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Digital effort to preserve Ukraine’s cultural artifacts amid war wins Grand Prix at Cannes


A one-of-a-kind digital tool designed to help Ukrainians capture historical artifacts and cultural monuments in 3D imagery has received the Digital Craft Lions Grand Prize at the 2022 Cannes Lions International Festival of Creativity.

On the second day of Cannes Lions, the Digital Craft Lions Grand Prix – which highlights the best technological craftsmanship in the industry – was awarded to Virtue Worldwide New York for a project designed to protect and preserve Ukrainian cultural artifacts in the middle of the Russian-Ukrainian conflict. It was selected from 661 entries to win the top prize in the category.

The campaign, “Backup Ukraine”, was developed in collaboration with the United Nations Educational, Scientific and Cultural Organization (UNESCO) and Blue Shield Denmark. It was run by Virtue Worldwide, a creative agency owned by Vice Media.

The project centers on a digital and mobile platform that allows Ukrainians to digitally capture and preserve 3D images of historical artifacts, monuments and other culturally relevant structures and objects at risk of being damaged or destroyed by light of the ongoing war with Russia. The tool uses technology developed by 3D imaging startup Polycam to create realistic digital replicas and store the digital blueprints of the artifacts they capture in the cloud.

“The ‘Backup Ukraine’ project enables all Ukrainian citizens to preserve their greatest wealth as a nation: their culture,” said Luciana Haguiara, Executive Creative Director at Media.Monks Brazil and President of the Digital Craft Lions Jury. . “Using a real-time smartphone camera and GPS,” she explained, “anyone can capture any place or monument in minutes and save the data as maps in the cloud for keep them forever – and all with their own phones. [It’s] a project that transforms every Ukrainian citizen into a guardian of their national heritage… culture is people’s identity and it cannot be destroyed.

The price was something of a surprise; many believed that “McEnroe vs. McEnroe”, a Michelob Ultra branded campaign created by FCB New York that used advanced technologies to portray tennis icon John McEnroe playing against various versions of his past would win the title. He took the Golden Lion.

However, the Russian-Ukrainian conflict has been at the center of the Cannes festival’s concerns this year. Ukrainian President Volodymyr Zelensky made a video appearance at the event, urging attendees to make the conflict in Ukraine a central theme. “We are defending ourselves against a nuclear state that has unlimited access to money and has ignored all limits on violence,” he said. “I’ll be honest with you – the end of this war and its circumstances depend on the attention of the world. And that’s why I need allies. We need people like you.”

He called on creatives in the industry to use their talents to raise awareness on behalf of Ukraine. “I am sure you will do much more to promote Ukrainian bravery… you can bring peace to Europe simply by applying your professional qualities. I believe that the power of human creativity is greater than the power of a nuclear state which is stuck in the past,” he said.

That was not all; On Monday in Cannes, PR heavyweight Richard Edelman, alongside Russian chess grandmaster and exile Garry Kasparov, unveiled a new program to help mobilize Western leaders to end the war in Ukraine.

Discover all the big winners at Cannes this year.

New Appointments Announced at the Studio Museum of Harlem, National Gallery of Canada, School of the Art Institute of Chicago, Terra Foundation and More

SEVERAL ART INSTITUTIONS have announced notable new curatorial and leadership appointments in the past month, including newly created roles at the Studio Museum in Harlem and the Terra Foundation for American Art in Chicago:

T. Camille Martin-Thomsen is incoming dean of faculty and vice president of academic affairs at the School of the Art Institute of Chicago. | Courtesy of SAIC

T. Camille Martin-Thomsen was named dean of faculty and vice president of academic affairs at the School of the Art Institute of Chicago (SAIC). She will lead the school’s academic programs, research and professional practice activities, and faculty diversity and inclusion efforts. An architect and researcher, Martin-Thomsen was previously acting assistant vice provost for academic affairs at the Pratt Institute in New York, where she also taught in the departments of interior design and art and design education. . She joins SAIC on September 1st. | Artistic education

Occupy a newly created position, Amber Esseiva joined the Workshop Museum in Harlem as general curator. The announcement comes as the new Studio Museum building is still under construction on 125th Street. Esseiva will collaborate with the Studio Museum’s curatorial team and “advise exhibitions and acquisitions, manage artist relations, and participate in artist advocacy work related to the Museum’s mission, while strengthening its ongoing research.” She comes to the Studio Museum of the Institute of Contemporary Art (ICA) at Virginia Commonwealth University, where, as a curator, she co-curated the inaugural exhibition of the ICA “Statement” (2018), curated the first solo museum exhibition by Los Angeles-based multidisciplinary artist Kandis Williams, and has also featured solo exhibitions by New York artist, composer and performer Jeremy Toussaint-Baptiste; South African multimedia artist Dineo Seshee Bopape; and Martine Syms, concept artist based in Los Angeles. | After

The board of directors of the National Gallery of Canada (NGC) in Ottawa, Ontario, named Angela Cassie Director and Interim CEO on June 20. Since January 2021, Cassie has held the position of Head of Strategy and Inclusion at the museum. She succeeds Director and CEO Sasha Suda, whose departure was announced earlier this month. At the time, NGC announced that it would begin recruiting a new CEO and appointing an interim chief. Cassie assumes her new role on July 10. | After

On June 17, the Terra Foundation for American Art announced the appointment of Turry M. Flucker as Vice President of Collections and Partnerships. He joined the Tougaloo College Foundation in Tougaloo, Miss., where he is currently Director and Curator of Tougaloo College’s Art Collections. In the newly created position at the Terra Foundation in Chicago, Flucker will preside over a collection of American art of 750 objects. It officially starts on August 1. | After

The Terra Foundation for American Art in Chicago also announced four new board members in late April—Amina Dickerson, Eric T. McKissack, Ravi Saligram, and Amanda Williams, an artist and architect by training whose personal exhibition CANDYLADYBLACK is on view at the Gagosian Gallery in New York until July 8. | After

The Detroit Institute of the Arts (DIA) selected Anthony L. Smith as the museum’s vice president for public learning and engagement. A Detroit arts educator with more than 30 years of experience, Smith joins the museum from the Detroit Public Schools Community District, where he currently serves as Deputy Executive Director of Fine and Performing Arts. In previous roles, he taught fine and performing arts at the Detroit School of Arts, Cody High School, and Cass Technical High School. News of Smith’s appointment to the DIA broke on June 16. His term begins July 12. | ArtDaily

Maya Brooks served as Assistant Curator of Contemporary Art at the North Carolina Museum of Art (NCMA) in Raleigh, North Carolina, and Southeast Contemporary Art Center (SECCA) since June 2. SECCA is an affiliate of the NCMA and the North Carolina Department of Natural and Cultural Resources. Brooks accepted the cross-appointment after gaining two years of experience as assistant curator of the Mellon Foundation at NCMA. | After

IMAGES: Above right, Amber Esseiva | Courtesy of the Studio Museum of Harlem; at left, Turry M. Flucker. | Photo by Mark Geil

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Ronald Berman, president of the humanities foundation, dies at 91

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Ronald S. Berman, a Shakespearean scholar whose chairmanship of the National Endowment for the Humanities in the 1970s brought successful museum exhibitions and innovative public programming to audiences of millions and who also found himself in a political confrontation with a powerful senator, died on May 17. at his home in San Diego. He was 91 years old.

The cause was cancer, his daughter Julia Grossman said.

Dr. Berman, who spent much of his career teaching English literature at the University of California, San Diego, was a scholar of Renaissance and Restoration theater. But he was also engaged in the political culture of his time, sometimes in a combative way.

A lifelong Republican, he practiced an intellectual and political conservatism that was shaped in part by his difficult upbringing in Brooklyn in the 1930s and 1940s. As the first member of his Russian-Jewish immigrant family to attend college , he helped pay for tuition at Harvard and Yale with scholarships as well as jobs as diverse as a bibliography: deckhand in the Merchant Navy, road worker in Alaska, and Navy Reserve. officer.

His 1968 book, “America in the Sixties,” raised alarm about the rise of the New Left in academia. In a tangy social critique, he lamented the “disastrous vulgarization of intellectual life” encouraged, in his description, by left-wing campus radicals. He lambasted polymath Bertrand Russell and Marxian philosopher Herbert Marcuse – liberal darlings social activists – like “the Abbott and Costello of political philosophy”.

At UCSD, Dr. Berman was a noted teacher who once ran a college prep program for Black and Chicano students who, like him, come from underprivileged backgrounds. He molded himself in the mold of his hero, the political philosopher Sidney Hook, engaging with students with whom he disagreed on politics in the spirit of “intellectual tolerance”.

After President Richard M. Nixon appointed him chairman of the NEH – an agency responsible for administering grants for teaching and research in the humanities, in areas ranging from linguistics to literature to archeology – Dr. Berman insisted at his confirmation hearing in 1971 that he would “consider all applicants to this institution equally competent, equally deserving” to receive merit-based fellowships.

He also pledged to democratize the humanities by expanding grantmaking to secondary education and working class and minority communities historically excluded from the field.

In addition to initiating K-12 programs and workshops for teachers across the country, he has supported tours of hugely popular museums, including Ancient Egypt. “Treasures of Tutankhamun”, and the 13-episode public television miniseries “The Adams Chronicles” (1976), which starred George Grizzard as future President John Adams and laid the foundation for later historical television series.

During his tenure, NEH’s budget grew from over $29 million to nearly $100 million, a figure that dwarfed that of the independent agency. current credits if adjusted for inflation.

“Everyone was surprised,” said Richard Ekman, former NEH program manager and division director. “Here’s that curator, but a scholarly curator, not an ideologue, who managed to get everybody’s respect and everybody’s cooperation and help the NEH grow like that.”

Dr. Berman won bipartisan support in his early years at NEH, but he was not without criticism. He faced an early leadership crisis when he vetoed a request to fund college courses exploring the lyrics of Bob Dylan and the Beatles, as well as another examining the writings of Charles Reich, author of the best -counterculture seller “The Greening of America”.

Dr Berman said critics of his decision confused “the humanities with humanitarianism”. He also argued that the lessons were insufficient in focusing entirely on the lyrics and the book, rather than using them as starting points for the exploration of scholarly ideas. He was sometimes presented as an elitist, a charge he vehemently disputed.

“You can be accused of elitism if you confine [education] to the elite,” he said at the time, “but you can’t be accused of elitism if you bring the best to the most.

Its main antagonist and bearer of the cudgel of elitism was Senator Claiborne Pell, a flinty and influential Democrat from Rhode Island who liked to say “I always let the other do what I want”. Pell was the legislative father of the NEH, which was created by the National Foundation on the Arts and Humanities Act of 1965.

Pell, who said too many grants were given to East Coast scholars and universities, wanted the NEH to follow the model of the agency’s better-known twin, the National Endowment for the Arts, which funneled funds to state-level arts councils. State Humanities Committees were first established in 1971 and arrived in all 50 states within a few years of Dr. Berman’s appointment.

As the committees began their work administering local grants focused on state history, Pell lobbied for the committees to have greater autonomy and status as permanent councils, as well as to turn over 20% of the NEH budget to state governors.

Dr. Berman opposed the move, saying decentralizing the review process would make the quality of grantmaking uneven across states. Pell countered by calling him elitist and pointing out the past grants from the NEH which he hoped would embarrass Dr. Berman ($35,000 to Harvard for a catalog of 4,000 Byzantine seals), and obstruct his renomination by President Gerald Ford in 1977.

Pell prevailed on the issue of state committees, which became permanent councils with the ability to independently administer grants and request NEH support annually. Currently, councils receive approximately 40% of agency funding.

Timothy Gunn, Program Coordinator and Officer at NEH in the 1970s, Dr. Berman said, “expanded the scope of the endowment in so many interesting and fruitful ways. … For someone who had gone to the most prestigious Ivy League schools, it This was his emphasis and his drive to reach a wide audience by not diluting the humanities, by not diminishing in any way the quality of what was offered.

Ronald Stanley Berman was born in Brooklyn on December 15, 1930. His parents divorced when he was 5 years old. He was raised primarily by his mother, grandmother, and other female relatives who spoke mostly Yiddish. He was a teenager when his mother, a civil servant, remarried; he did not keep in touch with his father.

He developed a fascination for literature very early on. “I started reading ‘The Odyssey’ when I was 7,” he said. told the New York Times. “I was a bookworm. Mom had to throw me out of the house” to play. He quickly excelled outdoors as well, winning several racing championships.

He earned a bachelor’s degree in sociology from Harvard in 1952. He never took English classes as an undergraduate for fear of exposing his heavy Brooklyn accent and poor background to ridicule from his classmates. . Even so, he was accepted into Yale’s graduate English program in 1956 after submitting hundreds of pages in which he critiqued literary works he had read and admired.

“Immediately Professor Maynard Mack said, ‘You’re in, of course, come along,'” said essayist and author Roger Rosenblatt, a friend and former director of education at NEH, referring to the story. one of Yale’s most distinguished professors of literature.

After earning his Ph.D. in English Literature at Yale in 1959, Dr. Berman taught at Columbia University and Kenyon College in Ohio before joining the faculty at UCSD in 1965. After his tenure at NEH, he returned to San Diego, wrote books on political culture. and F. Scott Fitzgerald, and commented on what he considered wasteful spending on the arts.

His wife of 60 years, the former Barbara Barr, died in 2013. In addition to his daughter, of Silver Spring, Md., survivors include two other children, Katherine Berman of San Diego and Andrew Berman of St. Petersburg, Florida; and three grandchildren.

Dr. Berman taught until his retirement in 2009 and has at times expressed a sense that the atmosphere he cultivated in the classroom – a nurturing interaction between student and teacher – was his most important legacy.

The art of teaching is “almost as extinct as the art of making stained glass,” he told The Times. “You need a lot of patience with people – working hard, up close, like punches. It’s not just about standing at a desk for an hour and looking good.

“Tale of Two Paintings” at Historic Huguenot Street this Sunday unveils long-lost portraits

Josephine Bloodgood and Carol Johnson with the two Ammi Phillips paintings stolen in February 1972 from HHS. (Photo by Lauren Thomas)

This Sunday, June 26 at 2 p.m., Historic Huguenot Street (HHS) in New Paltz will host a program that should delight lovers of history and mystery. “A Tale of Two Paintings” will feature Carol Johnson, HHS Administrator and Coordinator of the Haviland-Heidgerd Historical Collection at the Elting Memorial Library, and Josephine Bloodgood, Director of Curatorial and Preservation Affairs at HHS, sharing a thrilling true crime story with an exceptionally happy ending.

All over the world there is a thriving trade in stolen works of art. Sometimes the theft is quite blatant, as during the looting in the early 19e century by the Earl of Elgin of a large collection of priceless classical Greek sculpture from the Parthenon. Boris Johnson and the British Museum are still battling UNESCO’s order to repatriate the Elgin Marbles to Greece. Nazi Germany was equally shameless in stealing thousands of valuable works of art from Jewish homes, destined for Adolf Hitler’s own private collection. Many of them were lost, but every once in a while a news report surfaces of a missing piece confiscated by the Nazis that resurfaces and is returned to the surviving family.

One would think that knowledge of these outrageous large-scale thefts would make art dealers and auctioneers extremely wary of establishing the provenance and legal ownership of the artworks they sell. But as Johnson and Bloodgood discovered, that’s not necessarily the case. The world’s most prestigious auction house, Sotheby’s, appears to have dropped the ball when it sold a pair of 1820s paintings by itinerant portrait painter Ammi Phillips in an auction of ‘Important Americana’ in 2005. Both paintings were found to have been stolen in February 1972 from Historic Huguenot Street.

Born in Colebrook, Connecticut in 1788, Ammi Phillips spent five decades traveling through the Hudson Valley, Massachusetts and Connecticut painting portraits of men, women and children – and sometimes their pets. company : Girl in a red dress with her cat and dog, probably painted at Saugerties, is probably his most widely recognized work. Typical of their time, his adult portraits generally depict individuals dressed in ceremonial attire: mostly black dresses or suits with white accents. Women often wear translucent white ruffled beanies. If there is a hint of color to be seen, it is usually red, often in the form of a Bible or other book the subject is holding. Postures tend to be stiff, facial expressions dark.

Browse the nearly 800 images in the catalog My People: The Works of Ammi Phillips by David R. Allaway (https://issuu.com/n2xb/docs/ammi_phillips_-_abstract__thumbnail) gives the impression that it would not be difficult to confuse one Phillips work with another. Fortunately for HHS, the historical society had photographed the portraits of prominent New Paltz residents Dirck D. Wynkoop (1738-1827) and his wife Annatje Eltinge (1748-1827) shortly after they were donated by Marie Wiersum. According to Johnson, Wiersum and her husband had purchased the 1799 LeFevre House on Huguenot Street, formerly the home of Dirk Wynkoop Elting, the couple’s grandson in the portraits. “The paintings hung in the house he built for 150 years. The paints went with the house,” says Johnson.

Eventually, the Wiersums decided to sell the house, but took the paintings with them, lest the new owner divide the building into apartments. In December 1971, they donated it to HHS, which had since acquired the LeFevre House from Ruth Heidgerd and wanted to restore the paintings to their previous location. Three months later, two of the historic buildings on Rue Huguenot were broken into and many valuables were lost, including portraits of Dirck Wynkoop and Annatje Eltinge.

HHS issued an alert in the form of postcards with photos of the stolen items. Says Johnson, “Within a month they were tipped and 75% of the items were recovered from an antique store in New York. The owner was arrested, but we don’t know the outcome.

The two missing portraits, however, were not found at the time. But the existence of the postcards with their images proved crucial decades later, when Johnson made it her mission to find them if she could. She remembers the grief of her mentor, Ruth Heidgerd, who had felt a special attachment to the LeFevre house and never quite recovered from the theft. Later, Johnson learned more about the story of Marie Wiersum, who had become the children’s librarian at the Elting Library.

Determined to find where the missing paintings were, Johnson recruited Bloodgood to her cause, and the research project became serious in 2020 when normal activity at HHS and the Elting Library slowed due to the pandemic. “We were going through different databases of stolen artwork, salvaging the brains of a lot of people,” Bloodgood recalls. After careful review of Allaway’s full 2019 catalog on Phillips, they noted that both portraits were listed as missing, with no corresponding images. “But in Part 2, they had the images, saying they were sold by Sotheby’s,” Johnson explains. These “unidentified” portraits matched the photographs in the 1971 HHS postcards.

Recovering the portraits from their most recent owner was a complicated process that required the assistance of the New York division of the FBI’s Art Crime team. “People weren’t very encouraging, saying it was going to be very expensive to get them back, and Sotheby’s was going to fight hard,” Bloodgood said. Thus, the couple requested the intervention of the FBI, which could assign the auction house. But first they had to build a compelling case of documents, including proof of HHS ownership, Wiersum’s deed of gift. “We presented them with a really strong case.”

In 2021, after locating the paintings, the FBI assigned an agent, Jessica Dittmer, to the case, and within months she showed up on the doorstep of the newer owners and “removed the art from the wall,” Johnson said. “The FBI did it tactfully.” The portraits were returned to HHS, 50 years and one day after the theft.

The recovered portraits make an excellent addition to the organization’s 2020 exhibition “Never was a Slave: Jacob Wynkoop, Free and Black in 19e-Century New Paltz,” still on view at the DuBois Fort Visitor Center. It turns out that Dirck D. Wynkoop owned at least 14 African American slaves, one of whom was the father of Jacob Wynkoop, who became a noted home builder in New Paltz and one of its first black residents to exercise their right to vote. Dirck had used slave labor to run a wheat plantation and flour mill on land in Plains Road which his first wife, Sarah Eltinge, had inherited.

A new exhibition dedicated to the recovery of the paintings and the Wynkoop-Eltinge family will be held at Fort DuBois until July 10. The portraits will remain visible in another exhibition devoted to exceptional new acquisitions from July 16 to December 18. I will be exhibiting them for a while and raising funds to keep the paintings,” Bloodgood says.

Unfortunately, both portraits suffered some damage: knocks and scratches, a chipped frame. Annatje Eltinge’s canvas must be removed from its support, which has bent, and reassembled; worst of all, a previous clumsy attempt at editing obliterated his right ear. HHS engaged Connecticut-based Yost Conservation, LLC, which has considerable experience restoring Phillips paintings; but project funding needs to be increased. Contributions can be announced online at www.huguenotstreet.org/donate.

Meanwhile, you are invited to attend “A Tale of Two Paintings” this Sunday, view the portraits and hear the exciting story of healing. Light refreshments will be served. Tickets are $15 general admission; $12 for HHS members, seniors, students, and children under 13; and free for veterans, active military personnel and their families, and children under 6 years old. To register, visit www.huguenotstreet.org/calendar-des-events.

The visitor center is located at 81, rue Huguenot, open to the public Wednesday through Sunday from 10 a.m. to 4 p.m. until the end of October.

A reader in an art gallery – The New Indian Express

Express press service

BENGALURU: Several years ago, one sunny afternoon after finishing work, a colleague asked me if I wanted to visit the National Gallery of Modern Art. I said “yes” on a whim. We wandered around the premises and just like that, NG MA became my most loved place in Bangalore. Whenever I needed time away from the resentful realities of the material world, this was my go-to place.

