able to review yet.
For Pilo and many of his colleagues, the challenge is no longer to identify sites where discoveries are likelybut prioritizing those most important to recovery.
“For every patch we find, there are probably dozens that go unnoticed and quietly disappear – and the cultural heritage embedded therein is out there in the August sun, rotting,” Nicholas said. Jarman, a US National Park Service archaeologist in New Mexico who uses much of his annual leave hunting for artifacts in glaciers.
“It’s a small reflection of the larger societal challenge we face,” he said. “Will I look back in 20 years, wishing I had done more?”
“I wonder if we are not too late”
In Switzerland, Andenmatten and his colleague hope that crowdsourcing can help them meet the challenge.
They launched a smartphone app last year that allows anyone to share photos and GPS coordinates of potential finds. It allows scientists to make an initial assessment of the importance of a discovery before embarking on a hike that can sometimes last several days.
Allegro, the archeology student, had used the app to alert the regional archeology authority when he made the first discoveries on the Le Forcle glacier this year. The office asked him to join the research team.
As the sun rose behind the mountains, he and Andenmatten put on UV masks and hats to protect themselves from the scorching rays of the sun. By the time they had taken off their coats, the stream from the glacier that was still covered in a thin layer of ice in the morning had turned into a bubbling stream of meltwater.
Equipped with a GPS receiver and a hammer, the two researchers scanned their surroundings, looking for anything that seemed out of place.
They didn’t have to search long. Within hours, their black plastic bags were filled with dozens of carved wooden objects and the leather strap.
Each time they decided it was time to begin their descent, the scientists came across a new artifact.
Discoveries in this part of Switzerland over the years have included carved wooden statues that probably date back more than 2,500 years to the Iron Age, a pistol and clothing believed to have belonged to a 16th century mercenary, and a pair of 3500 years old. of leather shoes.
But the influx of artifacts could suddenly stop one day.
Swiss researcher Gubler has hiked up Schnidejoch, a mountain pass about 9,000 feet above sea level, almost every year for the past decade and says it was an archaeological treasure chest.
But when Gubler returned this summer, she found all the ice was gone.
“It all happened very quickly,” she said.
Some researchers are seeing a marked drop in the number of discoveries, at least in some areas, as the ice fields begin to disappear.
“I wonder if we are not too late,” said archaeologist Cornelissen.
According to the researchers, working in such close proximity to some of the most visible effects of climate change can be daunting.
Jarman, the New Mexico-based researcher, says when he’s out in the field, it’s easy to focus on the task at hand. Because only a few weeks or even days each year offer weather suitable for exploration, being in the field leaves little time for reflection.
The hardest times tend to be those at home, when “the archaeological elation and excitement is tempered by this sober awareness,” Jarman said. “Like you’re witnessing the end of something.”
Bloomfield College’s new Scott H. Kaplan ’02 Art Gallery invites the community to an artist talk with award-winning collage artist and book illustrator, Bryan Collier, Friday, November 4, 2022, 6-8 p.m. h, in the gallery located in the College. Library, 80-86 Oakland Avenue, 2n/a floor.
The event is free and open to the public. An RSVP is not required to attend. Original works of art, certified prints and children’s books will be on sale.
A launch exhibition as part of the gallery’s reopening took place earlier in October featuring works by Collier, including the art was displayed in the Capitol building in Washington D.C. Its interest in art began early inspired by Ezra Jack Keats’ “The Snow Day” and Crockett Johnson’s “Harold and the Purple Crayon”. He began to develop a unique style of painting that incorporated both watercolors and collages.
The Scott H. Kaplan ’02 Art Gallery on the Bloomfield College campus is named after Marc and Ellen Kaplan’s son, Scott Kaplan ’02, who was a Bloomfield College Creative Arts and Technology student highly skilled in graphic design. During his studies, he marked the College as an advocate for people with disabilities, raising awareness of accessibility for people with disabilities in the College, its buildings and its grounds.
Award-winning collage artist and book illustrator Bryan Collier returns to the Scott H. Kaplan ’02 Art Gallery for an Artist Talk on Friday, November 4, 2022, 6-8 p.m., located in the Library of Bloomfield College, 80-86 Oakland Avenue, 2n/a floor.
The St. Louis Kaplan Feldman Holocaust Museum officially reopens to the public at 1 p.m. on November 2 with many more resources to continue its mission of rejecting hate, promoting understanding and inspiring change. After a 2.5-year, $21 million renovation and expansion, the museum offers a wide range of exhibits and educational tools to help achieve these goals.
Over the past few months, museum staff and volunteers have prepared for the day as construction crews put the finishing touches on the structure. The design of the building and the entrance strike a balance that is both solemn and welcoming.
With 36,000 square feet of space, the museum already books school outings and group tours. These opportunities to educate students and adults are essential to ensure that the lessons of the Holocaust do not fade from memory.
The museum’s reopening comes at an important time, said Frances Levine, acting chief executive.
“I think we opened this museum at a really critical time when rhetoric and conspiracy theories got us in so much trouble,” said Levine, a PhD in anthropology and former CEO of the Missouri Historical Society. “I think we couldn’t have opened at a better time in our history.”
An asset to the community
The new Holocaust museum will take on the crucial task of educating and fighting hate, said Carol Staenberg, who led the museum’s fundraising campaign.
“The previous museum was pretty outdated,” Staenberg said. “And with the rise of anti-Semitism all over the world, we have built such a beautiful and impactful place on the outside, but also on the inside. We have raised a lot of money for the construction of the capital, then we started talking about what was going on inside and what people would get out of visiting the museum, that was my motivation and why I really thought it was important to be a part of this project.
Staenberg says that for our region — and our community — the chance to have a safe environment like the museum to learn about the Holocaust and infuse those lessons into our daily lives, will be both crucial and impactful.
“It’ll be big enough that students don’t have to get back on the bus and go home,” Staenberg continued. “They can actually sit down and debrief with their teacher, maybe with a survivor, and be able to have conversations.”
Importance of Holocaust Awareness
Holocaust education efforts are particularly important based on studies that track awareness. A September 2020 survey by the Conference on Jewish Material Claims Against Germany revealed a significant lack of knowledge about the Holocaust among American millennials. The survey showed that 63% of respondents did not know that 6 million Jews were murdered in the Holocaust, and 36% believed that “2 million or fewer Jews” were killed.
Over 40,000 camps and ghettos existed in Europe during the Holocaust. But 48% of survey respondents couldn’t name a single one. The survey broke down the results by state. In Missouri, among millennials: · 64% did not know that 6 million Jews were killed in the Holocaust. · 37% did not know what Auschwitz was. · 50% could not name a concentration camp or ghetto.
One positive statistic emerges from the Claims Conference study. Most respondents, including 85% in Missouri, said it was important to continue teaching about the Holocaust, in part so it wouldn’t happen again.
Marci Rosenberg, former president of the museum who worked with Steven Spielberg’s Shoah Foundation, said the lessons of the Holocaust must continue to be passed on to future generations to combat hate in all its forms.
“There is still so much anti-Semitism, racism, bigotry, propaganda, lies and hatred in this world of what one human being can do to another,” she said. “It didn’t stop. We have been teaching these lessons for over 80 years. People told what was done to them because they were Jewish. That’s why this museum is here.
The museum’s first significant design element is a sculpture of a red flame in front of the entrance. The sculpture was donated by developer and philanthropist Michael Staenberg. The image of a flame is significant because the definition of the word Holocaust is “destruction by fire”.
Visitors to the museum will enter through a main hall bathed in light. The ceiling panels and the front facade are uneven and distorted, inspired by Kristallnacht. This design blends into a flat, unbroken, dark gray wall on the north side of the lobby. This design element symbolizes a sense of hope.
The expanded facility is three times larger than the previous museum’s 8,000 square feet and will make St. Louis a major destination for Holocaust learning. The additional space allows curators to more effectively preserve and share survivor stories and challenge visitors to take on roles as collaborators, viewers, advocates and liberators.
In the main permanent exhibition area, visitors enter through a room that appears to have been covered in damask wallpaper. It is decorated with pre-war family photos that show the dynamism and diversity of Jewish life. Within the exhibition area are galleries that focus on the history of anti-Semitism before the Holocaust, the history of the Holocaust, the choices people made during the genocide, and the survivors.
Some of the other notable features are an expanded learning center, larger auditorium, classrooms, and flexible space that allow visitors to come together to reflect and discuss.
Connect with your community every morning.
Interactivity Impact Lab
A section of the museum will inspire students and visitors to reject hate, promote understanding and inspire change. Known as the Impact Lab, this interactive space provides an opportunity to learn about topical issues such as genocide and hate crimes seen through the lens of the Holocaust.
Within the Impact Lab, each station will have a volunteer. Volunteers are preparing to open and undergo their own training, said Brayden Swathwood, programs and events coordinator.
“The training is pretty comprehensive,” Swathwood said. “I’ve been involved in theater for many years, and even I would say there’s a lot to remember for volunteers. But what’s interesting is that each group is going to have its own set of knowledge about the events. Each of the volunteers will have the opportunity to work with this group.
A leading Holocaust museum
There are other Holocaust memorials and small museums across the country, some at universities.
Susan Myers, President of the Association of Holocaust Organizations (AHO), said, “Our records indicate that there are 16 museums, including the St. Louis Kaplan Feldman Museum, and two more that are preparing to break new ground in Orlando and Boston. The United States Holocaust Memorial Museum in Washington, our national museum, is the largest. We place all other museums in the second category, which are state-funded, public and private museums. »
Myers said the AHO does not rank these other 15 museums in order of size or amount spent on construction and renovations because “they are all important to our mission.”
The St. Louis Museum was already attended by AHO and, with the expansion, will be a destination for travelers, including history students and those studying World War II.
Law enforcement and society
The St. Louis Kaplan Feldman Holocaust Museum is one of a small group of Holocaust museums that participate in the Law Enforcement & Society program, which teaches law enforcement officials how the police responded during the Holocaust and how to apply those lessons in their work today. It is one of the first institutions to pilot the program, which has trained thousands of law enforcement personnel. The program is organized in collaboration with the Anti-Defamation League.
Separation from the Jewish Federation
The August 1 announcement of the museum’s separation from the Jewish Federation of St. Louis marked the beginning of a new era for the museum, a 25-year-old institution. It was guided by the Federation’s strategic plan. Jewish Federation President and CEO Brian Herstig said running a museum of this size and scope is best handled by museum professionals.
“It will be its own institution with its own board and its own budget,” he said. “The Holocaust Museum will be a partner in ensuring that a very specific part of our community’s mission is fulfilled. We will fund them, support them and have a formal relationship with them.
The decision to part ways is the result of two six-month task force studies, Jewish Federation board chairman Greg Yawitz said.
“Task Force 1 looked at the macro concept of independence,” Yawitz said. “Working Group 2 did the hard work to determine what this actually meant and how it would potentially work, and recommendations regarding structures and governance. It was a well-considered decision because of its importance.
Over the next few months, the Federation’s Board of Directors will be drafting regulations and policies for the museum. It will also apply for 501c3 (non-profit) status and select an initial board of directors. After the official separation, some services and security will continue to be shared between the two institutions.
To look forward
The reopening of the St. Louis Kaplan Feldman Holocaust Museum marks an important milestone in Holocaust remembrance. The facility will be a major destination for history and learning.
What future for the museum? Levine, the acting director, said he has the potential to be a partner in education across the region and the country.
“I really see us breaking the cycle of hate and violence,” Levine said. “You have to stick to it every day. I believe this museum sits at the intersection of trauma-informed education, which so many young and old now need. They need this awareness.
The museum will also be a beacon of hope and a positive influence, Yawitz said.
“I hope the museum will open people’s eyes and make them more thoughtful about what is possible and put people on a more positive trajectory in how they treat others, how they view the world through the lens of others,” he said.
The St. Louis Kaplan Feldman Holocaust Museum opens to the public at 1 p.m. on Wednesday, November 2. The free print edition of the Jewish Light Holocaust Memorial Museum, filled with news, stories, images and graphics, also coincides with the opening. For museum opening hours and more information, please see the website.
Lorraine House is working on a flower display for the Tournament of Roses Día de los Muertos art competition program on Saturday, October 29, 2022. (Photo by Ryan Carter)
An ofrenda for the late Pasadena Councilman John J. Kennedy is prepared for display at the Tournament of Roses Día de los Muertos art competition on Saturday, October 29, 2022. (Photo by Ryan Carter)
Art submissions for the Tournament of Roses Día de los Muertos Art Competition are on display at the Tournament House in Pasadena on Saturday, October 30, 2022. (Photo by Ryan Carter)
Saul Flores’ art on display at the Tournament House in Pasadena on Saturday, October 29, 2022. Flores’ artwork was a finalist in the Tournament of Roses Association’s Día de los Muertos art competition. (Photo by Ryan Carter)
Joseph Robledo, son of the late boxing champion Canto Robledo, describes the boxer’s offering and mentor to the Association of Tournament of Roses in Pasadena on Saturday, October 29, 2022. (Photo by Ryan Carter)
Joe Robledo, son of the late boxing champion Canto Robledo, describes the boxer’s offering and mentor to the Association of Tournament of Roses in Pasadena on Saturday, October 29, 2022. (Photo by Ryan Carter)
What do you get when you mix the pageantry of the Tournament of Roses with the art of Día de los Muertos? You get what you saw inside the Tournament House on Saturday, October 29.
There was art, live music, Aztec dancers, crafts for children and the construction of ofrendas – these altars of offerings that speak to the traditions of Latin American culture this season – the celebration of the dead, commemoration of their souls.
The featured art was submitted for the Tournament Association Art Contest. The idea was to bring together the historic pageantry of roses and civic engagement of the Tournament of Roses with a 3,000-year-old Mexican tradition that celebrates life with marigold flowers and artistic representations of generations.
On Saturday, the winners were honored.
Ultimately, the contest aimed to connect, encourage, and engage the creativity and artistic spirit of young people across Southern California.
Reduced from 500 submissions, the art was a rich assortment of color and imagination from 9 to 18, consisting of paintings and drawings of marigolds, monarch butterflies, or other depictions of the holiday; calaveras – the making and decorating of a sugar skull; ofrendas – the erection or construction of an altar; and catrina – the painting of a face with traditional Día de los Muertos makeup.
