Dimitri Ozerkov, who since 2007 has headed the contemporary art department at the Hermitage Museum in Moscow, resigned from his post there in protest against Russia’s continued violent invasion of Ukraine. Ozerkov announced his departure on October 2 Instagram postfeaturing a manipulated image of an illuminated airplane emergency exit sign, in which he claimed he was leaving because “I don’t intend to have anything in common with the Russia today”.
Ozerkov revealed he made the decision to leave in March, shortly after Russia began its aggressive foray into Ukraine, and in the immediate wake of a story in the government-run Russian newspaper. Rossiiskaya Gazeta in which Hermitage director Mikhail Piotrovsky accused the West of trying to nullify Russia because of the country’s warmongering.
“After Russia sent its troops to Ukraine,” Ozerkov wrote, “dialogue and respect ceased to mean anything in Russia, news was replaced by propaganda that says nothing about the armed forces Russians accused of many crimes against the civilian population. As a Russian citizen, I also considered this shame as my own fault and I shared this opinion. Then my choice was to stop doing anything in and for today’s Russia.
Ozerkov, a specialist in 18th century and contemporary art, arrived at the Hermitage in 1999 as curator of 15th and 18th century French prints. During his time at the institution, he organized more than forty exhibitions, including those featuring works by Chuck Close, Jan Fabre, Antony Gormley, Ilya and Emilia Kabakov, and Anselm Kiefer. In 2011 and 2015, he oversaw the Hermitage Museum’s projects for the Venice Biennale, showcasing the work of Dmitry Prigov and the 2015 Glasstress Gothika exhibition, respectively.
Ozerkov also left the St. Petersburg City Council of Culture. “I greet all those for whom the Greek word Exodus, used by the authors of the Septuagint, has become the only possible way out of the current situation,” he wrote, concluding: “Russia has ousted us all those who wanted nothing but good. his culture “.
The increase in consumption, whether materially or in abstract realms, has been hard for humans to catch up with, increasing at a rate that is hard for natural human desire to keep up with. In technological terms, for example, while we unbox a new gadget or a new mobile phone from its box, a newer version is already announced to be launched. With the advancement of lightning-fast communication tools, social changes or the implications of these social changes, across our planet, have also been extremely difficult to adopt and implement into our daily thinking.
In other words, a whole new civilization, consumer-based and arguably rapidly evolving, is being built. Compared to the previous ones, the geographical influence of the elements of this new civilization also extends throughout the world.
As the concept of civilization is reflected in the world with such evolution, the Commagene Biennale meets art lovers at the cradle of the Kingdom of Commagene, in the Kahta district of Adıyaman, which is a destination to be discovered with its historical and cultural mosaic – one of the distinguished cities of Mesopotamian geography. The area has been home to many civilizations to this day, including the Kingdom of Commagene, Hittites, Mitannis, Aramaeans, Assyrians, Late Hittites, Persians, Kummurs, Alexander the Great of Macedon, and in the near past , the Seljuks and the Ottomans.
Founded by Mithridates I Callinicus, who claimed to be a descendant of the King of Armenia, the Kingdom of Commagene dominated Mesopotamia and the greater Euphrates between 109 BC and 72 AD, serving as a buffer state between ancient Rome and Persia . Founded by Macedonians in a country where Persian culture reigns, Commagene has become a personification of the marriage of East and West, which is reflected in its culture. Although the people used the Greek culture, the rulers of this kingdom did not hide their admiration for the Persian, Assyrian and Armenian cultures.
The biennial presents a total of 53 works by artists from 23 countries in six monuments, located in Kahta and on an island off Nevali Çori. The island is the main venue, however, exhibits and artist installations are located across various historical sites including the magnificent Nemrut Peak, the newly renovated Kahta Castle, Karakuş Tumulus, Arsemia and Cendere Bridge. The biennial is the first in the region. In fact, apart from the summit of Nemrut, other historical sites and archaeological developments are little known. However, the impressive efforts of the Silkroad Development Agency (SDA), Adıyaman Governorate and Kahta District Governorate are signs that a new artistic wave will undoubtedly invade the region in the near future.
The place having sheltered many civilizations, the traces of this rich cultural fabric paved the way for the idea of creating an “imaginary civilization” within the framework of the Biennale, by evoking the questions “Is it possible to create a new civilization in a world where even the most civilized behave in ways that are unacceptable? and “Can we wonder about the existence of other dimensions in these relationships between human and human, human and nature, gastronomy, music, architecture, archeology and the fashion ?”
I was swept away by each installation as we were guided by curator Nihat Özdal. In a way, each unique work gathered under the theme “an imaginative civilization” connects the chaos of the past with the current chaos in which we live. As you travel from exhibit to exhibit to view installations in a vast geographic space, your mind travels across multiple periods of art and history simultaneously.
Visiting facilities on five islands that emerged with the construction of the Atatürk Dam on the Euphrates, you will experience the blend of art and nature. As you climb a steep route of nearly one kilometer (0.62 mile), you can admire the magnificent sunrise from the summit of Nemrut, home to the Mausoleum of Antiochus I (69-34 BC). C.), the first ruler of the ancient Kingdom of Commagene, and a UNESCO World Heritage Site since 1987. Here you are greeted by three installations as part of the exhibition. Kahta Castle, on the other hand, for example, houses works by Turkish and international artists in the historic structure that sits on a high cliff, offering a majestic view of the area. I must mention here that all the materials used for the exhibition and the works are natural elements and components.
The biennial, which started on August 20 and will run until October 20, is expected to contribute to tourism in the region, while breaking some chains in the relationship between locals and modern art. Undoubtedly, it has so far made a difference in both areas. Adıyaman Governor Mahmut Çuhadar and Kahta District Governor Selami Korkutata as well as Adıyaman Museum Director Mehmet Alkan confirmed that the number of tourists increased significantly in 2022 compared to previous years .
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The body was purchased by Bob Howard, the grandson of Seabiscuit owner Charles Howard. (Howard could not be reached for comment.) In 1999, the U.S. Fish and Wildlife Service received a tip that Howard, an avid collector of exotic taxidermy, possessed endangered species and had raided him in Palm Springs. In California, unlike Texas, it is illegal to possess Native remains. When law enforcement officers saw the body, they called the coroner, who eventually arranged for it to be sent to TARL.
The Novaks led us to the garage, where most of Ken’s collection was stored. I had heard Schroeder rant about this before. “There are about 60 known atlatls in North America,” he had said during the car ride, “and there are three of them lying around the house. Sure enough, the wall above the Corvette was adorned with a dozen framed arrangements of arrowheads and other artifacts. Schroeder asked if he could take one of the framed sets back to Alpine for a few days – he wanted to x-ray an atlatl forebody and consult a botanist about plant material from an unusual bracelet. Ken seemed to agree, but Betty objected. When Ken finally called it off, she pulled out her phone and photographed Schroeder removing the framed set from the wall — proof in case he didn’t return it, she said, half-jokingly.
The Novaks were horrified that Benke had sold the remains Ken had removed from the cave. “It’s a body,” Betty said. “You don’t do stuff like that.” But in the United States, there is a long tradition of individuals and institutions possessing the bodies of Indigenous peoples, which have been used to substantiate eugenic claims, analyzed to understand North American prehistory, and exposed as curiosities.
From the 1960s, activists of the American Indian Movement organized sit-ins in museums and interrupted archaeological excavations. They argued that the indigenous remains were not objects of study belonging to scientists but ancestors whose fate should be controlled by their descendants. In 1990, Congress passed the Native American Graves Protection and Repatriation Act, which allowed tribes to claim skeletal remains and sacred objects, as long as they could prove a “reasonable connection”. But nagpra applies only to institutions that receive federal funds. In Texas, individuals can legally possess (but not sell) human remains. “It’s a pretty common problem, actually,” Tanya Marsh, a professor at Wake Forest School of Law and an expert in funeral and cemetery law, told me. “There are very few rules that apply to human remains that are in private hands, and virtually no rules that require an investigation into the events that led to those remains being in private hands.”
On the way back to Alpine, Schroeder told me that at least two more bodies had been pulled from Spirit Eye. One of them, a baby swaddled in deer skin, had been removed from the cave in the early fifties. For years, local residents told Schroeder that she had been on display at a car dealership in Marfa. The owner, now an elderly man still living in Marfa, refused to speak to Schroeder. “He’s well known in the area, and he doesn’t think he needs that kind of attention,” Schroeder said.
Schroeder traced the other body – that of a grown man, who had been removed from the cave in the early sixties – to a local history museum in Pecos, Texas oil country. The director of the museum is a woman named Dorinda Millan. Arranging to see the body took “months of unanswered calls, hours of driving, multiple visits, diverted conversations, multiple missed correspondences and a detailed follow-up letter explaining the reason for the persistence,” wrote Schroeder, in an article published in Advances in Archaeological Practice.
Schroeder met Millan and, after an hour of chatter, asked him if he could see the remains. She reluctantly removed a sepia photograph from a wall, revealing a hidden latch. When the wall opened, he saw the body, crouched in what looked like a papier-mâché cave with fake pictographs on the walls and perishable artifacts – baskets, corn – strewn at his feet. “She said, ‘Here you go,’ and walked down the hall,” Schroeder told me. “And my jaw hit the ground. I was just looking—like, What‘ Millan agreed to let him take a small sample from the body for DNA testing, and Schroeder knocked out a tooth.
When I arrived at Millan later, she told me that the body had been donated to the museum by “one of our old pioneer families” decades earlier. “It’s a sensitive subject for us. We feel connected to her, because we have been her guardian for all these decades,” she told me. (Millan thought the body was female; recent DNA testing confirmed it was male.) “We want to keep it private. We don’t want to talk about it. Our board is very protective of her, and so am I.
When Xoxi Nayapiltzin attended elementary school at Alpine in the 1950s, he recalls, he studied a lot of Texas history, but nothing about the area’s Native past. “History begins with the first European explorer,” he told me wryly. Both times I met him, Nayapiltzin, a reserved seventy-seven-year-old with silver hair, wore a denim shirt tucked into denim pants. He didn’t grow up thinking of himself as Native American, a term he associated with reservations and federally recognized tribes, but he knew his family had long lived in the Big Bend area. Much of the family tradition had been passed down through her grandmother’s great-grandmother, Sebastiana Carrasco. A local ravine has been named Arroyo Sebastiana, commemorating the time his chariot overturned there, more than a century before.
As a teenager, Nayapiltzin moved to El Paso, where he now runs a small real estate business, but often returned to Alpine. As he got older, he became fascinated with finding his local roots. He visited the Family History Center, run by the Mormon Church; at the Sul Ross Library, which had parish records dating back to the end of the colonial era, he spent hours deciphering century-old script. He even had his DNA sequenced, a controversial practice among some Native Americans, in part because it fails to capture the complex web of relationships that determine tribal affiliation.
Today, Texas has three federally recognized tribes—the Alabama-Coushatta, Tigua, and Kickapoo—totaling less than seven thousand enrolled members. There are also a handful of state-recognized tribes, including the Lipan Apache and the Miakan-Garza Band. “Usually when people talk about ‘Native American’ or ‘Indian’ tribes, they’re pretty much referring to the federally recognized tribes,” Mario Garza, cultural preservation manager for the Miakan-Garza Band, told me. . “A lot of people don’t believe you’re Indian unless the white government says you’re Indian.”
In response to the hostility, many Native Americans in Texas chose to identify as Mexican Americans. More recently, that has started to change. In 1970, eighteen thousand Texans identified as American Indians on census forms; by 2020, their number had risen to almost three hundred thousand.
After Schroeder returned from Pecos, he sent the tooth he had extracted, along with a sample of the body Novak removed, to the Molecular Anthropology Laboratory at the University of Montana. Laboratory tests revealed that both bodies were linked to the mother; one was about seven hundred years old and the other about nine hundred years old.
On the day Schroeder got the results, Nayapiltzin happened to be visiting the Center for Big Bend Studies, discussing the petroglyphs with one of Schroeder’s colleagues. When Schroeder told her about the DNA test, Nayapiltzin talked about her haplotype, a group of genetic mutations used to trace the maternal line: B2a4a1. It was the same as the bodies in the cave, which meant that Nayapiltzin was related. Schroeder was stunned; Nayapiltzin was not. “I just thought it was confirmation of what I already knew,” he told me. “It doesn’t surprise me that my ancestors are here.”
When people seek to recover bone remains, priority is given, under NAGPRA, to federally recognized tribes. This has sometimes been a source of intergroup conflict. (The Miakan-Garza Band is currently petitioning TARL for three sets of remains, but his claim was blocked by two federally recognized tribes.) Chip Colwell, who worked at the Denver Museum of Nature and Science, told me that when nagpra past, “there were a lot of doomsday predictions about the future of museums and archaeology.” But two decades later, there were still over a hundred thousand Native American skeletal remains in museum collections. This is partly because institutions were unable to determine a tribal affiliation for many remains. After hundreds of years, it can be difficult to prove a connection to a current tribe.
When Schroeder prepared to publish his work, other anthropologists questioned his actions, especially the extraction of the tooth. Destructive analysis, or testing that requires the removal or destruction of body parts, is a controversial practice. Colwell told me that in more than ten years at the Denver museum, he had been involved in dozens of consultations with tribes about unaffiliated remains. DNA testing was often mentioned as an option. “It was raised as a question – would it benefit the cultural affiliation process?” he said. “Nobody ever wanted to do that.” Colwell believes that destructive analysis should only take place with the consent of potential descendants: “Even trying to do something good, you could harm your ancestors or your descendants by making such decisions.”
Schroeder bristled at the thought that he had made a misstep. “I don’t own that thing,” he said. “I submitted my research project to TARLand TARL could have said to me “No, you can’t do it”, but they told me that I could do it. So I didn’t do anything wrong. » (TARL has since imposed a temporary moratorium on destructive analysis.) He began to speak more rapidly, as if expressing an argument he’d had in his head many times: “Did I do everything right ? I don’t even know if there is a right way to do everything. Everyone was like, ‘Do you still want to taste the stuff in the cupboard?’ Most likely!”
Nayapiltzin was equivocal about the methods that linked him to his ancestors in Spirit Eye. He told me he didn’t want to discuss DNA testing. “Let Bryon talk about it,” he said. He had petitioned TARL to take over the body that Novak discovered, which he planned to rebury, but the process was underway. Because the DNA test had established Nayapiltzin as a possible descendant, his claim was strong, but he was still nervous. “I don’t want to say too much until we have it,” he told me.
The Library of Congress in Washington, DC has the largest collection of flutes in the world with 1700 flutes. The collection includes a crystal flute made by Claude Laurent for president James Madison. The flute was saved by the First Lady Dolly Madison in 1814 when the British invaded Washington, D.C. during the war of 1812. Laurent patented a leaded glass flute in 1806 and barely 185 of the craftsman’s glass flutes still exist. His crystal flutes are the rarest of his instruments.
On September 23, 2022, Carla Haydenthe 14th Librarian of Congress and the first African-American woman in that position, remarked that the singer and musician Lizzo was going to be in Washington, DC for a gig and asked her — via Twitter — if she wanted to “come see” the world’s largest collection of flutes, and even play some. Lizzo enthusiastically agreed to visit.
The collection of flutes is mainly the result of a donation from Dayton C. Miller, physicist, astronomer, flautist and flute collector. He donated the collection to the Library of Congress in 1941. Like other instruments in the music division’s largest collection, flutes are played occasionally – and some donors even stipulate in their donation agreements that the instruments should be played.
Carla Hayden and the Library of Congress staff showed Lizzo around the famous collection and treated them to a mini concert. In a blog post, April Slayton, director of communications at the Library of Congress, wrote: “Lizzo respectfully took Madison’s crystal flute in her hand and blew a few notes. It’s not easy, because the instrument is over 200 years old. She huffed a little more when she was in the Great Hall and the Main Reading Room. Then, seeking a more practical flute from the collection, she serenaded the employees and a few researchers. He filled the space with music as sublime as art and architecture. Slayton added: “The cameras broke and the video rolled. For your friendly national library, it was the perfect time to show a new generation how we are preserving the country’s rich cultural heritage. The Library’s vision is that all Americans are connected to our holdings. We want people to see them.
Afterwards, Lizzo asked if she could play the crystal flute at her concert in Washington, D.C., and Library of Congress staff agreed, guaranteeing complete security. During the concert, Lizzo played the flute for a few minutes, but the message was significant as she told her audience, “the story is really cool guys.”
Lizzo has been classically trained on the flute since she was 10 years old and took music lessons with Claudia Momen. She also played the flute in the marching band while a student at University of Houston. And at the height of the Covid-19 pandemic, she played with the New York Philharmonic orchestra.
Lizzo pays more attention to instrumental music and playing the flute as a hugely popular entertainer is vital, especially for young children watching who might not be able to imagine themselves as musicians. Participation in the arts is associated with an increase in academic success, improved cognitive skills, increased creative thinking, a greater sense of belonging at school and, perhaps most importantly, greater compassion for others. According The college councilmusic performance and music appreciation students scored 57 points more in the oral and 43 pointshigher in math [on the SAT] than students with low arts participation.
Unfortunately, the budgets for music education and arts education are generally meager and limited in schools in areas of great poverty, which creates new inequalities. According to a study speak National Foundation for the Arts, only “48% of at-risk students with low arts involvement attended college, while 71% of at-risk students with high arts involvement attended college.” Moderate involvement in the arts is important for students, but greater exposure and involvement is more powerful and provides lifelong benefits. Despite critical from some circles, Lizzo is bringing large-scale and much-needed attention to instrumental music at a time when the nation needs it most. Additionally, his actions have introduced the history of music and the Library of Congress’s largest collection to a wider audience across the country.
The black cultural leaders of Cleveland, Ohio are unhappy with the so-called efforts to diversify the city’s arts institutions. While organizations such as the Cleveland Museum of Art, the Museum of Contemporary Art Cleveland, and the Cleveland Institute of Art all pride themselves on increasing the diversity of their staff, the works of art that are promoted and sold, and in the case of the Cleveland Institute of Art, the students they admit, many are unhappy with the real impact of these changes.
So why aren’t these changes enough? According to online media, Cleveland.comthese local champions of black visual art say there is much more that these institutions could do to immediately address inequality and injustice in northeast Ohio.
Last Saturday, September 17, FRONT International: Cleveland Triennial for Contemporary Art and the nonprofit Assembly for the Arts hosted an all-day symposium where these efforts to improve racial diversity were discussed. And according to them, if a mark were to be given for these efforts, the city would rank last in the class.
“If you ask us, that’s probably an F,” said Ismail Samad, a native of East Cleveland, an entrepreneur and chef who returned from Boston to the city after founding a farm-to-jar food business to support East Cleveland and surrounding communities.
Samad also said that due to the measurable increases the data provides, these same cultural institutions would likely rank at a B-plus, but despite these increases in hiring or programming, the lives of Black people living in and around these spaces still has room for improvement.
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Released November 30 Borrowing the screen from the beloved Paperwhite, this screen offers a glare-free experience indoors and out so you can read by the pool or on the beach on a sunny day. New to this model is the inclusion of a pen. Take notes right on the pages like you would in a traditional book, but the notes are automatically organized by title in one place, so you can review and export them easily.
Dave Ramsey, another creative entrepreneur who operates a gallery and organizes cultural programs in the city’s Fairfax neighborhood, says he would also give Cleveland an “F” because of its inability to fund black artists and their projects.
“When you talk about what has to happen, that’s it, right?” he said. “Empower creatives to do what they do and empower them to be meaningful and empowered to actually work.”
While the leaders of the institutions applauded each other earlier in the day during the symposium, the disconnect showed up in the afternoon when Samad, Ramsey and other black leaders took the microphone.
Deidre McPherson, a cultural consultant who has worked at the Cleveland Museum of Art, the Cleveland Orchestra and the Museum of Contemporary Art Cleveland, moderated an afternoon panel and then shared that not all opinions expressed should be taken as the opinion of the whole black community. She did, however, share the need to have the conversation.
“University Circle has been touted as one of the best arts districts in the country,” she said. “But how does its impact and power as an arts district improve the lives of the people who live immediately around it? We were hoping to help initiate some of that conversation with this group.
A Minnesota Historical and Cultural Heritage Grant of $8,691 was awarded this week to the Brown County Historical Society to support an ongoing inventory project of its artifact collection.
The project catalogs and photographs more than 1,800 objects in the museum’s collections storage room, including works of art as well as domestic, commercial and military artifacts from the late 19th and 20th centuries.
The grant will fund two temporary contractor positions to complete the inventory. Contractors will enter information about each artifact into the company’s electronic collections database before photographing and packing the artifacts back into their storage boxes. Anyone interested in applying for the contractor position can find more information on the company’s website or contact Curator of Collections Ryan Harren at 507-233-2624.
This project was made possible in part by the people of Minnesota through a grant funded by an appropriation to the Minnesota Historical Society from the Minnesota Arts and Cultural Heritage Fund.
I went to the opening reception for the Maine Art Gallery’s final exhibition of 2022, “Made In Maine”, last Saturday. This gallery is located in an old brick house on Warren Street in Wiscasset and the shows always stimulate the imagination and intellect of every viewer.
Set over two floors, with cool wall partitions in different colors in the rooms, I always feel like I’m walking through a much bigger space. And while I was doing that, I ran into artist/curator Mark Coates. Mark is a past president of the Boothbay Region Art Foundation here in the port. I naturally started asking questions about “how” to snag the show – which isn’t as easy as you might think.
“It’s such an eclectic work group. There’s a nice balance between abstract, non-subjective art and traditional work,” Mark said. “And there are some interesting carvings – assemblages, welded steel, granite. We try to place things so that when you come around the corner, you see something that surprises you. This gallery is one of the most beautiful spaces in the state.
Coates said there were 125 works of art in this members exhibit, “Made In Maine” by 77 or 78 artists. Each artist submitted two works for the exhibition.
There were a lot of songs that appealed to me. This is the fun part; Magic.
Edward Scott Elliot: The first is his mixed media “Fish House Town Meeting”. The deep colors, the black outline of the buildings… but it’s the variations on the houses and what’s inside… some are photos of fishermen, fishing families, dwellings, nature – scenes of water, chubby tits in the trees… And each building housing these images are all linked. When you live in a fishing community, everyone works there together and is affected by the outcome of each season. I guess this really hit home due to the ongoing nightmare our lobsters/women continue to face regarding the persistent claim that their gear is impacting right whale mortality. This work of art connects the past and the present with the future. What will it look like?
The other piece by this artist is “Electric Dooryard”… damn that invisible fence! A woman carries a rooster on her arm, its tail rests on her arm. Her ponytail extends directly behind her while the hair on top of her head stands “shockingly” on end. The bold orange-red background with the blues, yellows and gold colors just…catch the eye.
A shadowy world after a rain captured in Donna Barnako’s “Evening Stroll” was intriguing and inviting: I wanted to project myself into the painting as I walked just behind the trio on the right to hear about the opera or ballet they were perhaps had just lived.
The pen and ink drawing, “Smoke Break”, caught my eye upstairs. I could identify with the moment: a young woman seeking – and just entering – total relaxation mode. She looks like she’s in a child’s paddling pool…perhaps a young mother who has finally put her child to bed and is slowly smoking her joint. And, something in her facial expression and limp body tells me she’s just entered her happy place.
I couldn’t help but ponder the difference between today’s “mother’s little helper” and the pretty blue pills prescribed to moms in the 50s and 60s to help them cope. Can you hear the Stones’ “Mother’s Little Helper” right now? I did it. Or, perhaps the woman is in her own paddling pool, which with closed eyes becomes the edge of the ocean, she lies there listening to the calls and cries of the seagulls, the waves rolling on the shore… the sun on his face…heaven!
Those of you who read my column with any regularity know that I can get carried away with this “jumping in the paints” thing that I do. It’s not planned, it’s just my way of reacting to art.
Anyway, there are some great carvings in the show – there’s the “Harvey” Davidson motorcycle (4″ x 8″ x 2″) made of steel, sewing machine parts, and car parts by Chris Bissett. He also used steel to make “Rust Patina Topographic Globe” – illuminated from within. Chris could easily market these topographic globes if he wanted to.
John Catizone’s silky smooth Hilburn granite shark’s tail, “Circling” is a real beauty – and, with the exception of the dogfish head sharks we used to have at the Maine State Aquarium – I hope the only shark tail you touch. And you will be moved to do so – that’s how much stone carving affects us.
Watch, this dynamite show runs until October 22, but don’t wait until the last minute! Did I mention that six pieces sold out at the reception? Maine Art Gallery, on Warren Street in Wiscasset, number 15, is not in the center of the village, but it’s worth the extra two minutes to get there from Main Street. The gallery is open Wednesday to Saturday from 11 a.m. to 4 p.m.
And don’t rush through the two floors. Art should be savored. Considered. You have trips to take – and your imagination is your passport.
Tim Marlow says we devalue design. Commercial art – graphic design, architecture, fashion, packaging – has little status compared to fine art. “Design is messed up at both ends,” he says. “He has the nose notion of functionalism. But it is also considered a rarefied world. We don’t take it seriously enough – and especially to support the UK’s only national design museum.
Marlow, 60, is chief executive and director of the Design Museum, the first to fill the dual role, which he took on shortly before the pandemic. The museum is young by London standards, founded by Sir Terence Conran in 1982 (first as the Boilerhouse Project) and partly funded by proceeds from the 1981 IPO of Habitat, the retailer and manufacturer of Conran housewares.
“Terence’s point of view – the one I agree with – was that of [the UK’s] the tragedies are that we do nothing,” says Marlow as we sit in his (sleek, understated, tidy) office. “We lost the manufacturing that emphasized the importance of design, and how and why it matters.” Margaret Thatcher was convinced. In 1989, she opened the museum’s first dedicated site: a converted banana warehouse in Shad Thames.
The museum now occupies the former Grade II listed Commonwealth Institute on Kensington High Street, redeveloped in 2016 at a cost of £80million with the aim of elevating the museum to a world-class institution (and to get closer to the museum district “Albertopolis”. ). It offers a permanent collection with free access and a program of exhibitions, often with strong appeal, including upcoming exhibitions on surrealist objects and the work of Ai Weiwei. Visitors hit 650,000 a year, pre-Covid. Not bad, considering the 254-year-old Royal Academy attracted just under 850,000 in 2018-19.
Marlow is affable and fast-talking, with clauses piled upon clauses and quick asides delivered with traces of a Derbyshire accent. He speaks for almost two hours, tearing up topics such as his desperation over the proposed demolition of the 1962 French Railways House on London’s Piccadilly, his long search for a Charlotte Perriand office and his more than 20 years as a artistic broadcaster.
His live debut was TV gold. Marlow chaired Is painting dead?, a 1997 Channel 4 discussion whose panelists included Tracey Emin and philosopher Roger Scruton. Scruton was rude, Emin was drunk, and the show nearly ended in chaos after Emin stormed out. Marlow remained remarkably calm. He and Emin are friends – as he is with many artists.
“That’s why I’ve never been a serious critic,” he says. “I am a historian or a commentator when I write or broadcast. If you’re a serious critic, you can’t befriend everyone, because you can’t pass proper judgment.
Marlow knows what makes a hit show. He was previously artistic director at RA, where he programmed hit shows including Anthony Gormley in 2019, in which the artist flooded a gallery with seawater. It attracted nearly 285,000 visitors.
Prior to that, he was a partner at White Cube and co-founder of publisher Cultureshock Media, so he’s not without executive experience. How does he deal with single responsibility? “I don’t find it boring, but I have to concentrate. It takes technocrats and a good leader, but the creative vision cannot be detached from the CEO.
The Design Museum was doing well when Marlow joined, with exhibits on popular themes examined through a design lens: electronic music, Ferrari, Stanley Kubrick movies. They were commissioned by Marlow’s predecessors, co-directors Deyan Sudjic and Alice Black. Football, Amy Winehouse, and sneakers were topics under Marlow’s watch. In September, I saw him host a sold-out chat with Ai, in which the artist lamented a “very narrow idea of design.” Marlow turned to the audience: “Not in this museum.”
In the rush towards the general public, is his museum in danger of losing course? Marlow goes ever so slightly flint, pointing out that catchy shows run alongside others on central themes, such as litter or Margaret Calvert’s road signs. “It’s pure design. They couldn’t be more pure, speculative, avant-garde and critical of the past. We are far from being a populist temple; we’re not cynically trying to get a mass audience. We try to get different audiences. This strategy seems to work. More than half of visitors are under 34 and almost 30% are non-white.
Current draws include a dive into Autonomous Sensory Meridian Response, or ASMR. On a weekday morning in September, a young, multicultural crowd sprawls around a huge padded structure, lost in videos of petting dogs and frosting cookies. In the upper galleries, a free preview of the work of British-Nigerian designer Yinka Ilori is packed.
Marlow is quick to credit his team: “Anyone my age claiming to know everything about the emerging art scene is delusional.” But the high attendance is also due to artists creating specific works, such as the 2020s Electronic, a specially commissioned installation featuring the Chemical Brothers. “Living artists are often treated by museums as quasi-dead entities,” says Marlow.
Conran and his foundation have given over £75 million to the museum, although this funding has largely disappeared apart from a few small grants. Today the museum is finance through a mix including donations, exchanges, branding and commercial sponsorship from Deutsche Bank and Snap.
There is little state support – around £170,000 a year from the Arts Council, less than 1.5% of its almost £12m annual spend (although it was bailed out with nearly £9m in loans and government grants for pandemic recovery). Marlow wants more from the government and wealthy donors. One of his most urgent tasks is to persuade them to give it. “I have to be heavily involved in fundraising. It is essential,” he says. “And we have a strong case to make about Britain’s post-Brexit economy.”
The timing is not ideal. Science and technology, not the creative industries, are political priorities. Marlow will have to “dig deep” to convince the government that design is integral to technology and central to economic prosperity. Sounds like an obvious argument; nevertheless, Nadine Dorries, culture secretary until September, did not find the time to surrender.
Philanthropists are also in Marlow’s sights. “There’s no reason we can’t sell the naming rights. If someone wants to pay north of £20m to call it the X Design Museum, that’s possible. It’s my aim.
Its programming strategy is successful, but I wonder what a modern design museum is for. Is it to showcase taste, industry, craftsmanship, pop culture – or something else? “It’s an ongoing, fundamentally unanswered question – but it should be a place of questions as well as answers,” says Marlow. “And untangle some of the effects of mass consumption and poor design. You can escape art. But you can never escape design.
“Objects of Desire: Surrealism and Design 1924-Today” opens October 14 designmuseum.org
Spread over four floors, FARHOF is more of a museum than a hall of fame. The top floors of the Wang will house photo exhibits and exhibits of memorabilia and artifacts. Monitors will show performers talking – and their music playing – as visitors pass by.
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The Wang’s lower lobby houses the Music Hall, a room filled with rotating exhibits that serve as a sort of microcosm of what’s upstairs, and will eventually be the site of lectures and readings. A backstage hallway leads to themed exhibition halls that will feature new exhibits every four months. On the theater stage, where additional exhibits will be rolled out, visitors can step up front and sing a song or just get a feel for what the pros are going through from this vantage point. An additional plan, down the road, is to set up large mobile screens in the large four-story lobby and bring them down to display music-related videos.
The brainchild of Boch Center CEO Joe Spaulding, Folk Americana Roots Hall of Fame is the culmination of his various musical careers. Hailing from Manchester-by-the Sea, Spaulding caught the performance bug in the 60s after attending a Tom Rush gig. In the years that followed, he taught himself the guitar, wrote and recorded a self-titled album, formed his own label, sold the label, and began working with promoter Don Law.