Sometimes there was an exhibit that provided enough food for your brain, while other days just sitting on one of those stone benches under an old tree with a book was more than enough. There would be a constant stream of art lovers and artists going about their business. The serene pond seemed to be able to reflect our thoughts. On rainy days, when the whole world was shrouded in greyness, I would rush to the Gallery, sit with a book, drink delicious coffee and sandwiches from the canteen. At NGMA, I have always been able to write so easily, without interruptions or distractions.

All of this, of course, before the pandemic, after which I developed a constant fear of visiting public spaces. Being locked up at home for months and suffering a lot from Covid-19 had a huge effect on my psyche. For a long time after my recovery, I was very afraid to interact with strangers, even though I put on a brave face. I ride the same corner two-seater on the Namma subway to this day and am puzzled by the sea of ​​strange faces I meet at Majestic station.

I didn’t get on a city bus after the pandemic and was about to have a panic attack after attending a wedding. When I finally decided to venture out on my own after much deliberation, it was for a book release event. I was convinced that this was the perfect place to find my old schema. I had heard of this writer and there was a good turnout. However, I started to feel claustrophobic soon after and had to rush out. It took me a little longer to get into a bookstore as I had gotten used to ordering them online. We were driving down Palace Road last week and my daughter suddenly asked me, “Wasn’t this your favorite place?” You often disappeared there,” she asked me.

I peeked at the entrance and told him it had been years now. “Why don’t you come back? ” she says. I nodded and wondered why I hadn’t thought of this place. I remembered seeing an artist sketching in a small newspaper on campus while reading Bob Dylan. She saw me looking at her and smiled. We had a brief discussion about poetry and a Korean artist whose works we had both come across some time ago. I also remembered writing a poem squatting in a scenic spot I found next to the canteen. I’ve come to realize that it’s a place of tranquility and creative fun. I plan to visit NG MA one of these days and I know I will be charmed and delighted again.

Former mayor auctioned off artifacts after scrutiny



Former Harrisburg mayor sells artifacts after his death

Stephen Reed served as Harrisburg’s controversial mayor for seven terms. He was an avid historian and collector, but came under fire after buying artifacts with taxpayers’ money and keeping some of the items in his home. Reed died in 2020 and some of the pieces from his private home are up for auction. WGAL News 8’s Anne Shannon got a glimpse of the eclectic collection.

Stephen Reed served as Harrisburg’s controversial mayor for seven terms.

He was an avid historian and collector, but came under fire after buying artifacts with taxpayers’ money and keeping some of the items in his home.

Reed died in 2020 and some of the pieces from his private home are up for auction.

WGAL News 8’s Anne Shannon got a glimpse of the eclectic collection.

What’s new to see and do in California this summer?

It’s no secret that with its diverse natural landscapes, iconic urban centers and every type of attraction imaginable, California literally has something for everyone. With its idyllic year-round climate, this probably explains its position as the most visited state in the United States.

As the summer travel season is in full swing, the Golden State is ready to welcome visitors back with a slew of new offerings, from new hotel openings and culinary concepts to exciting exhibits, enriching historical tours and enchanting animal encounters spread across the state.


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New experiences

– Opening on July 12 is the much-anticipated habitat for the little blue penguins of the Beyster family at San Diego‘s Birch Aquarium at the Scripps Institution of Oceanography, making this much-loved facility the only aquarium in the western United States to house the world’s smallest species of penguin, the little blue penguins. The 2,900 square foot exhibit will feature a custom-built habitat with rocky and sandy shores and an 18,000 gallon swimming pool. It also includes a small amphitheater where guests can observe flightless birds swimming underwater, and a discovery cave to see them up close on land and inside nesting burrows.

— Now open in Long Beach is the new babies! exhibit at the Aquarium of the Pacific, where visitors can meet and interact with adorable baby animals, including baby sea otters, miniature sea jellies and color-changing cuttlefish. Guests learn about endangered baby animals, their various nursery habitats and the specialized care they receive at the aquarium, as well as the accomplishments of its breeding programs and how they contribute to ocean conservation efforts.

Little Blue Penguins, Scripps Institution of Oceanography, Birch Aquarium, San Diego
Little blue penguins at Birch Aquarium at the Scripps Institution of Oceanography in San Diego. (photo via Visit California)

New rides

– On June 18, the new Cheech Marin Center for Chicano Art & Culture (affectionately dubbed “The Cheech”) opened in the Southern California inland city. Riverside. “A global home for Chicano art,” the center is the product of a partnership between the Riverside Art Museum and renowned comedian and Chicano art collector Cheech Marin. The 61,420 square foot facility houses hundreds of paintings, drawings, photographs and sculptures by Latinx artists and invites visitors to celebrate the cultural richness of the Chicano community.

— Near the hub of the central coast of San Luis Obispo, the famous Hearst Castle reopened last month after being closed for two years. Now visitors can take the new Julia Morgan tour to learn about the life and work of California’s first certified female architect, who designed the castle for publishing magnate William Randolph Hearst in Part 1. of the XXth century. Guests taking the Julia Morgan Tour offerings can see seldom-seen areas of the estate that showcase her design talents and some of her personal belongings that offer a glimpse of who she was.

Cheech Marin Center for Chicano Art and Culture, Riverside, CA
Rendering of the Cheech Marin Center for Chicano Art & Culture in Riverside, CA. (photo via Visit California)

New hotel openings

— This summer will see three new hotels introduced in San Francisco, each with a distinctly different vibe. 1 Hotel San Francisco will debut on the city’s scenic Embarcadero, LUMA Hotel San Francisco in its bustling Mission Bay neighborhood and, in Union Square, the completely redesigned and renamed Beacon Grand will relaunch the 1928 building historically known as Sir Francis Drake Hotel.

San Luis Obispo will also open this summer a trio of new hotels from the Nomada Hotel Group, the company behind acclaimed Central Coast properties like Skyview Los Alamos and Solvang’s Hotel Ynez. The group’s specialty is transforming historic spaces into intimate, highly curated places of hospitality, and the three new properties – Pozo, Farmhouse and River Lodge – will offer updated accommodations and premium amenities when they roll out this year.

Pool, The Paloma Resort, Palm Springs, Cathedral City, California
Pool at the Paloma Resort near Palm Springs. (photo via Visit California)

– In the City of OrangeThe historic Olde Towne Plaza, The Richland is set to open in late summer as a reimagined luxury hotel and events venue. The restored historic property will provide an elegant, intimate and highly manicured environment where travelers can come to relax in sophistication, and the local community can commemorate special occasions.

— just south of Palm Springs In Cathedral City, the Paloma Resort will open this summer as a full-service boutique hotel offering a laid-back vibe and a colorful, modernist, mid-century aesthetic. Its 66 bungalows and suites are divided into five dynamic room types that capture the distinct styles and personalities of some of the desert’s most iconic communities: Joshua Tree, Palm Springs, Rancho Mirage, Palm Desert and Coachella. In a fascinating twist, his restaurant Sol y Sombra is actually housed in a 100-year-old mission-style adobe.

For more information, visit visitcalifornia.com.

Announcing the Winners of the Second Annual Yu Prize Competition

Today the winners were announced for the second edition Price Yufounded by an entrepreneur and philanthropist Wendy Yu to support promising Chinese fashion designers. Alex Po and Derek Cheng, the creators of the gender neutral label ANSWER. won top honors, winning the Yu Prize x Li-Ning Grand, which comes with a RMB 1 million cash prize, mentorship from top industry professionals, and the chance to sell their products at Harrod’s.

A look from PONDER.ER’s winning collection.

Photo: Courtesy of Yu Prize

The two designers first met when they were both students at Central St. Martins, and they founded their label in 2019. “We launched our first commercial collection just before the pandemic hit the world,” they explained over email, “but on the positive side, we believe the pandemic has actually given us time and opportunities to reflect, adapt, and be creative in how we we develop ANSWER. like a brand that tells stories.

Their latest collection, titled “Formula Uncategorized,” is inspired by motor racing and features people of all genders wearing a mix of tailored pieces with oversized knits in bold prints (after graduating from Central St. Martins , Po went to the Royal College of Art to study men’s knitwear). Cheng connects their approach to unisex clothing to her first fashion inspiration, her older sister who was “a tomboy.”

“Witchblade” Origins #1-8 – Multiversity Comics


This is Artifacts where I will explore the Artifacts range from TopCow Productions. This first batch of readings will deal with the beginnings of the universe. To start at the beginning is to watch “Witchblade”, the series that started it all. What would eventually be known as the Artifacts line began in November 1995. My breakdown of the origins of this line is primarily derived from the older TopCow “Origin” line released for both “Witchblade” and “The Darkness”. However, they’re likely sold out at this point – although available digitally. If reading these books in a collected format is what you would like, the ongoing “The Complete Witchblade” line that TopCow currently produces is probably the best option in terms of price and issues. For this entry, I’m looking at “Witchblade” #1-8.

It’s interesting to return to a series that feels so out of its time. What kind of time specificity can a series like “Witchblade” give readers because the main series ran for about twenty years, ending with issue 185 in November 2015 (technically about 187 issues were published if you include issue 1/2 and #500 from January 2001 and 1998 respectively). This first era of the series is not the one I know too well. I’ve purchased the entire series over the years because of TopCow’s semi-frequent HumbleBundles and their “complete” reprints, but it’s always the work from the later era that caught my eye because of the art of Stjepan Šejić and the persistent talk of how you should “just read” Ron Marz’s run (#80-150, #170-185). One of the things I’m looking forward to in this project is being able to literally see How? ‘Or’ What the series has changed over time. Which formal characteristics are disappearing? When does line art go digital and not just coloring?

Reading these first 8 issues, one of the most obvious points of “they don’t make them like before” is the constant presence of an omniscient narrator. While “Spawn” has maintained this narrative tool for over 300 issues, it stands out as an exception in the contemporary landscape. Looking at what happens in the approximately 170 pages, it’s worth noting how much “Witchblade” leans on this storytelling to mesh Michael Turner, D-Tron, and various color artists. It’s not that their art is inconsistent, but if we think of comics as the synergistic use of words and imagery, storytelling and art make evident a sense of disconnect between them. Putting aside Turner’s portrayal of the panel’s bodies and contents for now, as I’m sure there will be time to fully unbox it at a later date. Its macro-level layouts fluctuate in this interesting rhythm between bold pin-ups, normal comic book panels, and more expressionistic designs with many small panels placed against a vast gutter that is only filled in by the colorist. You could call it manga-eseque (shonen manga in particular) but that doesn’t sound like a conscious point of reference.

In this sprawling set of layouts, Dennis Heisler’s lettering attempts both to create a line that the reader’s eye can follow and to connect the dots. It’s not always successful, some pages come across as a handful of narration and panels with no clear sense of flow. The boxes’ disconnection and general brevity means they’re somewhat interchangeable, but “Witchblade” isn’t all that experimental of a series. This sometimes turns “Witchblade” into a more emotional reading experience.

The ’90s were an overkill time for comic aesthetics, personified by Image Comics. This excess is especially understandable by the repeated use of home pages and hyper gendered representations of the body in these books. For their part, Michael Turner and inker D-Tron continue this trend in contemporary times with a hyper gendered representation of the body with their cartoonish drawings. And these depictions clearly show a bias toward a supposed cis heterosexual male reader. Antagonists/enemies Kenneth Irons and Ian Nottingham are never shown in the same bifurcated patchwork style as Sara Pezzini. In the opening pages, we see her as a framed chest and ass before we see a full pin-up, and even the costume obscures her identity. This view of femininity is contrasted by the masculinity of Irons nad Nottingham captured in their full body or at least half torso depictions which emphasize their muscle and power. They are a spectacle but in a different way from that of Pezzini.

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It’s interesting to see this series, and the publisher, who is widely known for their cheesecake, also try to navigate and foreground what could be seen as a second-wave feminist narrative in a nascent feminist form of third wave. You have the Witchblade which is treated as an icon of female empowerment and liberation, watch how it is treated visually and narratively in the first issue. Kenneth Irons has an all-consuming need to dominate and control this icon. All of this uses the form of popular culture to make this point instead of direct political action. The potential feminist qualities of this are in stark contrast to Turner’s art, as previously discussed, which at best plays into gender stereotypes, if not bio-essentialist displays of the body. It’s that node where I can see how someone might take and defend something or later how it’s there. Nothing about this case is easy or clear, however.

This excess is also very melodramatic, which is a mode of interpretation that I do not see much when it comes to this era and this type of comics. This melodramatic mode, however, explains the affective quality of the books’ design and how it manages to twist some of the plot’s more jarring turns, if not “make sense” in the moment. In issues 6-7, Sara Pezzini and Ian Nottingham in a loaded love book! It doesn’t make any narrative sense, even for the enemies by Lovers’ standards and their shared connection to the Witchblade. And yet, Jonathan D. Smith (aka JD Smith) spices it all up with the lushest autumnal yellow-oranges, reds and browns that, when mixed with Turner’s figures, it just works! The first of the two double pages that end issue 6 is both violent and sensual. Smith’s coloring also serves as a way to communicate the fleeting quality of this sensuality as sunsets, purples and blues begin to dominate the page and Pezzini drifts away. It sells the idea of ​​a connection and relationship between the two more than any of the romantic dreams the two have shared.

The fun thing about “Witchblade” is that while there’s this affective quality to its storytelling, the book never fails to generate intrigue. Maybe it’s a bit too much at once, again overkill, between Lisa Buzanis being this type of annoying little sister to Sara. The adventures of Liza and Julie Pezzini in modeling. The consistent use of Kenneth Irons in the B/C plot position. In addition to the fact that for everything that happens in “Witchblade”, it is still written and produced as if it were a police/detective story with supernatural elements. This first batch is 8 issues, most collections these days are between 5 and 6. The individual issues just don’t really work the way they currently do as semi-autonomous narrative units meant to make a larger whole. vast. Of course, these 8 issues form a complete story arc that forms Sara Pezzini’s origin story, but they also dedicate a page or two to each issue for something that could be paid for down the line. A loose thread that could be tied, eventually. That’s one of the most interesting things about reading this is how the different individual issues work in relation to today. It wasn’t really writing or an eventual collection, but as a way to keep readers buying individual issues on a monthly basis.

After these first 8 issues, it looks like “Witchblade” could go in many different directions. It wouldn’t surprise me if the next batch of issues (#9-17) were a series of ones and made for individual short arc cases, which could slowly turn into something. There’s a certain cartoonish quality to the characters of Lisa and Jake, which, oh mate, you’ll die horribly or just be forgotten once Jackie Estacado shows up. But it is also the kind of elements that explain how this show was quickly adapted into a live television series on TNT. “Witchblade” the supernatural procedural sounds pretty cool.

other thoughts

There wasn’t really a good place to put this in the main body of the article, however, it’s worth acknowledging the use of BDSM and fetish clothing to frame some footage. Particularly Ian Nottingham’s torture in which he’s basically dressed in a gimp suit receiving a torturous blow job. This sequence is contrasted an issue later when Lisa and Julie reunite at a dungeon/fashion party hosted by Miss Boucher. I’ve been dealing with Schumacher Batman a lot lately, so to see this series abandoning the game entirely and acknowledging BDSM and fetish clothing in-universe instead of being used as a benchmark to frame their costume decisions is interesting. On the one hand, maybe it’s a sexually positive development (I mean I don’t have much hope, but I’m optimistic) or more likely, everything goes downhill in more threats and representations of gender-based sexual violence.

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Not to fall into the writer’s theory trap, but here are a couple of “Witchblade” story threads on its 25th anniversary a few years ago from the show’s producers.

Conserving a work of art involves careful detail work

Jennifer O’Brien’s downtown apartment in Little Rock is filled with art. There are paintings, pen-and-ink works, and collages, many by Arkansas artists like Donald Roller Wilson and Byron Werner.

A life-size oil painting of a young boy hangs at the end of a hallway. The child is William O’Brien Jr., a distant relative of Jennifer. He is seated in a green semi-circular chair and looks directly at the viewer, as if we have just interrupted his reading of the open book beside him. There is no date on the work, which was painted by Louis Betts, but may date to around 1900.

The painting inspired O’Brien, a Chicago-area native, to learn more about his family’s roots. There is also a connection to Little Rock and now, after a meticulous restoration, little William is very different from what it was just a few months ago.

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It’s December 27 and O’Brien’s Christmas tree stands in the living room of his bright and airy apartment. Next to this space is her studio, where she creates vibrant digital collages.

In 2009, O’Brien was working in healthcare administration when she moved to Little Rock to become the general manager of an orthopedic surgery practice. She hadn’t planned to stay long – two or three years, tops – but she fell in love with Dr. Robert Lehmberg, a palliative care and hospice doctor. They married in 2012 and O’Brien moved to Little Rock with him, although they kept his condo in Chicago.

In 2015, Lehmberg was diagnosed with stage four metastatic cancer and died in 2017. O’Brien related this time through notes, collages and superimposed images in her award-winning 2020 book “The Hospice Doctor’s Widow: A Journal”, which was published by Little Et Alia Press based on the rock.

After Lehmberg’s death, O’Brien decided to stay here and sold his place in Chicago. Much of the art on its walls was part of Lehmberg’s collection, she says, and some are pieces they bought together. The portrait of young William, however, has been in the O’Brien family for generations.

She knew the painting was done by Betts, an accomplished portrait painter, but didn’t know Betts was from Arkansas. It was during a conversation with Brian J. Lang, Chief Curator and Curator of Contemporary Crafts for the Windgate Foundation at the Art Museum of Arkansas, that she learned that Betts was originally from Little Rock.

“I told him I was bringing it from Chicago and he said, ‘You know, Louis Betts was from Little Rock.’ He told me there were three paintings [by Betts] in the museum’s collection. It was really exciting to know that the painting was coming to Betts.”

Betts was born on October 5, 1873 in Little Rock. His father, Edwin, a landscape designer, was Louis’ first teacher, according to the Arkansas Encyclopedia. The “Professor Armellini” portrait, one of three in the National Gallery’s collection, was said to have been painted when Betts was just 16 in exchange for violin lessons.

The family did not stay long in Little Rock. Betts’ mother died shortly after he was born and his father married one of his sisters. According to the encyclopedia, Betts’ three siblings, who also became artists, were born in St. Louis, Chicago and New York.

Betts studied with William Merritt Chase, the influential American impressionist and teacher, at the Pennsylvania Academy of Fine Arts (Chase even painted an expressive portrait of the handsome young Betts), and also studied in Europe. He became a highly regarded artist whose portraits have been placed in the United States Capitol and are part of the collections of the Historic Arkansas Museum, the Smithsonian Institution, the Art Institute of Chicago, the Corcoran Gallery in Washington and others.

He was related to the O’Brien family in Chicago, and that’s where the portrayal of William Jr. comes in.

William O’Brien Jr. is portrayed in this oil painting by Little Rock native Louis Betts. The work is undated, but it is believed to have been made around 1900. This photo was taken in December, before the painting was cleaned by Norton Arts. (Arkansas Democrat-Gazette/Cary Jenkins)
Martin O’Brien was Jennifer’s maternal great-great-grandfather. (There are O’Briens on both sides of her family tree. “I’m very, very Irish,” she says.) Martin was born around 1830 in County Galway, Ireland. He immigrated to the United States and, in 1855, opened a picture frame store in Chicago, according to the Smithsonian Institution’s online virtual archives.

“He was a bit unusual at the time because instead of ornate frames, he made relatively simple frames,” says O’Brien. “He felt the frame should complement the art, not compete with it.”

After framing artwork bought by Chicagoans in New York and Europe, he saw a business opportunity and opened his own gallery, a first in Chicago, according to the Smithsonian. It has operated under a number of names over the years, including O’Brien’s Art Emporium, O’Brien Art Galleries, O’Brien Galleries, House of O’Brien and Mr. O’Brien & Sons, and has remained at Chicago until 1941. It was closed during World War II and moved to Scottsdale, Arizona in the 1950s. (Fun fact: William Jr., grandson of Martin, took over the gallery from William Sr . and moved her to Scottsdale.)

The gallery was mentioned in the book that accompanied the 2018 exhibition “John Singer Sargent & Chicago’s Gilded Age” at the Art Institute of Chicago.

Several artists worked in residence at the Chicago gallery, O’Brien says, and Betts was the best known and most accomplished.

“There are Betts paintings all over Chicago,” she says. “I think my great-great-grandfather and Betts did a really good job making these portraits, artistically documenting the history of the town, and making money in the process.”

Betts, who was living in Bronxville, NY, when he died on August 13, 1961, made four portraits of members of the O’Brien family. Besides William Jr., he painted Martin, Florence Honoria O’Brien, and William Sr. Jennifer inherited William Jr.’s painting from his grandmother, Mary Jane “Babe” Rich.

“I guess he’s 4 or 5, maybe 6,” she said, standing in front of the painting. “He has blonde hair and blue eyes, which is definitely a different branch of the family. That’s what my grandmother looked like. … I see the people I come from, the generations I come from. I lost many of my family members at a relatively young age, and I see my loved ones still with me – those I lost recently and those before me.”

When Lang came to see the painting, he suggested O’Brien have it cleaned. She enlisted Norton Arts, the Little Rock-based art restorers, to restore the painting to its original luster.