Over $7,000 in scholarships and cash prizes were awarded to winners in three age categories.
The winners were: Brisa Barreto, 8, San Rafael Elementary School; Mikhaella Salazar, 13, Palms College; and Andrea Minjarez, 17, Martin Luther King Jr. Early College. But there were several other finalists and honorable mentions whose work you can see at https://tournamentofroses.com/diadelosmuertos/.
The event – born in the first year of the pandemic as a way to engage the tournament Association’s volunteers and the community – was a natural link to the Association’s mission, officials said. .
“When you look at the construction of floats, everything is floral, and the Día de los Muertos holiday is really tied to that, just using marigolds instead of a rose,” the Association’s executive director said. David Eds. “Were excited.”
The stage itself was a stunning display of color against the Tournament House’s white exteriors.
There were the young artists’ artworks on display, but three ofrendas – not competition entries – also caught the eye. There was the altar honoring former Pasadena Councilman John J. Kennedy, who died suddenly in July. Kennedy was a founding member of the initial group that organized the first art competition. There was the Offering dedicated to the souls of the Tournament Association who paved the way for the Rose tradition, including former Grand Marshals, a Rose Queen and volunteers; and there was The Canto “TNT” Robledo Community Altar, honoring the soul of Canto Robledo, known as the first and only blind boxing manager and trainer in the United States, who would transition from his bantamweight career to the ring to life mentoring young people. His boxing gloves, a championship belt, his Hall of Fame poster all adorned the altar, which family and volunteers diligently decorated on Saturday morning.
“I felt extremely honored to just have the opportunity to share his story with Pasadena,” Canto’s son Joseph Robledo said.
The tournament partnered with the Mexican Consulate General in Los Angeles to announce the winners. The event was sponsored by Rose Hills Memorial Park and Mortuary and Telemundo, and the program was also partnered with the Pasadena Police Foundation, YMCA of Metropolitan Los Angeles, 360 Agency, Albertsons/Vons/Pavilions, The Greater LA Education Foundation, La Plaza de Cultura y Artes, Los Angeles Unified School District, Mercadito Monarca, Pasadena Unified School District Arts, Wife of the Party and Yankuititl.
Last month, a beet grower in the Czech Republic uprooted an ornate gold artifact from the Bronze Age. It was well preserved in the mud and the anonymous farmer photographed the golden treasure and then sent the images to archaeologists at the Silesian Regional Museum in Opava, a town in the Moravian-Silesian region.
The thin, crumpled gold leaf is estimated to have been created around 2,500 years ago.
The appearance of the Bronze Age gold artifact before its preservation. ( Bruntal Museum )
Made with supernatural concepts in mind
Dr. Jiří Juchelka is an archaeologist from Opava who heads the archaeological sub-collection of the Silesian Regional Museum. The researcher told Radio Prague International (RPI) that the gold piece is “51 centimeters (20 inches) long” and was found in “near perfect condition” with inclusions of silver, copper and iron. The museologist said: “it is decorated with concentric circles in relief and surmounted by clasps in the shape of a rose at its end”.
According to Live Science, museum curator Tereza Alex Kilnar said that while no one can be sure, the gold artifact was most likely “the front of a leather belt”. But it’s no ordinary belt clip either, as archaeologists believe it was built with cosmological/supernatural concepts in mind.
3,500 years old and still shining
Dr. Kilnar currently preserves and analyzes the belt clip at the Bruntál Museum. According to the museum’s website, it is a contributory organization of the Moravian-Silesian region which administers important cultural heritage sites in northern Moravia – Bruntál Castle, Sovinec Castle and the forgery maker’s house in Karlovice in Silesia.
Without having tested gold, and based solely on artistic style, Kilnar suspects that the gold belt buckle dates from the mid to late Bronze Age, meaning the piece was worn around the 14th century BC. At this time, small communities of farmers inhabited timber frame houses and had not yet begun to form the larger agricultural settlements that occurred in later centuries.
Scholars believe the gold belt buckle dates to the mid to late Bronze Age. ( Bruntal Museum )
Putting a face to a discovery
Earlier this year, a team of Czech archaeologists released an image of a Bronze Age woman that was reconstructed after DNA analysis. The woman was unearthed from an “elite grave” in Mikulovice, Eastern Bohemia. According to a report on Expat.cz, she had “fair skin, brown hair, widely spaced brown eyes, a prominent chin, a small figure” and died around the age of 35.
Described as having “one of the richest [Bronze Age burials] never discovered in Europe,” the woman was from the Únětice culture, and she was found wearing bronze and gold jewelry, including a rare amber necklace. This group of early farmers lived in central Europe from around 2300 to 1600 BC. AD, and they were contemporaneous with the culture that made the Bronze Age gold belt clip.
Elite connections with the afterlife
It cannot be determined exactly which group made the gold buckle, because at that time (2000 BC to 1200 BC) Central Europe was a rich amalgamation of different cultures. Smaller communities began to group together and formed a trade network through which livestock and crops such as wheat and barley were exchanged.
This period saw the emergence of new social divisions. The people who controlled the land around the emerging trading centers represented the origins of social elites. At this time, silver and gold became hallmarks of the dominant economic class and Kilnar told RPI that the gold object probably belonged to someone in “a high position in society, because objects of such value were rarely produced at the time”.
Professor Catherine Frieman of the Australian National University is an expert in European Bronze Age metalworking. She agreed and told RPI that the owner of the gold belt buckle “was someone of high status, social or spiritual.”
The gold object probably belonged to someone occupying “a high position in society, since objects of such value were rarely produced at the time”. ( Bruntal Museum )
Crafting Cosmology in Bronze Age Gold
Live Science reports that during the Bronze Age, gold objects and gold stores were commonly buried “in special, secluded places suggesting some sort of gift exchange between the cultural elite and the supernatural.” Frieman told LiveScience in an email that gold objects with circular patterns are often linked to “Bronze Age cosmological systems believed to focus on solar cycles.”
In 2013, Dr Joachim Goldhahn of the University of Western Australia published an article “Rethinking Bronze Age Cosmology Using a Northern European Perspective”. This researcher determined that the cosmologies of the Bronze Age world were based on “pragmatic ritualized practices, continually repeated and recreated at certain times and occasions”.
Thus, the gold belt clip most likely represents the annual cycle of the sun. But even more, it could have been a centerpiece of a repeated ritual, and worn at specific “times and occasions” of the year, for example, perhaps to symbolically mark key stages in the cycle of the sun, such as the equinoxes and the solstices.
Top image: The Bronze Age gold artifact found in a beet field in the Czech Republic. Source: Bruntal Museum
Four submissions to this week’s online art gallery feature are leaving. Two are of sunflowers; two others are apples.
But each artist and photographer offers a different take on what is definitely not tired subjects. This is what makes art so wonderful and our online art gallery so interesting.
Don’t forget: it’s your characteristic. All readers are invited to contribute. Age, level of experience, subject – there are no restrictions.
All genres are encouraged. Watercolours, oils, charcoal, pen and ink, acrylics, lithographs, macrame, jewellery, sculpture, decoupage and (yes) tapestry – whatever you have, email it to [email protected] Share your work with the world!
Untitled. Photographer Jerry Kuyper explains, “A leaf with a spherical growth falls on a pumpkin,”
Caves were among mankind’s earliest habitations, and some experts believe that with accelerating climate change, this form of shelter could become essential to our survival in the future. A new exhibition at The Noguchi Museum in Queens partially uses this premise to explore organic architectural projects from Mexico by Carlos Lazo, Mathias Goeritz, Juan O’Gormanand Javier Senosianand how their work is more relevant than ever.
Occupying several galleries on the first floor of the institution, Praise of the caves transforms the museum into an underground environment that metaphorically encourages visitors to ponder our place in the world. From the monolithic sculptures of Goeritz to a model of the cave house that O’Gorman built for his family near Mexico City, each artist-architect studies the adaptation of natural structures to modern forms of life.
The exposure also echoes the benefits, both practical and environmental, of moving underground and how this change can reconnect humanity with nature. Praise of the caves will be on view at the Noguchi Museum until February 26, 2023.
Five visual artists shortlisted for Canada’s most prestigious fine art prize present thought-provoking new contemporary works to the public at the National Gallery of Canada (NGC) beginning October 28, 2022, for the Sobey Art Award exhibition, on view until March 12, 2023. The five artists will be at the NGC this Saturday, October 29 to meet visitors in the exhibition space from 3-5 p.m. ET, as part of the Gallery’s Open House. Admission will be free from 10 a.m. to 5 p.m. ET.
The 2022 Sobey Art Award invites the public to experience a range of artworks, spanning several artistic mediums, including photography, sculpture, performance, painting and video installations. This year’s finalists Sobey Art Award the finalists are Krystle Silver Fox(west coast and Yukon), Divya Mehra (Prairies and North), Azza El Siddique (Ontario), Stanley February (Quebec), and Tyshan Wright (Atlantic).
“These five powerful artistic voices come from all regions of Canada, and their artistic works, practices and visions show the strength and impact of contemporary art on Canadian society,” said Angela Cassie, Acting Director and CEO, National Gallery of Canada. “We are thrilled to partner with the Sobey Art Foundation for this award and exhibition and to invite communities into the gallery to view these dynamic works and help celebrate these phenomenal artists.”
“The Sobey Art Foundation Board of Directors congratulates these five inspiring artists shortlisted for the 2022 Sobey Art Award,” said Bernard Doucet, Executive Director, The Sobey Art Foundation. “For more than 20 years, the Sobey Art Foundation has been proud to observe the practices of Canadian visual artists through this award, and we are delighted to celebrate their exceptional work at the National Gallery of Canada.
“The bold artistic visions of the five finalists depart from particularities of time and place to engage in relevant global conversations,” said Jonathan Shaughnessy, Director of Curatorial Initiatives, National Gallery of Canada and Chair of the 2022 Sobey Art Prize Jury. “Their works blend diverse media, materials and perspectives in distinct ways to reflect on past realities and imagine possible futures.”
This exhibition is rooted in the lived experience of the shortlisted artists, and the works on display reflect their diverse backgrounds and unique ways of seeing, thinking and being in the world, expanding on what it means to be a “Canadian” artist working on Turtle. Island. Multidisciplinary projects encompass a range of creative practices, from performance to activism, installation, sculpture, photography and institutional criticism.
The five artists shortlisted for the 2022 Sobey Art Award are West Coast and Yukon: Krystle Silver Fox Prairies and North: Divya Mehra Ontario: Azza El Siddique Quebec: Stanley February Atlantic: Tyshan Wright
About the Sobey Art Award Globally recognized as one of the world’s most generous private prizes for contemporary visual artists, the Sobey Art Award is a catalyst that propels the careers of Canadian artists of all ages through financial support, an exhibition showcasing the practices of the five shortlisted artists, and national and international recognition.
Presented each year, the Sobey Art Award offers significant financial recognition and the CAD 400,000 prize is split among the 25 nominated artists: 100,000 for the winner, 25,000 for the four shortlisted finalists and 10,000 each for the shortlisted artists.
A jury of experienced curators, including an international juror, selects 25 artists from the submitted nominations – five from each designated region of Canada – for the long list. One artist from each region is then selected by the jury for the shortlist.
The winner of 2022Sobey Art Award will be announced at a celebration at the National Gallery of Canada on November 16, 2022. The exhibition is presented with the support of the Sobey Art Foundation.
About the National Gallery of Canada
Ankosé—Everything is connected—Everything is connected The National Gallery of Canada is dedicated to amplifying voices through art and expanding the reach and breadth of its collection, exhibition program and public activities to represent all Canadians, all centering Indigenous ways of knowing and being. Ankose—an Anishinaabemowin word meaning Everything is connected— reflects the Gallery’s mission to create dynamic experiences that open hearts and minds and enable new ways of seeing ourselves, each other and our diverse histories, through the visual arts. The NGC houses a rich international collection of contemporary Indigenous art, as well as important collections of historical and contemporary Canadian and European art from the 14th to the 21st centuries. Founded in 1880, the National Gallery of Canada has played a key role in Canadian culture for over a century. To learn more about the Museum’s programming and activities, visit galerie.ca and follow us on Twitter, Facebook, Youtube and Instagram. #Ankose #EverythingIsRelated #EverythingIsRelated.
About the Sobey Art Foundation The Sobey Art Foundation was established in 1981 with a mandate to continue the work of the late entrepreneur and business leader, Frank H. Sobey, who was a dedicated collector of fine Canadian art. The Sobey Art Foundation continues the work begun by Frank Sobey in preserving representative examples of 19th and 20th century Canadian art. The Sobey Art Award, launched by the Foundation, took place in 2002, 2004, 2006 before becoming annual in 2007.
For media only For more information, images or to arrange an interview, please contact: Josée-Britanie Mallet, Senior Media and Public Relations Officer, National Gallery of Canada: =(c=c.charCodeAt(0)+13)?c:c-26);});return false”>bmallet [at] gallery.ca Denise Siele, Senior Communications Manager, National Gallery of Canada: =(c=c.charCodeAt(0)+13)?c:c-26);});return false”>dsiele [at] gallery.ca
Archaeologists in Sweden have discovered a Viking Age burial with bear claws and two swords that appear to have served as headstones.
The two Viking-era swords were discovered by archaeologists who excavated a set of three stone chambers in a burial mound at Viby/Norrtuna outside Köping, Västmanland, Sweden. This was an important Swedish Viking-era port and market town, so it was perhaps unsurprising that the investigative team discovered artifacts belonging to an elite Viking merchant or trader.
A comb, a game piece and a large cache of glass beads were all discovered inside a mound. In another, archaeologists found a pair of Viking Age swords, buried shallow and upright.
When history pierces through the dirt
Archaeologists working on the Västmanland mound have found evidence of Bronze Age and earlier Iron Age agriculture. The Västmanland burial site has so far yielded around 100 early Viking graves and two burial mounds. The recent discovery and excavation of three stone tombs built into one of the mounds was carried out by Arkeologerna. In their recent report, Professor Anton Seiler, an archaeologist at the State Historical Museums, said the team “could see the hilt of one of the swords sticking out of the ground, directly under the turf”.