Shortly after, a headhunter approached Spaulding with an offer to take over and help save the then struggling Wang Theater.
“At first I said no,” Spaulding said in his office overlooking Tremont Street. “But then I thought if I was successful, maybe my career would go in a different direction. So, I agreed to come for three years, and now it’s been 36 years.
Under his leadership, performers who have taken the stage at the 3,600-seat theater range from Bob Dylan to Aretha Franklin to Diana Ross, Neil Young to Hans Zimmer to Lake Street Dive.
But filling the seats for the concerts was not enough. Spaulding had something else in mind. About four years ago it began to take shape.
“I started wondering what we could do that would make us different from others,” he said. “I was talking about it with Mark Weld, chairman of the board of the Boch Center. I said, ‘We are the folklore capital of the world, so why not create a hall of fame?’ And Mark liked the idea.
But he would soon go beyond mere folk music. Spaulding and Weld hit the road.
“We went to the Country Music Hall of Fame and the Rock and Roll Hall of Fame and the Blues Hall of Fame and the Grammy Museum,” Spaulding said. “I knew a lot of people in the business, including artists, so we started picking their brains.”
There were all kinds of discussions, from buying a place to house the Hall of Fame to broadening the horizons of what would be represented there. Before long, the planners came to two conclusions.
“We decided to do it here,” Spaulding du Wang said. “That way we wouldn’t have to raise as much money as we would for a new building. We also decided that we had to represent all music.
Spaulding got in touch with Deana McCloud, who, along with Bob Santelli, owns the Museum Collective, a consortium of music museum professionals. McCloud is also the founding executive director of the Woody Guthrie Center in Tulsa, Okla.
“We were both going to be at Americana Fest in Nashville,” McCloud said by phone from his home in Tulsa. “He wanted to meet for coffee and ask very broad questions. We sat and chatted, then kept in touch as the project became a reality.
She and Santelli were hired, initially as consultants. They are now curators at FARHOF.
In 2018, Spaulding got the ball rolling in Boston. He hired architects, began amassing artifacts – some from his own collection, some from the David Bieber Archive and the Richard Vacca Collection, some from musicians and other collectors – and checked out available grants.
His first official step was to transform the Metropolitan Room – a former conference room in the lower hall of the Wang – and rename it Music Hall, a space that served as a preliminary version of his larger vision for the Hall of Fame. There was a series of concerts, with artists such as John Prine, Joan Baez and Neil Young. In 2019, Spaulding presented a gala featuring, among others, Peter Yarrow, Noel Paul Stookey, Livingston Taylor and Ruth Ungar. Even Spaulding joined in singing a cover of Lori McKenna’s “Humble & Kind.”
“It was a huge success,” Spaulding said. “We raised a couple hundred thousand dollars that night, and then, bang, COVID hit, and we had to shut down.”
The Wang and its sister venue, the Shubert, died out in March 2020, but planning for FARHOF never stopped. With the opening, the public will be able to discover what is called the first phase of the project. During a recent visit, before the facilities were completed, Spaulding explained what they would find there.
It began in the Lower Lobby’s Music Hall, a wood-panelled room filled with concert photos, album covers, guitars, and display cases of music-related ephemera. Just outside this room is the “Cultural Heroes” exhibit, a grouping of seven sculptures by Alan LeQuire – portraits of musical artists who have championed social issues.
An elevator ride brought us into the spacious, red-carpeted hallways of the fourth floor.
“There was nothing here before,” Spaulding said. “People were just hanging out during the intermission of the shows. Today it houses the “Wang Theater: A Century of Great Music”, a celebration of the concerts that have taken place there since it was called the Music Hall in the early 1970s. The hallway bays will contain boxes containing instruments.
A walk up a staircase to the third floor revealed a similar room, but the plans are quite different.
“Here we’re going to celebrate Boston music,” Spaulding said. “Panels on the wall will feature information and stories about blues, jazz, folk, rock, Americana, hip-hop and classical artists.”
Among the treasures that will be on display in different spaces are Pete Seeger’s five-string banjo Vega, a program from the Boston Symphony Orchestra’s first concert (October 22, 1881), the Charles River Valley Boys’ album “Beatle Country”, a November 23, 1962 issue of Time magazine featuring Joan Baez on the cover, an ashtray from Paul’s Mall, the cues and baton of bandleader Leonard Bernstein, a 1986 calendar from 1369 Jazz Club, and a black jacket belonging to the frontman of Cars Ric Ocasek.
McCloud and Santelli create the exhibits. McCloud is particularly fond of what they compiled for the third floor.
“The Boston exposure allowed me to meet people in a variety of different musical genres,” she said. “Academics, historians, collectors, musicians. And I collected their stories. A curator listens, researches and collects stories, then puts them all into a comprehensive, condensed format within the exhibition. So we tell the story of the diverse music that came from Boston.
Descending a few more steps, Spaulding led the way along a backstage hallway lined with photos of renovations that had been carried out on the building, posters of shows that played in the theater and, over much of this one, signatures of everyone – musicians and actors – who have performed there.
“There will also be showrooms here,” he said.
McCloud described what the chambers will contain. “They will have rotating exhibits from a variety of different artists. We start with “Ernie Boch’s Rare Guitars”. We will have 24 guitars [from the collection of the Boch Center namesake], and each has a story behind it. We made a hologram of Ernie, so he’ll tell the stories. And the show that follows is photos of Bob Dylan from the 1960s taken by Daniel Kramer.
Spaulding saved what he considered the best for last and climbed a flight of stairs that opened at the back of the Wang Theater’s huge stage.
“We also use the stage as an exhibition hall,” he said. “We developed a system of containers with exhibits inside. When we have shows, they pile up at the back of the stage. When we don’t have shows and we are touring, we move the containers and put them on stage.
“There’s a special relationship here between the audience and the performer,” Spaulding added, looking at the empty seats. “For a major artist, this place is intimate. And with this interaction, the audience is really going crazy here. That’s wonderful.”
Guided tours will be led by Scott Towers, Boch Center Historian and Director of Special Projects.
The only piece of the project that seems to be missing is an actual hall of fame. McCloud says it’s on the road.
“Until we start inducting people into a hall of fame, where we can have exhibits about them, we will focus on legacy artists,” she said. “We’re hoping to get Odetta’s guitar and caftan, we’d like to borrow Woody Guthrie’s violin from Arlo [Guthrie]. We want to make sure these legacy artists have their space, and we can grow from there. It is a living, breathing and changing entity.
Tours of the Folk Americana Roots Hall of Fame are available Wednesday through Sunday at noon. No complete visits will be scheduled on performance days at the Wang, but the exhibition halls will be open. Admission is $20; $12 for children 5 to 15 years old. For reservations, contact [email protected]. For more information, visit www.folkamericanarootshalloffame.org.
The State Fair of Texas has a new attraction this year. NBA fans can celebrate Dallas Mavericks history at the “Mavs Vault” exhibit on display at the Hall of State.
Visitors will find souvenirs, jerseys, videos, interactive kiosks and never-before-seen artifacts. Some items on display include the 2011 NBA championship trophy, Don Carter’s Stetson hat – the inspiration behind the original Mavs logo, Mark Cuban’s correspondence with the NBA regarding fines over the years, and various signed items .
“We have about 120 artifacts here, representing 42 years of Mavs history,” Mavericks CEO Cynt Marshall told me. “So if you’re a seasoned Mavs fan, you can come here and relive all the moments. If you’re a new Mavs fan, you can come here and experience the history of the Mavs.
The Hall of State Auditorium features a 30-minute video detailing the history of the Mavericks from their founding by Carter and Norm Sonju to the present day. Some of the most interesting artifacts in the exhibit come from the team’s first decade of existence in the 1980s.
These teams, led by Rolando Blackman, Brad Davis and Derek Harper, laid the foundation for the Mavericks. Each of their numbers has been retired by the team.
There is an exhibit celebrating the first playoff win in franchise history against the Seattle Supersonics. The series’ tiebreaker is known locally as “Moody Madness” because it took place at the Moody Coliseum on the campus of Southern Methodist University.
“That’s when we really put ourselves on the map and really let everyone know that the Mavs are here with the young players they had in ’84 when we beat Seattle. It’s just a special piece,” Blackman told me.
“Not being at Reunion Arena, being at SMU’s Moody Coliseum and winning that fifth game, which is very, very important for us. It kind of marked us going forward. So, I feel like this is a really special moment for me.
There is something for everyone at the “Mavs Vault”. Diehard fans will no doubt learn something new or see something they’ve never seen before in the collection, from the origin story in the 1980s through the 2011 championship to today. .
“You know what I love about it,” Marshall asks. “We are part of something that is simply iconic in Dallas: the State Fair. So when you think of community, you think of those last letters that spell unity. It’s a chance for all of us to come together. Guess what the State Fair is about? We all come together, family, friends, all of it, and we’re part of it.
The “Mavs Vault” is open daily from 10 a.m. to 7 p.m. during the State Fair of Texas, which runs from September 30 to October 23, 2022.
This Miami rectory is certainly fit for rap royalty. Grammy-winning rapper Lil Wayne unloads his sprawling Miami house for the modest sum of 29.5 million dollars. Situated on a half-acre parcel of land, the beautiful home sits directly on Biscayne Bay and boasts 110 feet of private water frontage.
The American rapper, born Dwayne Michael Carter Jr., is known for some of the biggest rap hits in the world, and it certainly seems to have paid off. The house was completed in 2017 and he bought it in 2018 for $16.75 million. In today’s hot Miami real estate market, it’s understandable that he’s now flipping it for nearly double the price before his move to Los Angeles.
The Miami Beach home is located on Allison Island, a 35-acre island in Biscayne Bay that connects to the mainland via West 63rd Street. It is known for its ultra-luxurious homes, spacious plots and famous residents. It’s the perfect place for those looking for privacy away from the prying eyes of paparazzi and fans, which is why many successful entrepreneurs, businessmen, athletes and celebrities love this exclusive space.
The house was designed by architecture and design firm Choeff Levy Fischman, who created a modern tropical masterpiece. It is accessed by a private gate that leads to a tree-lined driveway. It spans 10,632 square feet and has seven bathrooms, nine bathrooms, and two half bathrooms. The modern home incorporates many natural elements, such as pristine tropical landscaping and water features, and has floor-to-ceiling windows throughout the home that let in plenty of sunlight.
You feel even more spacious thanks to the 22-foot ceilings in both living rooms. In addition to these two sprawling living rooms, there is a kitchen with custom Italian cabinetry and high-end appliances from Sub-Zero and Wolf and a chef’s kitchen with separate staff quarters, ideal for those who like to entertain. and light -filled dining rooms.
The master bedroom is quite stunning and is the largest in the house. It also has two master bathrooms, walk-in closet, sitting area, and a private deck that overlooks Biscayne Bay. Every room in the house feels connected to nature; such as the living and dining areas that overlook lush vegetation or from the terraces.
The first floor of the house opens onto the terrace, which features a pristine infinity pool; several deckchairs; a covered hut with a grill, a television and a dining table; and access to water. There’s 110 feet of water frontage on sparkling Biscayne Bay with a teak dock perfect for a boat or as a base for kayaking, paddleboarding or jet skis.
A simple yet dramatic feature is the inner courtyard flanked by two towering living walls. Not only does it act as respite from the sun, but it’s perfect for Zen yoga or meditation. Other interior features include a cinema room, wine cellar, elevator, and more. The white walls of the house also provide ideal spaces for a collection of works of art. The exclusive gated community also has 24-hour secure security to ensure ultimate privacy and protection.
While Florida is famous for its exhilarating theme parks and enticing beaches, the Sunshine State also boasts a wide array of museums, cultural attractions, and art.
Graffiti and street art can be found across Florida, with many public murals in Fort Lauderdale
The variety of rich experiences and cultural landmarks across Florida is ideal for older families looking to inject a dose of education into their stay, alongside couples eager to explore and learn.
With over 500 museums in the state, there’s an option to suit every customer’s interests. At the Daytona Beach Museum of Arts and Sciences, visitors can explore a sprawling art collection, vintage vehicles, and one of the largest collections of Coca-Cola memorabilia in the world. At the Ernest Hemingway Home and Museum in Key West, they can learn the story of one of America’s most legendary authors.
Other must-see attractions include the Phillip and Patricia Frost Museum of Science in Downtown Miami’s Museum Park neighborhood, with four floors of interactive exhibits. While ideal for families when they need a break from the theme park queues, the three-level aquarium, planetarium and urban rooftop garden will attract guests of all ages. ages.
And for customers looking for something original? Recommend a visit to the St. Augustine Lighthouse and Maritime Museum, where they can climb to the top of the lighthouse by day or join an after-dark ghost tour in the evening.
Lively art scene
The Perez Art Museum Miami has plenty to appeal to families and couples
There are a slew of artistic neighborhoods across Florida where guests can learn about local artists and even purchase an artistic souvenir of their trip. Stroll between the galleries of Duval Street in Key West or browse the eclectic galleries of the Design District in Miami. The 10-acre Railroad Square in the state capital of Tallahassee has more than 70 studios, galleries and small creative shops.
Guests should head to the Perez Art Museum Miami to see international works from the 20th and 21st centuries. Recommend the guided tours, which cover the museum’s collection, architecture and gardens. On the second Saturday of every month, families can take an interactive tour and create their own art, and advise couples to drop by on a Thursday evening for a late-night opening with drinks at the museum’s waterfront bar.
Art lovers should also visit the Dali Museum in downtown St. Petersburg, which houses Salvador Dali’s largest collection outside of Europe in a fantastical building dotted with huge bubbles of glass.
Other notable art havens include the Ringling Museum of Art in Sarasota, where a Renaissance-style pink palace houses 21 galleries. At the Cummer Museum of Art & Gardens in Jacksonville, visitors can marvel at more than 5,000 works of art and stroll through the historic gardens.
ART IN NATURE
The perfect Instagram backdrop is never far away in Florida, thanks to an abundance of outdoor murals
Florida is also home to an extensive collection of graffiti and street art, which are popular backdrops for Instagram selfies. To immerse themselves in the medium, direct customers to Wynwood Walls in Miami. Over 50 artists covered 80,000 square feet of walls, creating an ever-changing outdoor gallery.
Key West is another street art hotspot, with murals and artwork spread across walls, buildings, and even vehicles. Guided walking and biking tours are available for guests eager to see Florida’s most famous works of art and learn about the street art movement.
Guests can take in views of Miami from the roof of the Phillip and Patricia Frost Museum of Science
A CREATIVITY CALENDAR
Throughout the year there are several high level artistic events. The Gasparilla Arts Festival is held the first weekend in March and features works of art in all media, including ceramics, digital, drawing, glass and sculpture, complemented by performances, activities and food.
miami beachit is Art Basel The modern and contemporary art fair takes place at the beginning of December and presents the works of the main galleries of the five continents. Dozens of satellite fairs are running simultaneously, including Design Miami/, which focuses on furniture, lighting and modern art objects.
Florida’s culture, history, and art can easily be combined with the state’s world-class theme parks and beaches, and can also inspire an entire itinerary.
Ensure guests realize the breadth of activities and attractions available across the Sunshine State by painting a picture of the vibrant arts scene and captivating museums waiting to welcome them.
Learning Futures students are developing a virtual reality learning space called Huddle that will be tested by an ASU class later this semester. Huddle is an instructor-led virtual learning experience running on new cellular technology that will be used as a teaching tool.
In Huddle, students, using VR headsets and controllers, can interact with virtual objects – like a piece of coral or a model of water molecules – and their surroundings to learn about different topics. Huddle lets students choose their avatars, which look like stick figures, and draw 3D objects with a pen tool.
When developing Huddle, the team thought students, many of whom grew up playing video games, would be familiar with the video game nature of Huddle, said Dan Munnerley, Co-Executive Director and Design Architect. principal for Next Generation Learning at ASU.
“Learners right now, in the K-12 system, have grown up with things like Roblox, with Minecraft, with games, that’s really how all of us, myself included, have been successful,” Munnerley said. . “And they learned a lot in that space. So why shouldn’t they continue to learn now in college using the skills they’ve already learned along the way?”
Over the past two years, a student-led team from Learning Futures has been developing Huddle, said Toby Kidd, director of Learning Futures Studios.
READ MORE: ASU Team Develops Virtual Reality Software to Teach Cross-Cultural Norms
One of Huddle’s first tests with students outside the team will take place in a few weeks at Learning Futures, located in the Creativity Commons building in Tempe, with students and their instructor from HST 130: The Historian’s Craft, said Kidd.
Huddle can be used in history lessons to immerse students in historical virtual space, such as World War I trenches, and allow them to manipulate virtual artifacts from that time period, Munnerley said.
“They bring artifacts of history to life in Huddle where students can actually get their hands on these pieces of history, inspect them up close, pass them around, and see them in context,” Munnerley said.
Students in the history class will work in small groups and be led by an instructor who controls the tools and objects students can see or use. Huddle uses Oculus headsets and controllers and is connected by 5G, a cellular technology that is faster and has less delays in data transmission than previous technology over cellular networks.
The Creativity Commons in Tempe is connected by Verizon 5G Ultra Wideband. Learning Futures is a Verizon 5G Innovation Center, which means that when operating in space, Huddle uses Verizon 5G Ultra Wideband.
“All of this space is being lit by 5G,” Kidd said.
Although initial testing is being done at Learning Futures, classes will not have to come to this location in the future to use Huddle because the equipment Huddle runs on is portable and can be brought into classrooms. Next semester, the Huddle team plans to bring its VR learning experience to a class at the Thunderbird School of Global Management, Kidd said.
Some students who have used virtual reality are open to using it in classrooms for teaching. Ernesto Peralta, a freshman studying secondary education in English, said he has played VR video games before and thinks VR technology can teach people who are both auditory and visual learners.
“With virtual reality, you can combine them both into one world,” Peralta said. “You can experience it, you can walk through it. You live what you are taught.”
Huddle will not be the first application of virtual reality as a learning technology for ASU classrooms. Students in BIO 100: Living World Classrooms do virtual labs in Dreamscape Learn, a virtual reality experience where students learn about ecology and explore an alien zoo.
Learning Futures develops other virtual reality software, including simulations to teach people the nuances of cross-cultural norms and an interactive virtual replica of the ASU Tempe campus.
The multitude of fields in which virtual reality is applied shows that the opportunity offered by the technology is being seized, Kidd said.
“Virtual reality is nothing new,” Kidd said. “This technology has been around for decades, but we’re finally at a point where we can see that there are multiple groups pursuing multiple paths to deploying immersive technology. And that’s a good thing. That means there’s has a lot of work for people to do and a lot of innovation to do and advance education using immersive tools.”
For Munnerley, VR technology is a great opportunity for students like him who struggle with traditional ways of learning in school.
“I think that’s what drove me to find a platform that works for people who don’t typically fit the academic model, and to create immersive 3D learning environments that really engage and excite people. kids who don’t have those opportunities,” says Munnerley. “I think that’s what virtual reality does, is it physically puts things in your hands. It puts you in different worlds and kind of allows you to be in places that you don’t. would never have access.”
Edited by Wyatt Myskow, Greta Forslund and Piper Hansen.
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Kaden is a reporter for the Biztech Bureau, focusing on student-run businesses, people profiles, and research papers. While at The State Press, Kaden’s biggest story was about ASU’s history with NASA. He is a sophomore majoring in Journalism and Mass Communication.
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A new law in England and Wales will give national museums far more power over disposal work and advance restitution cases.
The Charities Act 2022, which is due to come into force this fall, allows charities, including national museums, to dispose of objects where there is a compelling moral obligation to do so. Museums were previously restricted by the National Heritage Act 1983.
For objects of low value, museums will now be able to alienate them without asking permission, while objects of greater value can be alienated with the authorization of the Charity Commission, the Attorney General or a court.
The National Heritage Act had prohibited administrators of major UK museums such as the Tate and the Victoria & Albert from disposing of items from the collection except in certain circumstances, such as a duplicate or irreparable.
Tristram Hunt, director of the V&A museum in London, had recently called for the law to be revisited during an appearance on BBC Radio 4″Today” program in July. He described a confrontation between lawmakers and museum officials as each blamed the other for failing to resolve the situation, adding “we are approaching the 40th anniversary of the law; before that the [V&A]who was then part of the government, could make these kinds of decisions.
In addition to returning looted works of art and human remains, the new law could expand the ability of museums to repatriate cultural objects.
Earlier this year, a 3rd century head of Eros was sent to Turkey after it was detached from a sarcophagus in the 19th century and brought to the UK by a British official. This transfer, known as a “revolving cultural partnership”, is in fact a long-term loan of V&A assets since the return of the object would have been prohibited by the law on national heritage.
“The V&A is following this story with interest.” a museum spokesperson said in a statement to Artnet News. “As an exempt charity, regulated by [the U.K. Department of Culture, Media, and Sport] rather than the Charity Commission, we are awaiting advice on how these changes might impact the museum sector.
In a report Highlighting the possible implications of the law, art law expert Alexander Herman explained that national museums had not been given sufficient consideration by the previous Charities Act 2011.
The new legislation will override Attorney General v. Trustees of the British Museum, a 2005 High Court ruling which prevented the trustees of the British Museum from returning objects on the basis of a moral obligation under the Charities Act 2011. This effectively created a false distinction between statutory charities such as the museums and other charities. The 2022 law instead emphasizes that “autonomous statutory power” can be exercised by “any charity”.
Additionally, Herman cautioned that “ex gratia payments remain at the discretion of administrators and therefore cannot be coerced by a third party, such as a claimant seeking restitution.” As such, he predicted that “returns of this nature will remain relatively exceptional. They will nevertheless be possible in a way that has not been tolerated so far.
For the second time in two weeks, workers at the Philadelphia Museum of Art (PMA) are organizing a strike, as contract negotiations with the institution remain deadlocked.
Today, members of the union – a group of more than 150 employees representing nearly every department of the museum – will picket outside the venue rather than show up for work. “Our message has been clear: address unfair labor practices and come to the bargaining table with serious offers,” the group said in a statement. announcement.
The move comes just 11 days after the bargaining unit organized a “warning strike” hoping to put pressure on the museum to resolve the protracted dispute between the two parties.
However, while the previous protest was designed as a one-day event, today’s strike could last for days or even weeks as workers say they are ready to picket until their demands are met. contractual are satisfied.
“We are ready to stay as long as necessary,” PMA union president Adam Rizzo told Artnet News.
THE STRIKE BEGINS MONDAY. Join us on the picket lines at the Philadelphia Museum of Art starting Monday morning. Last Friday was a warning.
The group has the means to do so. The union has a “strong strike fund” made up of donations from individuals and other unions, Rizzo said. One such gift was $25,000 from the American Society of Mechanical Engineers this summer.
But Rizzo added that the union hopes it doesn’t need all that money. “We’re ready to go sit down at the table later today if they want to,” he said. “But it’s really up to them to make that move.”
The PMA, for its part, plans to remain open for the duration of the strike. “The museum respects the right of employees to organize and strike but is disappointed that the union has decided to strike despite the significant wage increases and other offers made by the museum during the last bargaining session,” reads -on in a statement released by the institution today. .
The museum also shared details of its current offer to unionized employees, including wage increases of 8.5% over the next 10 months and 11% by July 1, 2024; a minimum annual salary for exempt employees that is more than 10% higher than the current lowest annual salary; four weeks of paid parental leave; a more flexible remote work schedule; and “job security protections that ensure the museum will not use a temporary employee, term employee, contractor, or volunteer to terminate or furlough a current union staff member.”
A spokesperson for the PMA declined to “speculate” on whether or not the institution would bring in temporary workers if the strike continues.
Monday, September 26: The museum is open today. We are committed to serving our community as we continue to negotiate in good faith toward a new, fair and appropriate labor agreement. pic.twitter.com/ZOoXsMpqjV
Negotiations between museum management and the workers’ group have been ongoing since October 2020, just months after 89% of the institution’s employees chose to unionize. Health care and wage increases are among the topics that have been discussed in near-weekly meetings held between the two sides since then.
The museum’s chief operating officer, Bill Peterson, along with representatives from his in-house attorney and the outside law firm Morgan, Lewis & Bockius, which has a well-documented track record history of trade unionism— are among those who have been present at meetings with the union.
Promoting a message of progress, the museum noted in its press release today that it has reached tentative agreements with the union on more than 25 “substantive issues”.
The union, in turn, confirmed that progress had been made on many “non-economic” issues, including during two marathon negotiation sessions that took place last week.
“But when we got to the economic package,” Rizzo said, “negotiations completely stalled.”
“We showed them [with the last strike] that we are able to put a lot of pressure on, and this week it’s about continuing that pressure,” Rizzo continued. “I hope we get back to the table very soon, really. I’m a museum educator. I want to be there teaching the kids this week instead of picketing outside, but it really depends on the high direction.
A PMA representative said the next meeting between the institution and the union is scheduled for later this week.
Strolling through her Solana Beach gallery, Ruth-Ann Thorn proudly displays various works of art, including a bright blue surfboard adorned with happy sunflowers painted by Gloria Lee and whimsical bronze statues created by Paul Lotz.
“I’ve always wanted a sculpture garden,” she said, gazing outside at Lyman Whitaker’s collection of metal sculptures billowing in the wind on the path to the Exclusive Collections Gallery.
Although not an artist herself, Thorn discovered a passion for the arts over the years working and owning galleries, and being sandwiched between two generations of artists. Three years ago, tribal member Rincon Band of Luiseño Indians launched “Art of the City,” a documentary series featuring artists from across the region and beyond.
In November, the gallerist, entrepreneur and TV host will launch a new series, “This is Indian Country,” a travel-style art show featuring the stories of Indigenous peoples across the country.
Starting on the West Coast, each episode will feature interviews with creators of art, culinary delights, music and tattoos. The show’s initial guest list will include celebrity appearances by Black Eyed Peas rapper Taboo and Red Hot Chili Peppers lead singer Anthony Kiedis.
“I would say it’s like an Anthony Bourdain meets Indian country,” Thorn said.
The aim of the new series is to show the great diversity of the country’s indigenous peoples, while highlighting the communities of which they are a part.
Even with popular network shows like “Reservation Dogs” and “Rutherford Falls,” Frank Blanquet said Indigenous people aren’t portrayed or accurately portrayed often enough in mainstream media.
Community member Maya is a producer and director at FNX – First Nations Experience – the channel dedicated to Native American and Indigenous content around the world where viewers can watch Thorn’s two shows.
“When most people think of Native Americans, they either think of history and historical figures or casinos,” Blanquet said. “But we are not historical figures, we are very present in modern society.
“We are artists, doctors, skateboarders, lawyers, filmmakers, and I think this program will teach people about contemporary Indigenous people.
It’s an important message for Thorn, who hasn’t often seen Indigenous stories grow in the media.
Born in San Francisco, her parents were both activists when they met. In the 1960s, her mother was an artist and women’s rights activist, while her father (Henry Rodriguez, a member of the Rincon tribe) was part of the American Indian Movement participating in the peaceful occupation of Alcatraz in 1969.
After her parents divorced – and later, her mother and stepfather divorced – Thorn eventually ran away from home, becoming homeless at age 14. Struggling to fend for herself, she became a drug dealer, transporting cocaine across the border.
“In my teens, I really had an identity crisis,” Thorn said. “It was a rough start for me…and I did it until really bad things happened to me and then my life started to change.”
At 17, she says, she was robbed and raped at gunpoint, and the trauma left her in a deep depression. Although she had never been a heavy cocaine user before, she began to use drugs heavily, which eventually led to her overdosing twice that year.
“It took me a long time to really share this story, because I’m so ashamed of it,” Thorn said.
The second overdose caused her amnesia for five days, which Thorn says was so scary that she then decided to change her life. She prepared for and passed the GED test, got married, and eventually moved to Hawaii, where she began her career working in a gallery.
Thorn worked there for six years, before returning to San Diego County. She opened her own gallery in La Jolla in 1998, followed by several others in Laguna Beach, Beverly Hills, Las Vegas and Breckenridge, Colorado.
During her years in the art world, Thorn said she too often felt like artists’ stories were ignored until they died. She originally launched “Art of the City” about three years ago on YouTube to tell the stories of living artists, and it was eventually picked up by FNX.
Although she only received an education until ninth grade, Thorn established several businesses in addition to her galleries and the two television series.
Her N8iV Beauty brand is a skincare line featuring products made from acorn oil, a traditional Luiseño staple. Through Imprint, artists can protect their work against intellectual property theft by uploading their work and saving it via blockchain technology.
“She’s very dynamic and engaging – a businesswoman with a lot of integrity,” said Denise Walsh Turner, Thorn’s distant cousin and colleague. “I think she’s really lucky to have found her passion for the arts, and there’s so much need for business acumen in the Indigenous art world.”
Her family connection to art from her mother and her 15-year-old daughter, Isabella Thorn, helped her develop this love and appreciation for artists.
“It’s been such a joy to work with artists – deep down my passion is for the arts,” Thorn said. “I feel like everyone has a calling, and mine is that I’m like the guardian of art and culture, especially for Indigenous arts, but I think for all art. “
The upcoming “This is Indian Country” will premiere November 24 at 5 p.m. with a repeat at 9:30 p.m. In San Diego, he and “Art of the City” can be viewed online on SoCalBTV.
For a limited time, the “Historic Waynedale” pop-up museum opened to the public on Wednesday, September 14 at 4:00 p.m. and will be open Monday through Saturday from 4:00 p.m. to 7:00 p.m. until October 7. is located at the Waynedale News office at 2505 Lower Huntington Road.
It really is a unique historical exhibit and a huge undertaking. Over the years, The Waynedale News has not only been a storyteller of historical information, but also a collector and curator of important historical artifacts from across the community. This 700 square foot museum will house only a small portion of the photos, documents and other non-digital artifacts The Waynedale News has collected over the past 100 years. Waynedale News staff members were amazed at the age, quantity and condition of the collection when selecting items for display.
Invoking a strong sense of nostalgia, guests will be able to view newspapers from nearly 90 years ago, business cards from over 50 years of people and businesses they may remember, and in addition to many other items, a large exhibit of the very old Elmhurst High School and Waynedale School Documents, Memorabilia and Photos. A highlight of the exhibition is the concert music of Don Goss of Elmhurst as well as a slide show of photos he had taken during his 54 years as an art and theater teacher.
The Waynedale News joins the community in thanking everyone who donated historic items from Waynedale’s place in history. The newspaper is proud to independently fund the effort to preserve these objects so that future generations can fondly remember the region’s history. Private donations and newspaper advertising primarily fund this effort. By exploring this exhibit, guests will see the importance of preserving our history and the important role that newspapers continue to play in the community through time. Simply put, the items in this exhibit wouldn’t exist without the newspaper, and guests couldn’t enjoy it without the love of the newspapers to go above and beyond to serve the community of Waynedale.
The Waynedale News welcomes all support and donations as the collection grows. If anyone has historical documents, photos, or other artifacts, the newspaper would be happy to work with you to see if it’s something that could be kept in their collection. Call 260-747-4535 for more information.
An exhibition of culturally significant Cornish artwork opens to the public for the first time on Mount St. Michael in October.
The Sheila Hichens collection of paintings by well-known Newlyn School artists will be on display in the island’s newly refurbished Steward’s House.
Sheila Hichens was born in 1924 and her childhood was deeply rooted in West Cornwall, where her father was headmaster of Lescudjack School in Penzance and her grandfather lived in Newlyn.
After winning a scholarship to the University of Exeter, she had a successful career as an educator and traveled widely, but in retirement she moved back to live in Mousehole before she could buy her former home. grandfather in Newlyn.
Sheila died in 2012 and under her will the Sheila Hichens Trust was formed to create a specific art collection to show how life was lived in West Cornwall before the mid-20th century.