Photo Liz Norton, owner of Norton Fine Arts in Little Rock, speaks as Ravie Derge carefully removes decades-old varnish from a Louis Betts painting, owned by Jennifer O’Brien, in the business in April. (Arkansas Democrat-Gazette/Cary Jenkins)
On a beautiful morning in early April, the painting is on a table at Norton Arts in the historic Mills-Davis house, a few blocks from its place on O’Brien’s wall. Ravie Derge, conservator at Norton Arts, uses a cotton swab to carefully remove the decades-old varnish, originally applied to protect the paint, from the surface of the work.

“It was a really well maintained room,” she says.

The difference between the areas she worked on and those where the polish remains is dramatic. Young William’s cheeks are rosy and shiny now that they’ve been freed from the amber-tinted coating. The paint under the varnish looks as it might have looked the day Betts dipped his brush in it and placed it on the canvas.

“The varnish was actually applied very well and very thick, so the paint underneath was kept in pristine condition,” says Derge. “If they hadn’t properly varnished this painting, over time you would see smudges and discoloration of the paint.”

Had it not been preserved, the varnish would eventually have faded, leaving the pigments underneath unprotected.

This is not a job for the impatient.

“It’s a slow process,” says company owner Liz Norton. “It’s a constant observation of what you’re doing. If you see something wrong, you have to stop and reevaluate. You can’t go there without thinking.”

There was a small chip on William’s forehead – a gap, in the parlance of the restorer – which Derge says she will repair by carefully matching the paint and using as little as possible.

Norton Arts’ work is also done with future restorers in mind.

“Everything we do should be reversible. It’s an American Institute for Conservation standard,” Norton says. “That’s command number one.”

Derge will eventually re-varnish the painting and it will be ready to go back on the wall.

Well, after a trip to the Cantrell gallery for a new frame. His old “really shitty” frame certainly didn’t come from his great-great-grandfather’s frame shop, O’Brien says.

Photo The colors of William O’Brien Jr.’s face become more vibrant as Norton Fine Arts’ Ravie Derge removes varnish from the canvas. (Arkansas Democrat-Gazette/Cary Jenkins)
Conserving a work of art – having it cleaned and repaired – brings it back to life and allows the owner to see it as it was when it was new.

“You lived with [a painting] for so long that you don’t understand what you don’t see,” says Norton. “Once that polish is removed, a lot of detail usually comes out that you didn’t even know was there.

Jennifer Carman – owner of J. Carman Inc., a fine art consulting and appraisal service in Little Rock – says she “never had a [client] do a conservation treatment and say at the end that it was not worth it.”

“As soon as they see it, they see it again,” adds Carman. “They fall in love with this object in a whole new way because they didn’t know what was under that dark veneer.”

O’Brien got his painting back, all cleaned up and cropped, at the end of May. It hangs in its familiar spot at the end of its hallway.

“It’s really like having a new painting,” she says. “It’s more of a revival, though. I had taken it a bit for granted. I always thought it was beautiful, but re-acquainting myself with the story and then having the chance to have it restored, it’s reconnecting with my family history.

“There’s a kind of completeness to what I do now, both artistically and with end-of-life and legacy work. Martin O’Brien and Louis Betts, that was a legacy and that’s much of it.”

Traveling Métis Way of Life exhibit showcases Métis culture through stories of their relationship with bison

Parks CanadaThe Arts and Heritage Foundation of St. Albert and Métis councilors launch an exhibit to share the history of Métis people and their connection to bison.

ST. ALBERT, Alta., June 18, 2022 /CNW/ – The historic success of conserving Elk Island National Park is becoming a story of reconciliation — a story about restoring relationships between Indigenous peoples and bison through transfers to communities and ensuring that their stories and knowledge are incorporated by Indigenous peoples into conservation of this important species.

Today, Brother Archie Arcand of St. Albert – Sturgeon County Métis Local, Shelley BiermanskyDeputy Mayor of St. Albertand Ahmad Sanni, administrator of the board of directors of the Arts and Heritage Foundation of St. Albertjoined Parks Canada officials to launch the traveling exhibit Lii Buflo: AMethis way of life highlighting the history of the Métis peoples and their relationship with the bison.

Working closely with a Métis advisory committee, Elk Island National Park and the Arts and Heritage Foundation of St. Albert seek to highlight Métis voices and stories about bison. Through a blend of storytelling and art from a Métis artist, jesse goucheythe exhibition provides opportunities for people from Edmonton area learn about the history of the Métis people and the bison while raising awareness Elk Island National Park bison conservation program.

The Métis of the area now known as Edmonton continue to have a rich relationship with the bison. The story of this relationship is passed down through the story of the Elders. Historically, the Métis of this area would gather twice a year to hunt bison, known in the Northern Michif Métis language as lii buflo. It was a collaborative effort of multiple communities coming together to hunt and process bison.

At the turn of the 20e century, wild bison were on the brink of extinction after decades of commercial hunting by settlers for their pelts and to clear the plains for agricultural development. Between 1907 and 1909, some of the last surviving bison were shipped to alberta of Montana. Descendants of these bison can be seen in Elk Island National Park today. Since that time, the bison have found a protected sanctuary on Elk Island.

The traveling exhibition Lii Buflo: AMethis way of life highlights this important story. Representation in Art and History – Métis history parallels and intertwines with from Canada history, and is an important aspect of the founding of Western Canada.


“Bison were an integral part of life for many Métis throughout Canada and continue to play an important role today. The government of Canada is proud of this collaboration to celebrate the Métis way of life, their important cultural connection to bison and our shared history. This is a wonderful example of Parks Canada working with Indigenous partners to honor the historical and contemporary contributions of Indigenous peoples, their histories and cultures, and the special relationships that Indigenous peoples have with the lands and ancestral waters. »

The Honorable Steven Guilbeault,
Minister of Environment and Climate Change and Minister Responsible for Parks Canada

“The Metis Local 1904 of St. Albert and Sturgeon County is honored to be among the first community to take advantage of the Traveling exhibition Lii Buflo: Metis Way of Life. St. Albert Sturgeon County Métis Local 1904 thanks Parks Canada and all those involved in the development of the exhibit. This exhibit provides a brief overview of Métis culture in our region, as well as Western Canada and the relationship that existed and continues to exist between the bison and the Métis.
The Métis are the founders of the City of St. Albert and are grateful to have been included in the development of the exhibit. This exhibit will support the local’s efforts to revive and rekindle the rich Métis culture that existed in the St. Albert and the Sturgeon County area. »

Elder Archie Arcand,
St. Albert – Sturgeon County Metis Local

“We are proud to be the first host site for this and to be part of this collaboration, says Craig CameronChairman of the Board of Directors of the Arts and Heritage Foundation of St. Albert. “Strong relationships have been formed because of this and will continue after the exhibit moves. We hope this will also create lasting legacies among other communities over time.”

Ahmad Sanni,
Director of the Board of Directors of the Fondation des arts et du patrimoine de St. Albert

Fast facts

  • The Lii Buflo: A Métis Way of Life The traveling exhibit and website provide a captivating and in-depth look at the historical and spiritual connections between Métis people and bison. The colorful story, illustrated by a Métis artist jesse goucheydirects visitors to a wide range of traditional, historical, and bison conservation resources for all ages.
  • An advisory council of the Métis community of Edmonton and St. Albert led the Lii Buflo: AMethis way of life exhibition to contribute to reconciliation and healing. The exhibit portrays their stories through their unique Métis voice in an accessible product that teaches all Canadians about the importance of the Métis relationship with their fellow nation, the bison.
  • This project was developed in partnership with the Arts and Heritage Foundation of St. Albertwith funding from Parks Canada’s Métis Reconciliation Fund.
  • The government of Canada is committed to reconciliation and the renewal of relations with indigenous peoples, based on the recognition of rights, respect, collaboration and partnership.
  • Visit the exhibition installation at St. Albert Historic Métis River Lots and Grain Elevator Park in the summer of 2022, during regular business hours, at no charge to visitors. Visit the exhibit website (https://www.pc.gc.ca/elkisland/lii-buflo) for more information and programming ideas for educators and the public.

SOURCE Parks Canada

For further information: Media Contacts: Kaitlin Power, Press Secretary, Office of the Minister of Environment and Climate Change, 819-230-1557, [email protected]; Jessica Burylo, Parks Canada Agency, 587-335-8257, [email protected]; Shawna Randolf, Marketing and Communications Coordinator, Arts and Heritage Foundation of St. Albert, 780-651-5743, [email protected]

Dragon Ball Fan Creates Wild Goku Art Gallery

Dragon Ball’s Goku has been a part of the anime medium for decades, with the hero Shonen still standing front and center in the pages of Dragon Ball Super manga. While Son Goku will be training off-world this summer Dragon Ball Super: Super heroesThe film that will see Gohan and Piccolo take on the resurrected Red Ribbon Army and their nefarious new androids, the Saiyan brawler has gone viral thanks to a fan artist’s incredible renditions of the anime’s protagonist going up against strange adversaries.

While Goku may not be the star of Dragon Ball Super: Super heroes, the Z-Fighter and Vegeta are at the center of the fight against the Heeters in the Granolah The Survivor arc currently taking place in the pages of the Shonen manga. As the current arc travels to the past for Goku to learn more about his father, Bardock, the villainous Gas seeks to wipe both the Saiyans and the intergalactic bounty hunter from the face of the Earth. With Son still working on perfecting Ultra Instinct, this arc could usher in a new era of power for the Z-Fighter.

Twitter artist Venom Moe has shared these hilarious new images of Son Goku, with the painter stating that “every time they lose an argument, they’ll paint Goku” which has created some wild artwork that has gone viral with the dragonball character that first arrived in the 1980s:

There are currently no plans to Dragon Ball Super, and Goku, to return to the small screen after the original series’ conclusion with the Tournament of Power finale, though there’s certainly plenty of material from the manga for the show to adapt to each time it returns. . As the Granolah The Survivor arc continues to unfold, it will be interesting to see if Son is able to evolve as he battles against Gas while learning more about his heritage within the Saiyan race.

Do you want to see Goku stepping back from being the main protagonist of dragonball give Gohan or Piccolo a chance? Feel free to let us know in the comments or hit me up directly on Twitter @EVComedy to talk all things comics, anime and the world of Dragon Ball Super.

Cal State Long Beach Museum artist is a major donor

Carolyn Campagna Kleefeld, the author of the self-help book, is a major donor at California State University, Long Beach. In 2019, she gave the university $10 million, the largest donation Cal State has received for the expansion of the university’s art museum, which now bears Kleefeld’s name.

But clean art said she also donated “120 of her own works to the institution’s permanent collection (as well as her library, personal archives and more than 20 inspirational books she has written, including The alchemy of the possible: reinventing your personal mythology and Soul Seeds: revelations and drawings).” The work of art now represents 6% of the university’s artistic heritage, according to a Los Angeles Times art critic.

The art currently on display is “frankly terrible – by far the worst I’ve seen at any serious exhibition venue, public or private, for-profit or not-for-profit, in years,” said the Time art critic, Christopher Knight, wrote.

A Long Beach professor told Knight, “If this was a student applicant’s portfolio, he wouldn’t be admitted to the program. (The Long Beach School of Art has approximately 2,000 students in graduate and undergraduate programs.)

Gregory Woods, a spokesman for the university, said clean art“We are grateful for the investment this donor and others have made in the Cal State Long Beach Museum and Arts. These donations are essential to expanding the educational opportunities available to our students and providing cultural enrichment to our community.

Nita Patel unveils her new interactive fine art exhibition

Richardson, June 16, 2022 (GLOBE NEWSWIRE) — Richardson, Texas –

Nita Patel, artist and owner of Nita Patel Fine Art, Richardson, Texas, celebrates the official VIP grand opening of her interactive show “Discover the space from within” Thursday evening, June 16, 2022, followed by a public art exhibition throughout the weekend, June 17-19, 2022.

Last weekend, Executive Director Dr. Andrea Adams-Miller of The Keep Smiling Movement and special guests gathered at Nita Patel Fine Art on Sunday for an “Official Keep Smiling Mixer & Greet Meeting” for a private viewing of “Experience Space from Dans.”

In the current series, she heals the world through art. Before Nita Patel applies a single brushstroke to her paintings, she takes a moment to sit down with the canvas and pay close attention to its energetic qualities.

She then marks the surface with an infinity symbol, or lemniscate, to imbue the surface with endless possibilities for creation and reception. Aesthetically, Patel’s work shares similarities with the North American Abstract Expressionism movement of the mid-20th century.

She offers a vibrant contemporary take on this style that draws inspiration from the shimmering, jewel-toned color palette of our post-digital “lossless” world. His non-differential treatment of the two-dimensional surface moves with spontaneous gestural brushstrokes and rich, upbeat pigments.

Yet to see Patel’s work as a mere extension of this prior art historical canon would be a mistake. Her paintings should be situated within the performative power of the artist’s broader social influence as an entrepreneur, author, and success coach who provides public education on empowerment, personal growth, and mindfulness.

With a background in psychology, Patel is very much in tune with how accessing these deeper levels of inner awareness allows for raw, unadulterated artistic expression. Yet his approach to painting and the holistic identity of the artist-intellectual is much more centered on presence than absence.

Patel encourages her audience, especially budding professional women, to be present by “showing up” to the world in a way that requires a lot of mindfulness, active listening, and thoughtful social awareness. While the male artists of the 20th century canon may have needed to shed ego to access a deeper subconscious identity, Patel argues for trust in a 21st century moment of highly organized and virtual identities. of endemic “impostor syndrome”.

Nita Patel

The destructive chatter of constant comparison, promoted by a pervasive visual culture, can often be detrimental to personal success and happiness. Patel’s recent series asks us to look beyond these personal limitations, which are attached to the Earth and its atmosphere, by looking towards the celestial bodies of outer space.

Through spiraling strokes of paint on canvas, mimicking the serpentine motion of the Milky Way, the artist reflects on the philosophical incongruity of outer space as depicted in popular science fiction and vice versa in our relationship more personal and intimate with the night sky.

In the first case, our vast galaxies become another landscape on which to wage geopolitical wars for the expansion of the nation-state, while in the second, space is a vast spiritual vacuum in which we can explore versions infinities of ourselves beyond the physical constraints of gravity. But, instead of the artist abandoning himself to a blind and unconscious automatism, this homage to interplanetary immensity demands great attention and intuitive listening.

The collection is not just about the canvases but the space around them, a space that demands presence, asks the viewer to slow down, listen to the breath and stifle inner criticism long enough to ponder the endless possibilities of space and time. . It is about how the artist herself presents herself with an invitation into her space, with warmth, optimism and a desire to stimulate personal transformation.

Dr. Andrea Adams-Miller, international publicist at The RED Carpet Connection, describes the inaugural art exhibition “Experience Space from Within” as “an existential awakening of vibrant colors reminiscent of quantum possibility shown through an ethereal dreamy kaleidoscope” .

The “Offical Keep Smiling Meet and Greet Mixer” preview was deemed a big success with the sale of one of Patel’s artworks as well as a limited edition print of his signature piece.

Also available during the fine arts fair are pieces from “Opalescence”, “Dragons & Hearts”, as well as the large format, “Path of Enlightenment” and “Cool Summer”. His work has been shown all over the world, from New York to Paris. The price of colorful artwork ranges from $15,000 to $45,000. His signed, limited-edition prints are available for $250.

To preview the catalog of past work and request private or public access to screenings, visit www.Nita-Patel.com.

About Nita Patel

As a child born in Croydon, UK, Nita traveled frequently between London and Dallas, attending primary school in both places. Influenced by American and English culture combined with the deep Indian origin of her parents, her formative years were an amalgamation of values ​​and mores. Consequently, Nita attempted to shape her personality to suit her situation, such as disguising her teenage English accent in America to avoid teasing. These experiences and coping strategies have helped shape her strong and resilient character.

During her professional years and prior to her immersion in the creative arts, Ms. Patel demonstrated technology leadership experience in various industries, with a specific focus on healthcare for 14 of those 20+ years.

Investing in the theory and practice of psychology has led her to take a deep interest in helping others. As a catalyst, finding other ways to express her creativity has led her to pursue her professional calling as an artist for the past eight years.

She became deeply and passionately dedicated to nurturing others and building their confidence and brand through oral and consultative practices. Ms. Patel is also deeply drawn to matters of a spiritual nature and to sharing her findings with others. This pursuit, and the pursuit of her art, is what feeds her soul, provides a deep sense of fulfillment, and reinforces that she does indeed follow her heart.

Over the years, she has given countless volunteer hours to her faith-based organization and is dedicated to daily spiritual practice. His art is inspired by spirituality mixed with an avid love of travel, where the discovery of new places, cultures, ideas and ways of life directly influences his artistic creations.

Mrs Patel is the mother of a bright nineteen-year-old who is currently attending university and the companion of an adorable Yorkie – the Commander-in-Chief of House Patel.

Media Contact

Company Name: The RED Carpet Connection

Contact person: Dr. Andrea Adams-Miller

Email: [email protected]

Phone: 419-722-6931

Country: United States

Website: https://www.TheREDCarpetConnection.com


For more information about Nita Patel Fine Art, contact the company here:

Nita Patel fine art
Dr. Andrea Adams-Miller
[email protected]
Richardson, TX


Ben Hunter Gallery ‘Mimicries’ Art Exhibition London

Mimesis and mimicry are the basis of a new group exhibition at Ben Hunter Gallery in London. “What do these words mean? You might ask. In the first, the New Oxford American Dictionary defines mimesis as a “representation or imitation of the real world in art and literature”. While the latter term refers to “the action or art of imitating someone or something, usually for the purpose of entertaining or ridiculing”.

Although both terms refer to the act of imitation, conservatives Jan Tumlir and Jeffrey Stuker, recall the viewer that mimicry “is not necessarily about representation, and certainly not about accuracy of representation”. It is here that the collective exhibition Mimicry begin. The multi-room exhibition brings together a cast of international artists, including Arthur Jafa, Jeff Wall and Lynne Marshwho explore the space between the shown subject and the known subject.

Dubbed “dark space” by Tumlir and Stuker, the multimedia work invites the viewer to reflect on various forms of artifice that transcend the artist and encompass the entirety of the natural and constructed worlds. Mimicry recently opened its doors last week and will remain on view at Ben Hunter Gallery until July 21.

In related news, step into the imaginary worlds of Nadia Lee Cohen in Hello my Name Is.

Ben Hunter Gallery
44 Duke Street St James’s,
St. James’s, London SW1Y 6DD

Exhibiting artists:

Hedi El Kholti
Victoria Gitman
Arthur Jaffa
Clementine Keith-Roach
Louise Lawler
Lynne Marsh
Nicolas G. Miller
Christopher Page
Jeffrey Stuker
Jeff Wall

Missouri man broke into Native American prehistoric site, unearthed artifacts, feds say


KANSAS CITY, Mo. – A Missouri man and others broke into a prehistoric Native American archaeological site and used shovels, rakes and other tools to dig up artifacts, causing hundreds of thousands of dollars in damage , according to a federal indictment.

Johnny Lee Brown, 70, of Clinton, Missouri, was charged in an 11-count indictment filed April 26 but unsealed and released on Tuesday.

The indictment alleges that Brown, two known co-conspirators, and others excavated archaeological objects on federal lands at Truman Lake near the town of Tightwad, Missouri, at least 10 times from June 2016 through September. .

The site is managed by the US Army Corps of Engineers and located on a peninsula. It dates from the Late Archaic period, 3,000 to 5,000 years ago. The indictment says the finds indicate it was used as a campsite, a stone processing site, or both.

The suspects allegedly used small hand trowels, shovels, rakes and hoes, as well as buckets and backpacks to carry items off the site. The indictment does not specify what Brown and the others allegedly did with the stolen items.

The illegal excavation caused more than $300,000 in damage, the US Attorney’s Office in Kansas City said. Members of the Osage Nation told federal investigators the damage “has a significant impact on the cultural history of the Osage Nation and affiliated tribes,” the indictment said.

On Wednesday, Brown’s attorney did not immediately respond to an email seeking comment.

Jar, prison site, money missing from Esky’s agenda | News, Sports, Jobs

ESCANABA — It will be a night of updates and discussions Thursday, when City Council will address a variety of issues, including the retail sale of marijuana in the city, how to proceed with the assessment of City Manager Patrick Jordan, the sale and redevelopment of the former Delta County Jail, and the current status of an ongoing investigation into funds that went missing during a past attempt to redevelopment jail property.


Council will continue its discussion of the future of marijuana retail sales in Escanaba by reviewing the questionnaires that each council member received from Laura Genovich, a city attorney from Foster Swift of Grand Rapids who specializes in filing ordinances on marijuana. The city contracted Genovich earlier this month for marijuana-related services on the advice of the city’s regular municipal attorney, Lisa Vogler, who was hired in late April and felt that ordinances on marijuana were outside the scope of his practice.

The nature of marijuana ordinances means that they are highly customizable, allowing communities to decide things like the location of commercial marijuana establishments, whether or not there should be a maximum number of establishments in a city and what types of establishments are allowed. Through the questionnaires, the council hopes to focus on what they think commercial marijuana would look like in the city so information can be provided to Genovich. Genovich will then draft the necessary orders to implement legal marijuana business operations.