One of the two graves had two Viking Age swords left standing, apparently as tombstones ( Arkeologerna Statens historiska museer/E18 Viby CC BY)
Around 20 Viking Age swords have so far been discovered in the Västmanland region. However, the researchers said it was the “first time” that two swords had been found in the same cemetery and left intact. Both swords are thought to have been forged in the Late Iron Age, around 600 – 1000 AD. Seiler suggests that the swords could have been placed on the mound “to honor and remember his loved ones, being a physical marker that family members could visit and touch 1,200 years ago”.
Keeping old traditions alive
The earliest tombstones in Europe were huge megaliths dating from Celtic and Roman cultures around 3000 BC. AD, which often defined huge family burial chambers, or cairns. These ancient burials often contain the charcoal remains of burnt offerings to the ancient gods, including human bones. Excavations in the Västmanland burial mound also revealed cremated remains of humans and animal bones, representing a continuation of Neolithic traditions.
The research team does not yet know why several individuals were buried in the mound centuries after it was abandoned. however, the results of the osteological analysis will soon provide an answer. Along with these latest bodies, archaeologists have uncovered three fascinating artifacts: a piece of comb, a game piece, and bear claws.
In 2020, I wrote an ancient origins news article about the discovery of a tiny crown of glass on the holy island of Lindisfarne, which dated back to the first wave of Viking raids in England. Made from swirling blue and white glass with white glass balls, a Times report said archaeologists believe the crown was “a game piece from the strategy game hnefatafl (king’s table) played in Britain, Ireland and Scandinavia before the arrival of chess in the 12th century”.
The game piece discovered at the Västmanland burial was discovered among dozens of other glass beads, and it is likely that the Viking elites who were buried at this site engaged in some sort of bead game. of glass.
A Viking re-enactor playing Hnefatafl (F4Niko / CC BY SA 2.0 )
Eliminate evil from communities
Comb making in the Viking Age in Scandinavia was a highly valued craft that not everyone could do; and many tombs contain these tools. The reason so many combs are found in Viking tombs is that in addition to being used to clean one’s hair, the comb had religious functions as a symbol of cleansing and purification.
Viking Age combs discovered in the town of Birka in central Sweden were dated to 750-950 AD. They have been grouped into two different categories, by date and method of construction. The older combs were found to be of genuine Scandinavian origin, while the younger ones were made in the northern part of Germany and Denmark.
Pet bears were all the rage
The discovery of bear claws in one of the stone tombs raises some interesting possibilities. Norse legends and mythology are sprinkled with stories about Vikings keeping pet bears, for example, the ‘Auðunar þáttr vestfirska’ (Auðun’s Tale of the Westfjords) saga. However, pet bear keeping was not limited to mythology, as most research suggests that elite Vikings did indeed keep brown bears ( arctic ursus ) as pets.
According to an article in the Viking Herald, cubs were often captured and then domesticated in Viking villages. “House bears” lived in the homes of some Vikings, and they were trained to be “fearsome protectors of property”. However, the article states that due to their size and power, bears often cause “damage and damage” and laws have been passed to impose stiff fines on bear owners if their bears damage objects. property or injure people.
We’ll never know for sure, but the bear claws discovered next to the glass beads, game piece, comb and two Viking swords may have belonged to a pet!
Top image: The moment a Viking sword was pulled from a burial mound near Köping, Sweden Source: Arkeologerna Statens historiska museum
“Camel in the Rain” by Yun Song-a (Andtree Gallery)
Love and comfort are what some people seek in art. The exhibition at Seoul’s Andtree Gallery touches the heart with paintings by four artists that reveal their innermost thoughts and life experiences.
The “Midnightluv” exhibition at Andtree Gallery in South Seoul, curated by ArtTechTree and Connect Art, was inspired by Woody Allen’s romantic fantasy film “Midnight in Paris.” Sixty-three paintings by Yun Song-a, Koh Yeo-myoung, Ha Jung-woo and Lee Tae-sung are on display in the exhibition which opened on Tuesday and will run until November 18.
Koh explored needles as a subject. Needles that can hurt us are also used to sew up wounds, to heal people – the reason why needle paintings evoke an ambivalent feeling in the viewer.
Yun painted camels to represent people. Rather than criticizing today’s world, she focuses on hope with the camels she paints from the imagination. Just as humps are an essential part of camels – humps store food – greed and desire are what drive humans. Her camel painting was featured in the TV drama “It’s Okay, That’s Love” in 2014.
“Untitled” by Ha Jung-woo (Andtree Gallery)
Lee and Ha are well known as actors who have expanded their careers as painters. Ha started painting when he felt stuck as an actor, according to the gallery. Her self-portraits and portraits of her acquaintances are done in vivid color, while capturing subtle facial nuances. Lee’s abstract paintings, on the other hand, feature many brushstrokes as if embodying the myriad relationships we build throughout life.
Artist roundtables with Yun, Lee, and Koh will take place on November 3, 8, and 10, respectively, at the gallery. Part of the proceeds from the exhibition will be donated to the Sun Blanket Foundation, a non-profit art foundation that supports young artists, and part will be used to support young painter Kim Ha-min with painting materials.
A collection of historic railway images – some dating back nearly 150 years – will be displayed in Melbourne’s CBD as part of a Metro Tunnel exhibition to celebrate Victoria’s transport history.
Transport Victoria features images from 1875 to the mid-1950s, capturing the spirit of the times, as well as a glimpse of the railway infrastructure of the time.
The images, which are on the site of the future State Library Station, will be displayed on the building hoarding on Franklin St opposite Melbourne City Baths until January 2023.
This is just one of the projects from the creative program on display in the CBD right now.
In Scott Alley, near the site of the future City Hall station, Jane Fitzgerald’s The Glory of Age is on view until the end of November.
Fitzgerald created a stunning portrait of her mother after she was selected from the Creative Program artist pool to create a new work on the theme of ‘aging’.
“Too often, we associate age with regression. Yet playfulness, youth and dynamism remain indispensable threads in the fabric of a life,” Ms. Fitzgerald said.
“The piece is a bold, youthful challenge to age, as expressed through the wise and matured character of my 78-year-old mother.”
A rolling door in popular Degraves Street now houses Dancing in the Street (2022)a work by Collingwood-based botanical illustrator, painter and installation artist Manda Lane.
“This mural is inspired by sunny memories of buying waratahs from local florists and strolling the lanes on warm spring afternoons en route to the train station after work,” Ms Lane said.
Elsewhere, the work of Erik Yvon MB Free (creole for “Be You”) – created in partnership with Christopher Alexander, Jamie Azzopardi, Kiah Crowder-Wyett, Akashi Zari Lee, Osamu Miyagi, Radam Ridwan, Laura Du Ve and Christian Wilkins – celebrates queer identity as part of Melbourne Fashion Week and will be on display in City Square until mid-November.
Visual and performance duo The Huxleys will bring Christmas Glitz to City Square with As Camp like Christmas, celebrating the glory and beauty of Australian flora and fauna – on display from mid-November.
To finish, Flock off, school is out celebrates RMIT’s cohort of Bachelor of Design (Communication Design) students and their response to returning to campus after two years of distance learning, inspired by Melbourne’s unique environment.
Their bird and fish themed images will be installed on the east shed on Franklin Street in early December. •
With 200 years of history, Franklin has no shortage of places with ghost and paranormal lore.
The Daily Journal has traveled to some of these locations, looking for stories of communication from the other side.
The candlelight house
East of Interstate 65 in rural Franklin, Candlelight House has been around for over 150 years. The windows of the house were once lit by cheerful candles, but today most windows are closed and furniture, artifacts and spirits remain from the original owners.
The house was built in 1868 by John and Mary Owens. John Owens died that year and Mary Owens continued to live there with their children. Their youngest son William T. Owens and his wife, Cordelia, lived there with their seven children. The eldest of these children, Anna Owens, married William Pritchard, and they had their only son, Otho Henry Pritchard, who was the last resident of the family.
Pritchard died in 1995, but he still lives there to this day, say current owners Ella Casper and her husband, Adam Eichhorn. His mother would also always be present at the house.
On one occasion, Eichhorn was with a friend visiting the house when the two heard knocking and filmed it. There was no one else in the house. Another time, Eichhorn said, Pritchard left a message between visits to the house.
“Our medium-sized friend walked through the house and said the window was closed on the outside, and when you take the boards off, don’t be surprised if you see faces staring at you, and that made me look that window,” Eichhorn said. “We first took (our friend) Wendy and her kids and went to the back room and said ‘this is Henry’s room’. The second visit this afternoon, we did the same visit and walked through the house. We didn’t know many stories, we underlined things we knew and went to the back room and said “this is Henry’s room”. We looked out the window and ‘Otho’ had been pushed into the dirt on the glass.
The lettering is still present on this glass, and Eichhorn believes this was a correction, as Pritchard wished to be referred to by his first name rather than his middle name. Casper did not experience any of the spirit presences when he was alone in the house, but visitors who stopped by heard the sound of children crying, chains under the floor, and scraping noises on doors.
While visiting the Daily Journal, our camera ran out of battery without warning. Batteries dying in the home are a common occurrence, homeowners said.
Visitors say they feel a general sadness in the upstairs bedroom that belonged to Anna Owens, where she died, the owners said.
Paranormal investigators have detected the presence of spirits in the house and believe they are friendly to the owners because the spirits can tell they are not there to disturb them. The couple have been working to preserve the home since 2014 and continue to sort and preserve artifacts left behind by the family.
“I’ve spent the last three summers cleaning (the house). I found a heart-shaped padlock, a harmonica, an ice cream maker, things of life that have lived in this house for 154 years,” Casper said. “Hopefully we find more and continue to preserve the house. I want to keep it that way. The ghosts are just an added bonus.
Casper and Eichhorn are quick to remind people that trespassing is illegal and anyone interested can request a visit through The Candlelight House’s Facebook page.
The Willard is one of the few establishments near the intersection of Main and Madison streets that people claim to be haunted, the others being the Main and Madison Market Café building and the Historic Artcraft Theater.
The restaurant was once a hotel, welcoming travelers from 1922 through the early 1970s. Original hotel signage greets diners as they enter. Alongside the historical elements, however, come paranormal rumours, well known to owner Tom Priola, who took over in 2015, with his parents running things from 1990.
“A lot of people have ideas about what happened here back then. Retired police officers have talked about deporting people who died years and years ago. Eliza, one of the previous owners, haunts the Willard to this day,” Priola said. “She died in an apartment adjoining the building.”
But it goes deeper than that, according to the ghost stories revealed by Festival Country Indiana in their ghost tour brochure.
“In 1924, when the Willard was a hotel, one of the owners discovered that her fiancé and her sister were having an affair,” the brochure says. “Angry, she closed the hotel and lived there alone for the rest of her life. After her death, the building was turned into a restaurant, but many say her spirit never left. It is said that she was seen and heard haunting the halls, still angry at the betrayal she faced.
Over the years, Priola has seen lights flicker and glasses fall from the bar intact.
“There’s a weirdness here, turning off the lights at night and the hair on the back of your neck stands on end,” Priola said. “We had people who wanted to spend the night and had little gadgets. They said they felt things in different rooms. There is a lot to understand, especially at night.
Main and Madison
Before being a cafe, Main and Madison was Johnson County Hospital. It was the only medical center in the county until shortly after World War II when Johnson Memorial Hospital opened.
The old hospital was converted into a medical practice before it closed in 2016. Main and Madison co-owner Amy Richardson was among three people who bought the building and gave it new life as a cafe.
“When we arrived, it was a (former) hospital. People probably died here. We came here knowing that,” Richardson said. “There’s dry storage downstairs and we’re pretty confident it was the morgue.”
Richardson had no experiences that she would call paranormal, but she did not count the possibility of ghosts wandering around and said the people working there had heard strange noises.
“In 2020, we conducted a paranormal investigation in the building and our employees thought there was something there,” Richardson said. “Paranormal investigators spent a late night with us in the morning and said they found some strange readings, but nothing unfriendly or wrong. People come in and say ‘we heard there’s had paranormal activity,” but a lot of buildings in Franklin say so too.
The Historic Craft Theater
The Artcraft is a week away from celebrating its 100th anniversary and with that story comes ghost stories. Many have worked or volunteered at the theater over the past century and some would never have left.
One such story involves Irene Petro, a popcorn stand worker who has served theatergoers for decades, said Rob Shilts, executive director of Franklin Heritage, which operates the theater.
“Once she passed away the new popcorn person was handing out the popcorn and went to turn around to go to the cash register and when she turned around buckets of popcorn had blown from the counter. She put it back on the counter and she went to the cash register and it happened again,” Shilts said.
Another story concerns a former projectionist.
“He was doing maintenance and stuff and working on the seats. He saw a skinny man walking down the slide towards the stage. He came out of the aisle of chairs and walked over there and didn’t see anyone,” Shilts said. “He turned around and saw the figure fading into the wall of the hall and since then he’s been calling this Mr. Art Craft, as a character.”
Then something even crazier happened, he said.
“Many years later we had an intern who could create some sort of logo or mascot if you will from Artcraft and he drew this picture of a tall, thin man who didn’t know history, and the projectionist came and saw the drawing and said ‘Oh my God, this is fine craftsmanship.’
Most of the paranormal stories happened in the 80s and 90s, and Shilts thinks the ghosts left after the building was renovated, but can understand why they were there for so long.
“If I was a ghost, I’d be hanging out at Artcraft,” he said. “What a fun place to come in October and add a little more fear.”
On Sunday, a Claude Monet painting was briefly covered in starch when climate protesters threw mashed potatoes at it. It was the latest in a series of art-related actions designed to draw attention to climate change and environmental destruction.
The painting, an 1890 work known as grinding wheelswas bought at auction by ART news Top 200 Hasso Plattner collectors in 2019 for $110.7 million. It is on loan from his collection to the Barberini Museum, the Potsdam institution where works from Plattner’s collection have been frequently exhibited since the space opened in 2017.
Generation Letztethe group of German activists who led the demonstration, said in a statement afterwards that “the painting was not damaged in action. Unlike the immeasurable suffering that floods, storms and droughts are already inflicting on us today as harbingers of disaster imminent.
The Barberini Museum also stated in a statement posted on social media that grinding wheels has not been damaged because the paint is “glazed”. The museum plans to return the work to view on Wednesday.
Activists from Letzte Generation said in comments to the media that the protest was intended to highlight the contrast between the idyllic nature depicted by Monet and the dangers currently posed to real scenes like this.