Its administrators are William Rogers and Lord St Levan.
The vast majority of the collection is by artists from the Newlyn School and includes works by Walter Langley, Stanhope Forbes, Laura Knight and Harold Harvey.
The Newlyn School began in the 1880s and continued into the first half of the 20th century.
Artists came to West Cornwall attracted by the beauty of the landscapes and the quality of the light.
They also had a philosophy of realism which meant that much of their art was well suited to the purposes of the Collection.
Lord St Levan said: “Sheila Hichens’ vision was to illuminate the way life was once lived in West Cornwall through paintings made at the time by artists from the Newlyn School.
“It’s an honor to be able to grant wishes by sharing this Collection with the public.”
The Sheila Hichens Collection will be free to visit when the Mount is open from Sunday October 2, 2022 to Sunday April 30, 2023.
During the busy summer period from May to September 2023, the Steward’s House will only be open to schools, colleges and other local community groups.
Find out more about the exhibition by visiting www.stmichaelsmount.co.uk
LANGLEY, Va., Sept 24 (Reuters) – They like to call it “the greatest museum you’ll ever see.”
Tucked away in the hallways of its Langley, Va., headquarters, the Central Intelligence Agency’s revamped museum — though still closed to the public — reveals recently declassified artifacts from the spy agency’s most legendary operations. since its founding 75 years ago.
Headlining: A just over a foot (30.5cm) scale model of the compound in Kabul, Afghanistan, which was used to brief President Joe Biden ahead of the drone attack that killed al-Qaeda leader Ayman al-Zawahiri just two months ago.
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“It’s very unusual for something to be declassified so quickly,” said Janelle Neises, the museum’s deputy director.
“We use our artifacts to tell our stories. It’s a way of being really honest and transparent about the CIA, which is sometimes difficult,” said Neises, who joined the museum director on Saturday, Robert Byer, to lead a media outlet on a tour of the revamped CIA. exhibitions.
The articles, some of which can be viewed online, are part of a broader effort to broaden public awareness and recruitment by the legendary but secretive agency, known in some circles as much for its scandals as for its successes in matter of intelligence.
CIA officials often say that the agency’s successes are secret but that its failures are sometimes public.
The outreach effort includes the launch earlier this week of the CIA’s first public podcast on which Director William Burns said the agency seeks to “demystify” its work at a time when “trust in institutions is so rare”.
The hundreds of objects in the museum, some of which have been on display since the 1980s, are all decommissioned. Neises said the agency occasionally lends them to presidential libraries and other nonprofit museums.
A must-see for those with permission to visit: The AKM assault rifle carried by Osama bin Laden the night US Navy SEALs killed him in a raid on his compound in Abbottabad, Pakistan, in 2011, and a leather jacket found with former Iraqi President Saddam Hussein when he was captured in 2003.
Other exhibits range from flight suits worn by pilots of Cold War-era U-2 and A-12 spy planes to a wood-framed saddle, similar to those used by members of the team. CIA Alpha as they navigated on horseback through the mountainous terrain of Afghanistan soon after. the attacks of September 11, 2001 in the United States.
None of the items, which are all considered US government heritage assets, have not been assessed for value.
“Our museum is up and running,” Neises said. “It’s here for our workforce to learn from our successes and failures.”
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Reporting by Michael Martina Editing by Bill Berkrot
“Once the queen’s head is cut off, he leaves. A sharp twinge of appetite reminds him that it’s time for a second breakfast, or perhaps an early dinner.
These are the first two sentences of The mirror and the light, the third book in Hilary Mantel’s trilogy on the life of Thomas Cromwell and the last book she published before she died Thursday at the lamentable age of 70. With masterful speed, she plunges us into the heart of the action, tells us exactly where we are, and makes us gasp at a conjunction of things we never thought could occupy the same moral universe. that is, a decapitation and a second breakfast. But she gives them meaning together. Cutting off heads and a second morning meal were the two prerogatives of the powerful in late medieval England. I could have extracted roughly two lines from his novels and shown that they do the same amount of work. That’s how effective this writer was. That’s what we lost.
We’re inside the head of Cromwell, a street urchin elevated to manager of, well, everything in the country, in the name of the bloated, childish King Henry VIII. “Lord Cromwell is the government, and so is the church,” someone observes. He’s also the one who satisfies Henry’s lusts – his pimp, if you will. Cromwell made a queen for Henry and killed that queen for Henry. Everyone knows how Anne Boleyn ended up. But only readers of the first two novels in the series know that Mantel invented an incredibly tender and courteous Cromwell with a capacity for ethical reasoning unimaginable in the royal family among which he moves. But now that blood is gushing from the queen’s neck, we are in the tragedy’s third act, and Mantel has added to Cromwell’s list of powers the ability to turn his back on horror and think about food, as inexperienced as a king.
How do you animate the story like that? Historians cannot do that. Very few historical novelists can do that. In his memoirs, Give up the ghost, Mantel reveals the mystery of his method: “Eat meat. Drink blood,” she wrote. “Rise in the quiet hours of the night and prick your fingers and use the blood for ink.” You might be tempted to dismiss the idea of draining your veins for art as trivial, but then you’ll discover that blood was the defining substance, the governing catastrophe, of Mantel’s life.
Read: Hilary Mantel brings down Thomas Cromwell
In her twenties, she developed a case of endometriosis severe enough to cause her to vomit and feel so much pain in her limbs and organs that she could no longer walk. But it was not diagnosed, and since no one understood what was wrong with her, she entered a psychiatric clinic. He was told not to write. Endometriosis is what used to be called a female condition. You could call it crazy menstruation. Cells from the lining of the uterus that usually bleed for a period instead grow in other parts of the body – the pelvis, bladder, bowel – and bleed there, creating scar tissue and unbearable pain. “Infertility is a distinct possibility,” writes Mantel, and indeed she would never have children. A hormonal condition associated with endometriosis induces migraines and, in his case, “the migraine aura that made my words come out badly” and “morbid visions, like visits, premonitions of dissolution.” Once Mantel received a proper diagnosis, she was given medication that caused her to bloat. Thereafter, she recalls, she lived in the shadow country of the “fat shops”, unable to shake off the “perception of most people, who know that overweight people are lazy and unruly rednecks”.
What does endometriosis have to do with art? For Mantel, everything. She worked on her experience until it became the corporeal substrate of her fiction. His magnum opus is made of female blood and bodies. Whether a man’s blood is noble or vile determines his identity and his fate. The behavior of a woman’s reproductive organs can mean the difference between life and death. There are many reasons why Thomas Cromwell dominates contemporary literature, a demiurgic figure on par with a Hamlet, but one source of his authority is his uncommon (and admittedly anachronistic) attention to the condition of women.
It would seem that he is the only one among monarchists his age to be repelled by a social order that reduces queens – one of whom he loved before Henry arrived and took her – to semen receptacles in the service of the King. It is through her visits to Catherine of Aragon, who never gave birth to a male heir who lived beyond childhood, that we observe what it means for a queen to fail in her childbearing duties. Replaced by Anne and confined to an isolated castle, Catherine literally rots from the inside, consumed by what appears to be some kind of abdominal cancer. Although Cromwell destroys Anne Boleyn, he initially takes pity on her when her body rejects the only prince she has ever produced and the blood from the miscarriage forms a slippery trail on the palace floor. Henry just wants to get rid of her.
“When female monkeys have their wombs removed and returned by the keepers to the community, their mates sense it and abandon them,” Mantel writes in her memoir. “It’s a basic biology fact; there is little kindness in the animal kingdom, and I had been there with the animals, growling and bleeding on the porter’s cart. There would be no girl. No. But instead it would be what Hilary Mantel fashioned out of her body, which was more than anyone could have asked for.
Matt Dias of the California Forestry Association, happily nicknamed “Calforests,” paints a rosy picture of Cal Fire’s management of the Jackson Demonstration State Forest (“A success story in forest management,” Close to Home, Sunday). If I was the head of the biggest lumber lobbying organization in the state, I’d be pretty happy too. California operates the Jackson State Demonstration Forest as industrial forest lands, centering land management decisions on timber benefits. The rest of us have to live with Cal Fire logging on our public lands. Let’s look at the facts.
The Jackson Forest is the ancestral home of the Pomo and Coast Yuki peoples. Tribal people have lived and cared for these lands since time immemorial. The forest was also a refuge, a literal hiding place, of white settlers determined to exterminate the local tribes. The forest is full of tribal artifacts and resources. Logging has already damaged these sacred sites and will continue to do so unless the state makes changes.
Don’t take my word for it – that’s the conclusion of the 1999 Betts report, which found that logging operations routinely damage cultural artifacts. This state-sponsored archaeological report recommended that no logging or road building activity be carried out in the areas of the sacred sites until their boundaries can be properly surveyed and a road maintenance plan be developed for their protection.
Yet the destruction continues to this day. Cal Fire continues to recklessly threaten tribal culture by building roads in areas known to contain sacred sites. New roads not only threaten sacred sites, they also cause sedimentation of salmon streams. Cal Fire also continues to use herbicides in hardwood stands that tribal peoples cultivated to support greater densities of conifers for the timber industry. (There’s no money in tanoaks.) Killed hardwoods as well as residue left over from logging operations are turning Jackson into a pile of kindling, endangering nearby communities. These are just a few examples of the unpleasant realities of managing our state lands as an industrial forest.
There is an alternative: the Save Jackson Coalition has called for a public rethink of forest management goals. Instead of managing primarily for timber production, the state could manage these lands with local tribal governments to protect cultural resources and artifacts, sequester and store carbon safely, provide habitat for fish and wildlife , defend homes from wildfires and support recreational economies for local communities. .
Tom Wheeler is executive director of the Environmental Protection Information Center at Arcata.
Excitement was in the air on Thursday afternoon at London’s Newport Street Gallery. But the crowd of visitors enthusiastically chatting or taking photos of the exhibition was not the usual artistic crowd, and it was certainly not a usual artistic opening.
It was a “community event” to preview the exhibition of “The Currency”, Damien Hirst’s first NFT collection in collaboration with HENI, an international art services company, before the official opening to the public today at the artist’s gallery. Most of the members of this “community” were “currency holders”, meaning they participated in Hirst’s experimental project.
“The Currency” launched in July 2021 as a collection of 10,000 NFTs, each corresponding to one of 10,000 unique spot paintings by the UK’s richest artist. Those who acquired one of the NFTs, originally for $2,000, had the option of keeping the digital token or exchanging it for the physical artwork.
The trading period ended on July 27, with 5,149 “currency holders” choosing to trade their NFTs for the physical paints. At the gallery, the paintings that had been collected are replaced in the exhibition by translucent black and white slides of the original spot painting.
As for the remaining works on paper, representing the 4,851 works held by people who have chosen to keep the NFT, they will literally be burned by the artist himself during the week of Frieze London. They are therefore shown here for the last time before disappearing in flames.
“The whole project is a work of art, and whoever buys Currency will participate in this work, it’s not just about owning it,” Hirst said in a statement. “This is by far the most exciting project I have ever worked on.”
Judging by the preview of the show, he wasn’t exaggerating. A sense of excitement was widely shared by attendees here. Many greeted each other in person as if they were longtime friends, seeming to represent the spirit of “community” widely touted in NFT culture. They ranged from seasoned art collectors to those who had never set foot in a gallery before.
Henry Elphick, 39, a designer and seasoned art collector who said he’s owned a few Hirst prints in the past, was spotted looking for his “Mint” pieces in the gallery. Elphick was playing both sides of the project: he had traded one of his NFTs for a physical spot painting while keeping another NFT.
‘Currency Holders’ turn out at the community event previewing Damien Hirst’s NFT Project exhibition ‘The Currency’ at Newport Street Gallery, London on September 22, 2022. Photo: Vivienne Chow.
“I find it fascinating,” Elphick told Artnet News. “I wanted to see where it was leading. [Hirst] is obviously smart enough to try and migrate the physical collector type to the digital world, when everyone is potentially doing mostly digital right away.
Stuart Bumford, a 49-year-old paint sprayer, dressed for the occasion in a colorful polka dot shirt to match the works on display. “The Currency” was the first NFT project he had participated in, he noted, adding that he and two of his friends were delighted that their applications to buy the NFT and participate had been successful. However, ultimately he and his friends chose to keep the physical artwork.
“I knew I didn’t really want any of my people to be one of the ones that got burned,” the shy but cheery coin holder said. The project had yet to convert Bumford into an NFT fan, but it still pulled a lot from the culture around “The Currency.” He was thrilled to have “met a few people on Discord. Obviously, it’s a big community there.
Happy shopping: Besides artwork and NFTs, Damien Hirst’s “The Currency” also comes with a great collection of merchandise, which turned out to be a fan favorite during the community event on September 22, 2022 Photo: Vivienne Chow.
There was a noticeable absence of women at the community preview, noted Naomi Ford, a therapist in her 40s who stood in line to buy a “currency”-themed tote bag (the show is accompanied by a large selection of associated merchandise). Ford was one of the few titular women seen at the gallery. Unlike the men Artnet News spoke to, she opted to keep the NFT, her first.
“I know, crazy,” Ford said, though his eyes were shining with excitement. “I didn’t know about the NFT market space because it’s new, and I kind of wanted to be part of it. I know, a lot of people are like, “Oh, I wish that was on my wall.” But also, I tell myself that something else could happen.
The shortage of women showed that the NFT field “is a very male-dominated space,” she said, while adding, “it might be a bit like the rest of the world.” She also pointed out that the crowd attending the opening was relatively mature. “Look at the age demographic here. We’re not that young. But then it’s the money, isn’t it? Maybe it has to do with where you put your funds.
Skeptics might wonder if “The Currency” was just another overrated show by the media-savvy entertainer or a cash grab. But for the enthusiastic crowd that followed this project from day one to seeing the art hanging in the gallery, “The Currency” brought a lot of joy, which is priceless.
At the opening ceremony of his museum in Pittsburgh, Pennsylvania in 1895, industrialist Andrew Carnegie – who later sold his steel business and became the richest man in America – exhibited a radically different view of that of his fellow museum founders Andrew Mellon and Henry Clay Frick. “There is a great field behind us, which it is desirable for an institution to occupy in collecting the first masterpieces of American painting from the beginning,” he told the thousands of Pittsburghers gathered. “But the field for which this gallery is designed begins with the year 1896.”
That year, the Carnegie Institute held its first international exhibition, making it the second longest-running recurring exhibition in the world after the Venice Biennale, launched a year earlier. Now known as Carnegie International, it became one of the most watched exhibitions in the United States and shaped the evolution of the Carnegie Museum of Art.
“Instead of enriching the art museum with its own collection, [Carnegie] advocated for an exhibit that the museum would collect,” says museum director Eric Crosby. “Consequently, the institution grew with each successive Carnegie International, as works by exhibiting artists were acquired for the museum’s collection – a tradition that continues today.” By the time the previous edition closed in March 2019, the Carnegie Museum had made nearly 40 acquisitions, including works by Huma Bhabha, Alex Da Corte, Park McArthur and Lynette Yiadom-Boakye.
This year’s Carnegie International, the 58th, respects its founder’s maxim of looking to the future, but will also survey the “field that lies behind us.” Organized by Sohrab Mohebbi, who was named the new director of SculptureCenter in New York in February, it is called Is it already morning for you? after an expression for “hello” used by the Kaqchikel people, an indigenous Maya group in Guatemala.
The exhibition will feature works by more than 100 participants. It will include historical works on loan from artist estates and institutions as well as recent and newly commissioned pieces, and measure the geopolitical footprint of the United States since 1945. “We thought about this time since the end of World War II. world and the beginning of American hegemony,” says Mohebbi.
Among the historical works will be works by several artists revered in their national context but overlooked internationally, such as Guatemalan artists Margarita Azurdia and Roberto Cabrera, and Salvadoran painters Rosa Mena Valenzuela and Carlos Cañas. “When I saw these works, I felt that we really needed to show them to say that contemporary art is not something historically indeterminate,” says Mohebbi. “We show new works and new commissions from artists who are active now, but we can also show how they are also looking at their own art history, to show that they are in conversations that are very relevant at the level national within the local community. the history of art “.
There will be a number of works by artists from Central and South America, regions where the United States was particularly ruthless in carrying out its geopolitical agenda during the second half of the 20th century. century. from Chile Salvador Allende Solidarity Museum-founded in the early 1970s with artist donations of around 3,000 works, then in exile after the overthrow of Allende’s CIA-backed government in a 1973 coup – will premiere times pieces from his collection in the United States.
Among the new commissions, several extend beyond the walls of the Carnegie Museum. Pittsburgh artist James “Yaya” Hough unveiled a mural in the city’s Hill neighborhood, which was developed through public workshops and painting sessions with community members. Meanwhile, American artist Tony Cokes, known for his text-based public art, has created works that will be featured on four digital billboards around the city along Route 28.
Berlin-based collective terra0 contributed to a complex project in collaboration with a local community college: a tree owns the land it occupies. The black gum tree that the collective planted on the campus of Allegheny College, titled A tree; a society; a person—will regulate and govern itself through a digital smart contract. “It brings together technology, art and environmental activism,” says Mohebbi. “It was also a way of responding to the local environment – most of Pennsylvania’s forests were lost to industry in the 19th century and early 20th century.”
LaToya Ruby Frazier, a Pittsburgh-area contemporary artist, was commissioned to create a monument to commemorate the heroism of healthcare workers in Baltimore’s underserved communities during the height of the Covid-19 pandemic. “LaToya wanted to address the work done primarily by women of color and try to make sure health care is expanded and reaches different communities,” Mohebbi said.
The project echoes Frazier’s photographic series The concept of family, which partly documents the closing and demolition of a University of Pittsburgh Medical Center hospital, leaving residents of his hometown without any access to a local clinic. Frazier’s new series about the extraordinary community outreach of medical workers in Baltimore amid the pandemic, Mohebbi says, is one of “many projects that address the questions we face in our communities here in Pittsburgh and across the country.” of the”.
In 63 BC. BC, Caesar Augustus, the first Roman emperor, was born.
In 1779, during the Revolutionary War, the American warship Bon Homme Richard, commanded by John Paul Jones, defeated HMS Serapis in a battle off Yorkshire, England; however, the badly damaged Bon Homme Richard sank two days later.
In 1780, British spy John Andre was captured with papers revealing Benedict Arnold’s plot to return West Point to the British.
In 1806, the Lewis and Clark Expedition returned to St. Louis more than two years after setting out for the Pacific Northwest. Only one of the 34 members of the group died during the nearly 8,000 mile expedition.
In 1845, the New York Knickerbockers baseball club was founded.
In 1846, Neptune was identified as a planet by German astronomer Johann Gottfried Galle.
In 1926, Gene Tunney scored a ten-round decision over Jack Dempsey to win the world heavyweight boxing title in Philadelphia.
In 1932 the Kingdom of Saudi Arabia was founded.
In 1939, Sigmund Freud, the founder of psychoanalysis, died in London at the age of 83.
In 1932 the Kingdom of Saudi Arabia was founded.
In 1952, Senator Richard M. Nixon, R-California, saved his vice presidential nomination by appearing on television from Los Angeles to refute allegations of improper campaign fundraising in what became known as the speech name of the “Checkers”.
In 1955, a Sumner, Mississippi jury acquitted two white men of murdering black teenager Emmett Till. (Both men later admitted to the crime in an interview with Look magazine.)
In 1957, nine black students who had entered Little Rock Central High School in Arkansas were forced to withdraw because of a white crowd outside.
In 1962, New York’s Philharmonic Hall (later renamed Avery Fisher Hall) officially opened as the first unit of Lincoln Center for the Performing Arts. In 1962, “The Jetsons”, a cartoon series about a space-age family, premiered as the ABC television network’s first color show.
In 1987, Sen. Joseph Biden, D-Del., withdrew from the Democratic presidential race following allegations regarding his use of plagiarized quotes and his own claims on his academic record.
In 1988, Jose Canseco of the Oakland A’s became the first member of Major League Baseball’s “40-40 Club”, hitting 40 homers and stealing 40 bases in a single season.
In 1996, the space shuttle Atlantis left Russia’s orbiting Mir station with astronaut Shannon Lucid, ending her six-month visit.
In 1999, the Mars Climate Orbiter apparently burned down while attempting to orbit the Red Planet.
In 2001, President George W. Bush returned the American flag to the entire Camp David staff, symbolically ending a period of national mourning after the September 11 attacks.
In 2002, Governor Gray Davis signed legislation making California the first state to offer workers paid family leave.
In 2005, Hurricane Rita, up to Category 3, headed for refining towns along the Texas-Louisiana coast, creating havoc before it even landed.
In 2011, after 41 years, the soap opera “All My Children” aired its last episode on ABC-TV.
In 2018, capping a comeback after four back surgeries, Tiger Woods won the Tour Championship in Atlanta, the 80th victory of his PGA Tour career and his first in more than five years.
In 2020, protesters took to the streets in cities across the country in anger over police killings of black people; two Louisville officers were shot and injured during the protests. Journalists continued to harass President Donald Trump with questions about his commitment to a peaceful transfer of power should he lose the election; he finally said, “We’re going to have to see what happens.”
FACT OF THE DAY: Nintendo, known today as a video game company, was founded by Fusajiro Yamauchi in Kyoto, Japan on this day in 1889. The company originally produced playing cards made from the hand.
MADISON — For the second time in a year, a team of divers emerged Thursday from Lake Mendota with a remarkable piece of history.
Nestled in a corrugated plastic bed and floating on two rafts was a 3,000-year-old canoe — the oldest canoe found in the entire Great Lakes region for 1,000 years, archaeologists from the Wisconsin Historical Society said.
The archaeologist and diver who discovered it, Tamara Thomsen, also found a 1,200-year-old canoe last year in the same lake, less than 100 meters away. A dive team carefully brought him ashore in November, which garnered national and international media coverage.
In either case, Thomsen was not looking for artifacts. She was scuba diving for fun when she saw the first dinghy last year. Then, in May, while teaching a diving course, she spotted the second canoe emerging from the lake’s sediment.
“It’s no joke: I found another canoe,” Thomsen emailed his boss, state archaeologist James Skibo. “That would be a really good joke,” he replied.
The next shock came when the results of carbon dating came back on a slice of wood: it was from around 1000 BC.
“I’ll be absolutely honest, my first reaction was, ‘That can’t be true,'” said land archaeologist Amy Rosebrough.
Once they had confirmation that “it really is that old,” Rosebrough thought, “OK, now what?” The team resumed preparations to lift the fragile piece of wood from the bottom of the lake.
The canoe discovered last year – which at the time was the oldest fully intact canoe found in Wisconsin – dated to the year 800. .
The people who lived along the shores of Lake Mendota are the predecessors of the Ho-Chunk Nation. Several tribesmen on Thursday called the recovery of the canoe a formal acknowledgment of the history they have always known.
“Our oral history goes back thousands and thousands of years,” said Casey Brown, public relations manager for the Ho-Chunk Nation. Now, “there is scientific evidence of the stories we’ve told and just the longevity of our people in this field.”
After:How a 1,200-year-old canoe found last summer in Wisconsin’s Lake Mendota serves as a bridge for tribal relations.
After:Ho-Chunk Nation launches online dictionary to breathe new life into endangered Ho-Chunk language
For Ho-Chunk, a link with the ancestors
The Ho-Chunk Nation was closely involved in the process of bringing the canoe ashore. From a pontoon boat, several tribesmen watched as the dive team lifted it about 25 feet underwater.
While on the pontoon, casino cage manager Kyla Beard saw an eagle flying overhead just as the canoe came up to the surface of the water.
“To be able to be in his presence and think of all the people who came before us is very humbling,” she said.
And as dozens of people gathered to spot the canoe laying on the beach, Skibo invited the members of Ho-Chunk to touch it.
As she bent down to feel the canoe under her hand, Janice Rice, a retired University of Wisconsin-Madison librarian and lecturer on Ho-Chunk topics, also thought of her ancestors.
“It’s a historic moment in our lives where we connect with the historic parts of our lives,” Rice said. “Just think how many people and Ho-Chunk ancestors came through there.”
Ho-Chunk Nation President Marlon WhiteEagle, who helped hoist the canoe into a truck, called the moment “indescribable.”
He looked forward to the opportunity for more people to learn about the culture and history of Ho-Chunk.
“The canoe demonstrates that we had a society that included transportation, trade and commerce, that we were a developed society,” WhiteEagle said.
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The historical use of canoes is no longer a “leap of logic”
The salvaged canoe dates to the Late Archaic period, before the introduction of agriculture and pottery, Rosebrough said.
It also predates the construction of large earthen effigy mounds – built during the Woodlands era – which still dot the landscape around Madison today.
Native Americans at the time were hunter-gatherers and lived a nomadic lifestyle, traveling in groups of 50 to 60 people, Rosebrough said.
Archaeologists have speculated that Native Americans used canoes for thousands of years. They have artifacts of tools they think could be used to carve wooden canoes, Rosebrough said, but “it’s a leap of logic.”
“Now we actually have a canoe,” she said.
The canoe’s sophisticated design suggests it’s not a first attempt – and was likely technology used as early as 3,000 years ago, Rosebrough said.
Archaeologists will study the two canoes at Lake Mendota to compare their possible purposes. The 800 AD canoe was found with fishing tools. The eldest was not. Could it have been used for travel? Or to harvest wild rice on the water?
For Rosebrough, a specialist in the first indigenous communities of Wisconsin, the discovery of the canoe is the most important of his career.
“It’s number 1,” she said. “I’ve never done anything like this.”
What else could be in Lake Mendota?
Archaeologists believe the canoes, both made of white oak and remarkably well preserved in lake sediments, may be evidence of an earlier shoreline.
It is believed that the communities would have deliberately sunk their canoes in shallow water just offshore in the fall to preserve them through the winter, and return there in the spring. But Skibo thinks the depth at which the two canoes were found – around 25 feet lower, both along a steep drop in the lake bed – could indicate periods of drought and flooding.
In the case of this canoe, it is possible that when residents returned to the site in the spring, it was deep under water.
So, could there be the remains of an entire flooded village at the bottom of Lake Mendota?
This is Skibo’s current theory. He wants to do further research.
Additionally, spear and dart points from the same period have been found along the shoreline of Lake Mendota. The artifacts were smooth, as if they had tumbled in water for a long time. But there would have been no reason for people to store hunting gear in the water, Rosebrough said.
The question on everyone’s mind on Thursday was: what else is out there?
Thomsen, the avid diver, is thrilled to find out.
“We haven’t done a systematic search in this area. Can you imagine if we actually do, what we’re going to find?” she says.
After:A larger, more interactive Wisconsin Historical Museum is set to open in 2026
Crews worked in low visibility to float the dinghy to the surface
Tribal members, Historical Society staff, curious neighbors and other onlookers gathered to watch a boat tow the canoe, floating on a raft, to Madison’s Spring Harbor beach.
Neighbor Doris Dubielzig was “stunned” when she learned the object she was looking at in the sand was 3,000 years old.
Speaking softly and with admiration in her voice, Dubielzig said she remembered the Shehecheyanu, a “Jewish prayer of gratitude for living to this day.”
“It’s just amazing,” she said.
The canoe itself is in a series of parts. Underwater, the dive team slipped a plastic bed underneath, then placed a tarp underneath. The crew strapped airbags to the tarp and pumped in air Thursday morning, allowing the entire craft to float to the surface.
On Thursday, divers could only see 6 inches ahead of them, Skibo said. On the previous days, when the crews were working on preparing the canoe, there was no visibility. They did everything by touch.
The canoe currently has the consistency of wet cardboard, Thomsen said. As the archaeologists did with the previous canoe, it will rest for two years in a vat of chemicals intended to replace the water in the cells of the wood with a kind of preservative.
A restorer they’ve hired will be able to put it back together once it’s preserved, Thomsen said.
Another spectator, Susan Lauffer, said the canoe’s recovery was “glorious” and “breathtaking” to behold.
Lauffer is a retired professor of ancient history, archeology and anthropology and focuses primarily on Europe and the Middle East. She was excited about the momentous find in her own Madison neighborhood.
“It has been fascinating for me to learn what life was like here thousands of years ago,” she said.
‘A part of you in this canoe’
For the Ho-Chunks, the canoe is a physical reminder of their rich history and culture.
Casey Brown, the public relations manager, built his own canoe with a friend during the pandemic.
His friend told him to touch it and he realized, “There’s a part of you in that canoe.
When he touched the Mendota Lake canoe, he felt a strong connection to his ancestors from millennia past.
“My grandfathers, my grandmothers touched the same canoe. It’s incredibly powerful to know that they were doing the same thing that I did with the canoe that I built,” Brown said.
Three thousand years in the future, he says, “someone is going to touch this, and I’m not going to know them and they’re not going to know me, and we’re still going to have this connection, this object that we’ve invested ourselves in. creation.”
Ultimately, when the canoe begins its new life as an educational tool, Brown hopes those who see it will realize the true depth of Indigenous history contained within the oak tree.
“We are here and we stay here,” he said. “We are here for the long haul.”
Fairfield, CT – The Bruce S. Kershner Gallery at the Fairfield Public Library invites the public to a reception for “Moving Lines”, a work by Mary Manning and Charles Douthat, on Thursday, October 27 from 5:30-7:30 p.m. They will talk about their work at 6:15. The show can be seen from October 15 to December 10 during library opening hours. 1080 Old Post Road in Fairfield.
Mary Manning was a resident of Darien for 40 years and an artist all her life. She graduated from Marymount Manhattan College and continued her studies in graphic design at the School of Visual Arts. She also studied weaving and jewelry making at the Cleveland Institute of Art. She was a graphic designer and art director in New York for many years at WNET/13, before focusing exclusively on fine art.
Mary is a member of the Silvermine Guild of Artists and the Center for Contemporary Printmaking in Norwalk, CT. His monotypes and works in mixed media have won numerous prizes in regional exhibitions. She has a studio at Firing Circuits in Norwalk and is represented by Cynthia Byrnes Contemporary Art (CBCA) in Westport.
Mary says, “I am a visual artist who works with a variety of media and processes, from printmaking to alcohol inks to vintage fabric dyeing. …I experiment with new materials, often creating combinations of media. To create the work on wood, I experimented with encaustic monotypes with pigments mixed with hot liquid wax. Once dry, I cut the monotypes into shapes and apply them to wooden panels. Also in the exhibition, monotype collages and others with fabric, paper, sisal, bark and other found materials… They can be arranged and rearranged in almost endless combinations. I like to think that the viewer will interact with these pieces, enter into this “conversation” and maybe rearrange them mentally.
Charles Douthat is a self-taught painter working in the traditions of Abstract Expressionism and Lyrical Abstraction. A graduate of Stanford University and the University of California, he began painting ten years ago. He has exhibited in group shows at the Artists Collective of Westport, Westport Art Center, Wilton Library, Institute Library of New Haven, and Ridgefield Guild, and had a solo exhibition at Metro Art Studios in Bridgeport. A video of the show created by Miggs Burroughs can be viewed at charlesdouthat.com or on Youtube. I am a member of WestonArts and the Westport Artist Collective. I am also an award-winning poet.
He says, “I paint in acrylics, usually on large canvases, but sometimes on recycled surfaces. … my paintings usually start with a personal feeling of restlessness, an empty canvas and a brush, and a tube of paint that I pick up more or less at random. Often at the beginning of a painting, I create an attractive shape, line or color combination that, out of uncertainty, I want to save. Strangely, it’s only when I sacrifice this attractive area by painting over or over it that something more original emerges, something that belongs both to the physical presence of the paint and to my feelings seeking to Express. Often through these moments of letting go, lasting forms are revealed. Perhaps some of the depth in each painting is generated by the half-visible remnants of previous stages that I sacrificed. You could call these remains the ghosts of those not-so-beautiful things I destroyed.