At this time, retail stores and other commercial marijuana establishments are illegal in the city. However, the city council voted on April 7 to authorize business operations, pending the creation and passage of the necessary ordinances. Commercial marijuana sales and services will be legal after the ordinances pass or on Sept. 19, when a sunset clause repeals the existing ordinance removing the city from state marijuana law — whichever comes first .

If the sunset clause takes effect before local ordinances pass, marijuana sales will automatically become legal in the city, with only state rules in place to regulate their operation. Genovich said she thought it was possible to get the orders in place before the September 19 deadline.


Council will be updated on the progress of the sale and redevelopment of the former Delta County Jail and Chamber of Commerce properties. Before Vogler took up her new position as city attorney, the city had attempted to work directly with developers through a request for proposals process. The process hit a snag when the city administration recommended awarding the project to a Lower Michigan developer and the remaining potential developers — all of whom are from Delta County — decided to drop their individual proposals for sites in favor of a combined development proposal. The council was unsure whether it could legally award the project to local developers as no request for proposals had been submitted for the joint project.

Instead, on Vogler’s recommendation, the city abandoned the proposal process entirely and began the process of selling properties directly, using the city’s land sales policy as a guide. This required additional steps, such as assessments. The council directed Jordan to begin implementing the process and to continue working with local developers to sell the land directly.


At the end of Thursday’s agenda is an update from Escanaba Public Safety on an ongoing investigation into funds that went missing during an unsuccessful attempt to redevelop the prison site.

About $29,000 in state grant funds went missing during the city’s relationship with Proxima Management Group, which had publicly stated plans to build a $23 million hotel development on the sites of the Old Jail and the Delta County Chamber of Commerce. The city ended its relationship with Proxima at the end of 2021 after there had been no contact from the promoter for more than eight months.

The case is being investigated by Escanaba Public Safety and the FBI. Escanaba City Manager Patrick Jordan has repeatedly said there is no evidence or implication that city personnel were involved in the incident.


The council will continue its discussion on the evaluation of Jordan’s performance as a city manager. At a special meeting on May 26, the council approved evaluation forms for the council to use to review Jordan’s performance, as well as forms for city department heads to review and a self-assessment. to be completed by Jordan. Forms were to be completed by Thursday and submitted to the city’s human resources department, where they would be compiled and sent to council members for review at the council meeting.


The city budget includes funds to support three nonprofit organizations: Enhance Escanaba, the Bonifas Arts Center, and the Delta County Historical Society. Service agreements with the three entities are on Thursday’s agenda.

Enhance Escanaba — a nonprofit founded by City Council member Karen Moore, who is also the group’s president — is set to receive $5,000 to “Initiate, design, promote and finance beautification projects in public, private and historical places in the city of Escanaba.” One of these projects carried out by the group is the recent planting of hydrangeas along Ludington Street.

The municipality will also consider renewing its service agreement with the Center d’Art de Bonifas. Under the agreement, the city is contributing $5,000 for the 2022-23 fiscal year and the arts center offers six to eight exhibitions, a minimum of four plays and a minimum of 35 workshops or art classes and Creation. Also on the agenda is a resolution supporting the arts center’s 2023 grant application to the Michigan Council for Arts and Cultural Affairs. “Musical Mondays” summer concert series. If approved, the city will serve as trustee of the funds

As part of the service agreement with the Delta County Historical Society the board is considering Thursday, the city would provide the society $2,000 for continued work and new exhibits at the museum and lighthouse.


Four public hearings are also on the program. The first hearing is about the project plan for planned water system upgrades that are necessary for the city to receive grants through the state’s Clean Water Revolving Fund. Later in the meeting, the board will consider a resolution adopting the plan. The second hearing relates to an amendment to the city’s appropriations ordinance for the fiscal year ending June 30, 2022. It is necessary to balance overspending and underspending under state law. The last two public hearings deal with special assessments for alloy pavings. Both projects were requested by landowners who would be assessed.


A series of agenda items relate to the city’s public works department. Council will hear the paving schedule for the year; approve bids for ADA ramp construction, engineering services, and curb construction; and appointing Acting City Engineer Wendy Taavola as City Streets Administrator.


The council will consider renewing the city’s property and liability insurance through the Michigan Municipal Risk Management Authority.

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The Grange Historical Society continues to celebrate its 50th anniversary – Chicago Tribune


The La Grange Historical Society continued its Golden Anniversary celebration on June 9 with an evening of appreciation for the people who help the organization survive and thrive – the volunteers.

“It’s our 50th anniversary, and we made it happen because of you,” Katherine Padgett, president of the Society, told the gathering of about 35 people at her home.

She also noted the longevity of the volunteers, saying, “Most of these women have been with us for many, many years and they all have specific things they are working on.

The anniversary sees the Society attempt to level up by adding new members, reaching a target of 500.

“We’re trying to be a little bigger and a little better,” Padgett said.

One of the Society’s “best” goals this year is to be able to stay open to the public longer than the Wednesday afternoons currently available to community members.

The limitation on hours of operation is due to the Society having only one paid staff member, Executive Director Sarah Parkes. That changed recently with the hiring of lifelong La Grange resident and Lyons Township High School graduate Laurie Gibbons.

“We will be able to be open on Thursdays, Fridays and Saturdays, and Laurie will allow us to be able to do that,” Padgett said. “We will start to be open on these days from 11 a.m. to 2 p.m. and hope to expand it to 3 p.m. in the near future.”

Padgett said the push for more hours is a direct result of community input.

“People told us they needed more time to come,” she said. “We have files on every house and property in the city, and many want to come and see them. We want to be available.

Gibbons, who attended Southern Illinois University in Carbondale, previously worked in health care and is excited to bring not only her business expertise, but also her experience as a longtime resident of the village.

“I saw a blurb in the local patch and thought ‘this would be just awesome for me,'” she said. “It’s a fabulous historical society and I would love to see more people take advantage of it. It’s a hidden gem.

Gibbons echoed Padgett’s sentiments about wanting the Society to have longer hours, saying that was people’s biggest complaint and that she wanted to grant their wishes.

“That’s exactly what they wanted,” she said.

While the Society maintains a permanent museum at the Vial House, 444 S. La Grange Rd., and periodically holds special events, its current summer effort shows how, by any reasonable measure, through technology, domestic life has become much easier for Americans. over the past hundred years or so.

The Society’s summer exhibit, “Technological Treasures That Changed Our Lives,” opened May 6 and will run through September. The exhibit is on display at the Vial House and highlights technological innovations that “have come to make life easier,” as volunteer Judy Burns put it.

Displays are grouped into several different areas of interest, including cameras, projection equipment and televisions, music and radios, home life, home sewing items, telephones, medical equipment and grooming supplies.

Visitors can pick up a free booklet that numbers the artifacts with brief explanations of their uses and the approximate year they were created.

The cameras in particular have seen significant advancements over the years, with a total of 19 different inputs on display. The Brownie Box camera (1907), the Polaroid Land camera (1954), reputed to be the first practical instant camera, a folding camera not identified by manufacturer, and several different types of primitive cameras for home cinema can be found.

Most are listed with the dates of their origin; some are named after La Grange donors, illustrating that all of the artifacts on display are donations from people in the La Grange area.

“It’s all local,” said executive director Parkes. “We don’t have anything unrelated to La Grange or La Grange Park.”

The lead volunteer for the Summer Expo was volunteer Sara Carpenter.

In an email exchange, she recounted her experience setting up the exhibit.

“Our outgoing president, Mark Truax, knew there were many technological objects (for lack of a better word) in our collection that had rarely or never been displayed,” she wrote of the genesis of the show. ‘exposure.

Carpenter curated the last summer exhibits and found it difficult to render the artifacts of over 100 years of history natural in the Victorian setting of the Vial House.

Kate and Becca Rymzsa set up the “What Is It” board, with Becca doing the graphics for the exhibit.

“Adults will see things that remind them of their childhood,” she said. “Young people will be introduced to the conveniences of the past and wonder how their elders got on,” she said.

For more information on the La Grange Area Historical Society, visit its website, lagrangehistory.org.

Hank Beckman is a freelance journalist for Pioneer Press.

Five Points Gallery patrons can ‘steal’ artwork during Torrington ‘Art Heist’

TORRINGTON – Gang of art thieves should strike Five Points Gallery Saturday night.

Gangs of thieves, in fact, and they’ll do their dastardly deeds for the crowd at the gallery’s fourth annual Five Points Art Heist. The collection of paintings and multimedia pieces – all data – will be displayed in the gallery at Water and Main streets.

“We have 50 works of art, from great artists from all over Connecticut, New York and Massachusetts,” said Founder and Executive Director Judy McElhone. “We have so many strong artists participating; many are people who have supported us over the years.

The Art Heist begins with a cocktail reception with food and drink provided by Ciesco Catering, Litchfield Distillery and Zeller Tire at 6 p.m. in the gallery.

As the witnesses and performers mingle with the thieves, they have the opportunity to “box” the space and choose what they want to steal. Tickets are available at different levels, depending on what role a guest wants to play in the heist.

At 7 p.m., a designated “Mastermind” makes the first entry of a painting or photograph. Then the Cat Burglars swoop in as a group, aiming to snatch their favorite piece of art in three minutes. The Art Nabbers tackle the next caper, followed by the Bandits, Robbers, Looters and Crooks, with the Artful Dodgers jostling for what’s left, McElhone explained.

“It’s great fun – lots of laughs,” she said. “Our emcee is Robert Calafiore, associate dean at Hartford Art School. He’s been our emcee every year, and he’s so funny. He steps into the role of master of ceremonies and he makes people so excited.

As each group of thieves leave the main gallery, they receive information about the artist whose work they have chosen and have the chance to meet that person.

“We’ll also have photo ops for people,” McElhone said. “In the past, we did things like ID photos; this year, people are waving frames and saying, “I was framed at the Art Heist.” Everyone is encouraged to dress in black.

“It’s a unique fundraiser and a fun night, and people can still get tickets,” she said. “It’s a unique idea, that you can own important works of art and meet important artists. There are paintings, photographs and drawings. It is being installed at the moment.

Illustrations were donated by Andra Samelson, Ann Finholt, Anna Webersen, Barbara Hocker, Bob Knox, Brian McClear, Brigid Kennedy, Charles Dmytriw, Cynthia Cooper, Debra Weisberg, Diane Messinger, Donald Wass, Eric Forstmann, Erika Gabriela Santos, Erin Koch Smith, Ethan Newman, Heidi Johnson, Jeanne Moutoussamy Ashe and Jenni Freidman.

Other donor artists are Jennifer Sabella, Joan Fitzsimmons, Joseph Fucigna, John Rohlfing, Julie Shapiro, Kevin Van Aelst, Linda Pearlman Karlsberg, Lisa Warren, Lydia Viscardi, Mark Rich, Matthew Best, Melanie Carr and Mio Akashi; also Nancy Hayes, Nancy Lasar, Pamela Stockamore, Patricia Carrigan, Patricia Weise, Peggy Dembicer, Peter Waite, Power Boothe, Sally Van Doren, Susan Hoffman Fishman, Susan Sharp, Suzan Scott, Sydney Morris, Talya Baharal, Tamara Dimitri, Tracy Collamore , Victor Léger and Zbigniew Gryzb.

“We know that working artists put in a lot of work and we exist to support them at every stage of their career,” McElhone said. “So that’s one way to do that and help people get a great job.”

Five Points Arts includes the Main Gallery at 33 Main Street, the Five Points Annex on Water Street, and Launchpad Studios, where Hartford Art School graduates do their work early in their careers. The organization also operates the Five Points Arts Center on University Drive, the former Torrington UConn campus, where classes and creative spaces for working artists have been operational since the building opened in 2021.

For tickets and information, go to fivepointsarts.org/events/art-heist/ or call 860-618-7222.

Police Museum reopens on Suffolk Day

Suffolk Day, June 21, 2022, is a county-wide recognition of Suffolk’s great icons, attractions, landscapes, institutions, special events and more.

To commemorate the day, Suffolk Constabulary will reopen its museum to visitors for the first time since March 2020 due to Covid restrictions.

Guests and visitors can find themselves literally walking through the history of policing as they are guided through the tour, showcasing artifacts and photographs documenting important aspects of policing from the 19e Century.

Special points of interest include a popular exhibit showcasing the evolution of police uniforms and equipment issued to police officers, including wooden rattles, whistles and radios.

Children and adults can see important historical police artifacts on the tour, such as the club that was used by John Ducker to assassinate Constable Ebenezer Tye in Halesworth in 1862. Ducker was publicly hanged at Ipswich in 1863 for this heinous crime. , in the presence of some 4,000 people. It was to be the last public hanging in Suffolk.

Each visit will be guided by museum volunteers, who will provide additional information and explanations about the exhibits. Children in attendance, who must be accompanied by an adult, will have the opportunity to get hands-on experience with uniforms and equipment as well as talk with police officers about community engagement.

Lucky visitors may even see the police dogs currently working in the Force.

Hourly tours of the museum will take place at Police Headquarters in Martlesham from 5.00pm to 9.00pm (last tour starts at 8.00pm). Time slots must be reserved with a note indicating whether children will be present and clients must let the museum know their preferred time before the visit.

Tours and visits to the museum are free, but donations are appreciated.

Seating for each tour will be limited, so to avoid disappointment early booking is recommended.

To reserve your slot, please contact [email protected].

Exhibit at Norwich Castle Museum & Art Gallery result of newly discovered 17th century shipwreck

A major exhibition is planned at the Norwich Castle Museum & Art Gallery following the significant discovery of a 17th century shipwreck which sank while carrying future Kings James II and VII.

The wreck of the ‘Gloucester’ was discovered by two divers in 2007 after a four-year search, its location off the Norfolk coast was previously unknown. Its existence has been kept secret until now out of fear for the safety of the wreck.

Due to the age and prestige of the ship, the condition of the wreck, the finds already salvaged and the political context of the accident, the discovery is described by maritime history expert Professor Claire Jowitt , from the University of East Anglia (UEA), as the most important maritime discovery since the Mary Rose.

The resulting exhibition, scheduled for spring 2023, is a partnership between the Barnwell brothers who discovered the wreck, the Norfolk Museums Service and university partner UEA.

Running from February to July at the Norwich Castle Museum & Art Gallery, the exhibition will showcase finds from the wreck – including the bell that confirmed the ship’s identity – and share ongoing historical, scientific and archaeological research.

The curators of the exhibition are Ruth Battersby-Tooke and Francesca Vanke from the Norfolk Museums Service, and Benjamin Redding and Claire Jowitt from the University of East Anglia.

Professor Jowitt, a world authority on maritime cultural history, said the circumstances of the sinking of the wreck mean it “can be claimed as the most significant historic maritime discovery since the raising of the Mary Rose in 1982 .

“The discovery promises to fundamentally change the understanding of the social, maritime and political history of the 17th century.

“It is an outstanding example of underwater cultural heritage of national and international significance. A tragedy of massive proportions in terms of loss of life, privileged and ordinary, the full story of Gloucester’s last voyage and the impact of its aftermath must be told, including its cultural and political significance and its legacy.

“We will also try to establish who else died and tell their stories, as the identities of a fraction of the victims are currently known.”

Activists go after buyers of stolen antiques : NPR


Still from a Clooney Justice Foundation video showing the storage and warehouse at the Ain Dara archaeological site in northern Aleppo Governorate, Syria. The facility was later looted by various armed groups and bulldozed at some point between 2019 and 2020.

The Clooney Foundation for Justice

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The Clooney Foundation for Justice

Still from a Clooney Justice Foundation video showing the storage and warehouse at the Ain Dara archaeological site in northern Aleppo Governorate, Syria. The facility was later looted by various armed groups and bulldozed at some point between 2019 and 2020.

The Clooney Foundation for Justice

It is common knowledge that non-state armed groups in the Middle East finance themselves with oil and ransoms. But a close third in the pipeline that feeds warlords and terrorists around the world? Looting and sale of antiquities.

If the activists have their way, the buyers and dealers of these stolen cultural relics will face criminal repercussions.

The Docket, a project of the Clooney Foundation for Justice, has conducted an international investigation into the smuggling of antiquities from the Middle East and North Africa, examining the network that supplies looted artifacts to collectors and dealers Westerners. He is sharing his findings with law enforcement in hopes it will lead to criminal prosecution of those who purchased these artifacts, which he says makes them complicit in war crimes and funders of terrorism.

Currently, there are a few recent examples of high profile individuals, such as Jean-Luc Martinez, former director of the Louvre, accused of allegedly buying looted antiquities. But such cases are few and far between.

“We believe that these investigations … will not be successful unless the public pays very serious attention to the matter, unless the antiquities of the conflict begin to be considered as tainted as the diamonds. blood, ivory trade or other forms of trafficking,” said Anya Neistat, legal director of The Docket, sharing some of the project’s findings with reporters in DC on Wednesday.

Here’s why: Antiquities looted from countries like Syria, Iraq, Yemen and Libya have been sold online for years. Their sales fund armed groups in those countries, funding their weapons and recruitment efforts. These recruits then commit atrocities such as the rape and genocide of Yazidis, a religious minority in the Middle East.

The looting continues, even though the presence of the Islamic State in Syria has diminished. Neistat said Hay’at Tahrir al-Sham, which currently controls Syria’s Idlib region, continues to dig in the area. Additionally, many items looted between 2012 and 2016 are just coming onto the market.

Looting licenses issued by ISIS

The looting was so formalized that ISIS had a system to license and tax looters, said Amr Al-Azm, professor of history and archeology at Shawnee State University in Ohio.

“Ultimately, ISIS was involved in every step of the looting and trafficking process,” he said, including “bringing in its own crews, using heavy machinery to dig whole mountains…when you invest that kind of money in that kind of stuff.” work, you get a return on your investment. So we know it paid off.

Looters digging at a site in Syria in 2014.

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Looters digging at a site in Syria in 2014.

The Clooney Foundation for Justice

In 2020, Interpol noted that 19,000 stolen artifacts were recovered during two international art trafficking crackdowns. But there’s no way to really know just how big this market is – partly due to false paperwork – and how much money is actually being made from the sale of these antiques.

“I was able to see a group of artifacts that were looted and we can show them to experts and estimate their value. But we never got the full picture,” Al-Azm said. , who is also the co-director of the research project on antiquities trafficking and the anthropology of heritage.

But what is clear is that Western collectors are buying without fear of reprisal, despite provisions already present in international law that prohibit looting and include it as a war crime. Looting is also a criminal offense in most European jurisdictions and in the United States.

But the system is such that between online sales, the use of Hawala (an informal money transfer system) and the presence of free ports (places for storing shipments that are essentially jurisdictional black holes) in places like Geneva or Dubai, buyers and resellers can operate without much, if any, legal scrutiny.

Antonia David, legal program manager for The Docket, said dealers and galleries funding terrorist groups through their purchases should also be held accountable.

David pointed to what The Docket advocates as a universal standard in these cases: “You don’t necessarily have to prove that the accomplice shares the same intent as the direct perpetrator.” In other words, for galleries and dealers, it is not necessary for them to know that they were paying for the antiquities to finance an armed group. Just that they paid.

Crack down on buyers

Sam Andrew Hardy, head of illicit trade research at the Heritage Management Organization, said there are already ways to punish people who sell artwork looted during the Holocaust.

“So why not do it for antiquities looted during other devastating massacres or occupation?” He asked.

When a dealer or collector is caught in the act of buying a looted good, he often only incurs a simple slap on the wrist, or even a fine, and is required to return the object in question.

“When asked to return the items, they are often kept anonymous, to save them from blushing, or do so publicly and are commended for their ethical behavior,” said Hardy, who also closely tracks items that have been dug. since the start of the Russian invasion of Ukraine in February and cross the borders into Belarus and Russia.

Looted items donated to The Docket team during fieldwork in Lebanon in 2020.

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Looted items donated to The Docket team during fieldwork in Lebanon in 2020.

The Clooney Foundation for Justice

Neistat shares this frustration. She told reporters that even after being caught, often repeatedly, dealers often see a spike in their business because “the only thing that mattered in the market was that the items were authentic…and it there is no better proof than the items being returned.”

When asked if collectors or dealers aren’t treated as priority criminals because of their often wealthy connections and influential positions, she replied, “Absolutely.”

“Some of the cases just dissolve… There’s not even an official statement that the case has been closed,” Neistat said. “And in many of those cases, we’re talking about very well-connected people.”

The Docket hopes its investigations will lead to prosecutions and dismantle the market — a goal that Al-Azm says is more urgent than most people realize.

“Let me help put it at the top of your list,” he said. “The next time someone hijacks a plane and flies into a building, it could be funded by some rich white guy buying mosaics.”

‘Call and Response’: Tahoe artist treats Caldor Fire with art collection

SOUTH LAKE TAHOE, Calif. — When artist Shelley Zentner evacuated from her home in Christmas Valley last summer as the rapidly growing Caldor Fire made its way through the Tahoe Basin, she had no idea what she would come back to. His family left with as many personal effects and works of art as possible.

Three weeks later, Zentner returned to a home unscathed. The forest where she walked daily for inspiration and meditation, however, was irreparably altered by the fire, which burned 221,835 acres, destroyed 1,003 structures and damaged 81 others.