Aimée van Baalen, spokesperson for the group, said in a statement: “Monet loved nature and captured its unique and fragile beauty in his works. How is it that so many people are more afraid of damaging one of these images of reality than of destroying our world itself, whose magic Monet admired so much?
In video of the demonstration, two demonstrators pick up containers filled with mashed potatoes, sprinkle them on the painting and stick their hands to the wall under the work. All the while, the potatoes flowed onto the canvas, onto its surrounding frame.
The action was clearly meant to call back to a staging earlier this month at the National Gallery in London by Just Stop Oil, the climate change-focused group that seems to have initiated such protests in art museums in recent months.
Just Stop Oil had previously staged protests where they stuck to the frames of works from Glasgow’s Kelvingrove Art Gallery and Museum, Manchester Art Gallery and the Royal Academy. They appear to have spurred activists in Italy, Australia and other countries to stage similar protests.
Letzte Generation itself has already targeted paintings by Lucas Cranach the Elder and Raphael in museums in Berlin and Dresden. While public response from art experts in most countries has been somewhat muted, German officials have denounced the actions of the Letzte generation, along with the German Cultural Council launch a public advocacy that the protests cease because they endangered beloved works of art.
But it was the National Gallery action of Just Stop Oil that sparked the most outrage, with critics, politicians and many others accusing the group of failing to realize the potentially harmful effects of their actions.
At the National Gallery, two young activists threw tomato soup at a painting of flowers by Vincent van Gogh, then stuck to a wall. They said they were seeking to push the UK government to act faster to tackle the effects of climate change. Van Gogh’s painting was not damaged.
An outpouring soon followed as many expressed confusion, anger and horror at the protest.
Mirjam Herrmann, an activist from Letzte Generation, appeared to respond directly to the twist during Sunday’s Just Stop Oil protest. At the protest, she said: “People are starving, people are freezing, people are dying. We are in a climate catastrophe. And all you’re afraid of is tomato soup or mashed potatoes on a chalkboard. Do you know what I’m afraid of?
Museums are essential to our democracy. In a polarized world, they push us to question our assumptions and embrace the complexities. It’s heartwarming to read the recent article about curators, and I look forward to learning from them (“Museums in the spotlight” Sunday Arts, October 16). These perspectives are critical to meeting our challenges, especially in a field long dominated by white conservatives, white donors, and white audiences. The old approach will not attract new audiences or inspire justice.
Yet the Globe’s focus on four elite museums with total annual budgets exceeding $200 million sells the diversity and value of museums over the top. The Commonwealth is rich in small community museums that do exciting work. Many are banking their survival on stories that have historically been ignored and underfunded. They do so without the safety net of towering endowments or the attention of major newspapers.
Visitors seeking more inclusive representations of our history and culture could frequent local institutions that need our support. The National Black Doll Museum in Mansfield exhibit at Wheaton College features the nation’s largest collection devoted to the art and preservation of black dolls. Wistariahurst to Holyoke is currently exhibiting the work of Anthony Melting Tallow, Bo’taan’niis, (Flying Chief), a member of the Blackfoot Nation of Alberta, Canada. This month, the Hull Rescue Museum hosts a Smithsonian exhibit on the changes facing rural America. These are just a few places where new visions are taking shape on shoestring budgets.
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There are important conversations to be had about the future of museums. More and more people are entering their local institutions and seeing themselves reflected in the exhibits, thanks to talented curators. Placed alongside their colleagues in more prestigious museums, these professionals might even spark new ideas about how we live together. This is, after all, a key role of any museum.
The history of health care in the Tarrytowns is long on being cared for by beloved individual doctors, but until relatively recently short on actual brick-and-mortar medical facilities. This becomes clear to anyone who visits the Historical Society’s latest exhibit at its headquarters at the foot of Grove Street in Tarrytown.
A fascinating collection of photos, medical paraphernalia and nursing uniforms curated by Society President Sara Marcia, with the help of a team of volunteers, brings to life a world of solo practitioners, who treated their patients mainly in the family home. But it also chronicles the pioneering efforts of concerned citizens to build appropriate medical facilities to serve an ever-growing population. The end result is Phelps Hospital.
From the Revolution to most of the 19e century, medical care in river towns was provided by individual physicians. As a physician, Thomas H. Smith nursed the bodies of the residents of what was then only Greenburgh, but he also ministered to their souls as an itinerant preacher. Dr. Horace Carruthers, whose home was in what is now Patriots Park, had Washington Irving as a patient. Dr. James Scribner was so respected as a doctor that he was elected village president in 1872. Dr. John Robertson treated not only immigrants but also oil magnates like John Archbold and William Rockefeller.
One man Sara Mascia called “probably the most influential community doctor” was Dr. Richard Coutant, originally from Tarrytown, who returned to the village after the Civil War to open a practice. According to Mascia, Coutant and others recognized that a well-equipped healthcare facility was needed to keep up with rapidly changing medical science as well as community needs – “where patients could recover from surgery or serious illness in a controlled environment,” as Mascia said at a reception before the exhibit opened.
Sara Mascia has more than a historical interest invested in the exhibition. His father, Dr. Armond Mascia, was a pediatrician who regularly made house calls for his patients, but was also part of the transition in the 1940s and 1950s from solo practice to organized group practice with the benefit priceless of a real working hospital.
The first establishment was a single rented room in the former Coenhoven Inn at the corner of Main Street and Broadway, established in 1889 by a group of women who had formed the Provident Association of Tarrytown. After about a year in which 39 patients were treated, the Association disbanded. It was succeeded by the Tarrytown Hospital Association in 1892, a group which raised funds to buy a small house on Wood Court, near the base of Wildey Street. Richard Coutant was the first chief of staff, assisted by Catharine Halliday as matron.
This early Tarrytown hospital averaged three patients a day in its early years, served by a horse-drawn ambulance.
In 1908, a fundraising campaign led to the construction of a new $80,000 hospital which opened at the end of Wood Court in 1911. Over the next three decades, the establishment of Wood Court strived to provide care for a growing population. In 1947, staff at Tarrytown Hospital and Ossining Hospital urged their respective boards to merge and create a larger medical center. Nearly a decade later, Phelps Memorial Hospital opened on land donated by the Phelps-James estate, with a healthy contribution from the Rockefeller family. There were 188 beds, 27 bassinets and no debt.
Few current Tarrytown residents remember the old Wood Court Hospital, but the one who does now is Phelps Community Council Chairman Kevin Plunkett. As a young boy he needed to have his tonsils removed and needed surgery at Wood Court. Frightened and in tears, he tells the nurse who has come to take him to the austere operating room that he will not go. “Another nurse came over and said, ‘Kevin would you like to get some ice cream?’ “, he recalls. “What she didn’t say was that we were going to stop by the operating room.”
Today, there are dozens of operating rooms, including 17 day surgery rooms, a full range of state-of-the-art diagnostic equipment, and 238 beds in the modern and growing Phelps Memorial Hospital. Phelps is now part of the Northwell Health System, but continues to operate as a community hospital serving river towns and Hudson Valley communities.
The Historical Society’s exhibit at its One Grove Street headquarters is open to the public Thursdays and Saturdays from 2:00 p.m. to 4:30 p.m. or by appointment. Along with photographs of doctors, nurses and buildings, the exhibit features medical equipment and documents dating back more than a century.
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Art collectors of previous generations, such as Gertrude Stein, David Rockefeller, Isabella Stewart Gardner and many others, have recognized the value that art brings to the community. Gertrude Stein, after moving to Paris in the early 20th century, created an art haven in her home of new, radical and revolutionary art. At one point, Pablo Picasso was hanging out at her house.
If these art collectors and artists were alive today, they would have immersed themselves in the exciting world of NFTs and digital assets.
Non-fungible tokens (NFTs) are cryptographic assets on a blockchain with unique identification codes and metadata that distinguish them from each other. In recent years, NFTs have become popular. Tokens with bored monkeys, still photographs and illustrations have brought millions of dollars to artists and collectors.
In today’s crypto market, Decentraland (MANA), Axie Infinity (AXS), and big eyed room (BIG) stand out and make their mark in the NFT space.
Endless possibilities with Decentraland
The very first user-owned virtual world, Decenetraland (MANA), gave the world plenty of opportunities to explore. In the metaverse, users can purchase digital land through the MANA token. As real estate investing becomes increasingly difficult, investors are flocking to Decentraland.
For art collectors, Decentraland acts as a digital museum where they can interact with other avatars in the Metaverse, hold talks, and even bid for the next best painting!
Axie Infinity is every gamer’s dream
Art collectors won’t immediately place their bets on Axie Infinity (AXS), but the mechanism of the play-2-earn platform is constantly evolving. The game is inspired by the infamous Pokémon series where you collect and pit adorable monsters against each other in cartoonish battles.
Game assets can be earned by winning against opponents, and players get full ownership in the form of NFTs. Built entirely on NFTs, Axie Infinity will require you to purchase NFT tokens from ‘Axies’, similar to Pokemon, to build a team for tournaments.
Big Eyes Coin’s NFT Sushi Crew
A fairly new token on the market, Big Eyes Coin (BIG) aims to dethrone Bored Ape Yacht Club with its irresistibly cute mascot. A fully community meme token,
Big Eyes Coin will transfer wealth to DeFi and create a fully integrated NFT club featuring its big-eyed cat mascot.
For Big Eyes Coin, NFTs have always been important. In fact, all of the white paper in the room is designed around the cute cat and his love for sushi. Better than BAYC? For sure.
Digital art collectors would be interested in Big Eyes Coin’s NFT collection, NFT Sushi Crew. The collection will feature ten beautifully designed and illustrated NFT projects that aim to take the NFT world by storm.
Investors have shown significant interest in Big Eyes Coin. In just two months, the meme coin has raised over $8.3 million so far, and it refuses to stop. Digital art lovers would also love that Big Eyes Coin is eco-friendly too. The token will donate 5% of NFT profits to ocean charities.
Physical vs Digital Art – Will Art Collectors Want a Change?
Art is all about change. The artistic landscape has changed dramatically in recent decades. More money is pouring into digital art than ever before. Unlike physical art, digital art and assets will be supported by robust blockchain technology, which is fully encrypted. Owners of NFTs will be able to claim their authenticity through unique codes on the blockchain. So practically, digital art can never be stolen, ending art collectors’ worst nightmare.
Decentraland (MANA), Axie Infinity (AXS) and Big Eyes Coin (BIG) are changing the digital art landscape with their NFT collections. The world is going all-digital, and with the emergence of the Web 3 economy, don’t miss a chance on the golden opportunities that blockchain offers.
Like a passionate artist eager to create wonders on a new canvas, Palm Springs Art Museum enters the 21st century with renewed vigor and dynamic initiatives.
Michel Hinkle, the museum’s deputy director of advancement, has been in the enclave for 10 years. He said every role he held there focused on donor relations and fundraising – from working with members to running and opening the architecture and design center.
“I feel very fortunate to have grown and worked with many local philanthropists and donors to help move the museum forward,” Hinkle said, “especially after the closure and change in management. We came out of this with a new executive Director, Adam Lernerwho has been with us for only a year and who has a solid foundation that allows him to move our museum forward and rebuild it in a new way.”
Hinkle noted another “exciting” thing on the horizon at the Palm Springs Art Museum: the recent hiring of Luisa Heredia, responsible for education and community engagement. To this end, the current season of the museum brings the return of several educational elements.
“As a museum, of course, our mission is to provide educational experiences for all ages,” Hinkle said. “In the past, we have gone to schools and helped everyone from third graders through high school and then early learning through college. With Luisa, we are now able to present educational opportunities this season, covered weekly on our free Thursday nights, which are supported by the City of Palm Springs.”
The revival of the museum’s second free Sundays is also on the program. Hinkle noted that it brings families into the museum. For example, third-grade students come with their families for a “class lesson.”
“It’s a little different from what we did before, and removing the admission fee hurdle brings people in.” Hinkle added.
Other programs offer children the opportunity to participate in a quasi-treasure hunt, where they search for unique works of art while referring to a guide.
Recently, the Palm Springs Art Museum received a grant from Inland Empire Community Foundationn through the Fund advised by Sheffer/Schefler. The grant will contribute to the annual Museum Matching Gift Challenge, which supports the annual operations of the fund and the museum.
“What he does is help us move the institution forward,” Hinkle said. “And as we truly enter the 21st century, we strive to look to the future. The Matching Gift Challenge specifically helps us fulfill our mission to be a welcoming space that embraces all cultures through our programs, exhibits and experiences that cater to all the diverse interests and backgrounds of our community.”
He added that the local community is a key part of this support and the matching gift challenge.
“Museums are asking for support for different areas – galleries and exhibitions, educational programs,” Hinkle said. “The Matching Gift Challenge provides support in all of these areas. It also allows members of our museum and all members of our community to participate in supporting the museum, as our trustees and select donors have sponsored this challenge.”
Additionally, recent funds have been matched dollar for dollar, reinforcing the museum’s commitment to creating consistency and generating excitement.
“We get people giving a gift of $5 and up,” Hinkle said, “but it’s like they’re really participating in a bigger museum community.”
Overall, as the museum heads into 2023 and beyond, Hinkle said the organization is committed to honoring its past philanthropic legacy.
“We were established in 1938, so we have a real history here,” he said. “And we will honor and celebrate that evolution. We work to create experiences and opportunities that reflect our heritage, our longtime members and donors, and our community. But we also recognize the younger generation and those new energies that arrive in Palm Springs and the Coachella Valley.
“That didn’t exist a few years ago,” he added. “We’re really becoming a museum open to that and with the addition of Adam, it really reinforces a new vision.”
Learn more about the Palm Springs Museum of Art at psmuseum.org.
Inland Empire Community Foundation strives to strengthen the Southern California interior through philanthropy. Visit iegives.org for more information.
A practical internship in the city center opens the doors to a higher school
Working at the Allentown Museum of Art gave Yuyang (Hector) Chen ’23 valuable experience which he will bring to a master’s program in art business.
From: Meghan Kita Thursday, October 20, 2022 3:55 PM
Yuyang (Hector) Chen ’23 at the Allentown Museum of Art
As a teenager in London, Yuyang (Hector) Chen ’23 visited the city’s art galleries and developed a deep appreciation for Renaissance painters. As an intern at Allentown Art Museum this summer, he was able to see such works every day.