At the entrance to ‘Madayin: Eight Decades of Yirrkala Australian Aboriginal Bark Painting’ at the Hood Museum of Art, a film mural depicting crashing waves paired with a melodic song in Yolnu Matha (the Yirrkala language) creates an immersive experience . . The voices echo above the rushing sounds of the waves and mingle with the rhythmic percussion. In this context, a slightly illuminated bark painting is displayed in a display case in the center of the entrance gallery.
In the Yolnu language, madayeen refers to what is sacred and beautiful. “Madayin represents the coming together of sixteen Yolnu clans. …These chants are performed to signal the start of a ceremony, calling participants to a sanctified space,” reads text adjacent to the video. Yolnu refers to the clans that inhabit Yirrkala, a region in northern Australia.
The exhibit focuses on Aboriginal bark painting and is the result of collaboration with the University of Virginia’s Kluge-Ruhe Aboriginal Art Collection, among other institutions. It is a scholarly exhibition and numerous wall texts describe, often in the artist’s own words, the meaning of the works and how they fit into the larger socio-political context of clan society.
The Hood’s involvement with Australian Aboriginal art began in 2004 when the museum mounted an exhibition entitled “Dreaming of Country: Painting, Place, and People in Australia”. Over the next decade, the museum acquired the collection of Will Owen (1952-2015) and Harvey M. Wagner (1931-2017) which sparked a series of exhibitions focusing on Aboriginal art and culture. For “Madayin”, the museum called on Djambawa Marawili, artist and leader of the Madarrpa clan, to oversee the curatorial team.
As you walk through the exhibit and read the materials, it becomes clear that the bark paintings are expressions of Yolnu cultural identity. They are more than works of art; they are modes of communication, government documents, historical archives. The intricate patterns that cover them represent how all aspects of nature, personality, political governance and family structure are intertwined.
The tradition of bark painting dates back to around 1935, making it an essentially contemporary practice. However, the designs and meanings are the products of millennia of tradition and technique passed down between artisans from generation to generation. As the supplemental material explains, the designs were originally “painted directly on the bodies of young men when initiated.” It is important to keep in mind when viewing the works that they are more than “art for art’s sake”.
The paintings begin with large stripped bark sheets of eucalyptus trees. The strips of bark are then slowly reheated, flattened and sanded down to a smooth, usable surface. Earth pigments like ocher and white clay mixed with binder are traditionally used for painting. A striking piece incorporates blue acrylic paint. It was the only example in the exhibition that used synthetic pigments, and it gave the piece a more “modern” look than the earth-toned works.
Another piece that deviates from the standard format is a monumental wall piece made up of 299 small squares of bark laid out in a massive grid. The character of this work seemed to me more like a contemporary wall sculpture, something reminiscent of the minimalist works of Eva Hesse. This is no exaggeration, given the long history of the appropriation of so-called “ethnographic art” by Western artists.
While most of the work is abstract, with no recognizable imagery, there are examples that depict human, animal, and plant forms. These depictions are wonderfully stylized and expressive amidst the labyrinthine networks of lines and shapes that adorn the surfaces. Throughout the exhibit, videos show men in traditional dress performing dances and songs. These echo the content of the bark paintings and remind viewers of the multiple dimensions conveyed by these works. Yolnu designs are powerful and they evoke a sense of unity, unity, which is rarely captured in visual art.
Madayin: Eight Decades of Aboriginal Australian Bark Painting from Yirrkala is on view at the Hood Museum of Art until December 4. A series of public events around the exhibition begin Thursday at 12:30 p.m. with an introductory tour led by Curator Henry Skerrit, Assistant Professor in the Department of Art and Associate Curator of the Kluge-Ruhe Aboriginal Art Collection at the ‘University of Virginia. An opening reception is scheduled from 4:30 p.m. to 6 p.m. on Friday. And on Saturday afternoon, the Hood will be hosting two events: a “Community Day” from 1-4pm on Saturday afternoon on Bark Painting Making, and a Yolnu Artist Conversation from 2-4pm at Hood’s Gilman Auditorium. The programs are all free and open to the public. Information about the event can be found at hoodmuseum.dartmouth.edu/events and the exhibition website is madayin.kluge-ruhe.org.
Eric Sutphin is a freelance writer. He lives in Plainfield.
The designer talks about growing up in Philadelphia, what inspires his instantly recognizable jewelry, and tips for budding artists.
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Steven Lagos / Photograph courtesy of Lagos
“Every time I come, I get chills.”
Steven Lagos, dressed in head-to-toe black as usual, recently visited the Barnes Foundation to reflect on his artistic inspiration with the museum’s senior vice president, Nina Diefenbach. His eponymous jewelry brand turns 45 this year.
“We live in an age where everything is measured by taste,” Lagos said, pitting today’s content creators against artists like Amedeo Modigliani, who was harshly criticized and underappreciated in his day (at the time). except for Dr. Barnes, his main patron, who bought the artist’s paintings in bulk), but persisted in his distinctive style until his untimely death. Although he died destitute, Modigliani’s 1917 work Reclining nude (on the left side) has been the most valuable work never sold at Sotheby’s a century later, Lagos noted. “I wonder how many of us today are doing something so creative that 100 years later people will still be praising it,” he reflected.
Unsurprisingly, Modigliani was therefore one of three artists in the Barnes Collection whom Lagos identified as a favorite – in particular, his portrait of Leopold Zborowski, below:
Two of Steven Lagos’ favorites at Barnes: Leopold Zborowski by Modigliani (left); At Chaim Soutine Young girl in a red blouse / Images courtesy of the Barnes Foundation
Also created in 1919 in Paris, Lagos named Chaïm Soutine’s Young girl in a red blouse as another favorite. The fact that so many of the artists featured in the Barnes Collection lived in the same place at the same time, and that the eponymous collector was able to recognize this emerging “collaborative hotbed” that so few in the art world respected, is not lost on on Lagos; yet he also noted Barnes’ idiosyncratic curation: “You don’t need youo know the names of the artists or the chronology. …Barnes just wanted you feel Something. He collected for love, which I think is kind of romantic.
Steven Lagos and Nina Diefenbach at the Barnes Foundation / Photograph by Laura Swartz
He knows a little about it. Growing up in Philadelphia, “I always knew I wanted to do something creative,” Lagos recalls. “In the 1970s, if you had a learning disability, they didn’t know what to do with you. It was like, ‘Just sit over there and draw your pictures and don’t disturb the class.'” So he took painting classes for children at the Philadelphia Museum of Art on Saturdays and was encouraged by his parents to pursue his passions.
Lagos’ father had aspired to be an artist, but instead chose the more practical route of starting a laundry business. The business was lucrative, but he was not without regrets and did not even allow young Steven to work in the family shop. “He said, ‘I’ll pay you 50 cents an hour if you want to work here.’ The minimum wage at the time was $2.50.
Lagos dabbled in many art forms before settling into jewelry in 1977; and it wasn’t until 1984 that he discovered his signature Caviar design which has continued to this day.
A Lagos Caviar bracelet / Photo courtesy of Lagos
“In order to really grow a brand, I really needed to pick something and lock it in, and develop it into a lifetime of jewelry,” he explained, indicating that a distinctive “signature” style is the key to success for any type of artist.
Charming nod to its trademark, Lagos has unveiled its third favorite artist: the pointillist Georges Seurat. “He was like a scientist. He used these little dots to create dimension and color story. I also work with small dots.
by Georges Seurat Entrance to the Port of Honfleur (Entrance to the port of Honfleur) / Image courtesy of the Barnes Foundation
Lagos continues to be inspired by travel and art, sharing photos of his colorful office which houses his personal collection of pop art by KAWS and Murakami. (He identified the collaboration and innovation emerging from Japanese-inspired “super flat” art as a modern analogue of Paris a century ago, in case you were wondering.) And like his own parents he has encouraged his daughter Kate to pursue a creative career – she works alongside her father as a stylist for the Lagos brand.
Like her signature jewelry, the three artists Lagos selected had unique styles that made their work “instantly recognizable,” an early form of branding before it even existed. “These people were so dedicated to their vision and what they were doing,” he said, offering one final simple piece of advice to young artists: “Find something you love and stick with it.”
The 15th annual Smithsonian Craft2Wear show will take place October 20-22 at the National Building Museum in Washington, DC. Held in person for the first time since 2019, the show showcases the work of the country’s finest jewellery, leather and ready-to-wear artisans. The works will be exhibited and put up for sale; serious collectors and casual buyers will find unique pieces in a wide price range. Tickets are available for purchase.
The theme of this year’s event is Find Your Fabulous, a chance for shoppers to experiment with on-trend fashions, materials and fabrications to recreate and invigorate their garments. The show will be held at the National Building Museum at 401 F St. NW in Washington, D.C. Admission is $20 at the door or $17 in advance online. The show’s preview night on October 20 offers a prime opportunity to view and purchase wearable art while enjoying cocktails, hors d’oeuvres and a fashion show.
The Sultan Qaboos Cultural Center (SQCC) of the Embassy of the Sultanate of Oman will partner with the Smithsonian Women’s Committee for this year’s Craft2Wear Show. The SQCC will also exhibit Omani Sultanate fashion, jewelry and perfumes and other wearable art.
This year’s event honors the late Judy Lynn Prince, a member of the Smithsonian Women’s Committee who founded the Craft2Wear Show. She was a passionate supporter of Craft2Wear, and the committee honors her vision and support for the show over the years.
The Smithsonian Women’s Committee produces the show to celebrate the best in contemporary American craftsmanship and design. Proceeds support grants to the Smithsonian for innovative education, outreach, and research projects. The committee has awarded more than $13 million in grants and endowments since 1966.
New Zealand must introduce a tax refund to encourage the donation of important works of art to national galleries and collections, experts say, after dozens of nationally significant works of art were sold to private owners at auction this weekend.
On Sunday, Webb’s auctioned 50 works of art from the Bank of New Zealand art collection, totaling sales of more than $13.5 million, including a record-breaking individual work by Colin McCahon when it sold for $2.45 million.
But the auction was embroiled in controversy after former prime minister Helen Clark said the collection should have been kept by the government when BNZ was privatized in 1992, so it could have been attributed to national galleries.
“The State as owner had the possibility of separating the works of art [sic]”, clark wrote on Twitter over the weekend.
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The Te Papa National Museum acquired two paintings at Sunday’s auction: “Glenda at Tahakopa” by Dame Robin White, for $406,000, and “Design” by Lois White, for $221,000.
Te Papa’s annual acquisition budget is $3 million.
The BNZ informed the museum in advance that the works were being auctioned, but there was no possibility for them to purchase works outside of the auction process or to receive items as donations, said Te Papa’s general manager, Courtney Johnston.
“We would have appreciated the opportunity to make an offer on the works before the auction. Te Papa would always encourage collectors to consider public collections, which hold items in trust for the community,” Johnston said.
Te Papa had a limit on what he could afford to buy as the market became more expensive, so the public depended more on the generosity of collectors who chose to donate artwork, a Johnston said.
Several works of art sold at auction deserved a place in Te Papa’s collection, said its artistic director Charlotte Davy.
Rod Thomas, a professor at Auckland University of Technology, specializes in art law and said Aotearoa has a tax regime that encourages sales – not donations – of artwork.
Australia, the United States and Singapore offered significant tax breaks that encouraged art holders to donate to national galleries, such as donating to charity and recouping 33 cents per dollar.
It was “far too late” to implement a cultural gift discount program in New Zealand, Kirsten Lacy, director of the Auckland Art Gallery, said in an interview. “Without that, institutions have to be the highest bidder. It is taxpayers’ money that goes to auction.
The country’s national collections would be “much stronger” with a discount program, she said.
BNZ plans to set up a philanthropic foundation with proceeds from Sunday’s auction.
Retired civil servant Suzanne Blumhardt, who is the treasurer of the Blumhardt Foundation and chairs the development committee of the NZ Portrait Gallery, said it was right for the foundation to support the arts.
If the public has been unable to access the collection, the new BNZ Foundation could at least ensure that the arts community benefits from the proceeds of the sale, Blumhardt said.
Te Papa would also like to see the new foundation support practicing artists, Johnston said.
BNZ spokesman Sam Durbin said the bank was considering donating some or all of its collection, but decided setting up a new foundation was the best way to support the collection’s legacy.
The types of initiatives the new foundation would support were not yet finalized, Durbin said.
The second auction on September 27 would go ahead as planned.
Batman wields Doctor Fate’s magical helmet and gets a big power boost as he takes on his son, Damian Wayne, in a new look at Batman vs. Robin #4.
Warning! Spoilers for Batman vs. Robin #4 by DC Comics
In the new DC Comics cover art, Batman gains a massive magic power boost as the hero wields Doctor Fate’s helmet as he confronts Robin. In a new look at Batman vs. Robin #4Batman wears the Helmet of Fate as he attempts to stop his son, Damian Wayne, who has collected some of the greatest magical artifacts in the DC Universe.
Batman has received many power enhancements through magical and divine artifacts and weapons over the years. For example, in the Darkseid War in the pages of Justice League from DC Comics, Batman sat in the New God’s Mobius Chair, creating the most powerful version of the hero yet. However, Batman will don the Helmet of Fate to stop his son Damian Wayne, who has teamed up with Mother Soul and the devil Nezha as he plays with magic across the DC Universe. In the process, Batman will seemingly become DC’s new Doctor Fate with incredible hero powers.
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In a brand new preview for batman versus robin #4 by Mark Waid and Mahmud Asrar, the new cover art features Batman getting a massive magic power upgrade while wearing Doctor Fate’s helmet, one of the most powerful magic items in the universe. Batman, who tried to learn magic before taking over, battles his son, Damian Wayne, as the series’ first issue revealed Robin working alongside the devil Nezha and Mother Soul while keeping them together. helping to assemble magic artifacts and causing serious problems for magic users. To battle his out-of-control son, Batman will obtain the Helmet of Fate in what is shaping up to be an epic battle.
Interestingly, Batman’s Fate helmet has pointy ears, which begs the question of whether the helmet is Doctor Fate’s or a variation of the magic item. Doctor Fate’s helmet has already changed shape, as it will in the next black adam movie in the DCEU, so it’s possible he simply adapted to Batman’s cowl. Check out the synopsis of batman versus robin #4.
With the Devil Nezha pulling the strings and the incredible transforming power about to explode into the world, our heroes have no choice but to do the unthinkable: fall back! DC’s battle between father and son goes global as Earth enters Planet Lazarus!
What’s next for Batman vs. Robin? Stay tuned for Batman vs. Robin #5, and more, in January 2023! The world will change forever!
Considering how many weapons and magical artifacts Robin has assembled, and how he’s already sidelined most magic users in the DC Universe, taking him down won’t be an easy task. However, with Doctor Fate’s helmet and incredible powers, Batman has a fighting chance no matter what sorcery is thrown at it. batman versus robin #4 hits comic shops on December 20, 2022.
The iconic American brand of modern luxury design has partnered with the SCADpro Design Studio program to create a collection that reinvents the home office experience
TAYLORSVILLE, North Carolina, September 19, 2022 /PRNewswire/ — Modern Nonconformist Private Label Mitchell Gold + Bob Williams today presented an innovative and forward-looking work from home collection, designed in collaboration with Savannah College of Art and Design (SCAD) and SCADpro, the university’s collaborative research and innovation design studio that pairs forward-thinking companies with the brightest creative students and faculty to research and develop inventive concepts and solutions. The exclusive SCAD for Mitchell Gold + Bob Williams The collection includes two ranges – Alba and Ella – showcasing new styles of contemporary desks, chairs and storage solutions. Designed with the same attention to craftsmanship and comfort synonymous with the brand, they bring a truly innovative approach to working from home.
Mitchell Gold + Bob Williams collaborated with SCADpro from November 2020 and during a specific furniture course from March to May 2021, with deep involvement during the briefing, mid-term and final review stages. The brand has joined SCAD’s multidisciplinary team of faculty, graduate and undergraduate students from top-ranked university programs in furniture design, industrial design and illustration to research and design collections of concepts that balance the functional and holistic demands of working from home. The result: avant-garde silhouettes in elegant finishes, founded on ergonomics and comfort at every touchpoint. The overall aim of the project was to target the transition to remote working, focusing on how, for many, home has become so much about working life and the changing meaning and use of the home as the center of community life and family engagement.
Mitchell Gold + Bob Williams President and CEO, Allison O’Connor notes, “Two pillars of our business speak to how our goal is to be artisans of comfort for all and how we aspire to be a Modern Maverick home brand. Speaking to our customers through products who must align with a world in which the very nature of work has changed and the way homes will continue to adapt to our new environment, we have seized an exciting and important opportunity.We have collaborated with the famous and prestigious furniture design program from Savannah College of Art and Design in Georgiaclose to our own factories in North Carolina, on a project to define furniture for the new meaning of working from home. Focusing on how to unveil the meaning of comfort, this work-from-home collection combines emotion, function, aesthetics and efficiency in timeless new pieces that continue MG+BW’s journey as a brave brand that chooses to speak courageously to every owner seeking to make your home a place to honor who, what and how they love.”
In addition, the collaboration affirms Mitchell Gold + Bob Williams’ commitment to the future of American design and to the next generation of designers.
To truly understand how work and home integration affects the consumer, the SCADpro team started with the principles of human-centered research, analyzing over 82 survey responses. The feedback revealed the four key ideas that the team then targeted throughout the design process: emotion, comfort, aesthetics and efficiency. This detailed research confirmed that the future of work is a hybrid environment, with consumers needing dedicated home workspace to accommodate dual lifestyles.
With this collection, the brand offers products designed taking into account user feedback. Incorporating everything from work habits and ergonomics like the ideal desk height and healthy sitting posture to smart storage solutions for office essentials like printers and files, it provides a flexible workspace when needed. of need, then transforms into beautiful pieces for everyday life.
The pieces are made from natural and sustainable materials. The modern and timeless Alba collection combines a dark oak finish and brushed stainless steel hardware with vegan leather accents. The elegantly curved and fashion-forward Ella collection features oak in a brushed white finish with champagne brass details. And a third desk chair option, the executive-style Eva chair, features rich Italian leather and a distinctive openwork metal base.
“We are delighted to hear that this partnership has resulted in the release of two of the designed collections, Alba and Ella, as well as the Eva chair. Thank you to the students for going the extra mile. Thanks to Bob Williams to work with the class to understand Mitchell Gold + Bob Williams’ dedication to comfort, attention to detail, craftsmanship and durability. And thanks to Allison O’Connor and the Mitchell Gold + Bob Williams team to be an inspiration and to provide our students with this incredible opportunity,” says Frederick SpectorAssociate Chair of Furniture Design at SCAD.
The SCAD for Mitchell Gold + Bob Williams The collection is available online at mgbwhome.com and in MG+BW stores nationwide. Discover the collection on www.mgbwhome.com/scad.
ON MITCHELL GOLD + BOB WILLIAMS
Mitchell Gold + Bob Williams started with the seed of an idea that continues to guide everything it stands for: comfort for all. Since 1989, the brand has been dedicated to Design for Living Well, creating modern legacies while continually striving to reduce its impact on the planet through responsible sourcing of materials and partnerships with brands and initiatives focused on Sustainable development. Committed to enduring quality and American craftsmanship, Mitchell
Gold + Bob Williams the upholstery is handcrafted by generations of skilled artisans to its North Carolina factory, creating works of art that stand the test of time. The brand also supports interior designers, architects, builders and design professionals with a strong Trade Program and Contract division. To date, the brand has 25 Signature stores across the country, 35 Virtual Design locations and 3 international stores. For more information, please visit our website or follow us on instagram.
ABOUT SCAD: THE UNIVERSITY FOR CREATIVE THINKERS
SCAD is a private, not-for-profit, and accredited university, offering more than 100 graduate and undergraduate programs in different locations around Atlanta and Savannah, Georgia; Lacoste, France; and online via SCADnow. SCAD welcomes more than 15,700 undergraduate and graduate students from more than 120 countries. The forward-looking SCAD program utilizes professional-grade technology and a myriad of advanced learning resources, providing students with opportunities for internships, professional certifications, and real-world assignments with business partners via SCADpro, the university’s famous research laboratory and prototype generator. SCAD is #1 in the US, according to Art & Object’s 2021 Top Art School Rankings, with additional rankings for degree programs in Interior Design, Architecture, Film, Fashion, Media digital, etc. Career success is woven into every fiber of the university, resulting in a higher alumni employment rate. Over the past four years, 99% of SCAD graduates were employed, pursuing graduate school, or both within 10 months of graduation. SCAD offers students and alumni ongoing professional support through personal coaching, alumni programs, a professional presentation studio, and more. For more information, please visit our website.
SCADpro is a collaborative innovation studio that connects current and future creative business leaders to realize the future. SCADpro is recognized as the preeminent academic partner in higher education and among design agencies worldwide, generating business solutions for the world’s most influential brands. operating in the United States and Europe, SCADpro solves creative and business challenges for Fortune 500 clients, launches alumni brands through SCADpro Fund, and provides executive education at the world’s leading university for the study of design and creative business thinking. For more information, please visit our website.
What I want families to take away from this is that we can learn from the past what NOT to do and we can improve race relations right now.- Reverend Wheeler Parker
INDIANAPOLIS (PRWEB) September 19, 2022
‘Let the world see what they’ve done to my boy,’ are the heartbreaking words uttered by Grandma Till-Mobley who insisted on a coffin being opened for her 14-year-old black son who was brutally tortured and murdered for whistling at a White Woman in Money, Mississippi in 1955.
It all started in August 1955. Fun-loving Emmett Till looked forward to visiting his family in Mississippi. The 14-year-old grew up near Chicago and never ventured far from home. After stern warnings from his mother about racism and social etiquette in the South, he took a summer trip to visit relatives in Mississippi with his great-uncle and cousin, Wheeler Parker. This trip and a visit to the local store changed their lives forever. “They came out of the store and Emmett loved making people laugh – telling people jokes. The wolf hissed right outside the store and we could have died,” said Reverend Wheeler Parker Jr., Emmett’s cousin. Later, the husband and brother-in-law of the woman Emmett stalked abducted 14-year-old Emmett from his great-uncle Moses’ house in the middle of the night. “I heard them coming. This guy came in, his name was Milam,” Parker said. “He had a gun in one hand and a flashlight in the other. I was shaking, literally shaking like a leaf on a tree. For more of Reverend Parker’s comments, click here (the password is silo2022).
Historical markers set up near the Tallahatchie River (recognizing where Emmett Till’s lifeless body was found) have been continually robbed, shot and vandalized. A sign made headlines after a group of University of Mississippi students posed in front of it with guns, then posted their picture on Instagram in March 2019. This gun-riddled sign will be on display to show that racism continues today as people. trying to destroy the memory of what happened to 14-year-old Emmett Till.
Reverend Wheeler Parker wants people to know, “History is history. It’s not who we are today. What matters is what we choose to do with it today. So what are you going to do?”
Emmett Till Interpretive Center Executive Director Patrick Weems hopes this means people will take positive action: “Despite the repeated vandalism of these signs, our community has come together again and again to replace them and speak the truth about what happened to Emmett Till. . We believe that telling the truth about these acts of violence and injustice is the first step towards racial healing. These vandalized signs show how far we need to go in the fight against racism in our country. »
“Learning more about Emmett Till’s story is difficult, but I believe that understanding what happened during the cruel and senseless tragedy is crucial for families to help people heal from prejudice and stigma. discrimination and to prevent senseless acts of violence today,” said Jennifer Pace Robinson, President. , and CEO, The Children’s Museum of Indianapolis.
Families will also learn how two of Emmett Till’s murderers were tried and found not guilty in just 67 minutes by an all-white, all-male jury, despite eyewitness testimony from Emmett’s great-uncle, Moses Wright. His killers later confessed and were paid $4,000.00 for their story by Look magazine.
Exhibit hosts will share conversation starters to help families understand and reflect on what happened in the Jim Crow era. There is also a Building Bridges workshop that will guide visitors to turn a fence into a bridge, symbolizing ways to break down racial barriers. A lead acting performance will feature a social justice educator and his reflection on the backlash he received after sharing Emmett Till’s story with students.
Three years in the making, Emmett Till & Mamie Till-Mobley: Let the World See (http://www.emmetttillexhibit.org) The exhibit made its national debut at the Children’s Museum in Indianapolis this weekend and will run through October 30, 2022. It will then make a historic tour across the United States, traveling to the Birmingham Civil Rights Institute in Alabama, Martin Luther King, Jr. Memorial Library in Washington, DC, Two Mississippi Museums in Mississippi, DuSable Museum of African American History in Illinois, Atlanta History Center in Georgia, and National Civil Rights Museum in Tennessee before reaching its permanent destination at the Emmett Till Interpretive Center in Sumner, Mississippi. This historical exhibit is recommended for ages 10 and up.
Learn about Emmett Till Historic Landmarks as part of the Civil Rights Trail and historic sites.
After 100 years and 200 failed attempts, a bill named the Emmett Till Antilynching Act was finally passed in March 2022. It criminalizes lynching and makes it punishable by up to 30 years in prison. Exhibit developers hope visitors will feel empowered to stand up against racial violence and make a difference in their own communities.
Memoirs of the Reverend Wheeler Parker:A few days full of boredompublished by Random House, out January 10, 2023, tells the story of his friendship and his quest for justice for his cousin and best friend, Emmett Till.
This project was made possible in part by The National Endowment for the Humanities: Democracy requirements wisdom, The Maddox Foundation in Hernando, MS, The Institute for Museum and Library Services [MH-249226-OMS-21]and The Historic Preservation Fund administered by the National Park Service, Department of the Interior [15.904]. The Children’s Museum of Indianapolis is proud to partner with Riley Children’s Health, Old National Bank, Ice Miller LLP and Heritage Group.
About the Emmett Till & Mamie Till-Mobley Institute
The Emmett Till and Mamie Till-Mobley Institute, a non-profit organization, is committed to research and advocacy for social justice. We are committed to preserving the memory and historical significance of the life and death of Emmett Louis Till, and to preserving the social action legacy of his mother, Mamie Till-Mobley, to foster educational opportunities and life. civic engagement among young people. Our goal is to fund research, education and public programs aimed at encouraging informed participation in the democratic process and working to build and sustain a civil society. For more information on the Till Institute, visit http://www.tillinstitute.org.
About the Emmett Till Interpretive Center
The Emmett Till Interpretive Center was established to confront the brutal truth of the 1955 murder of 14-year-old Emmett Till in the Mississippi Delta and to seek justice for the Till family and the Delta community. The Center aims to tell the story of Emmett Till and his mother, Mamie Till-Mobley, as an act of restorative justice to create the conditions necessary to begin the process of racial healing in Mississippi and across the country.
About the Children’s Museum of Indianapolis
The Children’s Museum of Indianapolis is a nonprofit institution committed to creating extraordinary learning experiences in the arts, sciences, and humanities that have the power to transform the lives of children and families. For more information on the Children’s Museum, visit http://www.childrensmuseum.orgfollow us on Twitter @TCMIndy, [email protected], YouTube.com/IndyTCM and Facebook.
We have been here before. In 2019, when Disney announced that the live-action remake of A little mermaid would be performed by singer Halle Bailey, there was an immediate, vocally negative outcry. There was also an immediate standing ovation for the very idea that this iconic movie siren would be portrayed by a dark-skinned woman with natural hair styled in ‘locs’.
Now that the trailer has dropped and has been viewed at least 20 million times, it’s clear that demand is high for this remake. Little girls everywhere – and big ones too – are crying tears of wonder and joy on Tiktok, Facebook or Twitter, posting their reactions to the Disney images. “She’s dark, like me,” were the words of a toddler. The imagery is powerful, as is Bailey’s Beyonce-approved voice. At the same time, when you scroll through the comments on many stories discussing Bailey, it’s also clear that many people ignore the folk tales – and world history – that reference and depict brown-skinned mermaids.
My original post (dated 2019) on the film included a number of beautiful fan art images featuring brown-skinned mermaids. I also provided historical context with a more global view.
As I wrote years ago: “Reading the comments under some of the arts reveals that some users don’t know that the idea of water sprites, water gods or mermaids can be found in a variety of cultures. The truth is this: mermaid stories span all continents. In pre-invasion South and West Africa, there is a deity known as Mami Wata who – to some – is depicted as half fish, half woman. The Smithsonian Museum of African Art has a beautiful online platform dedicated to understanding the history of these important water deities, who were also introduced to several countries on both sides of the Atlantic Ocean as the humans were unwittingly enslaved and transported during the transatlantic slave trade.
Art from the Smithsonian Collection features brown-skinned mermaids, revealing how mermaids are viewed in other cultures around the world.
The Smithsonian site is still available, as are comic books and coloring books on Amazon
AMZN – all with black or brown sirens. In 2021, author Natasha Bowen wrote this essay on Tor.com, explaining the need to move beyond a Eurocentric view of these creatures. And, in fact, even children’s cartoons bubble guppies features seafarers in a variety of skin tones, so little kids watching at least this show have already welcomed a diverse crew.
As an ’80s baby who went to the movies with my mom to watch Ariel sing “Part of Your World,” I was seduced long ago by Disney’s version of Hans Christian Andersen’s fairy tale. Simply put, as anime rewrites went, it was well done. And the music (except for a few racially questionable language choices/verses) was memorable. The movie soundtrack was the very first CD I bought with my own money from Tower Records in my local mall. Many of those same songs will make a reappearance in the new release. That said, this new Ariel is a game-changer. Jodi Benson, the voice artist behind the original Ariel, also co-signed Bailey after the trailer was released at D23.
The remake features new music by Lin Manual Miranda and acclaimed Disney songwriter Alan Menken. We will also see Melissa McCarthy as Ursula, Daveed Diggs as Sebastian, Awkwafina as Scuttle, Javier Bardem as King Triton, Jonah Hauer-King as Prince Eric and Jacob Tremblay as Flounder.
Disney knew what it was doing by casting Bailey — it was paving a more inclusive path for its beloved story vault, and it was also generating buzz for a 2023 release that will likely break records. just like The Lion King live-action remake (which, among many colored faces, featured Beyonce as the voice of adult Nala and Chiwetel Ejiofor as Scar) and the live-action remake of Aladdin before that, featuring featuring new voices and considering full representation for each of the roles simply enhanced the hallmarks of a good story and made Disney millions more.
I’ve said it before and I’ll say it again: true diversity, done for the right reasons, is good business.
A museum dedicated to the history of Babylon Village that has been renovated and redesigned will have a grand reopening on Saturday after being closed for nearly three years.
The building, which is listed on the National Register of Historic Places, dates from 1911 and was originally a library before being used for government offices, said Babylon Town historian Mary Cascone. A year after the Babylon Village Historical and Preservation Society was established in 1974, the Babylon Historical Society Museum opened.
Over the years, the society amassed a hodgepodge collection of artifacts that were displayed throughout the museum in no order.
“It looked like an antique store,” said Wayne Horsley, a former Suffolk County lawmaker and vice president of the company. “There were some interesting things here and there, but not something you would necessarily go back to.”
In January 2020, the trustees decided to close the museum and, in addition to a renovation of the building, to begin a redesign of the museum to tell the story of the village, which was incorporated in 1893.
Then the COVID-19 pandemic hit.
“We decided to continue,” said Judy Skillen, president of the company. “The pandemic was terrible, but it was also kind of a gift of time to be able to do that.”
Wearing masks and practicing social distancing, administrators and members painstakingly combed through the society’s entire collection, researching and cataloging each piece.