Shelley Zentner is an artist living in Christmas Valley on the south shore of Lake Tahoe. | Provided


“We didn’t even feel like we could unpack properly because the fire was still burning. We didn’t know if we were going to have to go back. This safety and security that you take for granted, which also felt very threatened,” Zentner says. “I was thinking of all the people who lost their homes and all the animals who were burned. There were feelings of guilt and that maybe it wasn’t the safest place anymore. It took a while to process these feelings and the way I do that is to get out there and start drawing.

When the forests reopened, Zentner found a burn scar from a localized fire near her home and began sifting through the charred remains.

“I was thinking of all the people who lost their homes and all the animals who were burned. There were feelings of guilt and that maybe it wasn’t the safest place anymore. It took a while to process these feelings and the way I do that is to get out there and start drawing. —Shelley Zentner

“I have always enjoyed working with charcoal. As I scratch in the wood, my hands are black and there’s this familiar presence of earthiness on my fingertips and I thought, “I have to make some designs out of this.” I felt the light come back to me. That spark of inspiration,” Zentner recalls.

Zentner captured the river near her home in Christmas Valley once forests reopened after the Caldor fire in her “Echoes” article. | Supplied/Shelley Zentner

Zentner has used charcoal, oil pastels and oil paint to create a collection that captures the battered landscape that was once so familiar. She noted the light filtering through the scorched trees and the sharp reflections and algae blooms in the river, which was flowing lower and warmer due to the drought.

“I think it goes back to our earliest ancestors. Early humans making marks in caves. Paleolithic cave paintings and drawings. They were made with charcoal and earth pigments. It’s that primal instinct to do in response to what’s going on around you and within you,” Zentner notes.

Zentner named her collection of drawings and paintings “Call and Response,” a nod to the music she noticed in the landscape but also the massive effort of firefighters and other first responders. She donated a portion of her profits to the Wildland Firefighter Foundation, which supports the families of deceased firefighters.

“Nature is always transforming, and this was my way of coming to terms with that transformation around me,” adds Zentner.

Check out more of Zentner’s work at http://www.shelleyzen.us.

Editor’s note: This story appears in the Summer 2022 issue of Tahoe magazine.

Zentner wanted to capture the new light falling on the once familiar landscapes of the forests near her home in the charcoal and oil pastel drawing, “In the Wings”. | Supplied/Shelley Zentner

Hispanic Society Museum & Library, NY, hosts exhibition of watercolors by American painters

Orville Houghton Peets’ artwork titled Jacaranda Tree.

Mohammad Yusuf, Feature Writer

The Hispanic Society Museum & Library (HSM&L) in New York presents a new exhibition, American Travellers: A Watercolor Journey Through Spain, Portugal, and Mexico (June 17 – October 16).

It focuses on major watercolors by American artists painted in Spain, Portugal and Latin America, in dialogue with decorative art objects from the HSM&L collections of the actual places and monuments depicted in the watercolors.

The exhibition will include a suite of contemporary watercolors by California artist Timothy J. Clark (b. 1951), best known for his large works.

Compositions by Childe Hassam, Max Kuehne, George Wharton Edwards, Ernest Clifford Peixotto, Florence Vincent Robinson, Orville Houghton Peets and Milan Petrovic are presented together with a collection of recent watercolors by Clark.

“Travel has unfortunately been rare in recent years,” says Guillaume Kientz, director and CEO of HSM&L. “While we may not always be able to travel physically, art is a fantastic way to transport ourselves to another world, providing an instant portal to distant places.

“The artists in this exhibition offer visitors access to many different regions, and they were all influenced by Sorolla, having discovered the Hispanic world through his works in the permanent collections of HSM&L.”

Sorolla was a Spanish painter, who excelled in painting portraits, landscapes and monumental works on social and historical themes.

The exhibition presents 94 works, 83 of which come from the HSM&L permanent collection, including a work by Clark. 11 additional works exhibited by Clark come from various collections.

Hispanic 1 Cargo Sailboats by Orville Houghton Peets.

Since the days of Washington Irving, Spain has fascinated American writers and visual artists. For example, John Singer Sargent painted at the Museo Nacional del Prado in Madrid and Granada.

“This exhibition idea is the result of my study of the works of Childe Hassam in our collection and the realization of the role that Hassam’s visit to the 1909 Sorolla exhibition at the Hispanic Society played in his decision to return to Spain in 1910,” says Marcus. B. Burke, Ph.D., Senior Curator, Emeritus in the Museum Department of HSM&L.

Orlando Hernandez-Ying, Goldschmidt & Rockefeller Curatorial and Conservation Fellow at HSM&L says, “This exhibition embodies the perspective of American artists underpinned by Archer Huntington’s intellectual curiosity and fascination with Spain and its culture in an effort to to preserve its memory of history. the shocks of modernity and industrialization. Huntington was an American scholar, philanthropist and collector, and founder of HSM&L.

“The Luso-Hispanic decorative arts objects (from the museum’s collections) provide a nuanced cultural framework, which breathes new life into these kaleidoscopic groupings of American watercolors,” explains Alexandra Frantischek Rodriguez, decorative arts conservation researcher at HSM&L.

The first works visitors will encounter in the exhibition will be the paintings of Hassam (1859 – 1935), who visited Sorolla’s exhibition of paintings in 1909 and was inspired to go to Spain.

His paintings of Spain in 1910 were exhibited in New York in the spring of 1911. Other Americans followed suit, such as George Wharton Edwards (1859 – 1950), the Connecticut-born artist and art director of Collier’s Magazine, whose work is also on display. at the start of the show.

The exhibition continues with additional works by Edwards, as well as those by Florence Vincent Robinson (1874 – 1937), the Boston watercolourist active throughout Europe, and Clark, focusing on the watercolors of the three artists of the Alhambra in Granada, Andalusia, Spain.

This section of the exhibition is enriched with decorative arts objects from the Alhambra region. Continuing along the exhibition, visitors will find works of oil sketch panels in display cases by Hassam and Max Kuehne (1880-1968), the German-born New York artist, active in Granada and in the regions of Old Castile (Salamanca, Burgos and Segovia), 1914-23. Works from Daniel Zuloaga’s ceramic workshop in Segovia will also be exhibited.

The next area of ​​the exhibition features works that highlight other regions of Spain, including Old Castile and Toledo. Among the pieces in this section are works by Milan Petrovic (1893-1978) – an American artist of Serbian origin who made watercolors in Spain and Morocco (1927) – including a representation of the tower of the cathedral of Toledo .

As the exhibition continues, the artwork begins to feature areas west of Toledo all the way to Extremadura and southern Old Castile (Talavera, Escorial, Plasencia, Avila) , with pieces by Ernest Clifford Peixotto (1869-1940), the California-born artist, author, muralist, and military and arts education administrator of Sephardic Portuguese descent.

Other regions of Spain highlighted in the exhibition include Seville and Andalusia (Cordoba and Ubeda), Valencia and Portgual, with various works by Peixotto, Clark and Orville Houghton Peets (1884 – 1968), the artist and illustrator born in Cleveland and later active in Delaware. , which was commissioned by Archer Huntington to paint in Spain and Portugal, 1919 – 1921.

An additional segment of works painted in Morocco includes a suite of watercolors by Petrovic. Finally, the exhibition ends with a gallery dedicated solely to Clark, presenting his various works supplemented by decorative art objects related to the subject and the place represented in the paintings of the artist.

The HSM&L is the leading institution and reference library dedicated solely to the preservation, study, understanding, exhibition and enjoyment of the art and cultures of Portuguese and Spanish speaking countries and communities.

Its collection includes masterpieces by El Greco, Velazquez, Rodriguez Juarez, Goya, Campeche, Arrieta, Sorolla, Orozco and Tapies; sculptures by Pedro de Mena, Luisa Roldan and Caspicara and masterpieces in the fields of decorative arts.

Celebrating 300 years of change, bravery and insubordination

It’s not quite 5 p.m. on the first day of Worcester’s tercentenary celebrations, and the Canal District is buzzing with a kind of quiet optimism, as vendors rush to set up tables in front of the traveling crowds, and crews are working to set up a stage at the new Rockland Trust Plaza on Green Street.

The green lawn and beautiful stone fountain represent a transformation from when the space was Pickett Plaza and was just a parking lot. Of course, few people could have told you who General Josiah Pickett was – a Civil War general who, according to MassLive editor Noah Bombard, “on June 3, 1864, … while in state of military arrest, led a regiment of 315 men from Worcester County. in one of the deadliest charges of the Civil War.

Look out, this is Worcester, and there will always be a handful of history buffs ready to talk when a historical figure’s name is in danger of disappearing, and indeed the discontent has already begun, and rumor has it that some thing in the area will be dubbed “Pickett Grove”. It’s a low-key argument – far from one of the city’s most pressing – but it shines a bit on a hot June day, when the city paradoxically celebrates 300 years of history in one of its fastest growing neighborhoods. Today, the past and the future collide in the shadow of Polar Park, and so far so good.

The fountain at the Rockland Trust Plaza.

what goes around comes around

If there’s anyone who enjoys discussing the history of Worcester, it’s Bob Largess, the owner of the Vernon Hotel. Stopping to chat outside his historic Canal District bar, Largess seems in good spirits, amused by all the fuss that has been made about the bar being renovated during the pandemic and how it now serves food . As we chat, two Worcester police officers stop to join in the conversation, and one of them mentions that his partner has never seen the Ship Room, Vernon’s legendary, ornate back room, between others, by the wheel of a ship, donated to Burl Ives bar.

Largess offers a quick tour and, indeed, seems happy to share the building’s history, including its beginnings as a hotel built to capitalize on the creation of the Blackstone Canal, and its rich history as a speakeasy during Prohibition. . Largess talks enthusiastically about bootleggers and Babe Ruth, and tells the story of Sgt. Cornelius F. Kelley, the square’s namesake, who came out of the trenches in a World War I firefight to repair a radio wire so his company could stay in touch with command. Largess remembers Kelley never being honored by the military for his bravery, because he acted out of order. Instead, the city chose to remember him, renaming the square in his honor. Bravery and an insubordinate streak are, it seems, qualities Worcester values, even to this day.

The officers seem suitably impressed with the quick tour and history lesson, then go about their business, leaving behind a bar that, indeed, looks shinier and cleaner than ever in memory, but still looks like the Vernon. . The bar has changed before, after all, and so has the city. But somehow, amid all this transition, the essential character of the bar and the city remains the same, peanut traffic or not.

Frank J. Inangelo pours a Harvey Woobanger at Steel and Wire.

A new drink in an old bar

As brilliant as some of the new developments in the town are, one need only take a stroll down Millbury Street to see that there is still a lot of work to be done and many townspeople are still in need. As you pass by long-time favorites such as Electric Haze and high-profile newcomers such as Major Bloom, it’s hard not to notice how many homeless people are still huddled in the doors of empty storefronts, and not for the first time, we must remember that – despite all the positive things happening in the city – there are still many, many in need. It’s a thought that lingers when you approach the familiar sight of what was once called Nick’s Bar & Restaurant, now the Steel & Wire Cocktail Lounge.

Nick’s was the bar of choice for much of the city’s artistic clientele, and the change was difficult for many patrons. Still, sneaking into the bar to talk to owner Frank J. Inangelo Jr. and bartender Chip O’Connor, it’s hard not to be struck by the familiarity. The vintage Jazz Age feel has given way to a retro 60s vibe, and the police are playing on the stereo and not Edith Piaf, but still, the bar has something of the same feel, even if the colors are brighter. now.

Inangelo concocts a brand new à la carte drink, a Harvey Woobanger. The drink is, according to the menu, “inspired by Harvey Ball of Worcester, creator of the iconic smiley face.” Among its key ingredients are blood orange vodka and Polar Orange Dry. It is an extremely tasty, bright and refreshing drink. Chatting at the bar, it’s hard not to see that this is a place where past and present are still in flux. Steel & Wire may not be Nick’s, but there’s always something of his spirit there, and a glass like that is worth a visit.

A sculpture made from Polar Soda cans on display at the Salle Blanche.

Everything new becomes old again

As the evening wears on, it’s clear there are parties all over the Canal District, but one of the most enjoyable is at the White Room, the new arts space run by the creative minds behind the Sprinkler factory, Luis Fraire and Birgit Straehle.

The space, once essentially a reception hall attached to the adjacent Crompton Collective, buzzes with energy as crowds mingle and enjoy the work of local artists adorning the walls. Appreciate and to buyevidently, as word of sale after sale filters out of the gallery and onto the patio, where visitors socialize in the warm, near-summer air.

That shouldn’t be all that surprising, given that many of the city’s hottest visual artists have pieces on display, but selling art has always been a tough business. Yet a consensus seems to be gaining ground around the party that the gallery – curated by two of the local art world’s most respected personalities – is well positioned in the middle of the canal district, both benefiting and adding to the piece. overflowing energy. Positioned alongside businesses such as Crompton Collective, Bedlam Book Café, BirchTree Bread Company and Worcester Public Market, it seems like an opportunity to expose the city’s art world to new eyes. It’s a different energy than the sprinkler factory, sure, but there’s a sense of excitement and possibility that’s intoxicating.

As the sky darkens a bit and people start to gravitate towards Polar Park to watch the night’s fireworks, we are reminded again of the reason for the festivities: the city’s 300th anniversary. On one level, walking through the neighborhood, it’s easy to feel that the place has completely transformed, and on one level, that’s definitely true. It is also true, however, that much of what is there is simply what has always been there, just seen from a new perspective. Both the neighborhood and the city have wonders to offer. There’s always someone who’s never seen the Ship Room, after all, and there’s always going to be someone who wants to make sure the city’s history isn’t forgotten. It’s just the nature of the city: you can dress Worcester however you want, but it will always be a brave and rebellious city, and frankly, we wouldn’t want it any other way.

New Ohio Museum Collects 2,000 Black History Artifacts


COLUMBUS, Ohio (WCMH) — For a hundred years, the Black-owned moving company, Accelerated Laboratory Logistics, has served the city of Columbus.

On Friday, they celebrated that history, with the announcement of a new African American History Museum, inside their 77,000 square foot warehouse.

“This museum is going to tell the story, that’s what it’s all about,” said Todd Wilson, CEO of Accelerated Laboratory Logistics.

Wilson says his grandfather started the business in 1921, as Jacob and Sons Moving & Storage Company. At the time, they delivered household furniture, today they transport laboratory equipment. However, while their business may have changed, Wilson says their commitment to Columbus and its history has remained the same.

“A lot of the things that I see here, and the things that I’ve learned now, I’ve never heard of,” Wilson said. “And those are the things, so I think it depends on who is telling the story. And I wish I could tell the story, a super positive story.

Wilson says the museum will contain more than 2,000 artifacts, all collected from different periods of black history. Several people from the region came to see the first exhibitions.

“My greatest joy and my greatest purpose in life is to help and see how black people become business owners,” said Curtis Jewell, president of Excel Management Systems.

Community leaders say it’s something they hope to develop in Columbus.

“I can’t wait for the rest of Central Ohio to see what we see here today,” said Bo Chilton, CEO of IMPACT Community Action.

Chilton says Wilson is his cousin, but had no idea that for thirty years he had been collecting all these artifacts. However, he hopes the launch of this museum will inspire more people to learn more about black history.

“Once people see this, they will see the power of remembering our history, of remembering strength and resilience,” Chilton said.

Plans for the full opening of the museum are scheduled for later this year.

Members-Only Art Collecting Club Launches in Detroit Featuring ‘Mystery Works’ by Local Artists | Art Stories and Interviews | Detroit

Click to enlarge

Bre’ann White/Courtesy Photo

Left to right: Amna Asghar, Dejha Carrington, Judy Bowman and Darryl DeAngelo Terrell at a pre-launch for Commissioner Detroit.

Would you be willing to throw $1,000 on an art collection you couldn’t see before if it meant supporting local artists?

This is how the commissioner of the members-only art collectors club works. The club started in Miami in 2018 and will soon launch in Detroit.

To join the curator, members pay for a 10-month season that gives them access to “mystery works” created by star artists. Subscribers won’t know exactly what artists are up to until the end of the season, when they’ll receive limited-edition pieces that won’t be available anywhere else.

Detroit’s first season will feature works by local contemporary artists Darryl DeAngelo Terrell, Judy Bowman and Amna Ashgar. At a pre-launch event in late May, each artist released 15 limited-edition pieces to give potential collectors a taste of what the club would offer.

While the price of a subscription to Commissioner Detroit is yet to be set, a collector-level subscription costs around $1,200 in Miami. This $1,200 includes four exclusive works of art, studio tours, community programming and tours of private collections. There’s also a cheaper $75 subscription, but it doesn’t include any of the artwork.

Membership money gives artists complete freedom to create whatever they want during the season without worrying about getting into a gallery or having to sell the work on their own. Participating artists will each receive a $4,000 commission plus an additional $1,500 for materials and curatorial support.

Commissioner Detroit also donates twenty percent of its sales to We The People of Detroit, an organization that supports residents on “issues related to civil rights, land, water, education and democracy,” according to a press release.

“We believe the future of arts philanthropy is collaborative and community-driven, which for many reasons makes Detroit an ideal civic partner,” said Dejha Carrington, Co-Founder of Curator. “The city has long had an impact on art, industry, and social progress. Detroit stands out as a model of individuals challenging structural norms to create more equitable systems through its strong creative culture and fierce dedication autonomy and authenticity.

The curator is supported by the John S. and James L. Knight Foundation and Louis Buhl & Co. Detroit is the first city the subscription program is coming to outside of Miami.

Carrington tells us the group is still trying to find a pricing model for the Detroit market.

“We are less tied to the price level than to this idea of ​​group economy,” she says. “[In Miami] every collector gets essential works, plus programming, plus passes to Miami Art Week, which is our biggest local art fair, so the value is huge. It’s not cheap, but it definitely creates space for contemporary works.

Bowman’s “Rise Up II (Yellow Shirt)” collection is already sold out, shortly after the pre-launch. The collection was a limited edition of eight signed and numbered pieces, plus two artist prints.

Bowman is a Detroit-raised, Detroit-raised, mixed-media collage and print artist. His work pays visual homage to “personal memories of coming of age in the Eastside and Black Bottom neighborhoods of Detroit,” according to a statement.

“To be selected to be one of Detroit’s first curator artists is quite an honor,” she says. “Helping emerging collectors learn to become a collector advances the art world. I create pieces that capture the current climate of people standing up for their rights around the world. I think these pieces will be relevant for new collectors as for seasoned collectors.”

Terrell is a Detroit-based BLK queer artist who explores themes such as female identity, displacement of black and brown people, sexuality and gender through photography, video and performance art.

Ashgar’s work, on the other hand, delves into the American experience by mixing images of cultural motifs like his family’s Pakistani popular culture ephemera to Disney films to Jean-Léon Gérôme’s Orientalist paintings. She also grew up in the Detroit area where she now resides.

Back in Miami, the organization has commissioned more than $200,000 in new work from local artists, organized more than 35 events, and “introduced more than 200 members to their local arts community in four years,” he says. .

While things are still in the works for Commissioner’s first season in Detroit, it will be interesting to see how this community program unfolds and what opportunities it presents for local artists.

More information is available at commissioner.us/detroit.

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July 2022 is the month of museums and cultural centers

Cade Museum press release

The City of Gainesville has declared July 2022 Museums and Cultural Centers Month. The proclamation issued by Mayor Lauren Poe recognizes the vibrant system of world-class museums and cultural centers that the city of Gainesville boasts.

The proclamation states that “Gainesville’s world-class museums and cultural centers not only strengthen ties within the community, but also bring visitors to Gainesville to strengthen the city’s economy…”

In celebration of Gainesville Museums Month, the Gainesville Museums Group (GNVMuseums) is offering prizes to visitors to the A. Quinn Jones Museum and Cultural Center, Cade Museum for Creativity and Invention, Cotton Club, Florida Museum of Natural History, Harn Museum of Art, Thomas Historic Center, Kika Silva Pla Planetarium, and Matheson History Museum.

GNVMuseums is a collaborative partnership established three years ago by the Cade Museum between museums and cultural centers in Gainesville. Through regular meetings, the group reflects on collaborations, learns about upcoming events, seeks and shares advice, and supports each other in programming and exhibitions.

From the Cotton Club Museum and Cultural Center fostering appreciation of the African American experience to the Kika Silva Pla Planetarium inspiring us to reach for the stars, Gainesville is teeming with a wide variety of experiences that enhance the lives of residents and visitors alike. Gainesville.

From July 1, 2022 through July 29, 2022, visitors to GNVMuseums member institutions can enter draws to win goodie bags containing exciting prizes collected from each institution – the more museums you visit, the more draws you can enter, and the you are more likely to win! The winners of each weekly raffle will be able to collect their prizes at the Matheson History Museum.

It’s a chance for Gainesville residents to visit their favorite institutions and finally get to the places they’ve wanted to visit. Visitors are encouraged to use the #GNVMuseums hashtag on social media to share their favorite moments from their visits.

Participating establishments:

A. Quinn Jones Museum and Cultural Center


Located in the home of influential educator Allen Quinn Jones, exhibits and programs tell the story of Florida education and the civil rights movement.