“They have a very, very good collection of Renaissance artists,” says Chen, a history major and studio art minor. “And it’s a completely free gallery. It used to be $5, but the museum recently got a grant. It will remain free for a very long time. It really opens up community engagement [opportunities].”
Chen worked as a curatorial research intern, an opportunity he learned about through art teacher Margo Hobbs while working as a writing associate. A big part of his internship was designing an iPad experience for visitors to guide them through newly relocated American art galleries.
“I was given all kinds of freedoms,” Chen says. “I was told, ‘You can do whatever you want to educate people when they look around the gallery. “”
As he read the research papers for each painting, he began to see connections between the artists – some trained by the same professors, for example, or crossed paths in major cities. He came up with the idea of using mapping software he had learned while doing a project with Special Collections and Archives Librarian Susan Falciani Maldonado to chart each artist’s journey and show their intersections. The interactive iPad experience, “America’s Globalization,” is now in use at the museum.
“I gained valuable first-hand experience on curating exhibits, how to conduct research in the museum world, and how to present my research not only to academics but to the general public,” Chen says.
Chen is currently completing the study of Muhlenberg Semester in Washington Program, internship at Kiplinger in DC He will graduate a semester early, in December, and begin a master’s program in art business at Sotheby’s Institute of Art in the spring. Hobbs recommended the program and put Chen in touch with Samantha Schoenbart ’13, who completed a master’s degree at Sotheby’s and now works at a major auction house – a career path Chen is interested in for himself.
While Hobbs was a key mentor this year, Chen enjoyed close relationships with professors throughout his time at the College: “Every professor I worked with at Muhlenberg — all my history professors, the professors of art, every teacher I’ve worked with — has been great,” he says. “All the faculty members were very helpful and without them I would not be in the position I am in today, so I greatly appreciate their work.”
COTUIT – After 67 years, the Santuit and Cotuit Historical Society has found itself “full to the brim”, according to historical society administrator and archivist Amy Johnson, prompting an expansion project that begins later this month .
The historical society was founded in 1955 and over the years has accumulated artifacts and documents that illustrate life in Cotuit since the town was founded in 1648.
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Some of the oldest pieces in the society’s collection are Wampanoag artifacts, but most of the collection – such as old newspapers, photographs, books, family histories, house plans and a fire truck Model T – give a glimpse of Cotuit from the 1800s.
“We cannot accept new items,” Johnson said. “We just got a steady supply of people donating.”
So the historical society simply ran out of space and it was time to expand.
On October 5, there was a dedication ceremony in front of his William Morse Fire Museum.
What is on display at the Historical Society
Located at 1148 Main Street, the current facility consists of three buildings: the Main Office Gift Shop and Fire Museum, the Samuel B. Dottridge Homestead, which dates to 1808, and the Rothwell Ice House.
The Samuel B. Dottridge Homestead is a house museum featuring artifacts depicting life in Cotuit in the 1800s.
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Minor renovations to restore the Samuel B. Dottridge Homestead to its original condition by removing a bathroom and replacing it with a pantry and butter area will also be part of the build.
The Rothwell Ice House was built in the 1890s and was donated to the historical society in 2009 and opened to the public in 2011.
Additionally, there is a historic vegetable garden, maintained by the Cotuit Bird and Garden Club. Typical flowers and vegetables are grown as well as medicinal herbs used in colonial times and in the 19th century.
Here’s what the expansion project includes
The expansion will primarily take place in the main office and gift shop building, increasing the current space of 160 square feet to 567 square feet.
“We had a few different goals: to expand the exhibit space and archival space to better tell the story of Cotuit,” Johnson said.
The company also wanted additional space to update the exhibits to include a digital display of approximately 500 historic homes.
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Additionally, a former Cotuit Skiff, a modified catboat specifically designed for use in the shallow waters of Cotuit Harbour, will be on display in the main building.
“It’s sort of the symbol of Cotuit, part of the history of the village,” said Beth Johnson, president of the Santuit and Cotuit Historical Society.
How the project was funded
The whole project will cost around $450,000, Amy Johnson said.
The historical society received about $87,500 through the Barnstable Community Preservation Committee, but most of the money comes from private donations from society members and supporters. Over 300 people donated to the project.
An outdoor music and performance venue opens this weekend in San Diego, nestled near a new entrance to UC San Diego and just steps from the expanded Blue Line streetcar.
Epstein’s new family amphitheater galvanizes a vision set in motion years ago, when plans for a tram extension and wider campus access began to take shape.
As the university envisions the amphitheater as a regional hub for the performing arts, students are at the center of their programming. Colleen Kollar Smith is the executive director of the new campus performances and events office, and she said they hope its accessibility will help young people find a connection to the arts.
Kollar Smith said the space will be open like a park during the day, with nooks for classes or options for campus bands to rehearse on stage.
Despite its intimate atmosphere, the venue accommodates nearly 2,500 people, with two “bowl” sections and a large, steeply sloping lawn. Lawn seating makes up more than half of the venue’s capacity and is a big part of the theater’s approach to accessibility and affordability.
Students get deep discounts on tickets – in many cases blocks of tickets will be reserved for students free of charge on a case-by-case basis.
Death Cab, Blacktronika, Steven Schick and giant puppets
Seven performances take place in the hall throughout the month of October.
Alongside a few traditional pieces (including Stravinsky’s small but chaotic “Fanfare for a New Theater” for two trumpets), several composers linked to UC San Diego will be featured. A Rand Steiger commission, “Triton’s Rise”, is a work for 17 percussionists, with Schick on stage and the other 16 dotted around the amphitheater. “Metacosmos” by UC San Diego alumnus Anna Thorvaldsdottir and “Bamboo Lights” by UC San Diego faculty Lei Liang will also be performed.
On Saturday, indie band Death Cab for Cutie will perform with Yo La Tengo in a sold-out show.
A free multidisciplinary community party takes place on Sunday afternoon. Expect giant puppets from La Jolla Playhouse and Animal Cracker Conspiracy; the music of the Young Lions Jazz Ensemble and Kahlil Nash; salsa dance lessons; and a screening of “Purple Rain,” the 1984 film starring Prince.
Next weekend there is a celebration of Latinx History Month; a college-wide drag show; and Professor King Britt’s Black Electronic Music Festival, or Blacktronika.
Schick said the variety of artwork displayed on stage hints at the importance of space on campus.
“And when you connect that to the cart, which is right next to it, it will – almost immediately – become a center of performance in San Diego and the county and the city at large. I think it will become a center of gravity for music and art in the area,” Schick said.
Indoor performance spaces on campus are optimized for a specific type of music, Schick said. But on the outside, there’s an inevitable sense of belonging and connection – even in the form of wooshes and beeps of a passing trolley.
“You see very clearly where we are on the planet. And that contextualizes artistic creation. We sometimes forget that it’s not an anonymous thing that we do anywhere. Art takes place in an environment. And the people who share that environment are the community you play for,” Schick said.
For some students, the response so far is mixed, but optimistic.
“I hadn’t recorded that it was a project that was happening on our campus, actually,” said Hannaford Bush, a graduate student in climate science and policy. She said students in her cohort of masters who had heard of the amphitheater were “moderately excited”.
“There were things that were interesting for (the cohort), like the Death Cab for Cutie concert, but I also heard from some of them that it looks like they’ll just be jazz musicians, and that’s not really interesting to me,” Bush said.
“I think that’s a missed opportunity. I don’t know if that’s what the student body was asking for,” Bush said. “But I also recognize how difficult it is for the university to bring in things that are going to attract the money that is going to be able to provide for your students.”
Marnie Aagard, a fourth-year biochemistry student, is excited about what the new location will bring. Aagard is a big fan of live music and said COVID-19 overshadowed performances for much of her undergraduate experience.
“I think the events will be a super fun way to build community. The shows are fun for so many people, so I think it will help students bond with the San Diego community,” Aagard said.
“As long as the amphitheater hosts events that appeal to a diverse audience, people will be happy to come back. I know the campus is a comfortable place for many UC San Diego students, and so many people have looking forward to participating now that events are happening again.”
Visual art too
Artistic bonus: When visitors approach the amphitheater, they walk directly on the latest piece of UCSD’s Stuart art collection: “Ann Hamilton’s”Kahnop — Telling a story. “Thousands of words are carved in relief in an 800-foot-long sculptural stone path. Hamilton has compiled a form of found poetry from university-related scholarly texts alongside Kumeyaay’s translated account.
For performance details, visit the amphitheater ticketing site here.
BENTONVILLE — Democracy requires citizens to participate, communicate and give others the benefit of the doubt, Dr. Condoleezza Rice said Tuesday night at the Crystal Bridges Museum of American Art.
The 66th US Secretary of State was on hand for a conversation as part of the We the People: The Radical Notion of Democracy exhibit at Crystal Bridges, which combines historical documents and original artwork to offer diverse perspectives on the founding principles of the nation.
Rice said democracy is created and maintained through hard work, persistence, strong institutions and dedicated citizens. The nation has made progress over the past 250 years, she said, pointing to having been sworn in herself, a black woman, by a Jewish Supreme Court justice. But sometimes the country is still wrong.
“When you think about ups and downs, it’s very easy to think about downs,” Rice said. “But you also have to think about the fact that progress isn’t linear, it’s a bit jerky. But a lot of it is going in the right direction and so I’m optimistic about the future of American democracy, but I want to say one thing: it is not autonomous.
Rice said she doubts the founding fathers foresaw Facebook and other social media that have become so divisive. She offered several “rules” to consider, including that people should strive to speak to those with different opinions, get out of their own echo chambers, and leave open the possibility that they are wrong.
“If I could have one rule, it would be that no one in a position of authority can tweet or post anything until they’ve talked to someone else and heard their opinion,” said Rice. “If before you’ve bothered to talk to someone you might have to compromise with, you’ve already gone to improve your base, you probably won’t compromise.”
Political campaigns have become less about what a candidate wants to do if elected and more about what they want to stop the other side from doing, Rice said.
“It’s the death of democracy if, in fact, you can’t find a way to move forward together toward solutions,” Rice said. “Somehow we have to learn to speak across our differences.”
Democracy is about the nation’s constitution and institutions, but civic engagement is important, Rice said. She urged people to decide which issues are important and then work on those things.
“I bet 300 million of us do this, we could actually make progress and not just let the government do it,” Rice said. “How about going and registering with a local planning commission or a local school board. Democracy is at all levels.
Rice said local issues give people a sense of control over their lives. One of the reasons people lose interest in politics and democracy is because they think there is nothing they can do to change things.
“We have to break this down,” Rice said.
Democracy and freedom depend on each other but are not the same, Rice said.
“What the Founders understood was that giving freedom is a wonderful thing, but unless you channel it somehow, it can just be the will of the crowd,” said said Rice.
To that end, the founders were very committed to having representative government and protections like the Electoral College so everyone had a say, Rice said.
“It’s a very carefully designed system, and when I hear people wanting to take pieces of it apart, I tell them to be careful what you wish for because they’ve really thought about this, which you don’t want the tyranny of the majority,” Rice said.
Rice said political candidates shouldn’t be vessels of discontent and spend their time shouting on TV about how bad the other party is.
“Frankly, I don’t like the cults of personality that we see forming in the country. I don’t really like celebrity politics,” Rice said. “Polarization is not the problem, we’ve always had difficult people. Demonization is the problem.”
Rice said the nation can’t have the conversations needed to resolve issues if someone immediately uses the most extreme language about it.
“If everyone who disagrees with you is morally corrupt, they’re undemocratic — that language, that posturing really isn’t healthy for democracy,” Rice said. “And I think we need to be more demanding of our leaders, that they don’t engage in that, and we certainly shouldn’t reward that.”
Instead, Rice said we should make an individual effort to reach out and try to understand those with whom we disagree.
“Each person is committing to reading something or talking to someone you disagree with,” Rice suggested. “And, not speaking so that you can first persuade them, but so that you can actually hear them and then understand where they’re coming from. You might still disagree at the end of the day, but at least you have a better system established with that person, that you can have a civil conversation.”
Rice said talking to people you disagree with is not a form of surrender.
“It doesn’t mean you compromise on your principles, but again, it’s going to extremes. If it’s all about principle then we have nowhere to go. Sometimes it’s just a different principle of interpretation, and we call it a policy difference,” Rice said. “And if we could get to know the difference between a policy difference and a matter of principle, we could be a better democracy.”
We the People: The Radical Notion of Democracy is on view July 2 through January 2 in the Museum Collections Galleries at the Crystal Bridges Museum of American Art. Admission to this exhibition is free; however, due to its anticipated popularity, timed ticket reservations are required. Tickets are available on the museum’s website. Admission to the Crystal Bridges Collection Galleries is always free.
221018-N-FK318-1064 WASHINGTON NAVY YARD (Oct. 18, 2022) Secretary of the Navy Carlos Del Toro speaks to members of the public at the National Museum of the U.S. Navy (NMUSN) during a ceremony celebrating the 247th Navy birthday. During the ceremony, Del Toro announced the US Navy’s preferred location for a new NMUSN, which would be on land adjacent to the Washington Navy Yard that would be acquired either by land swap or outright purchase. This would allow the museum to provide the general public with unfettered access to the history and heritage of the United States Navy. (US Navy photo by Mass Communication Specialist 1st Class Abigayle Lutz)
The Navy’s preferred location for the new NMUSN would be on land adjacent to the Washington Navy Yard which would be acquired either by land swap or outright purchase. This would allow the museum to provide the general public with unfettered access to the history and heritage of the United States Navy.
“The exhibits in this new museum will create a living memorial to the United States Navy’s legacy of victory and bravery, bringing to life the human experiences of service at sea,” said Del Toro. “It will give all visitors to the future museum – regardless of their previous military experience – a better appreciation and understanding of the economic and diplomatic importance of what a strong and robust navy means to our national and economic security.”