“We will continue to scour the collections and research information in order to have a full representation,” said Cascone, who is also a director of the company.
The museum now features themed exhibits that highlight aspects of the village’s history, such as its former hotels, the Great South Bay, and the South Side Railroad, which became part of the Long Island Rail Road. One of the museum’s centerpieces is a printing press believed to be from the South Side Signal, a weekly newspaper published from1869 to 1920. Exhibits will change throughout the year, Skillen said.
Using approximately $400,000 in grants and donations, the society recreated wooden pocket doors, painted, and performed other work to restore many of the building’s original features. The 2,500 square foot building was also made ADA compliant.
Many society members volunteered their skills to help with the renovation, while others were hired by local businesses.
“I wanted as many people in this community as possible to be invested in this museum,” Skillen said.
Resident Shawn Uttendorfer, 46, said he spent more than 60 hours meticulously stenciling and restoring gold leaf to a glass sign at a Babylon hotel.
“Having a piece that I was able to help restore and carry on the legacy was really important to me,” Uttendorfer said.
A vault where artifacts began to mold now has an air conditioning system for archive storage. A wall that had sealed off the main room was reopened and an electronic drop-down cinema screen was installed. The new space will become a community hub, allowing the museum to host events and bring in authors and other speakers, trustees said.
“I’m so proud of what we’ve done to tell the story of Babylon,” Skillen said. “It’s our gift to the village.”
BABYLON VILLAGE HISTORICAL SOCIETY MUSEUM
Located: 117 Main Street West, Babylon
Grand Dopening: September 24 at 5:30 p.m. with a new dedication on the mast, until 8 p.m. Refreshments will be served and guides will be on hand to answer questions and guide visitors through the museum.
Hours (from Sept. 28): Wednesday and Saturday, 2 p.m. to 4 p.m., other hours by appointment. No admission charge, but donations are welcome.
Denise Bonilla has worked at Newsday since 2003 and covers the city of Babylon, including the villages of Lindenhurst and Amityville.
Sunday, September 18, 2022, 6:39 p.m. Press release: your daddy
Te Papa acquired two paintings at auction from one of the country’s most important private art collections.
The paintings purchased by Te Papa are:
Glenda to Tahakopaby Robin White, oil on canvas, 1978, purchase price $406,000.
Design, by A. Lois White, watercolor on cardboard, c. 1944, purchase price $221,000.
Te Papa Tumu Whakarae | Managing Director Courtney Johnston said Te Papa would always encourage corporate and private collectors to consider donating artwork to public collections if they are scattering a collection.
“We encourage any collector to consider the legacy they are creating when they return works to the public, where they can be held in trust for future generations,” Ms Johnston said.
“There is a limit to what public institutions in New Zealand can afford to buy, and as the market becomes more expensive the public will depend more on the generosity and vision of collectors who choose to do so. gift of works.”
Ms Johnston said Te Papa was delighted to have obtained the two works purchased for the national collection.
“It is exciting for Te Papa to acquire two paintings of such stunning quality, by two important and beloved New Zealand painters,” said Ms Johnston.
“The response to a major Robin White retrospective currently at Te Papa shows just how popular his work is with New Zealanders, and Glenda to Tahakopa is one of his most iconic paintings.
“The Lois White watercolor is a lush, sensual work that evokes lesbian desire and love at a time when these stories were often hidden away,” says Ms Johnston.
“The acquisition of these two paintings, by women and representing women, is part of our strategy to increase the presence of women in the national art collection.
Te Papa’s artistic director, Charlotte Davy, said the museum had taken a close look at the works in the BNZ collection.
“While there are several works that deserve a place in Te Papa’s collection, we have to stay within our budget and have decided to focus on these two paintings,” Ms Davy said.
“These are works of fantastic quality, in very good condition, and each holds an important place in the history of art in Aotearoa,” says Ms Davy.
Te Papa has an annual acquisition budget of $3 million. This includes collecting across all disciplines, from buying art and history at auction, to funding field trips to collect flora and fauna, or traveling to the Pacific to work with communities and collect objects of contemporary culture.
About Glenda to Tahakopa by Robin White
Glenda to Tahakopa is one of Dame Robin White’s most iconic paintings. Dressed in brilliant red, Glenda stands in the center of the painting, her arms crossed, her eyes fixed in the middle. Behind her is the corrugated iron cladding of Tahakopa Station in South Otago. The work is great, and there is quiet companionship in the painting. As viewers, we have a strong sense of the close relationships between artist, subject and place.
The painting is a wonderful example of White’s painting practice. White is technically extremely skilled and her perfectionism as a painter is on full display in this crisp, eye-catching canvas. The subject is Robin White’s friend, Glenda, an elementary school teacher and member of the Otago Baha’i community.
About Design by A. Lois White
Design is an exceptionally fine example of Lois White’s watercolour. In the 1940s and 1950s White produced a number of such varnished watercolors, in which swirling compositions are combined with washes of translucent color. This particular work is unusual for the complexity and density of its composition – although it is described as a drawing, there are no repeating patterns here. The painting is full of pattern, detail and delight: a scene of lush splendour.
Design joyfully proclaims the beauty and sexuality of women – in a way unlike any other work from this period in Te Papa’s collections. It represents women’s sexual desire, as well as lesbian desire and love, at a time when these stories have often been hidden or forgotten.
A. Lois White was born in Auckland in 1903 and grew up in a devout Methodist family. She was educated at the Elam School of Art in Auckland from 1923 to 1927 and spent most of her life both practicing painting and teaching at Elam. Te Papa contains 14 other works by A. Lois White.
About the BNZ Art Collection
The BNZ holds one of New Zealand’s most important private art collections. The collection was founded in 1982, when the bank commissioned Peter McLeavey – at the time the country’s leading art dealer – to purchase works of art on their behalf. McLeavey built up the BNZ Collection between 1982 and 1988. He acquired paintings, prints, sculptures, textiles, ceramics and photography by New Zealand’s most important contemporary and 20th century artists. McLeavey’s in-depth knowledge of the New Zealand art world, as well as his privileged relationship with artists, has enabled him to acquire works of the highest quality. The collection has been considered, since the 1980s, to be one of the best representations of 20th century New Zealand art.
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September 17 – VALDOSTA – Richard Heipp enjoys bringing viewers to unexpected revelations while looking at his art.
“Heipp intends that viewers initially assume they are viewing digitally or mechanically reproduced images,” according to an artist statement provided by Valdosta State University’s Department of Art and Design. « »
Heipp’s work will be exhibited in “Museum Reflections: Artists, Devils and Saints,” which opens this week in the VSU Fine Arts Building.
“Heipp creates mimetic paintings photographically and digitally and he will be showcasing his recent paintings from Valdosta State University’s Museum Study Series in the Dedo Maranville Gallery,” said Mark T. Errol of the Art & Design department at SUV.
Heipp is an “artist, musician, and professor emeritus at the University of Florida,” according to VSU.
He “has had over 30 solo exhibitions and has been included in over 100 group exhibitions. He has also been commissioned to complete 20 site-specific public art projects with budgets ranging from $10,000 to $100,000 .”
He has received six Florida Artist Fellowships and received the Southeastern College Arts Association’s Achievement in Art Award. He received a scholarship from the Southern Arts Federation, National Endowment for the Arts, in painting.
“Interested in the difference between seeing and looking, and how contemporary culture consumes images, Richard Heipp creates photographic and digital mimetic paintings that intersect themes of technology, vision and artistic production” , according to his artist statement, adding that he coined the term “photocentric” to “describe his carefully crafted airbrush paintings.”
“His most recent work in the Museum Studies series confronts how the interpretation and consumption of artworks and artefacts are affected by layered visual or cultural systems of vision, their institutional display and ultimately altered by Heipp’s translation into paintings.”
Heipp said, “I hope my work inspires viewers to slow down and really watch to see.”
“Museum Reflections: Artists, Devils, and Saints” by artist Richard Heipp opens with a free public reception, 6-7:30 p.m. Monday, September 19, Dedo Maranville Gallery, VSU Fine Arts Building, corner Oak and Brookwood . The show runs until October 7. Gallery hours: 10 a.m. to 5 p.m. Monday to Thursday; 10 a.m. to 3 p.m. Friday.
From the BMS West Seattle Events Calendarand other insights, here’s what happened on your last Bridgeless Saturday:
TRAFFIC ALERTS: Sure SDOTThe main work of preparing to reopen the West Seattle Bridge – the exact time is not announced – and this work is happening today:
Before the reopening on Sunday and after, we will have various SDOT work crews near the bridge and along the detour routes. They will remove many signs, such as detour signs and low bridge restriction signs. They will also remove traffic control features such as barricades, barrels and digital messaging signs.
As part of the Reconnect West Seattle program, in addition to ongoing street maintenance and safety improvements, we will be completing a few projects this weekend.
-We started paving parts of SW Admiral Way last week, and will continue paving this Saturday. -Saturday and Sunday we will be replacing the concrete panels at the intersection of 16th Ave SW and SW Webster St.
Work is expected to begin at 7 a.m. and end around 4 p.m. Please expect delays, drive carefully through work areas and follow directions from signs and flaggers. Traffic will be maintained in both directions during the end of the works.
CHANGE OF METRO SERVICE: That’s the day service revisions go into effect — including some cuts in West Seattle — but buses won’t return to the upper deck until Monday.
HALF ORC: This half-marathon starts in waves of Lincoln Park at 7:30 a.m. and ends at Don Armeni boat ramp – no street closures. Added an early Water Taxi run before the run.
UPDATED COVID BOOSTER: Foldablethe clinic of High Point Neighborhood House (6400 Sylvan Way SW) is 8 a.m. to 2 p.m., walk-in supplies permitting.
SECOND SALE: 9 a.m. to 4 p.m., it’s the first and biggest day of Fauntleroy Churchof the big sale, in preview here. (9140 California SW)
PTA HIGHLAND PARK SALE: Even more clearance sale, this time to support a school! 10 a.m. to 2 p.m. (1012 SW Trenton).
GARAGE/LAND SALES: View (and post) ads in the BMS Community Forums.
WEST SEATTLE BOUTIQUE AND ART SHOP: From 10 a.m. to 5 p.m., visit artists’ studios and other places where you can see and buy art! First – the latest information is here, including links to the map.
PIGEON POINT CRAFTS FAIR FESTIVAL: One of the stops on the Art Hop map is a big event all on its own – over two dozen artisans/vendors at Pathfinder K-8 School (1901 SW Genesee) on Pigeon Point.
MORNING MUSIC AT C&P: 10:30 a.m.-noon, Marco de Carvalho and his friends perform at C&P Coffee Company (5612 California SW; sponsor WSB) – which is also a stop on the Art Hop & Shop map.
PARK SPRAY: Highland Park Water Park (1100 SW Cloverdale) will be open from 11 a.m. to 8 p.m., the penultimate day of the season.
WOODEN HOUSE MUSEUM: From noon to 4 p.m., the Seattle Southwest Historical Society the Alki museum is open (61st/Stevens).
CELEBRATING LOU MAGOR: 12 p.m.-4 p.m. at Kenyon Room (7904 35th SW), an open house to celebrate the life and legacy of the historic venue’s longtime champion, who passed away in April 2021.
VIETNAMESE CULTURAL CENTER: Open to visitors from noon to 3 p.m. as listed here. (2234 SW Orchard)
WINE TIME: The Viscon Cellars The tasting room (WSB sponsor) – selling wine by the glass or by the bottle – is open from 1 p.m. to 6 p.m. (5910 California SW)
BRIDGE PRE-REOPENING PARTY: 2-9:30 p.m., party at Ounces (3809 Delridge Way SW), featuring Hawaiian food, desserts, a pop-up market from 2 p.m. to 6 p.m., activities for kids including a bouncy house, and much more, including the now famous “Reunited” collaborative beer.
EVENING MUSIC AT THE CAFE:Roo Forrest and his friends7 p.m. to C&P Coffee Company (5612 California SW; WSB sponsor), no coverage, all ages.
MUSIC AT SKYLARK:Dead Sonics, Mantle Collapse, Midnight Marauders, doors at 7 p.m., show at 8 p.m. $10. 21+. (3803 Delridge Way SW)
With so many different projectors on the market, it’s easy for consumers to get confused. How to choose the right projector from over hundreds of models on the market? Simply put, when buying a projector, there are three main factors to consider, brightness, resolution, and lens ratio. Among the products that meet the criteria, the MUDIX 2022 mini projector can be a good choice.
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User friendly – plug and play Connect the projector to the device under the guidance of the manual, and the projector is ready to work in just a few seconds. This MIDUX mini projector also comes with a remote control, making it easy to adjust settings while sitting on the sofa or lying on the bed. This mini size of the projector also makes it convenient to carry.
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Victoria Blush is a Canadian artist who merges architecture, fine art and digital fabrication to create ethereal settings that explore themes of nature, culture and heritage. In the past, his work has been shown at Art Basel Miami, Frieze Los Angeles and in galleries across North America and Europe.
Produced in collaboration with 1stDibs, Fard has released AETHERIUS, a collection of new NFT digital artworks that are algorithmically shaped by faceted terrain and kaleidoscopic vegetation. “I imagine the abundance and tranquility that nature brings. Despite its vibrant surroundings, it is a place of reflection and solitude,” the artist said in a statement.
Similar to his earlier studies, which are deeply inspired by Fard’s Persian and Filipino heritage, there is a noticeable floral motif that runs through each of his hypnotic settings. The development of AETHERIUS took five months and consists of 50,000 meshes and 25 GB of production data.
AER, TERRA and AQUA from the AETHERIUS collection are all unique editions and are available to bid on 1stdibs for 7,188.95 USD, respectively.
Elsewhere, PUMA is jumping into the metaverse with its first digital experience.
A virtual Spanish Civil War museum, developed by Trent University history professor Antonio Cazorla-Sanchez, alongside York University’s Adrian Shubert and international collaborators, officially opened to visitors in line.
Cazorla-Sanchez joined Trent President Leo Groarke and Alfredo Martínez Serrano, the Spanish Ambassador, to launch the museum Thursday night at Trent University.
“The Virtual Museum of the Spanish Civil War reflects Trent’s commitment to interdisciplinary and international collaboration and the digital humanities,” Groarke said in a statement.
“The impressive result of the efforts of Professor Cazorla-Sanchez and his fellow researchers is an online tool that can mobilize knowledge in a way that makes it accessible anywhere in the world.”
Trent calls the museum the first of its kind as a dedicated museum that gives a holistic explanation of the conflict from a variety of interdisciplinary perspectives, including history, archaeology, digital humanities, literary and cultural studies.
The project brought together scholars and experts from Trent, York University in Toronto, the federal government’s Humanities Research County and the University of Warwick in Coventry, England, as well as the British Embassy. Spain in Canada and the Spanish Ministry of Culture and Sports. .
Among the museum’s co-directors is Cazorla-Sanchez, a longtime university faculty member and one of North America’s foremost experts on the Spanish Civil War and fascism. He was also the recipient of the 2019-2020 Distinguished Research Award from Trent University.
“In many ways, the past is a foreign country. Through the visual elements of this museum, we witness what people experienced at the time. A way for visitors to immerse themselves in the mentality of the people who lived through these events,” said Cazorla-Sanchez.
“Big issues that were relevant during the Spanish Civil War (social justice, democracy, women’s rights, minority rights) remain relevant today.”
The museum has received international support from institutional partners, the Embassy of Spain in Canada, as well as funding of over $30,000 from the Social Sciences and Humanities Research Council of Canada through a Connections grant.
The Virtual Museum is hosted by the Bata Trent Library and Archive.
Part of Trent’s in-kind contribution to the project included support from Bata Library and Archives to develop and host the virtual museum, an example of the role libraries and archives can play as an information resource and knowledge mobilizer.
The university says this has allowed the project to benefit from the library’s expertise in areas such as metadata, digital collections and technology, with scholars and memory institutions internationally.
“Each of the digital objects in this virtual museum allows visitors to interact with them, as well as important contextual information presented in clear and accessible language,” said Dwayne Collins, digital scholarship and innovation librarian at Trent. .
“As the project develops, we will be able to develop different ways for visitors to explore the relationships between these objects and their connections to other repositories.”
People can explore the Virtual Museum of the Spanish Civil War online at www.vscw.ca
Many greats never really grasp the magnitude of their gifts. But Federer, you felt, reveled in his astonishing virtuosity. On several occasions, he made remarks that would have seemed unforgivable had they been uttered by someone else. In Melbourne in 2010, he expressed Andy Murray’s difficulty as follows: “I know he would like to win his first Slam. But he’s in his second final now. Besides, he’s playing me. In Halle, the German grass-court event he has won so many times a local street is named after him, he trained in a t-shirt emblazoned with his own face. And at Wimbledon, his beloved hometown, Nike dressed him for the walk-ons in 2009 in a diamond-white military jacket paired with a showy gold shoulder bag.
There is not another sportsman alive who could have carried off such ostentation without a dressing room uprising. And yet Federer not only backed him up with his exceptional talent, he did so without a single rival having a bad word to say about him. Take Andy Roddick: After losing his third Wimbledon final to Federer, 16-14 in a fifth set, he saw his conqueror transform into a top decorated with the number “15”, signifying then a record of major titles in men’s singles . But far from mocking any perceived vanity, Roddick has become one of Federer’s closest allies.
It was Roddick’s misfortune, at least for his career stats, to compete in the shadow of the greatest wizard tennis has ever known. The American, like so many who followed him, looked broken and bewildered by the magic unleashed on the other side of the net. In a famous game in Federer’s hometown of Basel, he imagined he had sealed the point with a spike, only for the Swiss, leaping into the far corner of the pitch, to concoct a stunning header with so much side effect that the ball came back inside. the line for a winner. Roddick, quite rightly, threw his racquet at Federer in desperation.
“His contribution extends far beyond the tram lines of the courts”
Federer was the most powerful antidote to cynicism in sports. Just when you thought you knew every flourish in his repertoire, he fashioned another to defy all kinetic convention. There was no more striking illustration than in a US Open semi-final against Djokovic, where, after a tricky exchange at the net, he came back to the baseline to fire a “tweener ” right in front of the confused Serb. Even Father Robert was out of his seat, wondering, struggling to calculate what he had just witnessed.
Once upon a time, Federer was just another ambitious teenager with a ponytail and a fiery temper. One of his former coaches said: “When he was 14 you had to run away because he was throwing rackets.”
It’s among his finest accomplishments that he somehow figured out how to translate that raw belligerence into his shot rather than his body language, rarely betraying even a trace of irritation so that he threaded his opponents for fun.
Very few, whether in tennis or elsewhere, are acclaimed as both icons of their craft and sportsmanship. Even fewer manage to negotiate their professional life without the slightest scandal. Tiger Woods, with whose dominance his own pomp overlapped in the mid-2000s, was later exposed as a serial adulterer, so lost in life that he was pulled over on a Florida road in the middle of the night while that he was under the influence of prescription drugs. Federer contrasts starkly with such chaos. Whether through his marriage to childhood sweetheart Mirka, or his two sets of twins – two girls and two boys, all dressed in matching outfits to attend his final Wimbledon final in 2019 – his personal backcountry is a place of the most beautiful symmetry.
“He romanticized tennis for millions”
The poetry of his separation is not quite as Federer would have written it.
He didn’t have three surgeries to post his retirement on Instagram, without the Wimbledon curtain call he was dreaming of. While Pete Sampras, the man he usurped, had the satisfaction of bowing out with a 14th major in New York, Federer can’t change the fact that his last act at the All England Club was losing a set 6-0 against Hubert Hurkasz. It can be consoled, however, that it will be a forgotten postscript. After all, he bequeathed the value of a museum of masterpieces.
Mexico’s National Institute of Anthropology and History (INAH) announced yesterday, September 14, that the country received more than 50 repatriated pre-Hispanic artifacts. The objects were “voluntarily returned” by citizens to Mexican embassies in Austria, Canada and Sweden and to Mexican consulates in Vancouver and Albuquerque, according to the INAH statement.
Among the artifacts were a Zapotec urn dating from around 600 to 900 CE and a pillar fragment from the Classic Maya archaeological site of Santa Rosa Xtampak. The hilltop site – located in the rainforest of the state of Campeche on the Yucatán Peninsula – is one of Mexico’s most impressive examples of Classic Maya architecture, and the upturned pillar was taken from the site’s most elaborate structure – the three-storey, eighth-century Le Palacio. The pillar fragment, first documented by an Austrian archaeologist in 1891, was recovered by the Mexican Embassy in Austria.
In July, the Mexican government announced that nearly 3,000 artifacts had been returned to the nation over the past three years. In the same month, a family in Spain chose to repatriate 2,522 pre-Hispanic objects to Mexico, and last year the Mexican Embassy in Berlin orchestrated the voluntary return of 34 objects. It is unclear whether the most recent objects returned to Mexico were previously housed in private or public collections or elsewhere, and INAH did not respond to Hyperallergic’s request for additional information regarding the nature of the return.
While these voluntary restitutions provide a silver lining in the tangled repatriation disputes occurring in institutions around the world, global auction houses have continued to sell pre-Hispanic Mexican artifacts in recent years, often drawing heavy criticism from from the government of the country.
In February 2021, INAH attempted to prevent Christie’s from auctioning more than 30 pre-Hispanic objects; in September last year, Mexico’s culture secretary tried to stop an auction in Munich; and in November, Mexico failed to stop two auctions of pre-Hispanic artifacts in Paris.
The new Mexican batch of returned objects is now kept at the INAH in Mexico City, where they will be subjected to analysis and conservation.
“These are testimonies of the peoples who made and used them,” INAH said. “Each object tells us a story that helps us understand our identity as a nation.”
Air Dolomiti’s new espresso machines get off to a flying start, Flash Coffee strikes a new fashion partnership and Starbucks gets you thinking with new Snoopy merchandise
Air Dolomiti says it is the first Italian airline to offer an exclusive in-flight espresso coffee offer | Photo credit: Air Dolomiti
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Air Dolomiti carries the flag of espresso coffee
Air Dolomiti said it was the first Italian airline to offer an exclusive in-flight espresso coffee offer following the installation of new coffee machines on board its 17-person fleet. The regional airline said illycaffe coffee will be available free of charge to all business class passengers and to economy class customers for a fee. Air Dolomiti said the coffee machines feature reduced weight, ease of use and optimized energy efficiency to allow for in-flight espresso preparation.
Flash Coffee has a bright idea with a new collection of merchandise
Singapore-based cafe chain Flash Coffee is launching a merchandise collection in partnership with fashion retailer Ageless Galaxy. Available to consumers in Singapore, Indonesia, Thailand, Taiwan, Hong Kong and South Korea, the apparel and accessories collection seeks to “inspire others to reach their full potential and push beyond their limits. “. Flash Coffee, which operates 250 stores in Asia Pacific, has announced several collaborations in recent months, including with online shoe marketplace Novelship, oat milk retailer Oatside and online grocery delivery platform Foodpanda.
Japanese consumers get excited over new Starbucks merchandise
Starbucks will launch a collection of merchandise in collaboration with the Peanuts comic strip on September 28, 2022. The Seattle-based coffee chain said the limited-edition collection, available only in Japan, will feature well-known characters such as Snoopy and Charlie Brown ‘finding happiness in everyday life’ through coffee and connection. The collection includes t-shirts, stainless steel bottles and mugs featuring the characters wearing green Starbucks aprons, working as baristas and drinking Starbucks beverages.
Illycaffé turns creative partnerships into art
Italian coffee roaster illycaffè becomes a partner of the Biennale d’art contemporain de Lyon, which will take place from September 14 to December 31, 2022. Visitors to the contemporary art event will be able to taste illy’s 100% Arabica blend at the restaurant the Fafgor Factory, the event’s main cultural venue, or an illy coffee ready to drink from the company’s cargo bike. illycaffè has a strong association with the arts and unveiled a new exhibition dedicated to its iconic espresso cup in June 2022, celebrating the 30th anniversary of the illy Art collection at Milan Design Week.
UK-based oat milk retailer Moma has launched a £1 million ($1.16 million) marketing campaign for its Barista oat drink. As part of a new growth strategy, the television campaign aims to highlight Moma’s relevance to home coffee and coffee drinks, under its “The Barista’s Choice” banner. The company said sales of its oatmeal drinks have increased by 35% in the past 12 months and the product has now overtaken its porridge line to account for more than 60% of Moma’s core business.
In partnership with 10 Chinese museums and cultural institutions, Google Arts & Culture on Wednesday launched a WeChat mini program that allows users to celebrate China’s cultural heritage with their own coloring recreation.
The 17 items in the Art Coloring Book program are snapshots of renowned Chinese cultural relics and monuments, except for a giant panda.
The relics come from the collections of the Palace Museum and the Art Museum of the Chinese Academy of Fine Arts in Beijing, and the Sanxingdui Museum in southwest China’s Sichuan Province, while the monuments cultural sites include the Simatai section of the Great Wall in suburban Beijing. and Wuzhen, a water town in eastern China’s Zhejiang Province.
Pierre Caessa, Paris-based project manager of Google Arts & Culture, said the team hopes the experience will engage young audiences and continue to build an appetite and excitement for everyone to visit museums.
He was speaking at the Google Developer Summit China 2022 held on Wednesday under the theme “Code for Better”.
His speech also highlighted the Palace Museum in 360 degrees and the Great Wall of China in AR projects, respectively launched in 2020 and a few months ago.
So far, Google Arts & Culture, a non-commercial platform for high-definition images and videos of artworks and cultural relics in collaboration with cultural organizations and artists around the world, has worked with 42 Chinese cultural institutions to promote and preserve Chinese cultural treasures.
After being closed for the past few years, the Arkansas Art Museum has announced that it will reopen after a landmark renovation.
LITTLE ROCK, Ark. — The Art Museum of Arkansas has announced its grand reopening on April 22, 2023.
The museum is known as the oldest and largest cultural institution of its kind in its natural state and has undergone a historic renovation project, hoping to transform the museum building and its grounds into MacArthur Park in Little Rock.
Although the museum has been closed for a few years, the staff hope that it will return better than before.
“For six years, a dedicated team has worked to create an inclusive cultural space that inspires and builds community. Not only will the Museum of Fine Arts of Arkansas provide an array of visual arts, performing arts, and educational opportunities, but it will also provide a beautiful venue for people to connect with one another,” said Executive Director Dr. Victoria Ramirez AMFA.
The building was designed by Jeanne Gang, a world renowned architect, alongside her practice of architecture and urban design.
The project will feature a brand new 133,000 square foot building that will house various areas including the Windgate Art School, Governor Winthrop Rockefeller’s Lecture Hall, a performing arts theater, a modern restaurant and many more.
Once the museum reopens, they will unveil 11 acres of landscaping in MacArthur Park that was designed by award-winning architect Kate Orff.
Harriet Stephens, AMFA’s Capital Campaign Co-Chair and Building Committee Chair, explained that over the past few years they have had the privilege of working with an exceptionally talented group of architects, craftsmen, contractors and many skilled artisans to all help redesign the museum inside and out.
The landmark renovation is made possible through a public-private partnership that will begin with a $31 million commitment from the City of Little Rock generated through a hotel tax bond.
Various contributions from private donors have quadrupled public commitment and fundraising for the project is underway.
AMFA Capital campaign co-chairman Warren Stephens said it was an extraordinary project.
“My family’s roots, like so many others in Arkansas, run deep. So the excitement is widely shared across the state and beyond, as evidenced by the success of the fundraising campaign, which has now raised $150.4 million, far exceeding our original goal. In fact, today we are announcing a new target of $155 million,” he added.
Harriett Stephens said this was truly a public-private partnership and was made possible through generosity, commitment and a passion for fine arts and culture.
Little Rock Mayor Frank Scott, Jr. explained that the reimagined museum will be a beacon, not just for downtown or the town of Little Rock, but for the entire region.
“Not only is the design of the building welcoming, but the programming will emphasize the belief shared by the museum and my administration that equity in access to the arts is important for everyone. The city is proud of its role in realizing this dream,” he said.
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In 2001, two planes plunged into the World Trade Center, killing more than 2,000 people. Then the United States invaded Iraq, killing over 200,000 people.
In the year that followed, Robert Shetterly, a Maine-based multimedia artist and longtime activist in the civil rights movement and anti-Vietnam War protests, became increasingly upset by American violence. .
“I was so angry that I became a total nuisance to everyone around me,” Shetterly said. “I was in such a state that I knew I had to do something positive with all that energy. And then one day I looked at my studio wall and there was a Walt Whitman quote that I stuck years ago.
He painted the portrait of the American poet, the first of more than 260 portraits by “American Truth Tellers”, and counting. The paintings are cathartic for Shetterly – a way to ease his frustration and anger at America’s systems of power by focusing on people trying to uphold the values of democracy, though the subjects are historically excluded from the narrative of the American democracy in the first place.
In her paintings, 23 of which are on display at the ArtRage Gallery on Hawley Avenue through October 29, Shetterly uses the power of portraiture to shine a light on brave local and national Americans, living and dead.
What began for Shetterly as a one-off painting of a hero has blossomed into a national organization: Americans Who Tell The Truth, which exhibits the portraits across the United States and runs education and activism programs community.
A portrait of Clifford Ryan, a native of Syracuse and founder of OGs Against Violence, triggers the exhibition at ArtRage. After seeing a photo of Ryan at an ArtRage exhibit last spring, Shetterly said he knew Ryan was exactly the figure he needed – someone on the street acting straight, being brave and speaking the truth. .
With a serious look against a burnt red background, the focus is on Ryan’s eyes, then fades to a sketched shirt and hand gestures. His name is engraved above his head, as is the case with every painting in the series. Above his shirt is a quote from Ryan: “It’s so easy to hate but so hard to love.”
Shetterly bonded with Syracuse activists like Ryan during his time here. This is his third exhibition at the ArtRage Gallery, but he has also exhibited his work five times at Syracuse University and has exhibited portraits at the Maxwell School of Citizenship and Public Affairs. The only time all of his portraits were exhibited at once — a total of 238 at the time — was at Schine Student Center in 2018.
Although you wouldn’t tell of the consistency of his Americans Who Tell The Truth series or the sensibility depicted in each subject’s face, Shetterly hadn’t painted a portrait before the series. He was known for his illustration and had a place in a gallery because of his drawings and prints. After painting Walt Whitman, Shetterly left the gallery and portraiture became his focus.
A photo posted by artragegallery
Although ‘portraiture’ has historically been a means of bourgeois vanity and expression of esteem, Shetterly’s work recontextualizes the idea as a way of honoring people who are constantly marginalized.
“(I’m trying) to demonstrate to this country that because the country’s original values were never upheld, by design, it took incredible courage and commitment from the people who had been left behind, marginalized, ignored and not included in the ideals of the country,” Shetterly said. “The work to include them, to make the country honest, had to be done by them.”
In its early days, Shetterly aimed to paint 50 portraits. He painted about 20 in the first year, he said, but as the project evolved he began to take more time with each one, painting only five in the last year. Painting became much more processional – Shetterly visits his living subjects as many times as possible while painting their portraits in person. Shetterly called the painting process “intimate” because he mostly uses his fingers directly on the canvas.
Although his historical subjects range from Frederick Douglass to Susan B. Anthony, Shetterly’s only non-living subject on this show is Paul Robeson.
(I’m trying) to demonstrate to this country that because the original values of the country were never respected, on purpose, it took incredible courage and commitment from the people who had been left out, marginalized , ignored and not included in the ideals of the country
Robert Shetterly, Americans Who Tell the Truth artist
To accurately depict his subject without a live shoot, Shetterly said he goes to the library to piece together as many photos of the subject as possible before scouring biographies and articles to fill in the details of eye color and the personality that the often black and white photographs leave out. A portrait can take him anywhere from a few days to a few months, but the process is an essential part of his job.