Cade Museum for Creativity and Invention


Le Cade is an interactive, hands-on science center that encourages visitors to think like an inventor through exhibits, experiments, games and creative challenges.

Cotton Club Museum and Cultural Center


The Cotton Club encourages and facilitates understanding and appreciation of the African American experience and resulting African-descended culture, thereby inspiring all of humanity to embrace it.

Florida Museum of Natural History


Through exhibits and hands-on programs, the Florida Museum strives to preserve and share Florida’s biological diversity and cultural heritage.

Harn Art Museum


The Harn uses the power of the visual arts to enrich people’s lives and open conversations about our shared cultural history and contemporary issues through exhibitions, collections, scholarships and programs.

Thomas Historic Center


Built in 1910, this historic Mediterranean Revival-style house is now the setting for contemporary art exhibitions, restored period rooms and historical exhibits.

Kika Silva Pla Planetarium


Planetarium Pla uses state-of-the-art technology to create an immersive experience, with topics ranging from astronomy and ancient cultures to meteorology, geology and even music videos.

Matheson History Museum


The Matheson preserves and interprets the shared history of Gainesville and Alachua County through exhibits and programs held in the museum complex’s four historic buildings.

Matthew Buchholz is opening a monstrous alternate history studio in Greenfield

Pittsburgh history and monsters go together like, well, black and gold. The modern zombie was born here with “Night of the Living Dead” in 1968 and has eaten away at our imaginations ever since.

Matthew Buchholz knows people can’t get enough of the jumpsuit. His Alternate Histories designs often feature vintage historical prints subtly altered to a more monstrous fate – like massive, sprawling sea monsters rushing out of the Monongahela River or a Godzilla-like mega-Andrew Carnegie rampaging through his city.

For history geeks, sci-fi geeks, and geeks in general, the appeal is kind of obvious – zombies in particular.

An 1876 Alternative Histories map of Pittsburgh shows the location of “outbreaks and undead attacks”, attributed to cartographers Romero & Sons. Courtesy of Matthew Buchholz.

Also a no-brainer is Buchholz’s decision to open the Alternate Histories Studio at 517 Greenfield Avenue in Greenfield this weekend. There will be a Studio Open House & Trunk Show at the old Staghorn Cafe from 11 a.m. to 3 p.m. on Sunday, June 12. Masks are mandatory and will be provided.

“Since I started my business in 2010, I’ve been working outside my home, and I just outgrew it,” Buchholz says. “I also want to have products specifically for the neighborhood like Greenfield bumper stickers, t-shirts, greeting cards – stuff that speaks to the love and pride the people of Greenfield have for the neighborhood. .”

Buchholz’s work is not limited to the three rivers (although they are bestsellers). In the Alternate Histories universe, the Great Wall of China is built to ward off marauding dinosaurs. George Washington wins the Battle of Stony Point with great help from a detachment of Martians – and the death rays from their saucers. President Lincoln is at Gettysburg with Vinlar the Destroyer – a giant ape beast with a robotic head – relaxing in the background.

Alternative Histories Print by Matthew Buchholz.

Buchholz is from Tucson, Arizona and attended NYU’s Tisch School of the Arts. After 14 years in New York, he moved to Pittsburgh and found a job at Wild Card, a gift shop in Lawrenceville specializing in locally made arts, crafts, clothing and cards.

This is where he started selling his prints and Christmas cards featuring aliens, dinosaurs and flying saucers subtly worked into classic Currier and Ives style prints.

“I ended up staying because I really fell in love with the city,” says Buchholz. “And one of the things that I’ve always appreciated is this deep vein of history that’s just below the surface all over the city.”

Zombie apocalypse print by Matt Buchholz.

Soon monsters started appearing everywhere he looked.

“One of my other loves has always been 1950s and 1960s monster movies, starting with George Romero’s ‘Night of the Living Dead’ and that story,” he says. “It kind of got me to start thinking about what would happen if there were these other creatures and monsters that you know, all over the area, and I kind of just kind of built a whole world out of of that.”

Finding the right historical poster or print and adding the right monster to the right place is harder than it looks.

“Typically when I create art, it starts with image research, looking at old pictures and finding things that inspire me. See old rooms that might have negative space, or things that somehow scream for a monster. But it always derives from an original historical source. When I’ve tried to go the other way around, like, “OK, I really want to do a play with a zombie that does this or a tentacle that does that,” it never works out so well.

Matthew Buchholz. Photo courtesy of the artist.

Besides opening his storefront, Buchholz is busy writing books – about monsters, of course.

“I wrote a children’s book that I call a ‘Decide Your Destiny’ book, where you can make choices on every page. You have to decide what type of monster you want to fight, how you want to defeat zombies, that sort of thing. I have a new one of these books coming out later this year called “Monster Island Escape”.

Alternate HistoriesgreenfieldMatthew BuchholzPittsburgh ArtHistory of PittsburghPittsburgh Prints

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Yaqui Maaso Koba ceremonial artifact returned after 100 years to Swedish museum

Yaqui Maaso Koba ceremonial artifact returned after 100 years to Swedish museum

Bianca Morales


A collection of 24 artifacts of Yaqui origin are being returned to the Rio Yaqui people in Mexico after being held by a Swedish museum for 100 years.

One such object is the sacred Maaso Koba, a ceremonial deer’s head. The dancer who wears it becomes the sacred deer and can travel from the physical world to the spiritual world of their ancestors, the Yaqui believe.

Yaqui and Mexican officials have been working for two decades to have the artifacts returned.

“For us, in ceremony for hundreds and thousands of years, (there is) the gravity of the deer dance – the Maaso dance – which contains the deer’s head – the Maaso Koba,” said the president of the Pascua Yaqui tribe, Peter Yucupicio. “And he is the only being who can be here in this world, which is the material world, and can travel to the spirit world, which is called the ‘Sewa Ania’ in Yaqui, and visit our ancestors. C is how important it is to us.”

The Maaso Koba and the other 23 pieces in the collection were acquired by the Museum of Ethnography in Gothenburg, Sweden, between 1934 and 1935 during scientific fieldwork in Mexico. Besides the stag’s head, the collection includes other ceremonial pieces and rattles.

On June 3, Francisco Eduardo del Río López, Mexican Ambassador to Sweden, and Ann Follin, Director General of the National Museums of World Culture, signed an agreement for the repatriation of the Yaqui collection. This return has been in the works for 19 years and it was a cooperative process, said Rafael Barceló Durazo, Mexican consul in Tucson.

“The request came from indigenous tribes, the Yaqui people located in both Sonora and Arizona,” Alfred Urbina, attorney general for the Pascua Yaqui Tribe, told the Tucson Sentinel. “So this request had to be facilitated by the nation states, either the Mexican embassy to the Swedish embassy to the US government or the Swedish government. I think the international aspect of it has made it a bit difficult.”

Experts on how tribal governments interact with foreign countries under international law called the agreement significant.

“It’s rare for Indigenous peoples and Indigenous peoples’ lawyers to win victories. That’s one of the things that makes it a happy ending because we don’t often expect to win because of this history of conquest and colonization that took so much from Indigenous peoples, and the law usually doesn’t give back much to Indigenous peoples,” said Kristen Carpenter, director of the American Indian Law Program at the University of Ottawa Law School. University of Colorado.

“A really important part of this process was that the Yaqui people went into it with a peaceful mindset, with a cooperative mindset. I think they were inspired by the Maaso Koba himself” , said Carpenter, who was a North American member of the United Nations Expert Mechanism on the Rights of Indigenous Peoples from 2017 to 2021.

This group, along with the International Indian Treaty Council, played a vital role when the Yaqui took up the issue of the return of ceremonial objects internationally, she said.

The repatriation agreement underscores the importance of not only paying attention to national and international laws, but also Indigenous laws, Carpenter said.

In September 2007, the UN established the Declaration on the Rights of Indigenous Peoples. Articles 11 and 12 of this document give the Yaqui the grounds for continuing the repatriation process. The declaration maintains that Indigenous peoples have the right to conserve and protect “past, present and future manifestations of their cultures”, including artefacts. Article 12 specifically calls for the right of states to “seek to allow access to and/or repatriation of ceremonial objects”.

The Yaqui had to overcome some challenges as they worked on a return agreement.

“I think the biggest challenge was they said at first it was given to them by a stag dancer and then they turned around and changed that to buy it for the museum as a collection,” Yucupicio told the Sentinel, explaining that tradition holds. the Maaso Koba should only be worn by a man, and such a revered item is not something to give away to a foreign collector.

“There are records of a ceremony that took place in the 1930s where the deer dance was taking place and they were having a celebration,” the tribe’s president said. “It starts out as if it’s not being used, but it’s being used. It was used in a ceremonial context and that’s what’s important to us.”

The Sami people, an indigenous group who live in northern Sweden and Norway, Finland and the Kola Peninsula in Russia, played a role in persuading the Swedes to return the collection. Like the Yaqui who value the deer as having both spiritual and material importance, the Sami have a long tradition based on reindeer herding.

The Swedish government has finally understood the importance of the Maaso Koba and why he should be back with his people, and not in a plexiglass box far from home, Carpenter said. Items will be returned “with dignity and respect” to the people of Rio Yaqui in Mexico.

It’s still undecided where these items will be kept, but Yucupicio said they’ll make sure they’re stored properly.

“It’s very, very important that our young people, our people, don’t forget where they come from,” Yucupicio said.

Correction: An earlier version of this story incorrectly quoted Carpenter’s first name.

Bianca Morales is a reporter for cultural expression and community values ​​at TucsonSentinel.com, and a member of the Report for America body supported by readers like you.

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Ucross Raises Funds for New Dance Studio and Art Gallery Renovation | Wyoming News

Ucross, Sheridan County’s retreat for creatives, is raising funds to renovate its art gallery and build a new dance studio and performance space.

The group began accepting private donations for the projects in 2021. It has already withdrawn $2.8 million from its $5 million goal, according to a Saturday press release. Ucross plans to spend the next year and a half raising the next $2.2 million.

Ucross sits on 20,000 acres near Buffalo at the base of the Bighorn Mountains. It is known for its artist residency program, which attracts creatives looking for a peaceful place to work and reflect with their peers.

It can accommodate 10 residents at a time – typically four writers, four visual artists and two music composers. Around 100 artists are selected for the program week each year.

The new performing arts building would be built in the middle of Ucross campus, right next to its art gallery. The organization plans to connect the two structures through a glass corridor, according to the statement. The new building would include a dance studio, as well as a patio and outdoor performance space.

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The retreat hopes the addition will attract more dancers and performers to its campus.

Ucross also plans to revamp the interior of its art gallery, called the “Big Red Barn”. This includes a two-story open space at its center, which will accommodate larger works of art like sculptures and installations, according to the press release. It will also have a digital media room, art storage, kitchen, new office and meeting space. The organization expects the gallery to host two or three public exhibitions a year.

Fundraising donations will also help support Ucross’s artist residency program.

Last year, Ucross began paying resident artists a stipend to make up for travel expenses and income they miss while they’re there. The organization plans to use the fundraiser to continue this program, as well as to pay for related expenses like new studio equipment.

Ucross is also raising funds to expand its public events, the statement said. It hosts its first arts festival on August 22. The free event will include an art giveaway and live music.

The retreat turned 40 on Saturday.

During the event, Ucross President and Executive Director William Belcher announced that American poet Joy Harjo would visit the campus in February. She will host a number of events during her stay, including a craft conference at Sheridan College and an evening of poetry and music at the WYO Performing Arts and Education Center. Harjo, a member of the Muscogee Nation, is in his third term as Poet Laureate. She is the first Native American to hold the title.

Belcher became president and executive director of Ucross in April. Sharon Dynak, who previously held the position for 25 years, announced her retirement earlier this year.

In June 2021, Ucross hosted the first Native American Art Curatorial Convening, bringing together Native American art curators from across the country. According to the Ucross website, the arts group will spend the next two years working to increase Indigenous representation in museums and the visual arts; develop new standards for Aboriginal art collections; and promoting mentorship of Native American arts professionals and curators. The Native American Art Curatorial Convening received a $47,000 grant from the Warhol Foundation in January.

Farnsworth Art Museum appoints Jaime DeSimone as chief curator

The Farnsworth Art Museum is pleased to announce the appointment of Jaime DeSimone as the museum’s Chief Curator from July. DeSimone will lead the museum’s exhibition and collection programs. With nearly twenty years of curatorial experience, DeSimone comes to Farnsworth from the Portland Museum of Art, where she served as Robert and Elizabeth Nanovic Curator of Contemporary Art.

“Jaime has an impressive understanding of Farnsworth’s historic collections, as well as our important relationships with artists who currently contribute to the ongoing narrative of American art, and its important ties to Maine,” said the Farnsworth director. , Christopher Brownwell. “The Museum Board and I have full confidence in Jaime’s ability to propel Farnsworth’s conservation program to a new level of success.”

In addition to her position at the Portland Museum of Art, DeSimone has served as curator at the Museum of Contemporary Art in Jacksonville, exhibition project coordinator at the Peabody Essex Museum and in the curatorial department of the Addison Gallery of American Art. As a curator and a leader in museums, DeSimone has championed an artist-centered approach, ensuring that artists are the heart of any institution. Of the more than forty exhibitions she has curated, her projects have gained support from many prominent organizations, including the National Endowment for the Arts and the Fulbright Program.

“I am honored to join the Farnsworth at this exciting time in the institution’s history,” DeSimone commented. “I look forward to building on its successes to elevate Maine’s role in American art, particularly on the eve of the museum’s 75th anniversary in 2023, and to guide the museum’s artistic vision into the future. We will continue the museum’s ongoing efforts to diversify the collection, not only in media, but to ensure representation that reflects all artists, past and present, who contribute to Maine’s role in American art.”

Appointed by the boston globe As one of the finest small museums in the country, the Farnsworth Art Museum features a nationally recognized collection of works by many of America’s greatest artists. It is open year-round as the only museum dedicated solely to American and Maine-inspired art. Through its remarkable collection of more than 15,000 works, inventive exhibits, vast intellectual resources, and energetic educational programming, visitors from around the world gain a deep appreciation for Maine’s continuing history of role in American art. More information about the museum can be found at www.farnsworthmuseum.org.

Summer art camps at the Contemporary Art Center

SUMMER ART CAMPS: Bedminster Center for Contemporary Art offers a variety of weekly camps for children ages 5-15. Sessions begin June 20 and are held in-person and in a hybrid format.

Registration is ongoing for the in-person summer art camps offered by the Center for Contemporary Art (the Centre). Ten weekly summer art camps, from June 20 to August 26, are offered to children aged 5 to 15 in half-day sessions. Art camps are held in person, with some camps offered in a hybrid format.

Summer art camps allow children to develop important artistic techniques and to familiarize themselves with the principles of visual art, historical periods and known artists. All camps are led by professional, experienced and creative teacher artists; offer a program tailored to three individual age groups; and allow students to take advantage of small classes with projects and themes that vary each week.

Each week, children ages 5-8 and 9-11 will spend the morning exploring drawing, painting, collage and other mixed media projects, as well as pottery in the ceramic studio. In the afternoon, campers aged 9-11 will explore in depth a wide range of subjects such as drawing, painting, pottery, recycled art, comics, manga/anime, and more.

Teens ages 12-15 can choose to spend their mornings or afternoons at an intensive art camp studying a single subject.

The Center also offers “Saturdays for Special Needs”, a six-week Saturday art camp for children ages 6-15 with Autism Spectrum Disorders and other special needs. Students will spend time exploring a variety of media as they experiment with drawing, painting and sculpting in these 1.5 hour camps. These camps are funded by a grant from Janssen Pharmaceuticals, Inc.

Adult Summer Classes and Workshops begin June 27 and will be offered in-person, virtual, or in a hybrid format. Classes are offered for all levels of experience in a variety of mediums including watercolour, gouache, oil and acrylic paint, colored pencils, pastels, drawing, ceramics, performance art, color theory, art journaling, etc.

The Centre’s annual non-juried exhibition and sale will take place from June 17 to August 27. This exhibition is an opportunity for members to present their works in all media. This year’s artwork by participating members includes painting, pastel, charcoal, ink, graphite, photography, mixed media, ceramics, and more. The judge for this year’s exhibition is M’kina Tapscott, Executive Director of Artworks, Center for the Visual Arts of Trenton.

The Center is located at 2020 Burnt Mills Road in Bedminster. For more information, call (908) 234-2345 or visit ccabedminster.org.

‘Ramses the Great’ Egyptian Artifact Exhibit Coming to deYoung This Summer


A traveling exhibition of rare Egyptian artifacts, some discovered in recent years, will be on display at the deYoung Museum from August 20.

It’s called Ramses the Great and the gold of the pharaohs, but many of the exhibits are not directly related to Pharaoh Ramses II, who ruled Egypt for 67 years and was called Ramses the Great. His tomb was plundered centuries ago, in antiquity, but the exhibition will bring together the colossal royal sculpture of Ramses II, as well as objects of Ramses and objects found in other royal tombs of the time, such as animal mummies and other treasures discovered at Dahshur. and Tanis, and from the necropolis of Saqqara near ancient Memphis.

The deYoung is the exclusive West Coast location for the International Traveling Exhibit.

Ramses the Great and the gold of the pharaohs reveals the power and splendor of ancient Egypt and expands the story conveyed in our own collections of ancient art,” said Thomas P. Campbell, director and CEO of the Museums of Fine Arts of San Francisco ( FAMSF), in a press release. “Once the exhibition has completed its international tour, these objects will return to Egyptian museums and probably won’t travel again for decades.”

Ramses the Great reigned from 1279 to 1213 BC. AD, as the third pharaoh of the Nineteenth Dynasty of Egypt. He was known as a fierce military leader – and may have been the inspiration for the pharaoh depicted in the biblical story of Exodus. Ramses was also known for his monumental temples and monuments, including the so-called Ramesseum near Qurna.

The exhibition includes 180 objections, including jewelry, grave goods, mummies, etc.

“Ramses the Great is considered the most famous and powerful pharaoh of the new kingdom,” Renée Dreyfus, a longtime curator of ancient art for museums, told The Chronicle’s Datebook. “It was Egypt’s golden age, and that meant he oversaw a very wealthy and powerful empire. The exquisite sculpture and grand architecture, the monumental temples he built for himself and for the gods, were destined for the ages.”

Dreyfus adds that this exhibit includes high-tech aspects, including drone footage of actual monument sites and an immersive video room that will give museum visitors a better sense of the scale of the buildings Ramses built during his lifetime. .

In 2009, deYoung hosted the extremely popular exhibition Tutankhamun and the Golden Age of the Pharaohs, which had 130 objects, some from the tomb of King Tut – who was part of the previous dynasty before Ramses II, the eighteenth.

Ramses the Great and the gold of the pharaohs opens August 20 and closes February 12, 2023. Tickets for museum members go on sale June 22 and for the general public July 6.

Alexander McQueen Pre-Fall 2022 Collection

Around Christmas, Sarah Burton and her team at McQueen sent images from this pre-collection released today to 12 female artists, along with a proposal. Artists were asked to select as many items from the collection as they wished to use as a starting point for an artwork commissioned by McQueen. Today, the findings have been installed in the flagship of the Bond Street brand, alongside the collection itself. As Burton said in a press release, “I wanted to engage in a new creative dialogue with the collection this season and see how the artists interpreted the work we created in the studio. It has been very interesting to see how creativity has arisen from so many different perspectives, and the results have been varied and beautiful.

How we react to art is as subjective as our reaction to clothing: pieces that I personally wish I had hung in my living room include Hope Gangloff’s portrait of her friend with the incidental name Caitlin MacQueen wearing the patched jeans from look 16, that of Marcia Kure painting and posing a fascinator The Amina Project from the look 30 dress with the initials of the McQueen studio teams embroidered in crystal and silver on Chantilly lace, and the funny and fascinating piece by Beverly Semmes Worrywho blew Look 1’s busted neckline-worried corset dress into a physical manifestation of a psychological state (with a Labrador).

These and the nine other equally excellent pieces will remain on display in London for at least a further fortnight before going on tour to other McQueen venues yet to be confirmed. As a collaborative device, the project was a clever way of interrogating through contiguity the established hierarchy of art forms (which, for reasons that are sure to involve sexism, place fashion very low), while putting emphasis on female dialogue, community and expression.

What would be particularly fascinating to see is the development of this artistic dialogue into a full-fledged conversation, with Burton and his team working to interpret elements of the art, such as the stormy canvas of The Amina Project and the moody tapestry by artist Ann Cathrin November Høibo. in future pieces. But even as a unique experience, it was an interesting twist.

Glasgow Royal Infirmary’s medical pioneers celebrated in new museum

A new museum has opened to celebrate the history of Glasgow’s oldest hospital.

The town’s medical pioneers are commemorated at the Royal Infirmary, which has treated patients for over 200 years.

Brain surgery pioneer William Macewan, early matron Rebecca Strong – a student of Florence Nightingale – and electrician-turned-doctor John Macintyre, who established the world’s first x-ray service in 1885, are among those featured.