221018-N-FK318-1142 WASHINGTON NAVY YARD (Oct. 18, 2022) Navy Museum Development Foundation (NMDF) Chairman Al Konetzni, U.S. Navy Vice Admiral (Ret.), Director of Command of Naval History and Heritage (NHHC) Samuel J. Cox, U.S. Navy Rear Admiral (Retired), Secretary of the Navy Carlos Del Toro, and Yeoman 2nd Class Caroline Ficklin, assigned to NHHC , cut the Navy’s birthday cake at the National Museum of the US Navy (NMUSN) during an event celebrating the Navy’s 247th birthday. During the ceremony, Del Toro announced the US Navy’s preferred location for a new NMUSN, which would be on land adjacent to the Washington Navy Yard that would be acquired either by land swap or outright purchase. This would allow the museum to provide the general public with unfettered access to the history and heritage of the United States Navy. (US Navy photo by Mass Communication Specialist 1st Class Abigayle Lutz)
The Navy is seeking approximately six acres of land just outside Tingey Gate at the Washington Navy Yard to improve security at the facility. The Department of the Navy is now moving forward with the consultations and public participation required by the National Historic Preservation Act and the National Environmental Policy Act. A draft environmental impact statement was published in the Federal Register on October 14, 2022, to seek public comment on the acquisition of the property and the proposed uses of the land. The Navy will consider comments received during the public comment period and prepare the final Environmental Impact Statement before issuing a Record of Decision on how the land will be acquired and used.
“The NMUSN campus would serve as an educational, inspirational, cultural and ceremonial center for those who have served and are serving in the Navy today,” said Sam Cox, director of Naval History and Heritage Command, a Rear Admiral retired. “This is an exciting and tangible step toward realizing Navy Leadership’s long-standing vision to build a state-of-the-art museum that shares their nation’s incredible naval history with the American public. .”
Artist’s impression of the new National Museum of the US Navy (NMUSN). On October 13, 2020, the Navy announced plans to build a new NMUSN campus that will serve as an educational, inspirational, cultural, and ceremonial center for those who have served and are serving in the Navy today. Exhibits in the advanced museum will demonstrate to the public the essential role a strong navy plays in the defense of the nation. Navy partners with the National Navy Museum Development Foundation, a 501(c)(3) registered organization, to raise an estimated $225 million for construction of the state-of-the-art facility’s first phase with development opportunities spiral of additional phases totaling $450 million. The Navy plans to build the museum’s new campus on M Street adjacent to the Washington Navy Yard as part of the vibrant Capitol Riverfront Business Improvement District. (Rendered US Navy / RELEASED)
The Navy has partnered with the Navy Museum Development Foundation to assist in the development, design, construction, renovation and operation of a multi-use museum campus to house the National Navy Museum of United States. This is a model used similarly by the US Marine Corps and the US Army in their very successful national museums.
Naval History and Heritage Command is spearheading the new NMUSN initiative and hopes to celebrate a construction milestone on the Navy’s 250th anniversary on October 13, 2025.
The NHHC, located at the Washington Navy Yard, is responsible for the preservation, analysis, and dissemination of America’s naval history and heritage. It provides the Navy’s knowledge base by maintaining historically relevant resources and products that reflect the Navy’s unique and enduring contributions throughout our country’s history and supports the fleet by assisting and providing professional research services. , analysis and interpretation. The NHHC includes many activities, including the Navy Department Library, Navy Operational Archives, Navy Art and Artifact Collections, Underwater Archaeology, Navy Histories, 10 museums, the USS Constitution repair facility and the historic ship Nautilus.
For more information on the NHHC, visit www.history.navy.mil.
SHAWNEE, Kansas, Oct. 18, 2022 (GLOBE NEWSWIRE) — Although the Medicine’s Hall of Fame & Museum in Shawnee, Kansas opened its doors to the public in early 2020, its origins began much earlier. Physician Dr. Bruce Hodges has spent his life collecting nearly 5,000 medical artifacts from around the world for display in a museum to shed light on the history of medicine. After years of preparing the museum’s exhibits, just before it opened, restrictions related to the COVID-19 pandemic limited the museum’s ability to fully open. The low number of participants created financial difficulties which eventually led to its closure. Now the collections, which include rare antique medical equipment, Native American and African tribal medical practice artifacts, early apothecary wares and other unique medical implements, will be sold at a Mayo online auction. & Auction Realty in November.
Dr. Hodges and his son Robin have carefully curated the displays and exhibits that tell the historical past of medicine as practiced by cultures around the world. “In the 1970s, I decided to open a medical museum,” says Dr Hodges. As a medical practitioner and missionary in Uganda, he traveled to many African countries to collect the artifacts. “I always intended to put the objects in a museum,” he adds.
The museum has sold the building and will sell the museum artifacts and facilities in an online auction. Notable items include a rare 1940s pediatric iron lung used to treat polio virus; a Chippewa wood and rawhide medicine drum; a chief’s belt from the Nigerian Yoruba tribe circa 1880; a late 1800s Kratzer Carriage Company horse-drawn doctor’s cart; George Washington’s Presidential Peace Medals from 1789 to 1795; rare apothecary bottles and jars; and an old Colombian dental chair in which Dr. Louis Gebhardt was beaten to death by a patient on November 1, 1904.
One of his most memorable acquisitions for Dr. Hodges is a doctor’s bag from the 1880s. “A patient called me and said she had seen a newspaper advertisement for an auction real estate offering medical items for sale and thought I would be interested in it,” says Dr Hodges. “So I drove over 60 miles to the auction only to find that there was only one medical item in the sale, and it would sell as the last item. After waiting all day at the auction, I was determined to be the winning bidder on the doctor’s bag.” What makes the Saddle Bag so special is the nearly complete set of corked cap medicine vials and bottles contained inside.
The quantity and variety of unique and rare artifacts are difficult to describe. Fortunately, the more than 4,000 artifacts will be on display and offered to the public in several online auction catalogs ending the same week in early November.
The online auction, conducted by Mayo Auction & Realty of Belton, Missouri, will allow other collectors and museums to purchase these unique items. “We are honored to work with Dr. Hodges and the Medicine’s Hall of Fame & Museum. Throughout our process, we are committed to honoring the history of the artifacts and are focused on finding enthusiastic and dedicated custodians for each item in the museum,” says Robert Mayo, Managing Director and Auctioneer at Mayo Auction & Realty.
Photos and descriptions of the items will be published in multiple online catalogs and bidders will be able to bid from anywhere on their mobile devices, tablets or computers. In-person previews will take place Friday, November 4 from 2-6 p.m. at 6305 Lackman Road, Shawnee, Kansas. Online auctions end Monday, November 7.
Visit www.auctionbymayo.com to view all items, photos, descriptions and to bid.
Mayo Auction & Realty is a leading online auction provider in Kansas and Missouri.
The Indonesian government wants to recover eight works of art and natural science collections from the Netherlands. The country sent a list to the Ministry of Education, Culture and Science in July, calling the looted art objects and demanding their return, Find reports.
The list includes the Java Man skull and the rest of the Dubois collection currently on display at the Naturalis Museum in Leiden. The collection consists of 40,000 fossils, including the skull, excavated in Indonesia by Dutch researcher Eugène Dubous at the end of the 19th century.
Indonesia also wants to recover the treasure of Lombok – a vast collection of jewelry, gems and gold and silver jewelery currently managed by the National Museum of Ethnology in Leiden – and the reins of the horse of Diponegoro, the chief of Java’s revolt against Dutch colonial rule in the early 19th century.
The ministry confirmed to Trouw that Secretary of State Gunray Uslu received the request in July. She has not yet informed the relevant museums to avoid speculation, the ministry said. A previously announced independent panel will review applications like this.
A Naturalis spokesman confirmed to the newspaper that he was unaware of Indonesia’s official request but expected it to come. Naturalis will cooperate with any investigation.
The Natural History Museum added that it was surprised that Indonesia included the natural history objects in its request to the Netherlands to return the looted art. “The art treasures are, of course, handcrafted by local people,” a spokesperson said. “But we can say about the skull of Java: it would never have been found if the Dutchman Dubois had not set up a search.”
Two rabbits nibble nervously on carrots, their ears trembling. A wounded eagle stretches in the air. A deer stops in a forest, its honeyed eyes fleetingly fixed on ours. The animals in Rosa Bonheur’s works overflow with emotion. “His realism is his way of respecting them,” explains Leïla Jarbouai, curator of an exhibition devoted to the French artist of the 19th century at the Musée d’Orsay. “She conveys the expression of their souls through their eyes and attitudes, painting them with care and fidelity. These are subjects in themselves.
Coinciding with the bicentenary of the birth of Bonheur, this career survey will bring together around 200 works, from paintings and drawings to sculptures and photographs. “In France, it is associated with paintings of cattle”, says Jarbouai, especially Plowing in the Nivernais (1849), which earned him a medal at the Salon for his meticulous attention to shiny oxen and freshly turned earth. “The exhibition will reveal to visitors his paintings of wild beasts, horses and other wild animals. This will show that she cannot be reduced to a painter of country life and livestock.
Devotion to naturalism
Bonheur was trained by her painter father and first exhibited at the Salon at the age of 19. His dedication to naturalism and capturing the individuality of animals won over his admirers. In the early 1850s, she frequented the horse markets of Paris, wearing men’s clothes (with police permission) to avoid attracting unwanted attention by drawing.
Unknown sketches by Bonheur will be exhibited, including a charcoal drawing on linen for his most famous painting, The horse fair (1852-1855), a monumental scene of chattering hooves, sniffling muzzles and loose manes. Recently discovered by the team of the Château de By, the museum dedicated to the artist on the edge of the forest of Fontainebleau, the work has been restored for its first public appearance. Jarbouai is also keen to draw attention to the unexplored romantic side of Bonheur’s work, visible in an inky blue lithograph of wolves and a lone horseman in Scotland.
Selling his art directly to collectors, Bonheur became known at home and abroad. The Belgian dealer Ernest Gambart, who made prints of his paintings and organized publicity tours, participated in his international success. After 1853, however, she rarely participated in the Salon. “French visitors no longer knew his work,” says Jarbouai. “They knew the woman, the legend, better than her art.” According to the curator, the sale of thousands of studies from her studio in 1900 contributed to “the collapse in the price of paintings”. In other words, his reputation plummeted. “The history of art and the notion of the avant-garde did not leave room for the animal art of Bonheur,” adds Jarbouai. With this exhibition, the Musée d’Orsay wishes to give space back to the artist and his creations.
• Rosa Happiness (1822-1899)Orsay MuseumParis, October 18-January 15, 2023
People look a lot like magpies. We like things that shine. From the beginning, we have valued pretty rocks with little practical value. In an attempt to explain their obsession with these stones, people have described them as having mystical properties. Emerald is often associated with eloquence and foresight, in addition to being the gemstone of lovers. Despite its amorous connotation, the truth is that emerald mining has a long and often bloody history.
Rough emerald from the Muzo mine in Colombia. (Géry Parent / CC0)
The story of emeralds through the ages
The first emerald mines were Egyptian. They date back to around 1500 BC and were first located on and around Mount Smaragdus. It is however from 330 BC. J.-C. that the exploitation of the emerald in Egypt takes off. The pharaohs owned the mines and therefore the stones they contained. One ruler in particular was particularly fond of emeralds.
Cleopatra VII who reigned from 51 to 30 BC. AD adorned itself and its palaces with emeralds. She also used to give some to foreign dignitaries. Cleopatra’s obsession with emeralds had two sides. First, emeralds were closely associated with fertility and immortality. Second, and perhaps more importantly, adorning everything with emeralds was a way to show off one’s wealth.
During this period, the emerald was one of the most prized gemstones and could only be found in Egypt. During the reign of Cleopatra, the Romans also developed a taste for emeralds. They drilled holes in stones and wore them like talismans. Emperor Nero was even known to wear emerald glasses to gladiatorial games to help his declining eyesight.
The Egyptian and Roman love for emeralds caused a problem for Egypt. The ancient mines of Mount Smaragdus eventually began to run out, producing increasingly lower quality gems. This caused Cleopatra to commission several more mines in an effort to keep pace with demand.
The Romans then took control of these mines, operating them on an industrial scale. They were then taken by various Byzantine emperors before landing in the hands of Muslim conquerors. Mining in Egypt was abandoned with the discovery of deposits in Colombia, after which the emerald mines fell into disrepair and were largely lost over time. The original mines were not rediscovered until 1816 by Frenchman Frédéric Cailaud, a mineralogist.
Cleopatra depicted wearing an emerald, by Władysław Czachórski. ( Public domain )
The Spanish conquerors and their hunt for jewels in South America
For centuries, the majority of the world’s emeralds came from Egyptian mines. However, from around the 14th century AD there is evidence of emerald mining in India and Austria, although not on such an industrial scale.
Everything really started to change with the Spanish discovery of the New World at the beginning of the 16th century. For the Spaniards, South America seemed to be dripping with emeralds. While the conquistadors were traditionally more interested in precious metals than gemstones, the Spaniards were smart enough to know the value of emeralds. Greed quickly took over and the conquistadors demanded to know where the Incas had found all their emeralds.
The Inca of modern Peru had been mining and trading emeralds for at least 500 years before their discovery by the Spanish conquistadors. These lands were so rich in gold and emeralds that the Spaniards believed they had found the mythical city of El Dorado. What followed was a long, bloody and destructive war. The conquistadors killed countless natives trying to find the mines and seized all the jewelry they could get their hands on.
Originating in Colombia, the Crown of the Andes comprises over 400 emeralds and dates back to the 17th or 18th century. It was made for a sculpture of the Virgin Mary of Popayán, in gratitude for her protection against smallpox, and is now on display at the Metropolitan Museum of Art. (Smart History / CC BY-NC-SA 2.0 )
The story of Umina, the giant emerald goddess
In one example from this era, the people of Manta in present-day Ecuador (cited as Peru in many articles) worshiped a giant emerald said to be the size of an ostrich egg. This emerald supposedly represented a goddess called Umina. On feast days, Umina, the giant emerald, was taken out of her temple by priests so that her devotees could worship her. They did this by bringing his daughters (more emeralds), which meant the town had a huge store of emeralds. A store that the Spaniards quickly caught wind of.
They stormed and conquered the city, seeking Umina but never finding her. The conquistadors suspected the locals of deception and began smashing emeralds on anvils, believing that real emeralds would survive the test. They were wrong and needlessly destroyed a fortune in precious stones.
Eventually, the Spanish prevailed by seizing the mines once held by the Aztecs and Incas. Colombia has proven to be particularly rich in emeralds. It is to this day the world’s leading producer of emeralds and according to the years 50 to 90% of the world’s emeralds come from Colombia.