“To paint a good portrait requires concentration for many days to fully honor the subject of the portrait, to discover a likeness that not only looks like the person, but speaks like the person, radiates something essential about that person , from this one person,” Shetterly said in her 2019 artist statement.
The breadth of the issues Shetterly wishes to bring to light is on full display in this exhibition through the variety of its subjects.
Shetterly included Robin Wall Kimmer, professor of environmental biology at SU; Education reform champion Bill Bigelow and Alicia Garza, who coined the phrase Black Lives Matter. The project began as an anti-war demonstration, and this issue is still at the center of this exhibition through portraits of Daniel Hale, Stacy Bannerman and Paul K. Chapel.
Although Shetterly never claimed his portrayals of American heroes would create world peace, it’s hard to see how little has changed since 2001 – now the ice caps are melting, Russia is dropping bombs on Ukraine and constitutional rights are abrogated. But, in his gallery, surrounded on all sides by the benevolent eyes and fierce expressions of American lawyers, writers, educators and others, it was hard to think of it all. Instead, the focus was on the poetry of Nikki Giovanni, the lives saved by speaking out by Dawn Wooten, and the money raised for Laos by Channapha Khamvongsa.
“Every portrait is like a lifeboat,” Shetterly said. “When I’m wading and I feel like I’m about to sink, I find someone to bring me back to the surface.”
On September 14, the Tyler Gallery at Radford University will present for the first time an exhibition of original illustrations by Martine le Coz, a member of the French Legion of Honor, best known for her works of fiction.
Four of Coz’s recent books focus on the myths, artists, and art of the Mithila region of northern India. This is the first public exhibition of his original illustrations for these publications.
Le Coz is one of the first European writers to study the art of the Dalit community of Mithila, a group once known as the “untouchables”.
Dalits have historically occupied the bottom of traditional Hindu caste society. Economically repressed and socially ostracized, their art and artists have received little attention in India or elsewhere.
Le Coz, however, became fascinated with its art and culture, making many trips to the area.
His book, ‘King of the Mountain: The Epic of Raja Salhesh’, offers a creative account of the mythological Dalit hero/deity of Mithila, Raja Salhesh. Art created for the next illustrated edition of this book will be on display.
Additionally, artwork for a stylish alphabet book (i.e. an “ABC book”) illustrating the Devanagiri alphabet of India, and some Le Coz portraits of the artists (belonging to the Dalit community and various other castes) that inspired it will be exhibited.
The exhibit is part of a historic constellation of five Mithila-related art exhibits in the New River Valley, the first of its kind in the world.
The Floyd Center for the Arts will present “Mithila Medley: Contemporary Arts from an Ancient North Indian Culture” in the Hayloft Gallery until December 1. Many of these works, mostly by women, depict environmental, political and social issues as well as struggles related to natural disasters and COVID-19.
A solo exhibition of works by Dalit artist Naresh Paswan can be seen at Miller-Off-Main, a gallery in Blacksburg, through October 14.
Beginning October 13, the Covington Center Art Museum on the Radford campus will open a major exhibition featuring many of Mithila’s paintings recently donated to the university by Berkeley’s Ethnic Arts Foundation.
The Victoria and Albert Museum in London is in talks to possibly return a collection of Asante gold artefacts that were looted during a British military raid on the Ghanaian town of Kumasi in 1874.
News of the potential repatriation follows a visit by British museum director Tristram Hunt to Ghana earlier this year. Hunt met with officials from Ghana’s Ministry of Tourism, Arts and Culture, as well as the current Asante King, Osei Tutu II. The objects were seized from the royal court of Kumsai before entering the museum’s collection at the end of the 19th century.
“We are optimistic that a new partnership model can pave a potential way for these significant artifacts to be displayed in Ghana in the years to come,” Hunt wrote in a director’s foreword published in the annual review. 2021-2022 of the museum.
According to a report by The art journal, the discussions were moderated in part by Ghanaian art historian Ivor Agyeman-Duah. The museum declined to give further details. Another return announcement could come later this year, the UK-based outlet reported.
The V&A, along with other UK national museums, cannot currently dispose of fine art from its permanent collections due to a 1983 law to prevent the export of historical artefacts from UK national institutions. The law does not provide for an exception for cultural repatriation.
Under the current set of legal standards, the V&A can only exchange Asante artefacts under a long-term loan agreement with the Ghanaian government. But these loans could result in the transfer of legal title from one country to another.
The V&A is one of a handful of institutions holding items believed to have been looted in the 19th century. An ornate gold crown taken in Ethiopia around 1868 has been the subject of restitution calls since 2007.
Hunt launched a potential long-term loan of the disputed Maqdala-era artefact to the East African country in 2018. The British Museum holds a large collection of Asante artefacts of which around 100 were seized during the military conflict of 1874.
Hunt, who was previously a member of the British Parliament and director of the museum since 2017, has been openly debating legal policies regarding the return of art in the UK. In July during an interview with BBChe called the current legal standard “unsatisfactory”.
Not all museums were as busy as the Rijksmuseum Photo: S Boztas
A total of 43% of museums in the Netherlands ended last year in the red, according to new figures from the museum association Museumvereniging.
Visitor numbers fell in 2021 to 11.8 million, down 37% from the 13.2 million people who visited a year earlier. Estimates for this year’s numbers are a third lower than those for 2019, at 23.8 million at best.
NRC points out that the association of performance halls VSCD is expected to record similar audience declines in its annual figures on Friday.
Vera Carasso, director of the Museumvereniging, said the current deterioration of the economic situation is even more worrying.
“Fortunately, the sector has creativity in its DNA, as it takes a long time to anticipate one difficult situation after another,” she said in a press release. “First the pandemic, now inflation and rising taxes.”
She said government money, especially local government money, is critical to safeguarding the future of the country’s museums. ‘If we don’t [have this], we run the risk that many museums, especially locally subsidized ones, will fall further and further behind, be caught in a downward spiral and eventually fail. These institutions preserve our history, tell the stories of our society, and provide essential connection and mutual understanding – things we desperately need right now.
Last week, Laurien Saraber, director of cultural organization Amsterdams Fonds voor de Kunst, told the parool that many businesses have felt burnt out. “Organizations have exhausted their reserves, they have disappointing audience numbers, staffing issues, less international collaboration and a lot of delays and downsizing,” she reportedly said.
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An exhibit honoring the families of fallen first responders opens at the New York City Fire Museum in Lower Manhattan in time for the 21st anniversary of the 9/11 attacks.
The exhibition, titled “One Day in September”, is renowned Australian photographer Richard Wiesel’s first solo project in New York.
The moving black and white photographs feature portraits of first responders’ family members with corresponding short interviews.
“I photographed it in a very simple way – without distractions – so when you look or look at the image, you just see that person and are able to understand or share their experience so that they can comfort you if you ‘re going through your own stuff,” Wiesel said.
The families also provided Wiesel with artifacts to photograph, including a jacket worn by a firefighter as he ran to the World Trade Center on Sept. 11, 2001, and a tattered probationary firefighter patch.
“He tells people’s stories, and at the same time he shares people’s experiences with strangers they’ve never met before,” Wiesel said. “I really wanted to honor these people. I hope in some way that’s what we did, that’s what we’re doing.
Throughout 2019 and 2020, Wiesel interviewed family members of first responders and photographed them. “What amazed me was the strength of these people,” Wiesel said.
Andrea Garbarini, who lost her FDNY lieutenant husband in the attacks, posed in a photo holding her fire helmet.
“That day and the many days that followed were a tragedy for this world,” Garbarini said. “I always say it was like a scar on the face of humanity.”
Lt. Charles Garbarini was one of 15 firefighters from Midtown’s Engine 54, Ladder 4 and Battalion 9 killed on 9/11.
The night shift at the fire station headed downtown toward the burning towers. Nobody came back. It was the fire station with the highest death toll in the city.
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“She says we have to learn from these tragedies and be open to the stories and we have to do better,” Wiesel said of Andrea Garbarani.
Wiesel, who has photographed artifacts found in Holocaust concentration camps, said he and his team often found themselves engrossed in the families’ accounts of the most devastating terrorist attack in American history.
“We got lost in these stories,” Wiesel said. “I found a lot of newfound humility. I always knew that when I talked to them, it would be a very strong moment.
Wiesel hopes the exhibit can travel across the country, as 9/11 was a “catalyst” and “a part of history that we should never forget.”
He remembers how he felt that day. “I remember watching it on TV and going, ‘Oh my God.’ I woke up my wife and said, ‘The world has changed.’ »
“It changed our lives, all of our lives – the way we travel, the way we live, what we do. It’s such an important part of American history and world history. These things should be respected, honored and honored.
The exhibit will be on view through October 2 at the museum at 278 Spring St. at Hudson Square in the Financial District.
Sunjata, an artist originally from Barbados and based in TT, is set to curate a new exhibition of paintings and sculptures at 101 Art Gallery.
Sundiata: Paintings, drawings and sculptures, 2018-2022, from September 17 to 25 at the gallery in Newtown, Port of Spain.
His exhibit will include oil and watercolor paintings as well as his hardwood carving in samaan, cedar, mahogany and sapodilla.
Coming after the 60th anniversary of TT’s independence last month and continuing in celebration of Republic Day, Sundiata’s latest body of work reflects local heritage in carnival, market scenes, classical houses , etc.
“It usually allows the medium to dictate the expression that ultimately emerges in the finished pieces – such as the carnival scenes that will be among exhibits.
“He is also concerned with light and how it interacts with various hues, as well as examples of natural reflection, which is why even the actual canvas he uses while painting has an impact on the final product” , says a statement about the exhibition.
His works are available for sale and a two-day preview on September 15 and 16, from noon to 6 p.m., offers both privacy and a competitive edge for art collectors. Those interested can contact Mark Pereira (678-0460) or Dulcie Nieves (686-7943).
Official opening hours on September 17 and 18 are 10 a.m. to 4 p.m. The event then goes from 12 p.m. to 6 p.m., Tuesday to Friday, then from 10 a.m. to 4 p.m. the last Saturday and Sunday.
For more information, check out 101 Art Gallery’s online spaces on Instagram and Facebook, as well as its website at 101artgallery.com.
The Woodson African American Museum of Florida presents the historic voice of this St. Petersburg community from the perspective of local, regional, and national history, culture, and community. It demonstrates the commitment to revitalizing the Midtown St. Petersburg neighborhood.
BY DR. NASHID MADYUN, Florida HumanitiesExecutive Director
Greetings, I’m new in St. Petersburg. I really love its vibrant cultural diversity, the incredible wealth of talent in music, cuisine, and open conversations across all sectors of this community. It seems like everyone contributes in some way to this scene. I asked myself, how could I?
I was a museum director for a few decades and fell in love with what a community museum is and could be. Like many African Americans in the Mid-South, I was not introduced to the value of museums early on, but the journey to appreciation has been a welcome wake-up call. I believe this is an area I can contribute to, a journey into the value of preserving black culture.
I was recently asked, “Why should we go to museums?” The answer to this question is best offered after a few points of clarification.
The DuSable Black History Museum and Education Center | Photo courtesy of TonyTheTiger at English Wikipedia
Who is the “we” in this question? What kind or type of museum are we talking about? To help our communities prosper socially and economically, we must strive to know our neighbors. Museums provide an opportunity to learn about the challenges and triumphs of a segment of our society. In this sense, we should all go to museums; there are many in our community.
Most museums and cultural institutions operate through a mission, statement of purpose, or direction. These statements are often succinct and clear paths or definitions that present why the museum exists.
Programs and exhibits are unlikely to address all aspects of society. It’s too expensive to maintain and would require blocks and blocks of space and energy. I’m sure you’ve heard of the phrase “you can’t be everything to everyone”.
Therefore, we have a Holocaust Museum, the James Museum of Western & Wildlife Art, fine art museums, galleries, the Woodson African American Museum of Florida and many more as we open our lens on the Tampa Bay area and Florida. Each museum is thoughtful in what it presents and how it cares for its treasures.
The Museum of the Reconstruction Era | Photo courtesy of Dr Blazer – Own work, CC BY-SA 4.0
The black museum has had its share of challenges. The existence of an independent black museum is relatively new in America. The logic of knowing your neighbor to strengthen society implies that we know ourselves. As such, we should at least know the complicated history of the black museum.
This is a gap of almost 100 years and reflects the sinkhole of black identity movements such as Reconstruction (rise of black politics), Harlem Renaissance (art, literature and music) of the 1920s, Renaissance of Chicago (art and music) of the 1930s and the age of Jim Crow and the civil rights movement. There were three waves of Ku Klux Klan oppression.
In fact, although there was a black arts movement in the 1960s, a conscientious black museum movement did not occur until the 1970s, a clear century of black heritage primarily attached to museums or universities. from the city. Focusing on the first period of significant black political activity, The museum of the time of the reconstruction is in the family home of our 28th President, Woodrow Wilson. The Jim Crow Museum of Racist Memorabilia is located on the campus of Ferris University in Michigan.
Who is telling the story of the black experience?
Florida now has a slew of black heritage homes, museums, and cultural institutions that are stand-alone entities. The challenge is sponsorship. Before artifacts and works of art become exhibits, the objects must be preserved in secure and expensive preservation systems. Thinkers and curators plan and discuss for months how to organize and interpret these artifacts and paintings in a way we can appreciate.
Yet the COVID-19 era and general apathy have seen a steep decline in visits to black museums and institutions. If this trend continues, there will be a consequent decline in open black museums. Who then tells the story of the black experience? Who then opens their archives to collect priceless black memories to keep?
Not only do we need to visit black museums to help us understand our history and tell our neighbors, but our patronage can mean the difference between an institution open or closed in the times we live in now.
Dr. Nashid Madyun has served as executive director of Florida Humanities since May 2021, bringing two decades of experience as a historian, museum professional, and educator to the nation’s second-largest humanities council.
Artifacts are one of the cornerstones of Magic The Gathering’s Commander format. Although there are many artifacts available in the game, a special type of artifact exists: artifact creatures.
RELATED: Magic: The Gathering – Best Mana Dorks For Commander
Artifact creatures still count as artifacts, but have power and toughness like regular creatures, and can block and attack as such. Although they are more likely to be removed, they can also take advantage of any cards that benefit creatures. There are many powerful artifact creatures, many of which are one or even fewer colors, making them playable in the majority of decks regardless of their color identity.
GAME VIDEO OF THE DAY
ten solemn simulacrum
Solemn Simulacrum is a staple of decks that can’t perform many ramp spells, usually ones that don’t work green. When it enters the battlefield, you get any basic land on the battlefield.
Solemn Simulacrum is also a good blocker because when he dies you can draw a card. You can even force this if you have a sacrifice hold. It is colorless, which allows any deck to play it. Although it costs four mana, it’s not a hard amount of mana to achieve in Commander. It offers a big advantage for being only one creature.
9 Silent Arbiter
Silent Arbiter is a unique artifact creature as it is a very good Stax piece. It prevents more than one creature from attacking or blocking each combat. He also has solid tenacity, making Silent Arbiter a solid blocker as well to take advantage of his ability.
Silent Arbiter is a fantastic inclusion in Voltron decks, which want to charge a creature with boost effects. So not only does Silent Arbiter barely affect you, but also ensures that the opponent won’t endanger your main creature by blocking with more than one creature.
Phyrexian Metamorph is a unique artifact creature in that instead of entering the battlefield as such, it will enter as a copy of any creature on the battlefield. It’s not exclusive to yours, allowing you to get a copy of a powerful creature controlled by an opponent.
RELATED: Magic: The Gathering’s Strongest Gruul Commanders
It even basically only costs three mana, because Phyrexian mana lets you pay two life instead of blue for it. This turns the copy into an artifact creature, but in the right deck it’s an even bigger advantage for an already powerful card.
seven Triplets Sen
Although Sen Triplets is a fantasy commander, if you’re into Esper colors (white/blue/black) you’ll want to include Sen Triplets in there. It is one of the most popular Stax pieces, completely preventing an opponent from playing during your turn. Plus, you can even play cards from their hand as if you owned them.
Sen Triplets is specific in decks that can play it, but being able to make sure someone who can interact with you can’t make it a worthwhile inclusion outside of the command zone.
6 Aetherbound Canonist
Ethersworn Canonist is a card that stops everything except artifact spells. While on the battlefield, only one non-artifact spell can be cast. It only costs two mana to cast, allowing Ethersworn Canonist to enter the battlefield early to begin affecting the board immediately.
In the right deck, Ethersworn Canonist won’t hurt you if you play a lot of artifact spells, including artifact creatures. The effect resets every turn, which means it ensures that you won’t have to have a spell war with another player.
5 Colossus of Blightsteel
Blightsteel Colossus costs 12 mana to cast, but in decks that can easily fool big mana creatures, it’s fantastic. He has an 11/11 stat line, as well as trample and infect, allowing him to take out a player with a single attack if he can’t block ten damage.
Blightsteel Colossus when combined with cards with Ninjitsu creates a terrifying situation. He’s even indestructible, meaning only removing exile and rebound will work against him. If Blightsteel Colossus is ever put into the graveyard, it is simply put back into the deck, helping you never mill your deck for certain combos again.
4 Choking mat
Rug Of Smothering is a counter card for just about any deck that uses combos. Commander has many ways to go infinite, allowing games to end quickly by casting certain spells over and over.
RELATED: Magic: The Gathering’s Most Powerful Dimir Commanders
However, Rug Of Smothering helps stop that. Since the opponent loses a life for every spell they cast this turn, this can cause a ton of burn damage very quickly. Unless the combo gains life, chances are they can’t complete it without getting burned.
3 magic sketch
Spellskite is a fantastic artifact creature that requires care unless an opponent wants to lose an ability. For just two hit points (or one blue mana), you can change the target of any spell to Spellskite.
It’s not once per turn, allowing it to be used multiple times. It only costs two mana to cast, which makes it very easy to bring out. Since it allows you to switch targets, spells, or abilities, creature-based combos can be ruled out altogether or used as protection against a removal spell if you want a different creature to stick around.
2 Academy Maker
Academy Manufactor is a staple in every token deck. Each time a Clue, Food, or Treasure token is created, one of each is created instead. All of these tokens are easy to craft, allowing you to quickly flood the battlefield with them.
Many mana spells will do at least one of these tokens, letting you do the rest. Since treasure tokens are so useful, Academy Manufactor makes it much easier for you to do more of them. If you’re playing a deck that wants as many tokens or artifacts on the battlefield as possible, Academy Manufactor is a must.
1 Esper Sentinel
Not only is Esper Sentinel the best artifact creature, it’s also one of the best white creatures for Commander in general. White can have trouble drawing cards, and that’s something Esper Sentinel helps.
Whenever a noncreature spell is cast, you may draw a card unless the caster pays mana equal to its power. Since Esper Sentinel only costs 1 white mana, you can play it on the first turn, allowing you to start taking advantage of it early and get a lead in card advantage. If you can boost Esper Sentinel’s stats, it makes it even harder to pay the tax, almost guaranteeing you’ll be able to pull the card from its trigger.
Next: Magic: The Gathering – Best Artifacts That Could Fit In Almost Any Commander Deck
The lights of the Eiffel Tower went out early Thursday evening in tribute to Queen Elizabeth, with Parisians reminding a British monarch who anchored her country through upheaval with poise and grace longer than many lived.
The 1997 death in Paris of Princess Diana prompted Elizabeth to endure some of the darkest days of her 70 years on the throne, when the palace appeared out of touch with the outpouring of public grief. At the Flame of Liberty monument above the underpass where Diana was killed, some passers-by stopped to remember Britain’s longest-serving monarch.
“She defined Britain,” said optician Salima Gersa. Another woman, Valerie, a museum worker, said Elizabeth’s death marked “the end of an era”, describing her as “an extraordinary woman who saw the world around her crumble”.
Others paid homage to a monarch who remained a symbol of stability and continuity for Britons at a time of relative national economic decline, while adapting the ancient institution of monarchy to the demands of the modern age. “(Her death marks) a tragic moment, but she had a great life and has a great legacy,” said American tourist Greg Shanon.
(This story has not been edited by the Devdiscourse team and is auto-generated from a syndicated feed.)
Michael Hoyt and Kathleen Ash-Milby, Curator of Native American Art, stand next to the killer whale hat at a Portland Art Museum event in May recognizing the repatriation of Wrangell Tlingit artifacts.
Wrangell, Alaska (Wrangell Sentinel) – Twenty years ago, the Central Council of the Tlingit and Haida Indian Tribes of Alaska asked the Portland Art Museum to return nine objects that had been taken from the Naanya.aayí clan in Wrangell ago almost 100 years.
Among them are a mudshark hat and shirt, a beached killer whale on a rock robe, a killer whale hat, a killer whale with a holed wooden fin, a killer whale flotilla Chilkat robe, two mudshark shirts and a headdress the clan says was captured from the Tsimshian in a battle near the mouth of the Stikine River, according to a Federal Register listing that the museum intended to return the items.
They are “at.óww”, which means they belong to the whole clan.
They were a small part of a collection of over 800 Aboriginal items that a former superintendent of the Wrangell Schools had purchased or received in the early 20th century.
Descriptions of his acquisitions show that he generally purchased or acquired them from people within or related to the clan, although at least one shirt came to him through someone not not to the clan.
But when the Tlingit and Haida made their request, on behalf of the Naanya.aayí clan and the Wrangell Cooperative Association, they argued that no one should have been able to sell or dispose of the clan’s assets – the objects are sacred and they are cultural. patrimony, that is to say that they belong to all members of the clan.
Learn more here.
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Report: Navarre named acting mayor of Kenai Peninsula Borough
Kenai, Alaska (KSRM) – A late update to Tuesday night’s Kenai Peninsula Borough Assembly agenda resulted in deliberations and a subsequent 7-2 vote on the appointment of Mike Navarre as Acting Mayor of the Kenai Peninsula Borough.
The “Sharing Our Knowledge” conference will be held this year in Wrangell
Wrangell, Alaska (KINY) – The “Sharing Our Knowledge” conference kicked off Wednesday in Wrangell.
EPA to decide next steps for Alaska mine project by Dec. 2
Juneau, Alaska (AP) — The U.S. Environmental Protection Agency is extending until Dec. 2 the deadline to decide whether to proceed with proposed restrictions that would stall plans for a copper and gold mine in the Juneau. Bristol Bay region of Alaska.
‘Helping Hands’ food bank faces tough times with vehicle and food donations
Juneau, Alaska (KINY) – After 39 years in business, Helping Hands Food Bank of Juneau is facing a crisis to keep its doors open.
Legislative primary results encouraged some Alaskan House and Senate candidates to quit
Juneau, Alaska (Alaska Beacon) — Alaska’s new top-four primary election didn’t eliminate a single candidate for the State House or Senate, but several candidates withdrew from November’s general election before Monday’s deadline. , citing their performance in the primary.
Candidates Gara and Cook Host Cannabis Industry Roundtable
Juneau, Alaska (KINY) — Gubernatorial candidate Les Gara, along with his running mate Jessica Cook, hosted an Alaska Cannabis Business Forum on Tuesday.
Health officials: Get an updated COVID-19 reminder, flu vaccine
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A Coast Guard sailor evacuates a ship near Kodiak
Juneau, Alaska (KINY) – A Coast Guard crew evacuated a sailor Sunday near Kodiak, Alaska.
Coast Guard evacuates man from cruise ship near Hinchinbrook
Juneau, Alaska (KINY) — The Coast Guard evacuated a 68-year-old man from the cruise ship Nieuw Amsterdam, about 12 nautical miles south of Hinchinbrook, on Saturday.
Cold but not rigid: researchers discover a surprising plant phenomenon
Juneau, Alaska (KINY) – Peter Ray and Syndonia Bret-Harte have studied Arctic plants for 50 years, but recently discovered there was even more to learn when an accidental experiment led to a startling discovery about the how these plants behave in the snow.
Anne Sears is no longer the Alaskan Missing and Murdered Native Investigator
Juneau, Alaska (Alaska Beacon) – After five months on the job, Anne Sears is no longer Alaska’s Missing and Murdered Native Investigator with the Alaska State Troopers.
Groups file lawsuit against Dunleavy’s campaign, others
JUNEAU, Alaska (AP) — Two organizations say they have filed a complaint with the agency that enforces Alaska’s campaign finance rules, alleging poor coordination between Gov. Mike Dunleavy’s campaign and a third-party group that supports the re-election of Dunleavy.
ROCKLAND — The Coastal Islands Art Gallery of Maine is hosting an art opening featuring two local artists on Friday, September 16 from 4:30-6:30 p.m.
The late John Bisignano (1929-2021) of Owls Head used art to communicate the abundant beauty of nature’s organization and form. This show brings a unique perspective to the viewer of the beauty that is the Midcoast. Bisignano’s creations are out of the ordinary and bring a sense of surprise and wonder. Bisignano grew up in abject poverty, while keeping his passion for art alive. Midway through his life, he moved to Midcoast Maine. Prior to his death, he established a memorial scholarship fund through the Maine Community Foundation for students wishing to pursue artistic studies. Sales of artwork from this exhibition will support this fund.
Heather Burgess of Searsport is a stained glass artist. She gravitates toward nature and free-form objects; very rarely will you see her framing something. His show is a mix of sea life and avian pieces. Burgess is a traveling veterinary technician by day and a stained glass artist by night. His aspiration is to own a small glass shop by the ocean. She has a supporting family consisting of a husband, two children and five cats.
This art exhibit is on display until December 3 (which is an open house) at the Maine Coastal Islands NWR Visitor Center, 9 Water St. The galleries are open Monday through Friday 8 a.m. to 4:30 p.m., except public holidays, and Saturdays from 11 a.m. to 4 p.m. until October. All art sales support both the artists and the Friends of Maine Coastal Islands National Wildlife Refuge.
ESSEX – The Smithsonian Museum’s traveling exhibit “Crossroads: Changes in Rural America” is coming to Essex this weekend, and the Smithsonian has announced additional programming to coincide with the event.
“Crossroads: Changes in Rural America” will be on view Saturday, September 10 through October 22 at the Essex Shipbuilding Museum and City Hall.
In January, the Smithsonian announced that Essex would be one of six communities in Massachusetts to host the traveling exhibit that examines demographic shifts in the United States from rural to urban areas. Exhibits are on display at the Town Hall, 30 Martin Street, and the Essex Shipbuilding Museum, 28 and 66 Main Street.
The Essex Shipbuilding Museum received staff training and a $10,000 grant from Massachusetts Humanities to develop the exhibits accompanying 11 scheduled events. Each program will take place at the Museum, 66 Main Street, unless otherwise specified.
“It’s a unique opportunity for us to not only showcase the deep history of our community that many people don’t know, but also the huge sense of pride we as locals have for Essex,” said said KD Montgomery, executive director of the Essex Shipbuilding Museum. in a prepared statement. “Although we are small, one voice can have a huge impact on the rest of the community. Whether you are a regular tourist or visiting for the first time, our aim is to inspire and educate our guests on how special Essex was and is now.
A launch party will be held at the Essex Shipbuilding Museum shipyard on Saturday, September 10, from 10 a.m. to noon. Coffee, tea and light breakfast snacks will be provided. Guided tours of the exhibits Then, on Wednesday, September 14, from 7 to 8 p.m., Gloucester and Essex Shellfish Constables Rebecca Visnick and William Novak, respectively, will present ‘The Color of the Tide’, a discussion on the history of the Essex clam fishing industry.
“Sketching Through History” will take place on Sundays, September 18 and October 16, from 10 a.m. to noon. Jessica Yurwitz of Slow River Studio in Topsfield will discuss artistic interpretations of Essex’s vistas over the years. Registration is required for this event.
Over three Thursdays — Sept. 22, Oct. 6, and Oct. 20, from 7 p.m. to 8:30 p.m. — the Smithsonian will host community-led panel discussions on ways to improve the city’s top cultural institutions. . Registration is also required for these events.
The teachers and students of Manchester Essex Regional High School will present a Dungeons and Dragons encounter on Sunday, September 25 from 10 a.m. to noon. Children are invited to create their own Essex-themed campaigns for the archives of the Essex Shipbuilding Museum.
“A Legacy Continues, Shipbuilding in Essex” is scheduled for Tuesday, September 27, 7-8 p.m. National Heritage Scholar Harold Burnham and fellow shipbuilders Brad Story and Jeff Lane will discuss the history of shipbuilding in Essex and how the industry continues into the modern era.
Cogswell’s Grant site manager Kristen Weiss will lead a walking tour of the property on Saturday, October 1, at a time to be announced.
The program “What the Hay?” Four Centuries of Farming in Essex,” will discuss how historic New England continues historic farm farming practices with recreation and conservation.
On Sunday, October 2, from 10 a.m. to noon, Essex Shipbuilding Museum historian Kurt Wilhelm will host “Our Family Forest,” an overview of his genealogical studies of various Essex lineages.
Mary Rose O’Connell of Cape Ann Plein Air will be leading painting demonstrations on Monday, October 3, from noon to 2 p.m.
Guests are invited to learn more about the Grand Marais, including its role in the city’s ecosystem, at “A Piece of Something Big, The History of the Marsh,” on Tuesday, October 4, from 7 p.m. At 20 o ‘clock. The event will be hosted by Selectman and Great Marsh Coalition member Peter Phippen.
Salem State University professor Dr. Beth Jay and graduate student Mary Larkin will host a panel discussion on Essex history on Sunday, October 19, from 10 a.m. to noon.
Finally, a closing party will take place on Saturday, October 22, from 6 p.m. to 8 p.m.
“It has been such an eye-opening experience working with the incredible team at the Essex Historical Society and Shipbuilding Museum and we are thrilled to see the town’s history come to new life through this programming,” said Massachusetts Humanities Executive Director Brian Boyles. in a prepared statement. “It has never been more important to embrace and support every small community in Massachusetts. We hope that with the tour of the Smithsonian Museum on Main Street, more people will fall in love with these rural outposts like Essex, just like us.
The Maine Coastal Islands Art Gallery presents two local artists at a vernissage on Friday, September 16, from 4:30-6:30 p.m.
John Bisignano (posthumous; 1929-2021) of Owls Head.
John used art to communicate the abundant beauty of nature’s organization and form. This show will bring a unique perspective to the viewer of the beauty that is the Midcoast. John’s designs think outside the box and bring a sense of surprise and wonder.John grew up in abject poverty, while keeping his passion for art alive. Midway through his life, he moved to central coastal Maine. Prior to his death, he established a memorial scholarship fund through the Maine Community Foundation for students wishing to pursue artistic studies.Sales of artwork from this exhibition will support this fund.
Heather Burgess of Searsport is a glass artist. Heather tends to gravitate toward nature and free-form objects; very rarely will you see her framing something. His show will be a mix of sea life and avian pieces.She is an itinerant veterinary technician by day and a stained glass artist by night. His aspiration is to own a small glass shop by the ocean. She has a supporting family of 2 children, her husband and five cats.
This art exhibit will be on display through December 3 (open house) at the Maine Coastal Islands NWR Visitor Center, 9 Water St. in Rockland. The galleries are open Monday to Friday from 8 a.m. to 4:30 p.m., except on public holidays, and Saturday from 11 a.m. to 4 p.m. until October. All art sales support both the artists and the Friends of Maine Coastal Islands National Wildlife Refuge.
Mumbai: The government of Maharashtra has awarded a 7,000 square meter land at the Kalina Campus of the University of Mumbai for the International Music College and Museum project in the name of legendary singer and Bharat Ratna Lata Mangeshkar. A decree to this effect was published Monday by the department of higher and technical education of the State. The land will be ceded to the suburban collector who will offer to cede it to the direction of the arts.