John Brown, Chairman of NHS Greater Glasgow and Clyde, said: “We are delighted to see the extraordinary legacy and remarkable history of Glasgow Royal Infirmary preserved through this new museum.

“There are so many amazing stories to tell, and we were thrilled to be able to provide the space and support this project, which has such a strong connection to communities across the city.”

The charity Friends of Glasgow Royal Infirmary is behind the museum, which also tells the story of Joseph Lister, who pioneered antiseptic surgery in 1865.

John Stuart, a former head nurse at the hospital, said: ‘The Royal Infirmary is a legendary institution in east Glasgow and holds a special place in the hearts of many Glasgow residents.

“It has been at the center of innovation and clinical practice over the years.”

Review: LACMA strikes gold with exhibit on indigenous Colombia


It’s a likely draw for “The Wearable Universe: Thought and Splendor of Indigenous Colombia,” a deeply engaging new exhibit at the Los Angeles County Museum of Art. When the word “splendor” appears in the title of an art museum, the precious golden metal is usually somewhere nearby.

And that’s the case here – albeit with a twist. The dozens of metal objects in the exhibit are made from tumbaga, an alloy of gold and copper (and sometimes other metals, including silver) that was widely used in Central and South America before the Spanish conquest. Tumbaga is both malleable and hard, ideal for intricate metalwork, while a mild acid wash removes copper from a top layer and allows gold to shine like the sun.

“The Portable Universe” features an abundance of exquisitely crafted tumbaga pendants of magnificent birds; elaborate breastplates and pectoral adornments that merge bilateral geometry with organic animals and other motifs; small but refined votive offerings; and stunning nose ornaments that clip between the nostrils, hang over the mouth, and are sometimes almost as wide as a face. (My favorite features a right hand on either end, as if the wearer were using a shimmering golden charm to continually exclaim, “Oh, my!”) There’s even a generous set of golden ornaments arranged on a wall design of outline of a human body, which shows an aboriginal burial tradition.

The head of the deceased is capped with a flattened crown surmounted by a pair of fatty insect-like antennae. Below is one of the show’s most dazzling nose ornaments – a curved disc segment studded with protruding buttons and suspended from a heavy fringe of gold cylinders. It is flanked by a matching pair of huge dish-shaped ear ornaments. In the center of the chest is a heart-shaped cuirass adorned with geometric shapes, in the middle of which is a large mask sporting its own extravagant nose and ear ornaments. Finally, simple gold cuffs wrap the wrists and ankles, while a ring encloses a finger.

“Circular house model”, Colombia, Calima, AD 200-800, gold alloy

(Museum of Fine Arts, Houston)

Unsurprisingly, the famed Bank of the Republic Gold Museum in Bogotá is a lender and co-host of the show, along with the Houston Museum of Fine Arts, where it travels in the fall, and LACMA. (The main curators are Diana Magaloni and Julia Burtenshaw of LACMA.) Delayed since last fall by the COVID-19 pandemic, it remains essentially intact.

What’s interesting about these golden wonders, however, is how native cultures made them think of gold. This is not the way the European colonizers did it. And that’s not the way American museum-goers usually do, either.

The value of Tumbaga for the indigenous peoples of Colombia does not lie in an economic system or a method of monetary exchange. Instead, its usefulness in making long-lasting objects with eye-catching visual appeal is what counts. The use and usefulness of these objects, often but not exclusively in a ritual context, represents the acquisition of experiential knowledge. A wall text quoting the curator of the Gold Museum, Héctor García Botero, is succinct: “By idolizing gold, Europeans could not understand – and therefore could never completely eradicate – the indigenous worldview.

There are over 90 different indigenous societies in Colombia today, many of which are believed to be descended from the Tairona people (active between 900 and 1600 AD). The curators worked with one of the Arhuaco, a group of approximately 27,000 people living in the Sierra Nevada de Santa Marta mountains and represented by community elders Mamo Camilo Izquierdo and Jaison Pérez Villafaña. Since the European colonizers are long gone, while the indigenous peoples are still around, consider this a strike for the enduring power of understanding over money.

In order to change a museum visitor’s perspective, the show tries a few unusual things. Some work, others are more uncertain.

Scattered here and there clusters of small, roughly hewn wooden stools— banquets — in the form of a broad inverted U 7 or 8 inches from the ground. Near the entrance, ancient ceramic vessels show squatting figures seated on them, a configuration that is found in other clay pieces in the exhibition. In the Arhuaco creation myths, the material world is formed and sustained by concentrated thought. (Think of creation as one giant concept art project.) banquet is the place where we sit, alone or in a group, to ponder and reflect.

Low wooden stools inside the exhibition.

Low wooden stools installed in “Portable Universe” also appear in seated ceramic figures.

(©Museum Associates/LACMA)

Museum visitors are welcome to try it. I would have, but I couldn’t have gotten up without crawling on the ground – and few are likely to be dressed in the loose, useful clothing favored by the Arhuaco, anyway. But the point is made.

A more controversial decision was to leave almost all of the approximately 400 exhibits undated in their labeling. Linear history is not an indigenous Colombian value, where meaning and significance only arrive in the interdependence of things here and now. (That’s what makes every object a “portable universe.”) Leaving the alleged date of manufacture on the labels is a bit conceited, however, because any work of art in any art museum, whether it is a Chinese scroll painting from the Qing dynasty or a Baroque bronze also lives two lives simultaneously – one in the historical bond that produced it, the other in the current experience that has the viewer.

A sharp moment comes in an unidentified Spanish artist’s small, tattered painting of “Our Lady of Chiquinquirá,” Colombia’s patron saint, held together by embroidered embellishments. The image is installed alongside a display case displaying seven European manuscripts that show the colonial historicization of indigenous cultures – for example, engraved roundels featuring fabricated portraits of indigenous Muisca leaders dressed as members of the royal family of the Habsburg. “Notre-Dame” has the date 1786 painted on the frame, and the date is also carried on the wall label.

A ceramic figure of a basket holder.

“Basket holder (Can) with fangs and serpents”, Colombia, Calima, 1500 BC. AD-100 AD AD, ceramic

(©Museum Associates/LACMA)

Elsewhere, a luxurious feathered headdress, several large bark paintings and a few carved wooden “healing sticks” bear labels indicating that they are “modern”, apparently to distinguish them from the rest of the before and after items. – conquest of the exhibition. . The catalog also contains dates for just about everything. (The ornament of the nose with the hands, for example, was made between the seventh and seventeenth centuries.) It is difficult to say why such distinctions are made, but I might have been able to understand it if I took out a banquet.

At one point, “The Portable Universe” points to advocating for the adoption of an Indigenous worldview. A dubious wall text reads: “The Western dichotomy between nature and culture, which sets us apart from everything else, denies our common ancestry, our shared space and our shared needs. No, it is not, and a simplistic construction of a few thousand years of Western thought is unnecessary.

The show’s often wonderful ceramics inspired the exhibition. The LACMA acquired 14 years ago a Colombian collection of 700 pieces, of which we did not know much, and the organization of an exhibition makes it possible to support research. A useful if unfortunate discovery: the curators of the Gold Museum of Bogotá, which also houses a large collection of ceramics, have identified a number of counterfeits.

A clay figure of a face.

“Head fragment”, Colombia and Ecuador, Tumaco-La Tolita tradition, 500 BC. AD-500 AD AD; clay.

(Christopher Knight/Los Angeles Times)

Those that aren’t include some of the most intriguing objects in the exhibit, like a scowling little fellow with a conical skull cap that might remind you of Beldar Conehead. Purposes and functions may be obscure to an untrained observer. (Is the frequency of ceramic forms showing a figure carrying a basket on its back merely observational, one vessel recognizing another from daily life; or does it represent something more?) But the inventiveness is often invigorating.

Human and animal merge in a fanged basket rack surrounded by a snake, transforming the depiction of animal anatomy into something larger than itself. A clay shell painted in a woven textile pattern merges a natural structure with a cultural structure born of labor. Funeral urns decorated with birds speak of spiritual flight.

The Arhuaco and other indigenous Colombians believe that knowledge is the product of creative discovery. These endlessly inventive ceramics are quite convincing of this truth.

“The portable universe: thought and splendor of indigenous Colombia”

Where: LACMA, 5905 Wilshire Blvd., Los Angeles
When: 11 a.m. to 6 p.m. Thursday to Tuesday. Closed on Wednesday. Until October 2.
Information: (323) 857-6000, lacma.org

Loren Nicole’s new collection places ancient artifacts on 22-karat gold pedestals – JCK


Implied in the term cabinet of curiosities-also known as awunderkammerthe word used in Renaissance Europe to describe the collections of objects and artefacts that gave rise to the first museums is that the objects on display are rare, eclectic and esoteric.

According to this definition, Cabinet of Curiosities: Vol. 1, the latest jewelry collection from Loren Teetelli, the designer behind Loren Nicole, lives up to expectations. Featuring 13 one-of-a-kind pieces of jewelry that incorporate extraordinary objects in rich 22-karat gold settings, the line unites Teetelli’s love for archeology (the Los Angeles-based designer was pursuing a doctorate in the subject before founding her jewelry company in 2016) with his expert gold craftsmanship, including ancient techniques such as granulation, chasing and repoussé.

Loren Teetelli
Loren Teetelli

“It took me a little while to get comfortable with the idea of ​​incorporating antiques into my work,” Teetelli says. JCK. “I had moral issues as an archaeologist – whether I had the right to do that. But I don’t choose ultimate examples that would go into a museum. These are pieces that would probably sit on a desk .

Teetelli began collecting the items in 2018 with the intention of using them in her jewelry one day. Coming from various art dealers, mainly based in London, the pieces come from the ancient world: Egypt, Persia, Rome, Greece; a bronze cross even comes from the land of the Vikings.

Necklace Loren Nicole Persian Turquoise and Golden Pearl
Antique turquoise and 22-karat yellow gold beads on leather cord, $18,500

The focus of the jewelry – the majority of which are statement necklaces – is unequivocal on artifacts, with the 22k settings designed to serve as pedestals or frames. But don’t make the mistake of assuming goldsmithing was secondary to collecting. Teetelli is committed to working with high-karat gold, which she alloys in her studio in Hermosa Beach, California, for many reasons.

“I love the color,” she says. “I alloy it here from pure gold, with copper and silver in the alloy. One of the main reasons I work with 22 is that it is necessary for most techniques that I do. You need a certain purity in the metal to melt it.

The simplicity of goldsmithing is on display in one of Teetelli’s favorite pieces: the $13,000 Egyptian faience goddess pendant depicting Hathor, the goddess of fertility, beauty, dance and joy , holding the feather of Ma’at, an ostrich plume representing truth. .

Egyptian goddess pendant in earthenware Loren Nicole
Hathor pendant in ancient Egyptian earthenware in 22k yellow gold, $13,000

The collection starts at $6,500 for a Bronze Age bracelet with gold and diamonds (“I love the look of patinated bronze with high-karat gold,” Teetelli says) and goes up to $63,000 for an ancient Persian bronze arrowhead lariat necklace.

“It took forever to get that arrowhead,” she says. “I bought it in London, but because it was from Iran, special paperwork had to be filed with the State Department before it could be imported. It took almost a year. It’s my favorite piece from the collection.

Loren Nicole Persian Spear Gold Necklace
Ancient Persian bronze arrowhead in 22k yellow gold with 0.23 ct. two diamonds, $63,000

Currently working on Cabinet of Curiosities: Vol. 2, Teetelli says his earlier reluctance to make jewelry from ancient artifacts and antiques has all but disappeared.

“I’m comfortable because I’ve seen how passionate and interested people are in history,” she says. “I just want people to care about it as much as I do. I want to create that excitement in people.

Top: Ancient Roman bronze lunula loop brooch with original enamel (circa 200 AD) in 22-karat gold pendant with green and blue tourmaline, $8,000

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How Daniel Boyd’s Art Flips the Apple Basket of Accepted White Australian History

Daniel Boyd’s solo exhibition Treasure Island, currently on view at the Art Gallery of New South Wales, is a deeply political and personal interrogation of Australia’s colonial history.

Boyd is a Kudjala, Ghungalu, Wangerriburra, Wakka Wakka, Gubbi Gubbi, Kuku Yalanji, Yuggera and Bundjalung, with ni-Vanuatu heritage. His work overturns the apple basket of accepted white Australian history and presents the mess of bruised fruit.

For many, the true stories of racism, exploitation and violence towards First Nations people in Australia will come as no surprise, but Boyd loads the data with emotion and affect.

Daniel Boyd, Treasure Island, 2005. Oil on canvas 175 x 200 cm. Collection of James Makin, Melbourne.
Image: Courtesy of James Makin Gallery © Daniel Boyd

One of the featured artwork features a large Aboriginal map showing several language group areas and with the words “Treasure Island” on its side. This refers to the imperial notion of Australia as Terra Nulliusa land of free resources to steal or mine.

Inspired by the iconic tales of Robert Louis Stevenson (author of Treasure Island and collector from what Boyd describes as “fetish objects of the Pacific” and countless ethnographic archival images, Boyd creates his disturbances.

The works on display reflect the breadth of Boyd’s critical investigation of the cosmos, patterned navigational charts, Plato’s cave allegory and dark matter in space and history.

Daniel Boyd, Untitled (WWDTCG) 2020. Oil, charcoal, pastel and archival glue on canvas. 87 x 87cm. Collection of Anthony Medich, Sydney.
Image: Luis Power, courtesy of the artist and Roslyn Oxley9 Gallery, Sydney © Daniel Boyd

Knowledge transfer

We Call Them Pirates Out Here (2006) presents the viewer with a familiar image of Cook’s first landing at Kamay (Botony Bay), in 1770. Boyd re-presents Cook as a pirate, stealing unceded land illegally.

In Boyd’s hands, the scene becomes chaotic rather than messianic. But the stain of power is still there.

The false truth can be disturbed, but the violence has already been done. Decolonialism is not yet achieved.

Daniel Boyd, Here We Call Them Pirates, 2006. Oil on canvas, 226 x 276 x 3.5 cm. Museum of Contemporary Art Australia, Sydney, purchased with funds provided by the Coe and Mordant families in 2006. 2006.25.
Image: AGNSW, Jeni Carter © Daniel Boyd

Read more: Terra nullius interruptus: Captain James Cook and the absent presence in First Nations art

I asked Daniel Boyd if non-Indigenous people would ever be able to understand life in the same way as First Nations – as multiple and complex, as holistic and connected and as poetic? He has answered:

when indigenous peoples relate to the place, to the sea, the land and the sky, then this knowledge can be transferred.

Boyd’s exhibition is exactly this transfer of knowledge to the public. It features a central hall of artwork dedicated to Australia’s ‘blackbird’ period, when people from the South Seas islands were brought to Queensland as slave labor to work on the sugar cane plantations.

Boyd tells me that his own great-great-grandfather, Samuel Pentecost, was forcibly taken from Malakula Island, Vanuatu, and brought to Queensland to work without pay.

Daniel Boyd, Untitled (BGTJS), 2017. Oil, ink and archival glue on polycotton. 273 x 213cm. Private Collection, Melbourne.
Image: Jessica Maurer, courtesy of the artist and Roslyn Oxley9 Gallery, Sydney © Daniel Boyd

On the backs of slaves

In The Secret Medicines of Slaves, historian Londa Schiebinger writes that slaves were thrown into mass graves at the end of rows of cotton or sugar cane if they died of exhaustion or malnutrition on the spot. I read that slaves were only fed bananas or mute cane which caused their tongues to swell and the verbal reactions to stop.

As Boyd tells me, Queensland’s economy was built on the backbone of the free labor of First Nations and Pacific Island peoples. Wages were stolen and people were exploited.

Daniel Boyd, Untitled (KCE) 2013. Oil, charcoal and archival glue on linen 223.5 x 447 cm. Private collection, Sydney.
Image: Ivan Buljan, courtesy of the artist and Roslyn Oxley9 Gallery, Sydney © Daniel Boyd

Along with domestic servitude, this free labor created capital and profit for generations of white Australians.

Boyd continues these unsettling tales with a painting of an imperial ship, full of produce. The artist tells me that Joseph Banks “discovered” the Tahitian breadfruit as a species useful for feeding plantation slaves, so the breadfruit was transported aboard the ship Bounty to Jamaica, a another site of plantation slavery.

The brutality continued through Australian history and into Boyd’s own family line. Samuel’s son, Boyd’s great-grandfather, was stolen from his parents at Mossman Gorge and taken to Mission Yarrabah.

Boyd transfers an image of Harry Mossman, photographed by anthropologist Norman Tindale, for this exhibit. This is one of the most plain and simple portraits in the exhibition: it has a calm, proud and direct appeal.

Adjust our focus

Boyd’s use of tiny dots of glue on the surface of his works references traditional painting but also acts as lenses. These adjust our focus and help us see the real stories, no matter how painful, painful and shameful they are.

Daniel Boyd, Untitled (PI3), 2013. Oil and archival glue on linen. 214 x 300cm. Private Collection, Bowral.
Image: Jessica Maurer, courtesy of the artist and Roslyn Oxley9 Gallery, Sydney © Daniel Boyd

They are emblematic of how light (Western knowledge) can blind us to what we need to see (dark truth). The mostly white dots are portals to better see the hidden stories.

Boyd’s art dispels white Australian propaganda that erases information about slavery, the Stolen Generation and the early years of white settlement. He encourages audiences to see the true stories that lurk in the shadows.

It’s not easy, but facing the truth is the first step to decolonizing our Australian history.

Daniel Boyd Treasure Island is at the Art Gallery of New South Wales until January 2023.

The new director of TMAG is a scientist who loves art

Although Mary Mulcahy was not born in Tasmania, she has lived there for a long time. This is why her recent appointment as Director of the Tasmanian Museum and Art Gallery (TMAG) is so welcomed. However, the decision was not part of the big “reshuffle” brought about by COVID. On the contrary, it unifies many aspects of his career.

“I worked as a scientist, but I worked more as a science communicator. I also have a passion for art, so it’s kind of a pretty package tied with a bow,” she told ArtsHub.

If there was ever a testament to the connection between art and science, it was Mulcahy’s reaction to a painting in her office when she was interviewed for the job. “I got halfway to the gate and it stopped me in my tracks. I just said, “do I think it is?” Yes, it’s a Glover. It’s pretty amazing,’ Mulcahy said of John Glover View near Byrkley Lodge (c.1820), which hangs behind his desk.

‘My mother always told me, it [Glover] obviously just painted trees as they are painted in Europe. But you know, the land was regularly burned and it was managed, and we saw trees like that grow on their own,” she continued. “It’s interesting these anchors that connect you to why you do what you do.”

TMAG combines a State Museum, Art Gallery and Herbarium which houses the Tasmanian State Collection. It collects and preserves material evidence in the fields of the humanities – the visual arts, history and anthropology – and the biological and physical sciences.

Mulcahy explained the difficulties of finding this right balance: “I’ve always seen museums as really interesting places to work. And the thing about TMAG is that it’s one of those places that’s pretty unique because it’s a combination of a museum and an art gallery.

Just seven weeks later, Mulcahy says she views the top job at TMAG as a ‘stewardship role on behalf of all Tasmanians’.

Mulcahy is convinced that science can be very creative, “especially the reflection on experiments and investigation”, adding that for her, “it is this bundle that TMAG offers, which brings together the scientific collections but also the history and society, put together – it’s a truly holistic organization.

“Over the years, from when I was a very small child coming here with my mother until I returned as a visitor, it always seems to be balanced in the representation – in the exhibits and the content on the floor – for really give this holistic approach a truly Tasmanian experience,” she added.

It is this authenticity or meaningful experience that Mulcahy plans to cultivate during his tenure.

Develop the learning experience

Education is a big part of Mulcahy’s experience, so we asked her about her goals for developing the learning experience at TMAG.

“I’m really interested in the ‘T’ in TMAG, because we’re not the Hobart Museum or that guy with the Hobart Museum Gallery,” Mulcahy said. “Someone told me there are about 240 small museums or art galleries in Tasmania.”

“Through partnerships and innovative programs, I am interested in how we really work together to ensure that a Tasmanian story is accessible to everyone, wherever they live,” Mulcahy continued.

‘I guess the thing for me is if we can engage and connect with the people on the northwest coast [of Tasmania], and manage to do it effectively – and authentically is probably the word I’m going to use – then we could reach anyone in Australia; anyone in the world. I’m interested in doing this and doing it in a meaningful way,” she told ArtsHub.

Shaping a new future for TMAG

TMAG recently spent a lot of time communicating its upcoming Strategic Plan (2021-2024). It was released after the organization issued an apology to Australian institutions to Tasmanian First Nations (February 2021), which significantly fed into and shaped the institution’s plan for the future.

Read: TMAG’s apology to Tasmanian Aborigines

Mulcahy said of the plan for TMAG: “The priorities in the strategic plan speak to the crucial role that engaged and involved communities will play in the future of the organization. I think we are all stakeholders. And I think that’s essential and it’s going to be essential for the future of TMAG.

“But also thinking in the post-COVID context, and what that means. The government has a cultural and creative recovery strategy. I think community engagement will be part of that. What can we bring to the table in conversations that are informed by scientific and cultural knowledge, and I guess planning for the future?