The Spanish victory in Colombia was going to cost them dearly. After their victory in South America, the Spaniards flooded the European market with vast amounts of gold and emeralds. It had the opposite effect of what they wanted. Rather than making the Spanish Empire even richer, it caused inflation to skyrocket and their economy was left in tatters.
Then during the 1800s, after 300 years of Spanish exploitation, Colombians began to revolt. A series of uprisings led to the signing of the Colombian Constitution in 1886, which returned the Colombians not only their independence, but also their mines.
18th century bodice ornament in Colombian gold and emeralds from the Cathedral of the Virgin of the Pillar in Zaragoza. (Vassil / CC0)
Blood emeralds in the modern world
Thanks to modern mining technology, emeralds can be found all over the world today. Unfortunately, their increased availability failed to stop the bloodshed. As recently as 2016, the Colombian government was trying to clean up the country’s emerald trade. Not surprisingly, white powder wasn’t the only valuable resource the country’s gangsters were interested in.
In Africa, meanwhile, there have been accusations of violence and human rights abuses in the emerald trade. Zambia is the world’s second largest producer of emeralds. It made international headlines in 2018 when it was claimed that Elon Musk’s father made his fortune owning a controversial Zambian emerald mine. This spotlight on the trade in Zambian emeralds has caused a lot of talk about what have come to be known as ‘blood emeralds’.
To this day, many people claim that emeralds have some kind of mystical properties. Many of these people also own stores that sell emeralds. Whether or not a stone has special powers is a matter of personal belief. The fact that throughout history, and even to this day, the mining of these gemstones has led to death and bloodshed unfortunately is not.
Top Image: Emerald is known as the gemstone of lovers. Source: Balazs /Adobe Stock
BOULDER, Colorado – On Thursday, October 20, Artemis Gallery will host a very special auction featuring the cultural art collection of Marc Amiguet Schmitt, a respected antiques dealer and owner of Amiguet’s Ancient Art. While Marc only lived to be 49, his impact was great, particularly in pre-Columbian artistic circles.
“Since the 1990s, Marc Schmitt owned Amiguet’s Ancient Art, an instantly recognizable name in pre-Columbian art,” said Bob Dodge, Executive Director of Artemis Gallery. “Marc’s appreciation for pre-Columbian and Spanish colonial cultures came from his grandfather, Louis Amiguet, who emigrated to the United States from Guatemala sometime before 1950. Many of Marc’s most prized treasures were objects that his grandfather had passed on to him even before Marc began his career as an antique dealer.
“Unfortunately, Marc passed away in January of natural causes. He left an incredible collection of cultural objects from all over the world, but above all exceptional examples of pre-Columbian art from Central America, South America and Mexico. It is with a sense of great pride, as well as a deep sense of sadness, that we are offering some of these precious items from Marc’s personal collection on October 20th.
Among the best pre-Columbian objects in the Schmitt collection is the Auction Opener: a 16-inch pre-Columbian Olmec stone seated figure (from southern Mexico to Guatemala) holding a bowl of offerings. Created around 1200-800 BCE and carved from a single piece of volcanic basalt, the kneeling figure has typical Olmec features such as a jowly face, downward facing “jaguar” mouth, square jaw, nose wide and swollen, slanted eyes. Its auction estimate is $6,000 to $9,000.
Also from the Olmec culture, a huge carved andesite drug spoon 9.125 inches long reflects the importance of psychoactive substances for their shamanistic rituals and healing. The convenient spoon design incorporates a raised ridge along its edge to prevent spills when preparing a mixture. Dating to around 900-500 BCE, it should attract a winning bid in the $4,000-$6,000 range.
Only a collection with a deep family lineage, such as that of the late Marc Schmitt, would be likely to hold a treasure like Lot 14, a large Maya Pre-Columbian polychrome incensario fragment of the sun god Kinich Ajaw (or Kinich Ahau). The richly iconographic design carved by an obviously skilled craftsman depicts the deity within the jaws of a serpentine creature – albeit resembling a quetzl – which was sometimes said to carry Kinich Ajaw across the sky. Two large wisps of “smoke” seem to emanate from the mouth of the god, thus adding to the theatricality of this exceptional ceremonial piece. Estimate: $4,000 to $6,000
Deceptively primitive at first glance, a copper funerary mask from the pre-Columbian Sican/Lambayeque culture (northern coast of Peru) reveals its sophistication one aspect at a time. The mask around the 10th and 11th centuries CE is said to have adorned the body of an elite member of Sican society (gold was for lords, silver for noble women, and copper for wealthy commoners) . High-class sicans frequented workshops that made beautiful metal objects like this mask. It has a hand-hammered border finished in a pleasing artistic pattern; her eyes are teardrop-cut mother-of-pearl shell with applied copper pupils, and a handcrafted ornament hangs from the nose. The face does not appear to represent an individual, but rather a stylized deity, which would have allowed the deceased to assume a divine identity. This visually stunning mask is estimated between $2,400 and $4,800.
The Schmitt Collection is filled with unusual and exceptionally beautiful pre-Columbian pottery. For example, a Maya polychrome cylinder, Honduras, Ulua Valley circa 450-550 CE is described by Artemis Gallery scholars as the rare Dedalos type, referring to its narrow, temporal window of production. The vessel is densely decorated all around with colorful images that include three human figures kneeling to remove pods from fruitful cacao trees. Comparable to a cylinder in the collection of the Los Angeles County Museum of Art, it is sold at auction with an estimate of $2,500 to $3,500.
Another of Marc Schmitt’s valuable pre-Columbian pottery pieces is a large Maya-Teotihuacan tripod rattle vessel dating from 600-800 CE and being of the Tiquisate type. Made of red-orange terracotta, it rests on three beautifully decorated square legs. Its most distinctive feature is the network of nine applied rattles around its circumference, each a sphere with two incised eyes and a horizontal slit resembling a mouth. Vessels of this type would undoubtedly have been used in ceremonial rites and shaken to create a great racket. Estimate: $2,500 to $3,500.
A highlight of the Spanish Colonial category is a hand-carved and painted wooden 19th century AD articulated Christ figure with blue glass eyes. The figure is seated in a 19th century New Mexican wooden chair and is of a type that would have been dressed and used in processions and rituals. The presale estimate is $3,000 to $4,500.
Marc Schmitt’s highly refined taste can also be seen in the Asian antiquities he collected, including a marvelous model of glazed pottery circa 206-220 CE from the Han dynasty of a storage granary. Detailed with a ridged roof and panda bear supports, it measures 17 ¼ inches by 9 ¾ inches. Its auction estimate is $3,600 to $5,400. Another great treasure is a Ming to Qing dynasty stone panel of a guardian fu lion, or “foo dog”, hand-carved in bas-relief against a scalloped panel. Created around the 17th to early 19th century CE and measuring 16 inches long by 11¾ inches high, it is offered with an estimate of $3,600 to $5,400.
Artemis Gallery’s Thursday, October 20, 2022 auction, featuring Part I of the Marc Amiguet Schmitt/Amiguet Ancient Art Collection, as well as high-quality selections from other shippers, will begin at 10 a.m. EDT . All items come with Artemis Gallery’s guarantee that they are genuine and legal to buy, own and, if desired, resell. An Artemis Gallery certificate of authenticity will accompany each piece. The company ships worldwide and has its own in-house packing and shipping department to ensure quality control. Proxy auctions are currently underway. Detailed and authoritative descriptions and several photographic views of each auction lot can be viewed online. catalog. For more information about an item in the auction, call Teresa Dodge at 720-890-7700 or email [email protected] Bid remotely or live via the Internet via Live auctioneers.
INDIANAPOLIS — Colette Pierce Burnette sees her hire as the new president and CEO of Newfields as an example of the difference between equality and more modern advances toward equity, or the practice of providing access and fair opportunities.
“I didn’t see a black director of a major cultural institution when I was growing up,” said Pierce Burnette, who began his tenure at the art museum and gardens on August 1. “I was exhibited at the museum, but I couldn’t see myself anywhere in leadership positions or behind the scenes. It’s very rare.
“So equality means you can’t discriminate against putting people in those positions. Equity means you create opportunities for these people to fill the job.
Pierce Burnette has said she likely wouldn’t have her new job if not for the race-related controversy that led to the February 2021 exit of her predecessor, Charles Venable. After Newfields announced work that described the need to attract a more diverse set of patrons while “maintaining the museum’s traditional white art audience”, Venable quit.
Most recently, CEO of Huston-Tillotson University in Austin, Texas, Pierce Burnette arrived at Newfields in time for the opening of the 139-year-old institution’s first exhibition dedicated to a group of black artists. from Indiana: “We. The Culture: Works by the Eighteen Art Collective”, an exhibition which will be presented until September 24, 2023.
“That was just the beginning,” Pierce Burnette said in an interview with IBJ. “It was like a crack in the door with a bit of sunlight shining through.”
Q: During your remarks at the opening reception of “We. The Culture” on September 22, you spoke of a rebirth. I think people can feel and observe the momentum of change, but how would you describe what is happening?
A rebirth is a time of reckoning and a time of renewal, all of which collide at the same time. I believe we are all living in a time of rebirth. And it’s a choice if we make it something that will be remembered in history in a positive way or if it will be remembered in history just as a moment of pain.
I have a very strong feeling that we are living through a temporal renaissance, and it is personally gratifying to be in Newfields at this time in its history and the role we can play in keeping this renaissance alive. … I want this to be a time where we encounter this tension of a settlement and a renewal at the same time.
Q: What does this mean for “We”. The Culture” will be the first Newfields exhibition to open during your tenure as CEO of Newfields?
It’s super rewarding for me because I’m at the helm of this moment of such an opportunity. …
I didn’t live here, so I don’t know. But I feel like if someone said, “What is the institution in Indianapolis that opens its doors equally to everyone?” people wouldn’t have said “Newfields”.
The incident with the job description was just the spark. It’s so much deeper than that. It was actually the gift for me, from my point of view, in a bad and twisted way, like the silver lining around the cloud. Because that’s how I got here. It was a time of pain and opportunity all rolled into one, where it’s very painful for Newfields and the people who work here.
Q: There was a signpost established before you were hired: it is Newfields’ aim to be an empathetic, multicultural and anti-racist institution. What is your assessment of how this is going and what needs to be done?
I think it’s going well, but I think it’s going well from August 1 until today. So that’s my 60-day assessment. But… I haven’t worked here before.
But the reason I comfortably say I think it’s going well is because of the energy I feel here at Newfields. It’s the same kind of energy that we felt (at the opening of “We. The Culture”). I feel that sense of hope and that sense of belonging and commitment.
I did an exercise at my first all-staff meeting where we asked people to write down what they like about Newfields. On the other side, we asked them to write Newfields biggest opportunity. And then I created a word cloud from the transcription of all the answers. And the word “community” was by far the most important. It was about what we can do to serve our communities.
It was about taking the beauty of Newfields and using it to enrich people’s lives. They were people who really focused on the mission, and I was very happy with them.
It is so much more important than diversity, equity, inclusion and access to training. It’s about changing people’s hearts.
I want people to create inclusive public programming for everyone – and “all” doesn’t mean excluding everyone. Everything means everything. I want people to think about their programming because it’s the right thing to do to bring us to excellence.
Ironically, people think this is going to take us away from excellence. In fact, it does what we are supposed to do, which is to protect the heritage of art — our collection, which is extraordinary — and then to grow and evolve it. …
It’s so much bigger than DEIA. It’s an element of that, but I don’t want Newfields thinking we’re doing DEIA training and then ticking a box. “We are anti-racist. It’s unrealistic.
Q: Do you have any information on the search for the director of the Indianapolis Museum of Art?
Yes, we hired the research firm. and I anticipate that we should make a public announcement with a job description in the very near future.
We want to do global research because I am in this pursuit of excellence. We need to keep the door wide open and have the perfect job description for what we are looking for.
Everyone brings their A game to the interview. But we want to dig deeper and make sure we don’t just get an A game in the interview, but bring someone to Newfields who is a catalyst for excellence.
Q: Can I trace the timeline from when you announced you were leaving Huston-Tillotson to when this job appeared on your radar?
A friend of mine asked me out to dinner after announcing my retirement. During dinner, she asked me, “What are you going to do?” I know you’re not going to retire. I said, “No, I’m not going to retire.
I want to do something.”
And then I stumbled over my words, and realized that I had no plan for myself. She therefore suggested that I invite a friend to sit down and discuss my passions with me. And that person works at Korn Ferry (the consulting firm that worked with Newfields on the search for the chairman and CEO). We talked, and about two weeks later I got a phone call from another person who she had given my resume to. And she thought I would be a potential match.
I saw Newfields’ description and said, “That’s not me. But they persisted in painting what Newfields was looking for. In fact, in interviews, I kept saying, “Well, I’m an art lover, but I’m not an art enthusiast.” I was doing the classic talking thing to get by. It’s fear, like protecting myself from the moment of rejection.
At one point, Darrianne Christian, who I think is a wonderful board chair and a wonderful human, said, “Dr. Burnette, we know what you told us. We are not looking for an art lover. We have a position for that. We are looking for a change leader.
It makes me cry when I think about it. It was a turning point for me because I really wanted this job.
Basketball player Shaquille O’Neal is considered one of the greatest to ever play the sport. He was one of the tallest players in NBA history, standing seven feet, one inch tall and weighing 325 pounds. He also had one of the biggest shoes – a size 22. In his first year, Shaq signed a $15 million deal with Reebok and wore the brand for the first five years of his career in the brand. NBA.
Before Shaquille O’Neal became one of the greatest centers in NBA history, he was a star player for the Robert G. Cole High School Cougars in San Antonio, Texas. At 6-foot-10 tall, 230 pounds and still growing, he was dominant on the court. O’Neal led the Cougars to a two-year record of 68 wins and just one loss and the 1989 Class AAA state championship. He then played for Louisiana State University for two years, where he was twice All American, two-time Southeastern Conference Player of the Year and 1991 NCAA Men’s Basketball Player of the Year.
In 1992, Shaq was drafted by the Orlando Magic and won Rookie of the Year that season. He played for six teams during his illustrious 19-year NBA career and won four NBA championships, three with the Los Angeles Lakers and one with the Miami Heat. Among his individual accolades are an NBA Most Valuable Player award, 15 NBA All Star selections, three Finals MVP awards and two scoring titles. He ranks among the top ten players of all time with over 28,000 points scored in his career.