The state government has decided to establish an international music school at the Kalina campus. The proposed institution will be known as Bharat Ratna Lata Deenanath Mangeshkar International College of Music and Museum.
The Directorate of Libraries has a land of 16,188 square meters for the establishment of a central library at the Kalina campus from which the state government has decided to allocate 7,000 square meters to the international college of music and museum.
“Library Branch has been instructed to hand over 7,000 square meter open land to Suburban District Collector to develop Bharat Ratna Lata Deenanath Mangeshkar International College of Music and Bharat Ratna Lata Deenanath Mangeshkar Museum at Kalina Campus” , says a published government resolution. Monday by the direction of higher and technical education.
Vikas Rastogi, Principal Secretary of the Department of Higher and Technical Education, said they were waiting for a report from the committee headed by Hridaynath Mangeshkar (Lata Mangeshkar’s brother) which would give them an idea of the international college.
“The international college of music will be based on the idea of the Mangeshkar family for which the committee was formed. In a review meeting, the Chief Minister asked them to submit their report based on which the plan for the International College of Music and Museum will be prepared,” Rastogi said.
The committee includes Usha Mangeshkar (his sister), Adinath Mangeshkar, Zakir Hussain, AR Rahman, Suresh Wadkar among other personalities.
The state government has planned to launch the college of music this academic year. “We are working to start the international college of music from this academic year, but it needs to be started in another location because the construction of the international college will take time. In the meantime, we will continue the college in another location,” the principal secretary informed.
The singing maestro wanted to establish a musical institution in Mumbai in the name of his father Dinanath Mangeshkar. Aaditya Thackeray, then Minister of Environment, had even shown a place at the Kalina campus of the University of Mumbai and she liked it.
But on February 6, she died at Breach Candy Hospital from pneumonia induced by a Covid-19 infection. After her disappearance, then-Chief Minister Uddhav Thackeray decided to create a world-class musical institution in the name of Lata Mangeshkar.
ABOUT THE AUTHOR
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The young waiter—nervous, restless, turning a little red under his peach fuzz—came back twice after taking our order: “Sorry, we’re out of beer.” Then, “sorry, we’re out of burgers.”
No problem. We were thrilled with the view of Rockhold Creek, with boats sailing by and a great blue heron hovering above us.
The third time, it was the cook who came to the table. The waiter couldn’t face us anymore.
“Sorry, we’re out of meatloaf,” she said, her gray hair held back by maybe a dozen pins. She showed pity to her waiter as he is also one of her 18 grandchildren.
Chain cook Molly Ruppert is 84.
And in an extraordinary act of love for her family, a determination to make all her dreams come true, and an utter inability to sit still, she and her husband last year opened a restaurant in Deale, Maryland, on the shore. west of the Chesapeake Bay. is composed almost entirely of generations of their descendants.
“We start with the youngest in the morning, they come in and set the tables, set everything up,” said Jim Lober, a civil engineer who married into a weekend job who tends the bar and does the interview.
“Then the older ones come in, and it’s the waiters, the cooks.”
Caroline Lober, 12, graduated from the team late this summer.
“I’m on the fryer. Chicken, zucchini fritters and fries,” she explained. When she returns to school next week, she will have one of the biggest funds in eighth grade. “This part is nice.”
The part she hates? “It smells like a fryer,” she says. She does not wants to go into catering when she grows up.
At least this summer, she was relieved of her “mess” duties. Now a younger cousin is the one who has to “clean up all the mess no matter who made it”.
Grandchildren get the valuable lessons that a gig in the restaurant business reliably provides: courage, stamina, multitasking, and interacting with the audience.
And their teachers don’t just worship grandparents with a crazy idea. They are kind of a big deal.
How a mother-son duo shaped Washington’s art and food scenes
“How a mother-son duo shaped Washington’s arts and food scenes,” reads the headline of a Washington Post magazine article.
Molly and her son Paul Ruppert were at the forefront of DC’s current culinary and artistic flourishing in the 1990s – opening a “foodie” restaurant, creating avant-garde theaters and art exhibitions pop-ups that launched many careers. The chef they hired was named one of Food & Wine magazine’s Best New American Chefs in 1997.
“And he supported everything,” Molly said, teasing her husband, Raymond “Cappy” Ruppert, who clarified that he’s still 85 and won’t be 86 until next week.
Cappy — a name he inherited from his family as a child, but one that suited him well as captain of their little weekend boat on the Chesapeake — has always run businesses in DC
The Washington Historical Society honored the Rupperts as Washington’s legacy family, honoring six generations of Ruppert influence in the city, beginning with Henry Ruppert’s emigration from Germany to DC in 1856.
One of Henry’s sons, Frank, opened a hardware store in the 1000 Seventh Street NW block in 1889. This later became a property management company in 1936, where Paul and Cappy worked for years.
“Then she took me upstairs,” Cappy said, pushing Molly away, explaining that he moved the real estate business upstairs so Molly and Paul could open this restaurant.
Molly got married there, but her family was born in Brookland, fourth generation.
When it came time to leave the DC businesses and life in the city – they finally sold the Seventh Street property after 120 years – they did not retire quietly to the small Chesapeake Bay home where their children ran barefoot, learned to catch crabs, and coaxed their 20-foot wanderer.
Every time they went up Rockhold Creek, they saw the remains of the old crab shack that had been there years ago, but had crumbled, piece by piece, into the water.
“We know a lot of people were saying, ‘Somebody’s gonna pull this restaurant out of the depths,'” Molly said, during a lunch-dinner break on the last day of the season. ” Why not us ?
When I first met her – the meatloaf night in June – and she told me a bit of her story, my mouth dropped open thinking of the quiet life my mother of 76 years prefer.
“I can’t stop,” she said. “I’m bored. I can’t sit still.
Did any of the kids try to stop him?
Meet two amazing women who are still working at 102. Yes, 102 years old.
“They may have said something to each other, but not to us,” she said. “And my parents died, so no one told me it was a stupid idea.”
So they bought the property, then spent three years developing and zoning purgatory to make their dream come true.
It’s a sleek, modern place, with plenty of boat docks and ample deck seating. Instead of the crispy fishnets and plastic shellfish that haunt too many seafood joints, it’s bright and airy with huge works of art that Molly loves to talk about.
She keeps the menu tight. They are known for the big crabs they get from a local crabber, the meatloaf, summer salads like beets and corn, and Molly’s crazy fried chicken. “It’s kind of a complex recipe,” Cappy explained.
Cappy is at the bar, skilled in all the drinks he has learned to serve.
Nora Lober is an engineer most of the year. But during the summer, she, her husband Jim and their children work at Cappy.
“Nora won’t talk to you,” Molly said. “But she really runs the place.”
They haven’t made any money yet, in the two seasons they’ve been open. But they’re okay with it, they’ve planned it.
“We’re only open Friday, Saturday and Sunday,” Molly explained with a laugh. “Because we need the other four days to recover.”
And Sunday was their last open day this year. Some of the staff are off to college, others have sports, rehearsals and homework eating up their weekends.
This is one of the problems, when the staff is family. And that explained that funny first weekend of June when we met the waiter who couldn’t take it anymore to serve another “no” at our table.
“It’s our first weekend. We had to open later this summer because of all the graduations,” Molly told us that day. “And we’re just not there yet.”
They fixed those opening weekend issues, we learned on a return visit in August. The grandsons working the floor were all skilled and confident, dashing between tables with plates of food and refills of drinks.
Molly didn’t like closing for the season on Labor Day weekend, but hopes that next year they can add distant cousins, or maybe non-Rupperts to work so that can stay open all year round.
She wanted to make Monday their last. But the little union that is his offspring has rebelled.
“They said, ‘We want a fun day, come on! ” she says.
So she agreed to their demands and they got Labor Day, after signaling the end of summer with a family bonfire on the shore of the bay.
Bill’s Town is an extremely formative section in The last of us part 1 because it’s the first time that Ellie and Joel are really alone together. This is the start of their bond as their relationship begins to cement and we learn a lot about Ellie’s character. While they don’t add anything specific to the relationship built by Joel and Ellie, the artifacts hidden around town certainly do a lot to educate the player about the setting and about Bill.
All artifacts are completely optional, but certainly add a lot to the lore surrounding the story, so it’s a good idea to pick them up if you’re looking to figure out the whole picture of The last of us part 1. They are also necessary for anyone looking to get the game’s platinum trophy, as the “Chronicle” trophy requires the player to collect all artifacts and notes in the game.
More The Last of Us Part 1 guides:
| Complete list of trophies | The Quarantine Zone – Optional Conversations | The Quarantine Zone – All Artifacts | All Training Manual Locations | All Workbench Tool Locations | All Workbench Locations | All prank locations | The Outskirts – All Conversations Optional | The Outskirts – All Firefly Pendants | The Outskirts – All Artifacts | All Shiv Door Locations | All Security Codes | Bill’s Town – All Conversations Optional | Bill’s Town – All Firefly Pendants |
#1: After going through the woods and into town, you’ll find yourself in front of a square building with a metal fire escape on its left side. Enter through the open door that connects to the stairs and enter the room immediately to your left. In the opposite corner of the room, you’ll find a piece of paper with a handwritten note on it near some boxes on the floor.
#2: After finding the note in the square building, progress through the area by lifting Ellie over the chain-link fence that’s to the left of the building’s fire escape. She will open a door for you and you will find yourself in the street. Head to the right and go down as far as possible on the road. You’ll pass all sorts of buildings that you can loot for supplies, but at the end of the street on your left is a local music store. Head into the back room of the store and you’ll find a note next to a printer on the left side of the back room.
#3: Leave the music store and continue walking down the street. Stuck on barbed wire at the very end, you’ll find a handwritten note with a security code on it. The safe is located partly up the street near a van.
#4: After jumping off a partially broken ladder, Joel will comment on the trip wires Bill has set up all over town. crouch under the one in front of you and, instead of going right as the main path dictates, head left into the building you were walking on. Climb the stairs to the right then go left into the first room. Before you can grab the note, you’ll need to take care of any infected people in the room. Once done, you will see a board with a note on it on the right side of the room.
#1: After you first meet Bill in the bar, he’ll tell you to grab the supplies you want. While there’s a lot to grab, be sure to snag the card that’s directly to your right as soon as you take control of Joel. It’s on the table to the right of the bar, so if you’re not watching it, you might miss it.
#2: As soon as you pick up the map from the bar, turn around and go through the door behind you on the right. Inside the back room, there is a small piece of paper sitting on the coffee table which is a handwritten note and an easily missing collectible.
#3: Once you’re done collecting the supplies from the bar, head to the critical path and you’ll close the door after Bill and Ellie leave the building. As soon as you run upstairs, Bill will keep running forward, but instead of following him, hook to the right and enter the room that’s parallel to the stairs you just climbed. On the table inside, you’ll find a small piece of paper with another handwritten note on it.
#1: The artifact in this section is in the church. Head to the pulpit and you’ll notice a room to the right. Inside the room you will find a note lying on a desk.
#2: As you make your way through the suburbs, you’ll eventually pass through a treehouse and then jump into the yard below. Enter the house on the right and go upstairs. Once upstairs, enter the first room on the right and you will find yourself in a child’s room. Just below the window is a newspaper you can pick up.
High School Escape
#1: After Ellie gets in the car, Bill will tell Joel to search the house they’re in for supplies. Turn around and head straight for the door and for the door on the other side of the living room. Inside the bedroom, you’ll find a note addressed to Bill on the desk on the left side of the room in front of the window.
#2: Take the note you just found to Bill in the garage and show it to him for an optional conversation. Bill will crumple the note and throw it behind him. Go around the car and pick up the crumpled note.
KNVS (pronounced Canvas) paints a new picture of the North County food scene. Kevin Shin’s fourth restaurant in The End Hotel downtown, Oceanside is both a restaurant and an immersive art gallery – the first of its kind in the area.
The venue opened in July with a white, minimalist interior carefully designed not to overshadow the artwork. For three months at a time, artists selected from over 200 submissions will exhibit and sell their work, with each collection accompanied by a menu that aligns with the subject’s theme.
Shin, who sits on the board of the Oceanside Museum of Art, was inspired to create an immersive experience where artists fill all roles, from exhibitors to culinary staff, united by an artistic theme.
“I sat there, just to see how beautiful it was,” Shin said of the location. “And being at the museum, watching art rotations and watching the themes change drastically, I kind of realized that with this space, I could create a similar environment.”
The first artist to bring her easel to the KNVS is Margaret Alexis Chiaro of Oceanside, whose work is on display until October 31. Her collection, “The Floral Guild”, is a contrast between whimsical female figures and darker elements.
Chefs Michael Mitchem and Matthew Monko curated a selection of dishes and cocktails to showcase Chiaro’s work, ranging from a bouquet of vegan ratatouille to a berry cured salmon.
Artists exhibiting at KNVS can choose to donate 15% of the proceeds to a non-profit association of their choice instead of giving a commission to the gallery. Chiaro chose the association ACE Studiowhich aims to “enrich lives through art, community and education”.
KNVS is open from 4 p.m. to midnight from Friday to Tuesday. Visit knvs.bar.
When people think of the Art Institute of Chicago, African art is probably not the first thing that comes to mind, according to a museum curator.
“This is one of our great challenges or initiatives or ambitions – to make it better known,” said Constantine Petridis, museum president and curator of African Arts. “It’s always been a bit in the shadow of so many of our other big collections.”
The department’s profile is set to get a big boost on November 20 with the opening of a large-scale exhibition at Regenstein Hall, the museum’s main special exhibitions gallery, titled “The Language of Beauty in Art African”.
Featuring over 250 sculptures from cultures across the continent, this is the largest fair to date to explore the aesthetic appreciation of these objects through the eyes of their African makers and users and to clarify that their appearance is intimately related to their function.
“It’s an essential aspect of art,” Petridis said. “It’s not an afterthought. It’s not a side note. It is very often intimately linked or crucially linked to the purpose and function of these arts. Objects look good so that they succeed, that they do what they are supposed to do.
The exhibition will include loans from an assortment of public and private collections as well as selections from the Art Institute’s African collection, which dates from 1957. Petridis describes the collection as modest in size but comparable to other museums the size of the Art Institute. “It’s better than people think,” he said.
The exhibit, which traveled to the Kimbell Art Museum in Fort Worth, Texas, earlier this year, will remain on view through February 27, 2023 at The Art Institute, 111 S. Michigan (artic.edu).
Here is a selection of 10 other autumn exhibitions that are worth visiting:
Through September 25, “Flourish: The Garden at 50,” Chicago Botanical Garden, 1000 Lake Cook Road, Glencoe (chicagobotanic.org). Only a few weeks left to see this indoor and outdoor art exhibition celebrating the Botanical Garden’s 50th anniversary. The organization has commissioned 10 nature-inspired installations by local, national and international artists. Among them are ‘The Rookery’, a fantastical castle-like structure built of twisted willow saplings by North Carolina artist Patrick Dougherty, and ‘Herbarium’, a hanging installation of dried flowers in the center of welcome by Rebecca Louise Law of Cambridge, England.
Until December 10, “Unbearable Memories, Untold Stories”, South Asia Institute, 1925 S. Michigan (saichicago.org). Some people probably still haven’t heard of the South Asia Institute, which opened in 2019 and has become a major arts and cultural destination in the South Loop. As part of its ongoing series of exhibitions, this exhibition features works from 15-year-old Pritika Chowdhry’s ‘Partition Anti-Memorial Project’, which examines the trauma and lingering aftermath of the 1947 partition of the British India in the Independent Countries of India. and Pakistan.
Until January 9, 2023, “David Hockney: The Arrival of Spring, Normandy, 2020”, Art Institute of Chicago, 111 S. Michigan (artic.edu). Talk about an artist who needs no introduction. Born in England but perhaps most associated with California, where he has lived on and off since 1964, Hockney emerged during the Pop Art movement of the 1960s and has been active ever since, creating his distinctive brand of bright landscapes and portraits. and stylized. This exhibition presents more than 100 works he created in 2020 using an iPad application specifically developed to meet his artistic requirements.
Until February 19, 2023, “Capturing Louis Sullivan: What Richard Nickel Saw”, Driehaus Museum, 40 E. Erie (driehausmuseum.org). As one of the seminal figures of Chicago’s modern architectural scene, Louis Sullivan needs no introduction. This exhibit features 40 photos that Nickel, a Polish-American architectural photographer and curator, took of Adler & Sullivan buildings from the 1880s and early 1990s. These images date from the 1960s and 1970s, when many of these architectural treasures have been demolished, and they provide invaluable documentation of these lost structures.
Sept. 17-Jan. 16, 2023, “Bridget Riley Drawings: From the Artist’s Studio,” Art Institute of Chicago (artic.edu). After working in several previous styles, Riley became part of the 1960s op-art movement with her disorienting geometric abstractions. The London-born artist then fell largely out of sight, but came back strong with a revival sparked in part by a 2000-01 solo exhibition at New York’s Dia Center for the Arts (now Dia Chelsea). This exhibition is presented as the first and most comprehensive look at his drawings in over half a century.
September-June 20, 2023, “Nostalgia for my island: painting from the Museo de Arte de Ponce, 1786-1962”, National Museum of Puerto Rican Arts and Culture, 3015 W. Division (nmprac.org). As repairs to Puerto Rico’s Museo de Arte de Ponce continue following damage from Hurricane Maria five years ago and a subsequent earthquake, the institution is sending for the first-ever times the highlights of his collection on tour off the island. Spanning nearly two centuries, this exhibit features 21 works by such important Puerto Rican artists as Myrna Báez José Campeche, Francisco Oller, and Miguel Pou.
Sept. 22-Dec. 4, “Taking Shape: Abstraction from the Arab World, 1950s-1980s”, Block Museum of Art, Northwestern University, 40 Arts Circle Drive, Evanston (blockmuseum.northwestern.edu). Mention abstraction in the United States, and the visions of Richard Diebenkorn, Jackson Pollock and Clyfford Still immediately come to mind. But this artistic approach was hardly limited to this country. This traveling exhibition, curated by New York University’s Gray Art Gallery, offers a look at abstraction in an unexpected part of the world and examines what the organizers describe as its broader cultural, intellectual and spiritual connotations.
Sept. 22-Jan. 8, 2023, “Monochrome multitudes”, Smart Museum of Art, University of Chicago, 5550 S. Greenwood (smartmuseum.uchicago.edu). Works of art made with a single color were an essential part of mid-20th century modernism. Think Ad Reinhardt or Yves Klein. But this exhibition takes a much broader look geographically, chronologically and culturally at this ongoing artistic process, with more than 100 works, including examples by artists such as Theaster Gates, Carmen Herrera and Yayoi Kusama.
Oct. 1-Dec. 17, “The first homosexuals: global representations of a new identity, 1869-1930”, Wrightwood 659, 659 W. Wrightwood (wrightwood659.org). The presence of gays and lesbians is so common today in television, movies and books that most people probably don’t give it much thought. But that was anything but the case a century or more ago. This groundbreaking exhibition examines what organizers call the “earliest consciously queer art”, with 100 paintings, drawings, prints, photographs and film clips dating back to 1869, when the word “homosexual” was coined in Europe. .
November 19-April 23, 2023, “Forecast Form: Art in the Caribbean Diaspora, 1990s to Today”, Chicago Museum of Contemporary Art, 220 E. Chicago (mcachicago.org). This large-scale exhibition, the first presented at the MCA in English and Spanish, proposes to rethink Caribbean art, focusing on 37 artists from the region who work across the Americas and Europe. According to press materials, the show seeks to reveal the Caribbean as a “place not defined by geography, language or ethnicity but by constant exchange, travel and movement”.
By reading Paul Gauguin’s fictionalized travelogue, noa noa, one would be forgiven for thinking that he fell on the idyll of an artist when he arrived in Tahiti in 1891. “All the joys, animal and human, of a free life, he writes, are mine. Once a successful stockbroker in Paris, Gauguin told the French newspaper The Echo of Paris before leaving for Tahiti that he rejected “the stifling influence of civilization” to devote himself to art and pleasure. Despite his disappointment with how French colonial rule had corrupted the island, Gauguin’s fascination with Polynesian culture and what he called its “primitivism” characterizes much of his best-known work. His dedication to his artistic vision at all costs – his quest for creative heaven – has continued to intrigue us well into the 21st century. As Gauguin himself predicted, he became more of a myth than a man.
Less appealing, however, is his documented proclivity for young girls who served as his lovers and frequent subjects of his work. In his 1892 painting Manaò tupapaú (Spirit of the dead gazing), a naked girl lies on her stomach, staring at the viewer, exposed and seemingly terrified. Gauguin’s biographers commonly state that her name was Teha’amana; she would be 13 when Gauguin pursued her, eventually giving her syphilis and impregnating her. More than 100 years later, in 2017, Louis Vuitton used lovely land, featuring a nude girl – probably Teha’amana – as the design for a collection of luxury handbags. That same year, Gauguin’s drawings of Polynesian women and girls were animated and projected onto the facade of the Grand Palais, in Paris, beaming to passers-by.
Daisy Lafarge’s first novel, Paul, addresses a recurring question in a unique way: how, in the era of the #MeToo movement, should we interact with the work of men like Paul Gauguin? Superficially, Paul seems to be in line with recent novels that deal with emotional and sexual abuse – notably Megan Nolan’s acts of desperation and Kate Elizabeth Russell my dark vanessa––focusing on a vulnerable young woman’s relationship with an abusive man and extrapolating the nuances of that relationship as broader indications of modern misogyny. But Paul does something more complex: Larfarge uses the decidedly contemporary story of a traumatized graduate on her European gap year to boldly reinterpret Gauguin’s life and legacy. By reconstituting one of the giants of the artistic canon as an irredeemable villain, the novel makes it impossible to separate art and artist. The titular character, Paul, an evocation of Gauguin, is so clearly reprehensible that one is forced to condemn him – and therefore Gauguin himself, by extension. What, Paul asks us, is the artist’s work so fundamentally valuable that we continue to see it, sell it, and celebrate it more than a century later?
Read: The trope of the literary aggressor is everywhere
Transposed to the 21st century, Paul de Lafarge is the boorish, middle-aged owner of Noa Noa, a Pyrenean organic farm (named after Gauguin’s book). The narrator, Frances, a shy woman with a degree in medieval history who was fired from her job as a research assistant in Paris, finds the farmhouse on a job exchange site. She arrives at Noa Noa, which quickly turns out to be more of a town than a place of work. Soon Paul demands that she come to bed, and over time his treatment escalates into psychological and sexual manipulation. The situation pushes an already fragile Frances to the point of involuntary silence, a silence reminiscent of Gauguin’s voiceless, painted subjects. Like his namesake, Paul spent a lot of time in Tahiti, where he claims to have found true artistic freedom. Paul also used the people of Tahiti as muses – photographing where Gauguin painted – and sees the country only as the exotic backdrop for his journey of self-discovery. And the book implies that, like Gauguin, Paul had sex with young girls, which he excuses on the basis of a “cultural difference” in Tahiti that allowed him to engage in exploitation. children without consequences.
Where Paul deviates from reality lies in its deliberate refusal to explain its behavior on the basis of the brilliance. Lafarge denies Paul the defense of artistic merit that so often absolves toxic creative types. His Paul is not a brilliant artist; he is pathetic, failing. But while his behavior may immediately repel readers, Frances is so in need of guidance and security that it takes her a lot longer to come to terms with who he really is. This slow process of making guides the novel and is often enacted in viewing scenes, drawing a parallel to the act of looking at a work of art.
In a passage near the end of the book, Frances watches as Paul stares longingly at a group of preteen girls. Later, faced with indisputable evidence of her predatory pedophilia, she explodes. “It’s so hard to watch,” she thought to herself. “So hard to look away.” In this question––look, or look away?–Paul asks us to consider what we actually see in paintings as Spirit of the dead gazing. Frances’ unease becomes ours, blurring fiction and reality until it’s impossible to think of Gauguin without the hideous specter of Paul.
In the novel, censoring the two men might be an obvious reflex, but in the real world it’s much heavier. “The person, I can totally abhor and detest, but work is work,” former Tate Modern director Vicente Todolí said of Gauguin. Viewers might wonder: what harm can it do to look at a painting when the subject and the artist are both long dead? But the decision to exhibit Gauguin’s art is a conscious choice – and museums in recent times have taken to exposing the artist’s behavior. The same goes for the decision to consume one’s work. Lafarge, through Frances’ struggle to truly see Paul as he is, positions the act of witnessing – so often labeled as passive – as an act of complicity. His inaction about Paul’s behavior comes across as almost acceptance, allowing Paul to continue to delude himself that he is “a good man.” Faced with Gauguin’s work, you are asked to make a calculation: is the pleasure of observing it worth the effort of making it?
Read: An era for female artists?
As the novel draws to a close, Paul takes Frances on an impromptu road trip to visit a series of his friends, most of whom seem ambivalent about him. “If I were a woman, a man told her, I would keep my distance. In another scene, Paul pressures Frances to perform oral sex on him in a child’s bed, which obviously pisses him off. Increasingly suspicious of Paul, Frances finally confronts him about his time in Tahiti. As expected, he begins to cry. “I’m not a bad man,” he said, begging for understanding. But Frances refuses. Instead, as they return to Noa Noa, she jumps out of her car and buys a ticket to Paris.
It’s not entirely satisfactory as a resolution – Paul receives no meaningful compensation. But wisely, Lafarge leaves open the central question of the novel. Should we look or should we look away? In Frances’ escape, Lafarge seems to be landing on the latter option. But there is another possibility, I think.
Earlier this year, the Alte Nationalgalerie, Berlin, exhibited a series of paintings by Gauguin juxtaposed with the work of artists attempting to reckon with his legacy. In one room, Gauguin’s paintings and prints were placed in front of a live video art piece by Rosalind Nashashibi and Lucy Skaer, titled Why are you angry?which was created in response to Gauguin No te aha oe riri. Dressed in the same clothes and posing in the same positions as the subjects in this painting, the girls in the video stared at you as you passed. You could see their bodies moving, their breathing, their human contractions. The line between person and figure has blurred; you couldn’t contemplate the masterful brushwork of Gauguin’s paintings without being aware of the eyes of the girls on your back. You turned around. Time is up. They were still watching you, meeting your gaze with theirs.
Dominaria is home to some of the planes’ greatest artificers. Which is why these Dominaria United artifact spoilers will be killers.
Look Dominaria has been disrupting industries since before a startup came up with a complex, expensive, and ultimately useless solution for a problem that had already been solved by buses or something. That’s why Dominaria United has incredible artifact spoilers.
From special tablets to a favorite ship returning from misadventure, there’s plenty to dig into. Let’s look at this.
Dominaria United Artifact Spoilers
And it all starts with the humblest of creatures, the automatic librarian. 3 mana for scry 2, and you get an extra 3/2. Not bad when you fish the last piece of your combo.
The Golden Argosy is an interesting game considering the number of cards that have spicy “entering the battlefield” effects. With the Golden Argosy, you can cycle creatures multiple times this way.
The Codex of Jodah means that players with strong domain the game can really get the map advantage in mid-game and late-game, while Karn’s Sylex shows how the big silver boy is fighting the good fight against those Phyrexian defilers.
You can see many remnants of the Brothers War here. Shield-Wall Sentinels, which bring other defending creatures with them. Then you have your Manaworkers, which can turn mana into whatever color you need. To the Timeless Lotus which gives you five mana, one of each color. There’s a lot of artifact repair here, almost enough to make the good five-color stuff viable.
Finally, we take a look at the return of Weatherlight. Now that those Phyrexians have grabbed him, he’s ready to take on the heroes of Dominaria United. And the more creatures that are fed for the bloody battle, the more counters go to completed Weatherlight.
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But hey, speaking of Weatherlight and complicated things… Karn’s returning baybee. Although Karn, Living Legacy, is not an artifact, nor an artifact creature, but rather a colorless Planeswalker. And probably the one that will turn back time, bringing us all to the Brothers’ War filming in November. It also gives you tokens for free artifact mana and can turn your artifacts into plinking engines.
All this at Dominaria United! Enjoy the Prerelease today!
Bell of Lost Souls Staff Writer and DM, JR covers RPGs of all stripes and eats the occasional sandwich. You can ask him either at [email protected]
SEOUL, Sept 2 (Reuters) – VIP guests gathered at Seoul’s COEX convention center on Friday as the city became the first in Asia to host the Frieze Art Fair, which features works from more than 110 galleries around the world entire.
In a nod to South Korea’s millennial-driven art market, which is set for another record year, the Fair – a well-attended showcase of the best works by contemporary artists – moved to the first time beyond its traditional locations in London, New York and Los Angeles.
“We are delighted to now have Seoul, the Korean art fair, as part of Frieze. We were definitely missing an Asian branch,” said Simon Fox, Managing Director of Frieze Group.
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An art hub focused on post-war and contemporary works, South Korea overtook Germany last year to rank fifth among markets, according to UBS Bank and Art Basel’s Art Market Report.
Sales rose 180% to a record 922 billion won ($680 million), according to data from the Korea Arts Management Service (KAMS).
Reasons for this boom include growing interest among millennials, who often see art as an investment opportunity, as well as a favorable tax regime.
A 36-year-old collector, Seoul office worker Lee Young-sang, has been saving up for the long-awaited fair, which opens to the public on Saturday.
A visitor receives help from a volunteer at the Frieze art fair in Seoul, South Korea, September 2, 2022. REUTERS/Kim Hong-Ji
“I’m so happy to see amazing works of art in one place and have the ability to buy,” said Lee, who spends most of his disposable income on art and owns around 120 pieces.
Works of art worth less than 60 million won are exempt from capital gains tax in South Korea, and sales tax is levied at a relatively low rate of 22% on a maximum 20% of the price.
Such factors “definitely encourage young collectors to make bold investments,” said tax accountant Kwon Min.
Riding this wave, at least five international galleries have opened or expanded their space in Seoul in 2021 and 2022.
They include global dealer Perrotin, who is opening his second gallery in the glitzy Gangnam district this week to coincide with the fair, and Thaddaeus Ropac, who opened his first last year.
“(South Korea) has an incredible infrastructure – a well-educated public, great academies, artists, museums and committed collectors,” said Thaddaeus Ropac, founder of the eponymous dealership which has galleries in London, Paris and Salzburg.
“(South Korea has) a surprisingly young generation of collectors, probably younger than Europe and America, which is… very exciting for us.”
($1 = 1,356.9800 won)
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Reporting by Joori Roh; edited by John Stonestreet
Nell Stevens’ debut novel “Briely, A Delicious Life” is undeniably imaginative, but a cornucopia of creativity can’t outweigh several large-scale drawbacks. After several best-selling short stories and memoirs, Stevens’ novel is definitely making a splash — or at least trying to. The historical fiction lesbian romance ghost story bites off more than it can chew and ultimately fails to do anything successfully. The plot is somehow winding and stagnant at the same time, the characters have little development, the narrator’s adolescence makes the narrative juvenile, and the historical component reads like an almost forgotten interlude. The concept is convincing but would have been better suited for a short story.
The biggest problem with this book is that it just tries to do too much at once. The premise – even the version summarized on the back cover – is complex and somewhat absurd: a 14-year-old 15th-century ghost, Blanca, haunts an abandoned monastery on the small Spanish island of Majorca and, 400 years after her death, falls in love with one of the living residents of the monastery. The object of Blanca’s affection just so happens to be one of the most notable writers of the Romantic era, George Sands, who is accompanied by his two children and his lover Frederic Chopin. The book follows several storylines and lines of thought: the story of Blanca’s life and death, her undead existence before George, her exploration of her sexuality, the current state of affairs at the monastery, and the life of George before and after the monastery.