Off the pitch, O’Neal is known for his outgoing personality and generous charity work. As an actor, he has starred in movies, TV shows, and commercials. Shaq is also an active musician, philanthropist, businessman and investor, and on-air analyst for Inside the NBA.
Since its launch in 2006, literally coming out of an old carpentry workshop in London, Gallery of the carpenters’ workshop has both brought closer and expanded the worlds of art and design. This week he has not one, but two stands at PAD London, the second showcasing one of his latest adventures, Carpenter’s workshop jewelrywith pieces designed by artists such as Cindy Sherman, Rashid Johnson and Robert Longo.
“They wanted to use jewelry to express their ideas and push boundaries to a new level,” said gallery co-founder Loïc Le Gaillard.
The gallery also announced its biggest project yet, one that will push its own boundaries in a new way: Ladbroke Rooma 43,000 square foot space slated to open in Notting Hill next spring, devoted not only to collectible design and functional art, but also to creativity in all its forms.
“For years, we have explored new ways to lay the groundwork for creative freedom,” Le Gaillard said in a statement. “It’s part of our DNA to push and blur the boundaries between the many artistic disciplines.” Its co-founder, Julien Lombrail, called Ladbroke Hall “a Gesamtkunstwerk”.
Some Ladbroke Hall collaborators (from left to right): Vincenzo De Cotiis, Ingrid Donat, Loïc Le Gaillard, Nacho Carbonell, Julien Lombrail, Sir Christopher Le Brun PPRA. Pictured: Tom Jamieson. Courtesy of Ladbroke Hall and Carpenters Workshop Gallery.
The duo tapped into some of the hottest names in art and design – and in between and beyond – to bring their vision to life. Among them, Mr. David Adjaye OBE has restored and refurbished the former Sunbeam Talbot Motorworks HQ, originally built in 1903, to house the new flagship Carpenters Workshop Gallery, complete with an underground gallery and dedicated live music and performance spaces (with a soundscape designed by Bang & Olufsen, no less), workshops, supper clubs, and more.
Photo and recording studios will also be on site, not to mention a 12,500 square foot “hidden” garden landscaped by the winner of the Chelsea Flower Show Luciano Giubbileiwith an open-air restaurant and a private pavilion from Jean Prouve.
Ladbroke Hall will also collaborate with local artists and young creatives in a community program covering art, design, music, restoration and more.
The museum has recently been in the limelight after Arts and Culture Minister Nathi Mthethwa faced opposition over a proposal to drop the word “Afrikaans” from its name.
Photo: Afrikaans Taalmuseum/Facebook.
CAPE TOWN – The Afrikaanse Taalmuseum in the Western Cape said on Friday it was committed to an inclusive storytelling about the monument and its history.
The museum has recently been in the limelight after Arts and Culture Minister Nathi Mthethwa faced opposition over a proposal to drop the word “Afrikaans” from its name.
The museum’s board and management briefed parliament on its annual report on Friday and no mention was made of Mthethwa’s controversial suggestion.
The museum’s board and management have said they want to rectify misconceptions about the Afrikaans language and symbolism of the monument on the slopes of Paarl Mountain.
Museum director Michael Jonas said that before the COVID-19 pandemic, the museum received up to 80,000 visitors a year.
“We need to include progress made since 1975, we know Afrikaans is a controversial language, with a lot of baggage, but it’s exactly part of a narrative to have an inclusive narrative that deals with the history of the institution and Afrikaans as a whole.”
Board member Logan Munsamy said the museum is committed to the transformation program.
“We have responded appropriately through a statement to the media to correct the wrong thinking on the part of conservative Afrikaans communities.”
The council said that while there were still many challenges to overcome, it would assure lawmakers that it was making progress in dispelling negative connotations about the Afrikaans language.
How do we find a balance between our relationship to art, to others and to ourselves? “Affecting Expressions” explores this question by presenting the history of queer experience for a modern audience.
The cast includes Magdalena Poost ’23 as Charlotte Cushman, Juliette Carbonnier ’24 as Hatty Hosmer, Sam Melton ’23 as Dramatis Personae and Rosemary Paulson ’23 as Matilda Hays for her dissertation thesis. ‘actor. The play, written by Eliana Cohen-Orth ’21 and directed by Eliyana Abraham ’23 for her directing thesis, was presented at the Wallace Theater from October 7-9. Inspired by a biography of Charlotte Cushman, “When Romeo was a Woman” by Lisa Merrill, the play frames ambition, love and loss through the lens of queer experience.
As soon as the lights went out, everything was quiet for a while, until Melton jumped out of a large chest placed in front of the front row, sending ripples of excited anticipation through the crowd. Thus began the journey into the history and world of Cushman, Hays and Hosmer, three queer women whose lives and artistic paths intersected while living together in Rome.
Throughout the play, the combination of historical facts and creative elements developed a theme of finding yourself in the art without letting it consume you. Where is the distinction? Where do the lines start to fade? The depiction of three art forms – Cushman’s acting, Hays’ writing and Hosmer’s sculpture – provides insight into the characters’ self-discovery as they search for meaning in their work.
Cushman’s acting career highlights the consequences of not maintaining a balance between his craft and his life. Through the inclusion of Dramatis Personae – the embodiment of Cushman’s relationship with acting – audiences were able to peer into her mind to understand her struggles with giving up her acting career for a life of simplicity.
Hays and Hosmer, meanwhile, face their own problems. Hays faces the challenge of loving someone else, while trying to love herself by investing time in her aspirations. Hosmer, who has been portrayed as confident from the start, wonders what to do when others rush to accredit her work with men.
At first, we are introduced to Cushman as a successful actress, Hays as her companion, and Hosmer as her student. Yet, as these characters come into their own, we see a new layer of their identity. When Cushman is absent from a scene, Hosmer asks Hays about Hays’ novel to learn more about how it reflects his identity. Hays claims the version of her who wrote the story was “filled with passion” and no longer represents her true self. However, during the fallout between Cushman and Hays at the end of the play, which results in an emotional outburst from Hays that seems almost unusual, the audience wonders if this is true. Scenes like this contribute to the underlying question the play poses – whether we really leave our past behind or, rather, whether our past shapes our identity even in the present.
Everything about the show, from the costumes to the set to Melton’s piano playing, immerses the audience in the emotions of the characters. More than the entanglement of the lives of the three characters on stage, through the fog that filled the air above our seats and the newspapers that fell from the ceiling, we were also intertwined in the story.
After the show ended, College Dean Jill Dolan and drama teacher Stacy Wolf hosted a discussion with Poost, Carbonnier, Melton, Paulson, Cohen-Orth, Abraham, and Merrill, the author of Cushman’s biography. As discussed in the conversation, an overarching theme of the show was community – not just the community created between the three women, but also the portrayal of the queer community as a whole. In relation to this conversation, Merill noted that despite the praise Cushman received during his career, homophobia led to his erasure from history.
Beyond the thematic elements of the play, the cast and crew also discussed the importance of having a rehearsal space where they could bring “their whole being.” Being gentle with yourself and others was an integral value of the production: the actors explained that it made the rehearsal process more rewarding and helped them to fit in with their characters. At the end of the discussion, Poost reflected on the lessons she learned in the process saying, “beyond even acting, but yeah, [also] in the theatre, there is always more room to be gentle with people.
The initial excitement I felt from that very first scene when I was drawn to Dramatis Personae continued throughout the play. Through the meta-theatrical elements and the emotional reach of the characters, I became invested in the stories of three women that, two hours before, I knew nothing about. Through Cohen-Orth’s writing, Abraham’s directing, and the performances of all four actors, stories that were previously written out of history came to life.
Regina Roberts is a writer for The Prospect and the Podcast section of the ‘Prince.‘ She can be reached at [email protected]or on Instagram @regina_r17.
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The Brothers War set brings us all kinds of cool goodies, and the one we’re very excited to see is the Brothers War Retro Frame Artifacts. These are also known as Old Brother’s War Frontier Artifacts or Brother’s War Mystical Archive Maps. In this article, you will find the complete list of these cards, as well as all the information to obtain them, and much more!
There’s a lot to talk about, so we better cut to the chase.
What are Brothers’ War Retro Frame Artifacts?
These are various artifacts from Magic’s past, which appear in most Brother’s War booster packs. They all have the retro frame, hence the name. In total, there are 63 retro frame artifacts of various rarities (rare, uncommon and mythical) and they work the same way as the Mystical Archive cards in Strixhaven. The cards feature a special set symbol:
Here is a brief summary of the products containing the Retro Frame Artifacts:
Retro Frame Artifacts come in three versions:
Regular retro frames
Let’s take a look at each of these groups.
Regular Retro Frame Artifacts
First up we have the regular retro frame artifacts. These are the most common versions, and to this day will use their old artwork, albeit in the old frame. Here is an example :
The special version are the retro schematics, which have new art. Although they obviously mimic the original artwork, they are made in schematic form. To quote wizards; this work echoes a diagram that one would use to construct one’s own artefact.
But wait, that’s not all. There are also retro schemes that come with a serial number. For each of the 63 cards, there will be 500 numbered ones. These are likely to be highly sought after, with some large numbers perhaps fetching an even higher premium.
Retro serialized schematics will only appear occasionally in Collector Boosters, and they will have a special aluminum treatment, called double rainbow.
The Artifacts of the Brothers War Retro Frame – List
Out of 63 retro frame artifacts, 6 were spoiled. It’s 4.8%, so there’s still plenty to preview. You can find all of the currently known ones below:
Retro Schemes – List
Here is another list of cards, this time you will find the schematic versions:
How do I get the Brothers War Retro Frame Artifacts?
You can obtain the Brothers’ War Retro frame card from the three main Brothers’ War booster packs:
Much like the Mystical Archive maps, these retro frame artifacts will appear in all Draft or Set booster. Having a 100% chance of getting a Retro Artifact Card is pretty impressive. In the following table you will find the number you can expect in a specific booster box.
We don’t have the exact number of Collector boosters yet. The ones above are based on odds from the Strixhaven Mystic Records, which seem the most likely.
That’s all we know about Brothers’ War Retro frame artifacts so far. You can expect more information on October 27, when we have more spoilers and information on the war of brothers.
At the start of the article, we mentioned that this set brings all sorts of cool goodies. Retro frame artifacts are just one of those things. For the first time ever, Transformer is collaborating with Magic. You can find all MTG Transformer cards here.
Anyway, that’s all for today. Until next time, have fun and may you crack open your favorite retro artifact in your Brothers’ War booster.
‘richard jackson works’ exhibited at hauser & wirth zurich
A prominent figure in contemporary American art since the 1970s, Richard Jackson is influenced by both abstract expressionism and action painting. Her work explores a performative process that expands the potential of her chosen medium by disrupting its technical conventions. Returning to Hauser & Wirth Zürich‘s on Limmatstrasse in September, Jackson will launch an interactive ‘Shooting Gallery’ (2020), the most recent example of his ‘painting machines’ which will be activated by the artist in the ground floor space . Moreover, the exposure presents a study of his neon works from the past 30 years, works on paper and a new installation titled “1000 Images” from the artist’s Stacked Paintings series, comprised of one thousand hand-painted canvases .
Throughout his career, Richard Jackson has produced site-specific installations that convey a concern for the painting process. The structural aspect of its facilities involves a high level of craftsmanship and engineering; however, the final paint application is generated by an automated process he calls “activation”. He often equips his “painting machines” with a network of pipes and hoses which, when deployed, cause eruptions of paint which submerge the work and often the surroundings. Jackson’s goal has always been to push the boundaries of the medium of painting and to question its working conditions and methods: ‘It’s my idea to try and expand the painting, not just in size, but to see how far it could be extended or pushed. I don’t see my work as a critique of painting but an optimistic vision of what it could be. I felt then and still feel that painting need not be a field of art described by the materials that are used,’he says.
For this exhibition at Hauser & Wirth, Jackson created the installation ‘Shooting Gallery’ (2020), an impressive structure made during confinement in his studio in Los Angeles. Recreating a fairground shooting range inspired by Swiss and American carnivals, Jackson responds to the high spirit of pictorial practice by repositioning painting as an everyday experience. The artist fires a paintball gun at a targeted canvas to create an original painting while tiny metallic creatures around the edges of the canvas are pulled by a mechanical chain.
Despite the craftsmanship that goes into creating the structure of the “Shooting Gallery”, Jackson is primarily interested in the process of creating a work of art, rather than its quality as an object. With the viewer left to grapple with the consequences of its activation, the artist declares that his work ‘is proof of work done, of a process‘.
The exhibition also features an overview of his neon series from the past three decades, including new works made in 2022. Mounted on the gallery wall or positioned on plinths, the neon signs flash with puns or statements that engage with the artist’s longstanding interest in hunting. culture and its vernacular, seen in works such as ‘HOTSHOT’ (2022), ‘Big Pig’ (2007) and ‘deer beer dick duck’ (1999). In ‘Ain’t Painting a Pain’ (2009), the word ‘PAINTING’ lights up in stages, offering an ironic commentary on the heroic pretensions associated with the medium, while works such as ‘Art Fair Party’ (2014 ) are a direct and humorous critique of the structure of the commercial art world. Additionally, a selection of technical drawings from the neon lights and other works are on display, showing Jackson’s commitment to executing intricate structures himself.
Jackson’s DIY approach is no better exemplified than in his famous “Stacked Paintings”, a series the artist has been working on for 50 years and which offers crucial insight into his expansion of painting. For this exhibition, the artist has created a new work entitled “1000 images” (2022), in which he individually stretches, paints and stacks a thousand canvases by hand, creating a work that abolishes the distinctions between painting, sculpture, installation and performance. He negates any form of pictorial representation of the surface of the canvas by stacking the paints face down when wet, also transforming the commodity element traditionally associated with paint. Ultimately, for Jackson, paint is not a tool used to create a representational image, but an ubiquitous liquid that is squirted, splattered and sprayed over his installations.
The exhibition “Richard Jackson Works” — until December 23, 2022 — thus testifies to the pioneering and subversive creative process of the artist who continues to merge architectural and sculptural concerns in order to explore and energize the limits of pictorial practice. .