For most of the book there is a somewhat consistent cadence of alternating between Blanca’s past, present and George’s past, but about 80% of the way through the book there is an awkward interlude and awkward where Blanca is supposed to “watch” George and his family’s future and share it with the reader. This section gives the impression that Stevens has forgotten that these characters are based on fact and has written a lengthy, somewhat artistic synopsis of information available on George Sands’ Wikipedia page to put this book back on its historical fiction track.
And this addition to Wikipedia near the end of the book is the beginning of a disappointing conclusion to the novel. Because Stevens begins to lean heavily on the lives of the real characters, the book ends as anyone, as much as Googled Sands, would expect – the ending follows the real lives of its characters so closely that it looks unoriginal. Not only was this ending disappointing, but it also feels lazy, as if Stevens is panting after a whirlwind of the first 220 pages and just can’t think of a faster way to wrap the book up.
Not only does the real life of Stevens’ characters serve as a crutch, but it also creates a serious obstacle to the novel’s scope. Because the narrator is a ghost, there is little that can happen between Bianca and her living companions. And because Stevens sticks relatively tightly to the real-life course of his characters, his creativity has little room to roam. Stevens spends most of his time telling readers what his characters do, rather than showing us who his characters become, which ultimately results in the characters becoming nothing at all. With these two firm constraints on the scope of the book, the novel ends up being a collection of short episodes or adventures glued together by light adolescent commentary and humor.
In terms of writing, Stevens captures the voice of his narrator very well. But that ends up being part of the problem. The voice and personality that Stevens imparts to his narrator makes the prose read look juvenile, and the attempt to make the narrator sound casual and familiar to the reader ends up feeling like unnecessary “plush.”
The book does, however, have some successful elements. Stevens has a strong sense of the absurd, used in a way that can be effective, and the reality she creates, in terms of Blanca’s abilities and experience as a ghost, is entertaining. The content of this book could have been a successful short story, and the writing could have made for an impressive young adult novel, but together the plot and the writing make this adult novel feel youthful and entertaining.
Genshin Impact 3.0 introduced the final element of the Seven Elements system, Dendro. However, we don’t have many options for item characters at the moment.
Therefore, Collei is a crucial character in the current meta as one of the few to bring the Dendro cause to the battlefield.
With that, we’ve crafted a Collei build guide to maximize his potential and use your resources in the best possible way to boost Dendro’s favorite into your roster.
Who is Collei?
Collei is a young forest ranger. A victim of Fatui Experimentation, Collei battles a chronic illness under the protection of Tighnari.
With Dendro Reactions dominating the current meta, and with only two Dendro Supports, Collei plays a very important role in new teams.
Collei’s support abilities have intensified very well with Constellations, and players can get her for free in Genshin Impact 3.0 and Spiral Abyss 3.1
Collei is a support who can work in many different team compositions.
Collei Elemental Burst has a very weak Dendro application.
Generation of low energy particles, energy recharge required in its construction.
Collei will work well with F2P options but the weapon she wields is heavily contested by other characters.
Elegy for the End
Increases Elemental Mastery by 60. When the character wielding this weapon’s Elemental Skills or Elemental Bursts hit opponents, that character gains a Seal of Remembrance. This effect can be triggered once every 0.2s and can be triggered even if said character is not on the field. When you have 4 Sigils of Remembrance, they will all be consumed and all nearby party members will get the “Millennial Movement: Farewell Song” effect for 12s. “Millennial Movement: Farewell Song” increases Elemental Mastery by 100 and increases ATK by 20%. Once this effect is triggered, you will no longer gain Memory Seals for 20 seconds.
Increases elemental skill and elemental burst damage by 48%.
Elegy for the End
The 5-Star Bow will enhance Collei’s support abilities, providing an additional energy recharge.
If you have the weapon in your inventory, it will be very useful in Collei.
Elemental Mastery is the most important stat in Dendro teams, so the single arc with EM as a secondary stat is contested by many characters.
It’s the best F2P option for Collei, but if you run teams with Fischl, K. Sara, or Diona, the arc is better with them.
Collei will benefit from using energy recharge weapons, Favonius Warbow and Sacrificial Bow are good options with 3 or more refinements.
READ MORE: Genshin Impact: Collei Farming Guide – All Talent and Ascension Materials
Best Artifacts for Collei
Best in lunge
Memories of the Deep
Memories of Deepwood
Sands: EM or ER – Goblet: Geo DMG – Tiara: Crit. DMG or Crit. Assess
Sands: EM or ER – Goblet: Geo DMG – Tiara: Crit. DMG or Crit. Assess
Memories of Deepwood
The best artifact for Collei is the four-piece from the new Deepwood Memories set which will reduce enemies’ Dendro DMG resistance by 30%.
Other artifact sets with outfield and support boosts can work with Collie, such as Gilded Dreams, Emblem of Severed Fate, or Noblesse Oblige.
But, we recommend spending your resin on the new Spire of Solitary Enlightenment area and getting the new artifacts.
Elemental Mastery is the most important stat for Dendro characters and teams, however, Collei might run into energy issues, so ER is second priority.
Best team compositions
Collei is given away for free, so players can experience Dendro’s reactions and squads, so she can be used as a support in many new squads.
We consider Collei to shine best on teams that focus on Hyperbloom and Quicken reactions.
Keep in mind that Dendro’s other characters will likely be better than Collei, but we won’t be getting new characters from this element for at least two months.
Quicken or Hyperbloom teams
The team is based on producing constant reactions with Electro, Hydro and Dendro elements boosting elemental mastery
Deepwood Memories, the new Artifact added to Collei, will provide a crucial buff to this team.
Fischl is the big winner of Genshin Impact 3.0, her Electro app is perfect for generating Spread and Quicke reactions.
We can add an additional electro character as battery and other buffs. Yae Miko and Kuki Shinobu are very good in this position
Kuki adds healing to the team and Miko more DMG output.
For Hyperbloom teams, Kokomi Hydro Application will generate a lot of reactions in a short time.
Nilou seems to work very well in this team.
Collei is needed by this team to produce Dendro Cores that will react with other elements.
We recommend applying Dendro first, then Hydro or Electro.
The Anemo characters are a great addition to this team, given that Dendro’s reactions will be absorbed into the whirlwind.
Sucrose is the best option given that its cooldowns work very well with Kokomi and Fischl.
Kazuha and Venti are very viable options.
READ MORE:Genshin Impact 3.1 Leaks: Release Date and All the Latest News
One of the most comprehensive surveys of African-American history outside of the Smithsonian Institution, the exhibit is on view through December 30 and available with free museum admission. The Auburn facility showcases more than 100 artifacts, including paintings, sculptures, photographs, rare books, letters, and manuscripts that offer new insights into the nation’s history and culture.
Organized by the Bernard and Shirley Kinsey Foundation for the Arts and Education and KBK Enterprises Inc., the award-winning global pledge represents more than 50 years of fundraising by the organization’s namesake. The family’s mission is to raise awareness and celebrate the achievements of African Americans dating back to 1595.
Depicting the intersections of art and history, the exhibit includes bills of sale, advertisements, and documents documenting the slave trade; hand-colored Civil War-era tintypes; Harlem Renaissance art and literature; and artifacts from the civil rights movement. The history of African Americans in art is traced through works by Grafton Tyler Brown, Bisa Butler, Elizabeth Catlett, Robert S. Duncanson, Alma Thomas, Charles White and Hale Woodruff.
“Intrinsically integrated into the content of the collection and the way we share it, Human to live and tell the stories of human beings with the same hopes, desires, dreams, loves and ultimately humanity as anyone else – but have often, through the lens of American history – been deprived of these things very human,” said Khalil Kinsey, Managing Director and Chief Curator of the Collection and Exhibits.
Kinsey emphasized that the exhibit is a retrospective of American history, noting the many important contributions of African Americans.
“Given the unique opportunities for an academic art museum to support scholarship, the Kinsey Collection provides a window into our past and our future,” said Cindi Malinick, the museum’s executive director. “Layer Auburn’s location, this relevant and engaging exhibit will spark significant scrutiny and dialogue.”
Located on the Auburn campus, the Jule Collins Smith Museum of Fine Art is the cultural heart of an Alabama public research institution serving students, faculty, and the Southeast. The University Art Collection includes mid-20th century American Modernism, Mexican Modernism, contemporary prints and photographs, Audubon etchings, works on paper depicting the South, ceramics, and visionary art.
Cintya Concari and Roberto Marcatti of RMA STUDIO in Milan, with Salvatore Licitra Archive by Gio Pontiare responsible for the staging and curating of the beautiful exhibition entitled “A table with Gio Ponti. Gli angeli apparecchiano” (A table with Gio Ponti. The angels set the table)is currently taking place at ALCA Museum of paleontology in Maglie until September 30. Strengthened by their strong relationship with the territory of Puglia, where they have been organizing exhibitions for ten years, to the point of receiving the Prize for Mercatino del Gusto award as ambassadors of the culture of Puglia, the curators have proposed to local institutions an exhibition project dedicated to one of the most important architects of the 20th century, who created one of his most important works in Puglia: the Cathedral of the Mother of God in Taranto. In search of new visions and links between ancient and contemporary, the exhibition takes place in the evocative halls of the ALCA Paleontology Museum of Maglie, one of the hundred most innovative museums in Italy, and is presented by the Polo Biblio-Museale di Lecce with the Puglia Region, the Municipality of Maglie and the Mercatino del Gusto association, with the sponsorship of the ADI and the Orders of Architects of Lecce and Milan. The exhibition interacts with the museum’s prehistoric finds, bringing the designer’s vision to the public’s attention through the exhibits designed by Gio Ponti. Emphasizing the continuity between tradition and innovation, the shapes, colors and decorations of the objects linked to the daily ritual of the table and conviviality aim to introduce the public to the Italian architect/designer and his attention to the craftsmanship and traditional Mediterranean culture. “The creations of Gio Ponti“, say the conservatives”contribute to highlighting the diversities of our society and the need to express them through the culture of design”. The exhibition is complemented by a catalog with important contributions from designers and theoreticians.
Title of the exhibition: “A tavola con Gio Ponti. Gli angeli apparecchiano” curated by Cintya Concari & Roberto Marcatti – RMA STUDIO Milan, with Salvatore Licitra from the Gio Ponti Archive Exhibition design: Cintya Concari and Roberto Marcatti – RMA STUDIO Milan Date: August 1 – September 30, 2022 Location: Museo ALCA, Maglie (LE), Italy Photo: Daniele Coricciati
Art for the future: Call for artists and Central American solidarity, the most in-depth exhibition to date exploring the militant campaign of the 1980s, Artists Call Against American Intervention in Central America, will open Tuesday, September 6 at the University of New Mexico Museum of Art. The exhibition will be visible in all the galleries of the UNM art museum until December 3.
Art for the future: Call for artists and Central American solidarity is hosted by Tufts University Art Galleries and curated by Erina Duganne, professor of art history at Texas State University, and Abigail Satinsky, curator and public engagement manager for Tufts University Art Galleries.
The Artists Call campaign, launched in New York in 1984, used public demonstrations, films, art exhibits, mail art, performances, and poetry readings to protest U.S. military interventions in Central America , educate the American public and develop transnational networks for community organizing. , solidarity and exchange. Artists Call was founded on the political organizing of artists and activists such as Daniel Flores y Ascencio, Lucy Lippard, Doug Ashford, Leon Golub and Coosje van Bruggen, and has grown to be supported by over 1,000 artists at New York, and many more. in more than 25 cities across North America.
Installation view, Beatriz Cortez, 2022. Peter Harris Photography.
The art of the future explores the robust history of the campaign and its intersection with art and activism today. The exhibition includes major works by Josely Carvalho, Jimmie Durham, Dona Ann McAdams, Ana Mendieta, Claes Oldenburg, Martha Rosler, Juan Sánchez, Nancy Spero, Zarina and many more. Among the works featured in the campaign are those by Hans Haacke American isolation box, Grenada, 1983which recreates an isolation room used by US troops to hold prisoners at Point Salines Airport after the US invasion of Grenada. Rebuilding Codex (1984) by Sabra Moore and 19 collaborators, including Emma Amos, Camille Billops, Virginia Jaramillo, Nancy Spero and Jaune Quick-to-See Smith, among others, is also included. This work pays homage to the ancient indigenous cultures of Latin America by reconstructing a Mayan codex. The exhibition, moreover, highlights ephemeral materials from the personal archives of organizers Lucy Lippard and Doug Ashford.
Benvenuto Chavajay, Doroteo Guamuche, 2016. Photograph courtesy of the artist.
Along with historical works, the exhibition also features contemporary artists in conversation with Artists Call. These artworks include Carlos Motta’s wall installation from his ongoing series, Brief history of American interventions in Latin America since 1946. by Beatriz Cortez 1984: Space-time capsule breaks down artistic and political trajectories to examine ideas of resilience, solidarity and creative freedom. Naeem Mohaiemen’s film Wooster Street thinks through the community via the connections of Artists Call participants Judy Blum, Krishna Reddy and Zarina. Photographic installation by Benvenuto Chavajay Doroteo Guamuche claims the indigenous identity of the famous Guatemalan long-distance runner Doroteo Guamuche Flores.
“The exhibition is an intergenerational conversation of artists mobilizing their collective voice in protest, action and engagement. We can learn from these efforts to build different futures,” Satinsky said.
All the texts of the exhibition and the catalog for The art of the future is fully bilingual in Spanish and English. The illustrated catalog examines the mobilization of writers, artists, activists and arts organizations for Artists Call and examines the legacy of the campaign today. It presents essays by artists and curators of the exhibition as well as interviews with the organizers of the Call for Artists.
Kency Cornejo, associate professor of art history at UNM, contributes to an essay titled Writing Art Histories from Below: A Decolonial Perspective from Guanaca-Hood. The catalog places Artists Call in a larger visual, historical, and sociopolitical context and fills a gap in the examination of political and aesthetic actions across the Americas, past and present. The catalogs will be available for purchase for the duration of the exhibition.
“We are delighted to host the Tufts University Art Galleries exhibition, The art of the future, which speaks of art, activism and solidarity. Contemporary works by Latinx artists update this historic exhibition in crucial ways. Among the more than 100 artists in the exhibition, we celebrate the contributions of our fellow New Mexicans Lucy Lippard, Sabra Moore and Jaune Quick-to-See Smith, whose lifelong commitment to art and activism continues to inspire,” said curator Mary Statzer. prints and photographs at UNMAM.
The exhibition and catalog have received major support from the National Endowment for the Arts, the Andy Warhol Foundation for the Visual Arts and the Institute for Latin American Art Studies (ISLAA).
The UNM Art Museum will be open Tuesday through Thursday from 10 a.m. to 5 p.m. and Friday through Saturday from 10 a.m. to 6 p.m., beginning Tuesday, September 6. Admission is always free.
Top picture: Dona Ann McAdams procession for peace marches with the banner Artists Call Against US Intervention in Central America, New York, 1984. Gelatin silver print. Courtesy of the artist.
This piece originally appeared on the Good Notes blog.
One of my favorite collections at Eccles Health Sciences Library is the History of Health Sciences collection. Books, meeting minutes from the 1950s, oral histories dating back to the 1970s-1980s, medical equipment, photographs, a time capsule from the 1980s, scrapbooks, clothing, an iron lung, and more artifacts paint a fascinating picture of the development of health sciences over the decades.
The collection has been accumulating for over 50 years. We have received amazing artifacts from former faculty members and former students. Recently a visitor came to the library with her mother’s woolen nursing cape from the 1950s, it’s just amazing!
But, beyond conversation pieces and outdated medical equipment, the History of Health Sciences collection shows the evolution of medicine. It reminds us of how far we’ve come. It also provides important context for the future of the University of Utah Health.
Fundraising in action
At the library, the preservation of history is one of our greatest concerns.
Earlier this year, one of the oldest buildings on campus, the Medical Research and Education Building (MREB)– was demolished as part of an ongoing campus transformation project. Another important historical monument, Building 521which houses the university’s medical school, will soon be demolished to make way for the new Spencer Fox Eccles Medical School.
Before a historic building is demolished, the State Historic Preservation Office (SHPO) requires complete documentation. This includes researching the history of the building, cataloging all historic artifacts housed in the building, salvaging all artifacts prior to demolition, and submitting a report. This is a colossal task made possible by the History of Health Sciences collection.
Instead of hiring an outside contractor to complete the documentation for both buildings, graduate student Keely Mruk took on the projects. Mruk has since completed his Master of Arts in United States History at the University of Utah and is continuing his studies at the University of Wisconsin-Madison.
Most of Mruk’s research for the documentation project came from the Health Sciences History Collection, which allowed him to create a strong story that met the requirements of the SHPO. The project has also become its own resource, ensuring that nothing of value is lost as we move forward.
The History of Health Sciences collection also provides an opportunity to show how things have stayed the same over the years and how we still face some of the same issues as past generations. There’s a lot more to collecting artifacts than just doing it for story’s sake. Rather, it is about how the past can impact what we do today.
Some medical tools, like scalpels, are much the same as they were many years ago. Research conducted using materials from our collection can sometimes shed light on what is happening now. A good example is our digital polio exhibition, which documents the polio vaccine and the response to it. Reflecting on this moment in history can help us learn from what we have done in the past to help people accept a life-changing vaccine.
A resource for all
As important as our collection is, it is not as visible as it could be. That’s something we’re working on on the University of Utah campus: making sure all of our students, faculty, and staff know about the collection so they can benefit from it.
Beyond campus, we are also increasing visibility and access by putting our collections online. Currently, many of our digital library collections are accessible by anyone, anywhere through our website. As we grow our digital presence, we are also creating guides for our collections, making them easier to find and use.
The future of collecting
We have already learned a great deal from the countless books, photographs and other artifacts in the History of Health Sciences collection. However, we know we can learn even more by continuing to research our incredible collection.
We invite you all to come visit the Eccles Health Sciences Library. For those at other institutions, consider visiting your own medical library. The more we learn about our rich history, the brighter our future can be.
The Mitchell Museum of the American Indian, 3001 Central St. (in Central Park), sports a brand new mural on its south facade. And he needed it, because the central street side of the building is flat and perfectly plain – it has never told a passerby about what’s inside.
The mural was unveiled at 4:45 p.m. on August 26 before a crowd of around 50 people. Several women and girls wore ribbon skirts and beaded accessories, earrings and bracelets. The open house event included the unveiling of the mural, museum tours, Native American food, and an author talk. It was a beautiful sunny afternoon and the Native Medicine and Pollinator Garden was in full bloom.
Joseph Gackstetter, director of development and collections, said neighbors thanked the museum for planting the garden. “It is part of our overall vision, to build a bridge between the indigenous and general communities. And to see the museum as a resource,” he said.
Museum director Kim Vigue, a member of the Menomonee and Ojibwa tribes, has only been in the position since October 2021. She said: “The museum’s board of trustees is now primarily Indigenous – some members are from Evanston, D ‘others from Chicago.’
A team of five people run the museum, including Josee Starr, the director of operations, made up of Mandan, Hidatsa and Arika.
Vigue introduced lead artist Nigives White who, in turn, introduced the nine Aboriginal children who painted the mural. Each child had signed their name at the bottom of the fresco and, when introduced, pronounced their name and that of the tribe or tribes to which they belonged.
The mural is an effort to make the museum and its mission more visible in the community, as well as to “freshen up” the exterior, Vigue said. The work is composed of five painted, primed and sealed plywood panels.
The Mitchell also owns the property immediately to the west, used as an event space where visitors enjoyed local dishes. The wall panels had been laid out and painted on the large lawn under White’s supervision.
Artist White studied art at the University of New Mexico. He is now the youth coordinator at St. Kateri Center, a ministry of St. Benedict Parish in Chicago, serving the Native American community in Illinois.
At the center, indigenous believers can pray and practice their spirituality in accordance with their cultural traditions. There are 130,000 Native Americans in northeast Illinois, I’m told.
White is Arikara, Omaha and Odawa. He told the assembled crowd that the centerpiece of the mural is based on an Objibwe creation story of a flood and a rescue, to which the children added a number of animals not intended in its preliminary design.
There is a sacrificial beaver, loon, otter and muskrat. Most were saved on the back of a turtle. A skunk and an eagle also feature prominently, taken from another Ojibwe story. This story tells us how the skunk got its black and white stripes.
The young performers were mainly from the St. Kateri youth organization, aged between 9 and 17. It only took a week to paint the wall panels.
When they were mounted on the wall, they were covered in a bright blue tarp for another two weeks, waiting to be unveiled. There was just a little bit take a look below before August 26th. Much applause greeted the mural when the tarp was removed by the children.
Formerly a research-only library, Mitchell’s library became a members-only lending library beginning Friday, Gackstetter said. As part of the celebration, a Native American author of children’s books, Maria Des Jarlait, gave a presentation at the library.
Des Jarlait is Arikara and Ojibwe. She grew up on a reservation in North Dakota, leaving for her studies and to become a teacher. His books are Atika’s medicine, I’m not a costume and White Cedar Woman. She wants Native American children to know their history and be proud of their identity and culture and she deeply hates the exploitation of Native Americans.
In her speech, Des Jarlait spoke of a situation she experienced, seeing “fake” Indian handicrafts for sale in a mall, which infuriated her.
The Indian Arts & Crafts Act of 1990, a federal law, prohibits misrepresentation in the marketing of Native American or Alaska Native arts and crafts products in the United States. Violations can result in substantial fines, jail time and civil penalties.
The building inhabited by the Mitchell Museum was built as the Terra Museum of American Art, founded by Chicago businessman Daniel J. Terra in 1980. The Terra Museum’s art collection was his own.
Terra was named the United States’ first and only Goodwill Ambassador for Cultural Affairs by President Ronald Regan, serving from July 1981 to January 1989.
The museum moved to Michigan Avenue in Chicago in 1987. But it closed permanently in 2004, after 24 years of operation and declining attendance. Much of the Terra collection went to the Art Institute of Chicago.
Now the same building is filled with fascinating exhibits, one of the few museums across the country that focuses exclusively on the art, history and culture of American Indians and First Nations peoples of the states United States and Canada. Founded in 1977 as part of Kendall College (formerly on Orrington Avenue), the Mitchell moved to its current location in 1997.
In 2006, the Mitchells separated from Kendall to stay in Evanston and became a non-profit organization. The collection of more than 10,000 Native American artifacts represents some of the finest Native American textiles, visual arts, carvings and jewelry in the country. There is a wonderful little gift shop. Admission is $5-$7, with children under 3 free.
The Museum of Islamic Art will reopen following an improvement project and an overhaul of its permanent collection galleries, Qatar Museums has announced.
The museum is one of the leading institutions dedicated to Islamic art and will welcome visitors from October 5, in time for the influx of tourists and football fans heading to Doha for the FIFA World Cup , which begins in November.
The redesign was done with the goal of making the museum a more accessible, engaging, and educational experience.
More than 1,000 objects will be on display at the museum for the first time, most of which are newly curated or acquired, alongside pieces for which the institution has long been known.
The collection galleries will include a comprehensive visitor trail, offering interpretive materials that will help contextualize the artworks as well as interactive exhibits and multi-sensory apps to make the museum more accessible to families and young visitors.
The galleries will be organized according to historical and cultural themes, time periods and geography. They will explore the great traditions of Islamic craftsmanship. The museum will also feature a new section on Islam in Southeast Asia and focus on cultural exchange within the Islamic world and beyond.
Baghdad: the pleasure of the eyeswill be one of the first temporary exhibitions presented. Running from October 26 to February 25, the exhibition will explore and celebrate Baghdad’s legacy as the capital of the Abbasid Caliphate, which ruled between 750 and 1258.
The exhibition will also highlight its legacy in modern times, when the city once again became an artistic, cultural and commercial hub in the 20th century. The exhibition will include 160 objects, including works on loan from major institutions around the world.
The reopening is part of the year-round cultural initiative called Qatar Creates. The museum, which opened in 2008, is built at one end of the Doha Corniche. This was the first intuition launched by Qatar Museums under the leadership of its president Sheikha Al Mayassa Al Thani.
The museum was designed by IM Pei, an internationally renowned architect and Pritzker Prize winner.
“The opening of the Museum of Islamic Art was a transformative moment for Qatar, marking the nation’s emergence as a new global cultural destination and paving the way for the establishment of other major museums and cultural institutions around the world. region,” said Sheikha Al Thani.
“We are delighted that locals have the chance to rediscover the museum, and we invite visitors who come to watch the World Cup matches to discover this essential expression of our heritage and culture.”
“I am honored to lead this extraordinary institution into its next chapter,” said Julia Gonnella, director of the museum. “This enhancement will benefit generations of visitors, providing an even more meaningful experience and allowing guests to explore the rich and vast history of the Islamic world as told through our unparalleled collection.”
What to expect from the redesign of the Museum of Islamic Arts?
The new visitor experience will begin on the ground floor with an introduction to the museum itself. A new space has been dedicated to the making of the museum, while the old majlis has been transformed into an immersive gallery allowing visitors to learn more about what inspired its architecture.
Some of the museum’s greatest artifacts will be housed in the first gallery on the second floor, including the Blue Quran, the Cavour Vasethe Varanasi necklace, the Ramayana manuscript of Hamida Banu Begum, and the Franchetti Tapestry.
This is followed by an exploration of the origins and spread of Islam, with galleries devoted to the Quran and its history, the Muslim community (umma), learning and education within Islamic cultures, and an examination of the spread of Islam in both the East and Africa. West.
Visitors will then follow the historical events that led to the establishment of the Caliphate, its eastward expansion into Iran and Central Asia, the development of courtly culture in Al-Andalus, and the survival of Islamic heritage in the post-Islamic Spain.
The new layout of the galleries will also illustrate the variety of materials used in Islamic art, including carpets and textiles, manuscripts, ceramics, wood, ivory, ironwork, stone and glass. The coins date from the early Islamic period through the 20th century, spanning Spain and North Africa to the Far East.
Highlights of these galleries include the first fragments of the Hijazi Quran, the sitara of the Holy Kaaba, the Moroccan arch, a copy of al-Sufi’s treatise on the fixed stars, the blue and white Abbasid bowl, the panel in Seljuk stucco, the Doha Hind and the post-Islamic Spanish ceiling.
Level three travels across the Islamic world from the Mediterranean in the west to the Indian Ocean in the east and beyond. The floor will explore the arts and societies from the 11th to the 19th century.
The main galleries focus on the three gunpowder empires: the Ottomans, who ruled from Turkey over much of the Arab lands; the Safavids in Iran; and the Mughals in South Asia. Carpets from the Safavid period, a collection of Mughal jewelry and an exhibition of Ottoman Iznik pottery and tiles are on display.
These are accompanied by exhibits of Islamic manuscripts, arms and armour, ending with galleries devoted to China and Southeast Asia, the latter subject not usually featured in the Islamic art museums.
Artifacts of Cirebon shipwrecks, jade ships, Indonesian gold jewelry and textiles are among the main exhibits. The third level also explores hospitality – showcasing a recently preserved 19th-century Syrian interior of a house in Damascus, which served as a multifunctional microcosm of Ottoman life.
To celebrate its reopening, Qatar Museums and Thames & Hudson have co-published a catalog dedicated to the history and collection of the Museum of Islamic Art.
Damien Hirst, “The Miraculous Journey” (2013). All photos: Qatar Museums
MEMPHIS, Tenn. — The Withers Collection Museum and Gallery unveils a new digital art collection.
“Having the responsibility for so much history, we want to make sure that our history is in the minds of our young people,” said Rosiland Withers, administrator of the Withers estate and founder of the museum.
Withers said he used a company called the 1687 Club to create what are called NFTs. (Non-Fungible Tokens) She stated that an NFT is a digital asset representing real-world objects such as art, music, game assets, and video.
Withers’ father was Dr. Ernest C. Withers, a civil rights photographer who was Dr. Martin Luther King’s official photojournalist for eight years.
“His work consists of approximately 1.8 million images and counting, and he has five categories of Civil Rights, Music, Baseball, Politics and Lifestyle. Lifestyle is the largest corpus of his work,” Withers said.
Withers said the collection will begin with around 11,000 images available for purchase.
“Club 1687’s goal is to raise funds for projects like this,” said Natasha Bell, co-founder of Club 1687.
Bell said it was the first Black NFT project using the historical art.
“It’s a one-of-a-kind piece of digital art. It’s a digital collectible, and they (the buyers) own the intellectual property of that image they’re buying,” Bell said.
Bell likened the concept to owning cryptocurrency.
“I saw an opportunity to help bring the Withers collection into the digital age, and so we saw this opportunity to introduce it to young people because that’s what’s in the art space. digital, young creatives,” Bell said.
Actress Angela Bassett recently tweeted that she purchased an NFT client from the Withers collection.
CLICK HERE to view the art and purchase an NFT.
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Commander is one of the most popular Magic: The Gathering formats today. This multiplayer format allows players to build a deck around a single legendary creature that they can easily access throughout the game. At each new Magic together there are a few new legendary creatures that can be used as new commanders.
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The last Magic Position, Dominaria Unitedtakes place in one of Magicolder settings and features a ton of popular characters. Wizards of the Coast has given all of these character cards, resulting in over 70 possible new commanders from the set, some better than others.
ten Ayesha Tanaka, Armorer, is an excellent Voltron Gear Commander
Ayesha Tanaka, Armorer allows players to play artifacts for free if they are below her power. This ability works great with Equipment Artifacts which can increase its power as it will allow players to get more expensive equipment on the board for free.
Ayesha also can’t be blocked if the player she’s attacking controls three artifacts. Since Artifacts are very popular in Commander for mana production, chances are Ayesha can attack her opponents directly and win with Commander damage.
9 Soul Of Windgrace can spawn on mighty lands
Soul of Windgrace has a variety of abilities allowing for some versatility. He can draw cards, gain life or make himself indestructible. Perhaps his most powerful ability is the one that allows players to take land from any graveyard.
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Powerful lands are often the target of suppression spells in Commander games. Soul of Windgrace will allow players to recover all destroyed land, or even those in enemy graveyards. It can also help recycle reclaimed land to continually increase a player’s mana base.
8 Jenson Carthalion, Druid Exile helps filter mana in WUBRG decks
Five-color Commander decks are a lot of fun because they allow players to access any card. However, these decks can be very expensive, as they require a lot of quality lands to ensure they have all the suits. Luckily, Jenson Carthalion can save players money by helping set their mana colors.
Jenson Carthalion only costs one white mana and one green mana, making it easy to take out on the board. Once there, it allows players to pay five mana of any color to make one mana of each color. It’s a great way to create any color a player needs without having every land type.
seven Sheoldred, the apocalypse is a potential combo catalyst
Drawing maps is an important resource for everything Magic player, but Sheoldred, the Apocalypse will discourage opponents from drawing too much. By dealing two damage to any opponent who draws a card, Sheoldred will slow their enemies and give players an advantage in terms of life totals.
Sheoldred, the Apocalypse also gives the player who controls it two extra life points each time they draw a card. This gives players the ability to use life for a resource and also forms a powerful combo with Lich’s Mastery card.
6 Jhoira, an ageless innovator deceives artifacts
Jhoira, Ageless Innovator allows players to avoid mana costs for artifact cards by giving them a chance to play one for free each time she activates her ability. Artifacts are part of Magicthe most powerful cards of, and getting them for free will put players ahead of their opponents.
Since Jhoira, Ageless Innovator allows players to include blue cards in their deck, there are ways players can untap her and use her ability multiple times per turn. This can quickly snowball, allowing players to get an early lead over their opponents.