“It’s very limited by this building, to really have these conversations that resolve this kind of vision, so I’m very interested in tearing down the walls,” Mulcahy added.

Mulcahy believes that it is not just TMAG’s unique blend, but also serendipity that makes an institution successful.

“You add serendipity, and it actually allows for these kinds of things that otherwise wouldn’t have been together, and wouldn’t have brought people with all these different interests together.” Mulcahy spoke of when the French Antarctic Expedition isolated itself in Hobart, and TMAG worked with local schools to connect with them via a postcard project.

It’s that human side. I think there is a huge opportunity for this role that TMAG could play, defining its own future through the conversations that come, and these opportunities created [fusing] the social, with science and art, she says.

Mulcahy said she was also “interested in unpacking what it potentially means around restorative tourism as well”, speaking of a program started by New Zealand and a number of other countries to ask their visitors and tourists sign up to act responsibly when visiting, and then share those experiences.

‘That sort of thing is really about how you act when you’re in the country, and what that might mean as a guest I, the experience they choose, the things they buy – how people seek out service as a way to give back,” she continued. ‘It’s a really interesting idea, this community compensation, and renewal. I think there’s a lot of space for us to tap into the pulse of what people are feeling today in many ways.

Values ​​for the next chapter of TMAG

Mulcahy says she hates being micromanaged. “I don’t like being the captain and making captain calls. I much prefer working with a management team,” she told ArtsHub.

I’m also very interested in this idea of ​​servant leadership. I would much rather stand as far back as possible, but I’ll stand right in front if there’s a problem.

Mary Mulcahy, TMAG Director

Working in science and education, Mulcahy said one of the interesting lessons learned is that, ‘[while] communicating is fine, but communicating when appropriate is probably better. Communication can sometimes be quite destructive when it’s too early or too much; it can be destabilizing.

Regarding the movement of staff levels at TMAG, Mulcahy told ArtsHub: “It’s always difficult. You know, you have a budget that you have to stick to, but we always have a good number of employees.

“At the moment we have a few vacancies in the team, so this is an opportunity for the management team to look at that balance and ask how does it work? And what does that look like in a sustainable model? »

While with CSIRO, Mulcahy led a team that managed to raise $100 million. She noted that the funded project had a national footprint. “When I first started talking to people, I hadn’t realized how important that national footprint was, especially with companies that also had a national footprint. And so it’s an alignment.

“The other thing was how CSIRO actually measured the impact. For example, how are we going to take the research and then translate it into something that benefits Australia?

We took that thinking and put it into the education team and started looking at how do you evaluate education programs? And it’s difficult because you can’t put a student in a bubble and then nothing else influences them all their life.

We started collecting evidence on what worked, what didn’t, and we learned a lot. So we’re able to say, “Look, I can’t do this, but we can do this.” Those conversations early in the relationship actually meant we were delivering because you can see where the money translated. I’m interested in [exploring] than in the context of a museum.

Who is Marie Mulcahy?

Mulcahy spent his early childhood in the west-central highlands of New Guinea, which sowed an earthly curiosity about the world. This warm and casual attitude is felt immediately when you meet her.

Prior to TMAG, she led stakeholder engagement for the development of the National Research Infrastructure Roadmap 2021 with the Department for Education, Skills and Employment and CSIRO’s response to modern manufacturing strategy.

She served as CSIRO’s Director of Education and Outreach from 2015-2020, managing a team of over 100 people to deliver education and engagement (STEM) programs to teachers, students and the community. . Under his leadership, the team dramatically changed its business model, doubled in size and secured $100 million in external funding.

She has also held senior communications positions with CSIRO, Sydney University of Technology, Questacon in Canberra and Petrosains in Malaysia. She has worked as a freshwater ecologist and taught in secondary schools.

The Art Career podcast seeks to demystify the world of art

Emily McElwreath (right) in the studio with Dana Prussian (left). Photographed by Morgan Everhart. Courtesy of Art Career.

A new podcast invites listeners to take a deep dive into the inner workings of the art industry. Hosted by advisor and educator Emily McElwreath and led by artist and curator Morgan Everhart, The Art Career podcast is for titans of the art world, as well as emerging young professionals, to explore the world of multiple facets of work in art. Designed for aficionados and those curious about the field, the podcast provides excellent insight into the pressing issues facing art professionals. Listeners can hear insights and stories from some of the industry’s leading figures, including Marilyn Minter, Leo Fitzpatrick and Laurie Simmons.

The Art Career aims to demystify some of the many hidden aspects of the art industry. “The art world is bananas,” explains McElwreath. “You have to follow the rules and break them at the same time…I founded The Art Career to create a smoother experience for artists and art professionals who want to participate in this contradictory industry that is both exclusive and very welcoming.”

The episodes released so far have been accessible even to art novices, but incorporate academic and historical references and esoteric anecdotes that listeners can look up if they wish. Informative and well researched, each episode is entertaining without fail. The podcast includes conversations with a range of professionals, providing useful insight into the many facets of the industry. Among the guests and topics discussed are Dana Prussian, Senior Vice President of Art Services at Bank of America, who discusses her work managing billions of dollars in art and the growth of art as an asset in large private banks; painter Deja Patterson discussing her exploration of societal discrimination and issues of race, body image and sexuality; and gallerist, actor and actor and gallerist Leo Fitzpatrick who shares candid insight into the art industry in general.

“We took care not only to approach the icons of our generation but also to invite emerging artists and art professionals. The TAC hits both ends of the spectrum to adequately represent our ecosystem. We make the art world more accessible to everyone,” says McElwreath.

Emily McElwreath with Marilyn Minter in her studio. Photographed by Morgan Everhart. Courtesy of Art Career.

A highlight of the season is the inaugural episode with artist and activist Marilyn Minter. For listeners unfamiliar with Minter, McElwreath provides a helpful visual description of his work and insight into his career. Both dive deep into topics ranging from the marginalization of women throughout art history to the importance of creating a community of supportive artists.

“I always say being an artist is too competitive… My theory is to work as a team, girls,” Minter tells McElwreath, adding that his first inclination as a young artist was to reject other artists – men and women. women – whose work she was jealous of to make more room for herself. She realized that was not the way to build community. “I did the opposite action…I went to the girls and boys I was jealous of and said ‘God, your work is so good, I’m such a fan’…a once you say those words, the poison flows out and then you actually mean it and you become co-workers.

Marilyn Minter, Lilith, 2021, enamel on metal. Courtesy of Art Career.

Where the episode shines are the more candid moments in which Minter talks about larger topics unrelated to art. As a longtime supporter of Planned Parenthood, Minter speaks to the topics of reproductive rights, feminism, toxic masculinity and the importance of education.

“Information. People just need information,” Minter says. “Those poor fucking souls who are afraid of the word ‘gay’ or ‘trans’, they don’t even know the language. Why can’t the patriarchy share power They won’t lose anything We’re all asking to share power We’re not trying to take over What’s so hard about it ?

Minter is open and honest as always, seeming comfortable answering all questions, including personal questions about sexuality and addiction. Although these are personal anecdotes, they reflect larger issues that many people face, especially artists and creatives.

Morgan Everhart (left) and Max Kendrick (right). Photographed by Morgan Everhart. Courtesy of Art Career.

Another season highlight is episode two, in which McElwreath chats with Max Kendrick, co-founder and CEO of Fairchain, a new company that ensures artists and galleries benefit financially from the sales of works of art, an issue that is becoming increasingly important in the secondary market. . The episode dives deep into the issues that arise when artworks are resold and returned and explains how Fairchain establishes new revenue streams. Kendrick and McElwreath also discuss the importance of protecting buyers from counterfeiting and fraud, and introduce listeners to more technical issues of provenance and authentication.

The Art Career constantly presents new topics that keep the listener interested. Stylistically, the episodes range from more personal accounts, like Minter’s, to more technical and scholarly information, like Kendrick’s. In this well-balanced range, the overall tone of each episode remains surprisingly conversational, a testament to the craftsmanship of the creators, as well as that of their guests. Each speaker is highly qualified and able to talk about complex, often daunting topics in understandable and accessible terms. Overall, The Art Career podcast is a valuable addition to any art lover’s weekly listen.

Key words:
Annabel Keenan, Dana Prussian, Emily McElwreath, Max Kendrick, Morgan Everhart, The Art Career Podcast, The Art Career Podcast seeks to demystify the art world
Annabel Keenan

Annabel Keenan is a New York-based writer and arts consultant. She specializes in contemporary art and sustainability. She contributes to several publications including The Art Newspaper, Cultured Magazine, Brooklyn Rail, Cultbytes and Hyperallergic, among others.

NASA’s Voyager could carry human artifacts through the cosmos for billions of years


Voyager 1 is the farthest man-made object from Earth. After sweeping past Jupiter, Saturn, Uranus and Neptune, it now sits almost 15 billion miles (24 billion kilometers) from Earth in interstellar space.

Voyager 1 and its twin, Voyager 2, both carry little bits of humanity in the form of their golden discs. These messages in a bottle include spoken greetings in 55 languages, sounds and images of nature, an album of recordings and images from many cultures, and a written message of welcome from Jimmy Carter, who was President of the United States. United when the spacecraft left Earth in 1977.

Each Voyager spacecraft carries a gold disc containing two hours of sounds, music and greetings from around the world. Carl Sagan and other scientists speculated that any civilization advanced enough to detect and capture the disc in space could figure out how to play it.NASA/Wikimedia Commons

The Golden Records were built to last a billion years in the environment of space, but in a recent analysis of the paths and perils these explorers may face, astronomers calculated that they could exist for trillions of years without coming within distance of any star.

Having spent my career in religion and science, I have thought a lot about how spiritual ideas intersect with technological achievements. The incredible longevity of the Voyager spacecraft presents a unique and tangible entry point into exploring ideas of immortality.

For many people, immortality is the eternal existence of a soul or spirit following death. It can also mean the continuation of his legacy in memory and archives. With its Golden Record, each Voyager provides such a legacy, but only if discovered and enjoyed by an alien civilization in the distant future.

Life after death

Religious beliefs about immortality are many and diverse. Most religions provide for a postmortem career for a personal soul or spirit, and these range from eternal residence among the stars to reincarnation.

The ideal eternal life for many Christians and Muslims is to dwell forever in the presence of God in heaven or paradise. Judaism’s teachings about what happens after death are less clear. In the Hebrew Bible, the dead are just “shadows” in a dark place called Sheol. Some rabbinical authorities place faith in the resurrection of the righteous and even in the eternal status of souls.

Immortality is not limited to the individual. It can also be collective. For many Jews, the ultimate fate of the nation of Israel or its people is of paramount importance. Many Christians anticipate a future general resurrection of all who have died and the coming of the kingdom of God for the faithful.

Jimmy Carter, whose message and autograph are immortalized in the Golden Records, is a progressive Southern Baptist and a living example of religious hope for immortality. Now battling brain cancer and close to centenarian status, he thought about dying. Following his diagnosis, Carter concluded in a sermon, “I didn’t care if I died or lived. … My Christian faith includes complete trust in life after death. So I will live again after my death.

It’s plausible to conclude that the potential of an extraterrestrial witnessing the Golden Record and becoming aware of Carter’s identity billions of years in the future would offer him only marginal additional consolation. Carter’s knowledge of his ultimate fate is a measure of his deep faith in the immortality of his soul. In that sense, it probably represents people of many faiths.

Secular immortality

For secular or non-religious people, there is little comfort to be found in a call for the continued existence of a soul or spirit after death. Carl Sagan, who had the idea for the Golden Records and directed their development, wrote of the afterlife: “I know of nothing to suggest it was more than just wishful thinking.”

He was more saddened by thoughts of missing important life experiences – like seeing his children grow up than by fear of the expected annihilation of his conscious self with the death of his brain.

For those like Sagan, there are other possible options for immortality. They include freezing and preserving the body for future physical resurrection or downloading its consciousness and transforming it into a digital form that would last a long time longer than the brain. None of these potential paths to physical immortality have yet proven to be feasible.

The Golden Records contain a snapshot of Earth and humanity.

The Voyagers and the Legacy of Humanity

Most people, whether secular or religious, want the deeds they perform in their lifetime to carry continued meaning into the future as their fruitful legacy. People want to be remembered and appreciated, even cherished. Sagan summed it up nicely: “To live in the hearts we leave behind is to live forever.”

Since Voyagers 1 and 2 are estimated to have existed for over a trillion years, they are about as immortal as human artifacts. Even before the predicted disappearance of the Sun, when it runs out of fuel in about 5 billion years, all living species, mountains, seas and forests will have long since been wiped out. It will be as if we and all the wondrous, extravagant beauty of planet Earth never existed – a devastating thought to me.

But in the distant future, the two Voyager spacecraft will still be floating in space, waiting to be discovered by an advanced alien civilization for whom the Golden Records messages were intended. Only these recordings will probably remain as a testimony and heritage of the Earth, a kind of objective immortality.

Religious and spiritual people can find comfort in the belief that God or an afterlife awaits them after death. For lay people, hoping that someone or something will remember humanity, any awakened and grateful extraterrestrial will have to.

This article was originally published on The conversation by James Edward Huchingson at Florida International University. Read the original article here.

Arnhem Land Art ‘detectives’ help uncover who painted these priceless works

More than a century after anthropologist Sir Baldwin Spencer collected bark paintings from Arnhem Land, research is underway to identify the artists who created the work.

These are some of Australia’s oldest and most prized bark paintings, and they have been kept in a vault nearly 4,000 kilometers away in Melbourne.

A group of artists and a cultural adviser from Arnhem Land flew south to see the paintings in person for the first time.

A 110 year old bark painting from Arnhem Land of Kinga with hand stencils.(Provided: Museums Victoria)

In 1912, Spencer acquired bark paintings in exchange for tobacco near Gunbalanya, then a mission known as Oenpelli, in western Arnhem Land.

Over the next decade he commissioned another 120 bark paintings for money through his local contact, buffalo hunter Paddy Cahill.

The paintings received national and international acclaim, especially in Houston, Texas, USA.

But the artists responsible were never recognized.

Today, Gunbalanya artists are working with scholars to name those who painted the irreplaceable barks from 1912 to 1922, document their stories, and give descendants a say in what happens next.

“It’s real detective work,” said lead researcher working on the project, Associate Professor Sally K May.

Four smiling Arnhem Land men, two with thumbs up, face masks down, stand outside the building.
Artists and a cultural adviser from Arnhem Land traveled to Melbourne to try to match works with artists.(Provided: Alex Ressel)

“Amazing snapshot in time by master artists”

Oral histories, historical records, measurements of handprints, and comparisons to painted rock art at the time are all part of the research.

The paintings feature x-ray depictions of fish, kangaroos, echidnas and ancestral beings in a range of styles.

“It’s an incredible snapshot in time of the master artists of the day,” said Dr May.

She said Spencer wanted “the best artists of the time painting for this collection”.

“[The barks] are so unique and there is clearly a great story behind them. We’re working with the community to see what the story might be.”

A story emerged in Melbourne last month when cultural adviser Kenneth Mangiru saw a three-metre bark of a kinga (Kunwinku word for crocodile).

He immediately recognized the work of his great-grandfather Majumbu.

“My great-grandfather – my mother’s father’s grandfather – he did a crocodile painting, on rock art, and he did it on bark, a big one,” said he declared.

An Arnhem Land man sits on a rock next to a large aboriginal crocodile painting on a large rock face, photo taken in the 1970s.
Look closely for the Kinga on the rock with artist Majumbu near Gunbalanya, photo circa 1970s.(NT Museum and Art Gallery: George Chaloupka)

Professor Joakim Goldhahn, another researcher working on the project, said an identical image was painted on a rock half a day’s walk from Gunbalanya along with the bark.

“We can see his family in the art, the handprints of his youngest sons, aged around four and eight. We’re almost working with a family portrait,” Professor Goldhahn said.

Old Arnhem Land bark painting of crocodile with white stencils of children's hands.
“A family portrait”: Stencils of children’s hands from 1912.(ABC News: Simon Tucci)

As research continues, first-hand testimony has surfaced from one of the artists Spencer commissioned in 1912, Paddy Compass Namadbara.

It was discovered in the archives of art collector Lance Bennett, after parts of a book he wrote for an exhibition in Japan were translated into English.

“He is the only one – in his own voice – who tells us about his experience, in his own words and memories, from the Indigenous perspective,” Professor Goldhahn said.

The artists would like to take the priceless barks home, but there are no plans to do so.

“The works are very crumbly. When ocher is painted on rocks, it tattoos almost below the surface: when on bark, it sits on top,” said researcher and PhD student Alex Ressel. .

Bark painting of a 1912 fish and swamp hen on a cart in the museum storeroom.
Paddy Compass Namadbara’s Bream and Swamp Hen of 1912 on reserve at Museum Victoria.(ABC News: Simon Tucci)

While adhesives are used in art today, a mixture of sap, kangaroo blood and saliva was used in 1912 to bind ocher and clay.

Among visitors to Melbourne last month, artist Shaun Namarnyilk spoke of a strong connection to the artwork.

He saw variations in the thickness of the cross-hatching of the crocodile bark as evidence that Majumbu was mentoring a young artist – a practice that continues today.

“So it’s like really thick lines and I see in the legs there it’s different. They both work, father and son,” Mr Namarnyilk said.

Artists perpetuate a legacy

Back in Gunbalanya, Namarnyilk painted a dolobbo (bark) inspired by the visit, with the same story of the Kolobarr (a male red kangaroo) and the spirit Mimih.


At the Melbourne Museum with the artists last month, Dr May called the visit historic and emotional.

“We’re going to be digging through the archives, and whatever artist names we can find, we can start working on their biographies, moving them away from the Spencer/Cahill collection and into a collection that represents Indigenous peoples and those incredible artists who produced the works,” she said.

And the research has the backing of the institution that holds the priceless collection.

“Every action we take now to decolonize our institution will have incredible and ongoing impacts for future generations,” said Head of First Peoples Department, Museums Victoria, Dr Shannon Faulkhead.

As for an exhibition of the work, Museums Victoria specified that it would only be at the request of the families.

Western Canada: decolonization tops the agenda at Calgary’s Glenbow Museum

Good morning! Wendy Cox here today.

On Saturday, the directors of Calgary’s Glenbow Museum will gather for their annual retreat aimed, in part, at charting a course for an endless journey. Decolonization is the first item on the agenda – how to advance a process to address the museum’s representation of the past and the relationship between Indigenous and non-Indigenous peoples.

“There is no place to go,” Jean Teillet, lawyer, artist, author, director of the Glenbow and great-grandniece of Métis leader Louis Riel, told Carrie Tait today. “There is no final destination.”

The Glenbow is in the midst of a $179 million renovation and revitalization for the institution, a concrete fortress built in downtown Calgary in the 1970s. The museum recently established a decolonization committee to guide the effort.

Nicholas Bell, president of the Glenbow, noted that decolonization is relatively new for museums.

“It’s an extremely messy subject,” he said. “The work has only just begun and will never be finished.”

Decolonization involves philosophical and physical changes. On the one hand, modern museums are increasingly open to returning artifacts to their communities of origin. On May 19, the Royal Albert Memorial Museum in Exeter, England, presented regalia that belonged to Isapo-muxika, the 19th-century Blackfoot leader known as Chief Crowfoot, to a delegation from the Siksika Nation in Alberta. . The items will be displayed at Blackfoot Crossing Historical Park, where Treaty 7 was signed and where Chief Crowfoot died.

Bell, who believes decolonization can affect everything from a museum’s human resources policies to its architecture, wants to “demystify the museum,” making it a place where everyone feels like they belong, and the renovation aims to solve this problem.

In British Columbia, the NDP government decided that the best way forward for its iconic museum was to start all over again. Last week the government released a heavily redacted business plan for its plans to demolish the Royal BC Museum and build a new facility for $789 million. The government said the decision was based on assessments that it would be cheaper to rebuild than renovate the downtown building, built in 1968 across from the BC Legislative Assembly, as it was. of disrepair.

But B.C. Culture Minister Melanie Mark indicated last fall that massive changes were needed to the facility that went beyond the physical structure. The museum was at the center of controversy in 2020, when Marsha Lederman of The Globe wrote about allegations of a toxic and racist work environment made by Lucy Bell, who stepped down as head of the First Nations and Labor Department. repatriation program. The disturbing experiences she shared sparked investigations and the departure of the CEO.

Starting last year, Marsha wrote, the museum began closing galleries: Gone was the First Peoples gallery, with its lifeless Indigenous artifacts behind glass. Gone was Our Living Languages: First Peoples’ Voices in BC, a more recent exhibit that served as something of a corrective. Gone was Becoming BC – including Old Town, a folkloric walk through British Columbia’s history.

Ms. Mark, who is herself Nisga’a, Gitxsan, shout and Ojibwaywrote in a column in January that the Royal BC Museum “has a duty to preserve the past with an equal responsibility to accurately reflect a timeline of our shared history.”

The nearly $1 billion price tag for the BC project has become endless fodder for provincial Liberals, who have repeatedly questioned why the province would spend that kind of money at a time when the system province’s health care system appears to be in crisis, with one million people without a family doctor and rural emergency room closures due to staffing shortages.

But the government argues that at the heart of the vision for the new building is an effort to more accurately reflect the province’s relationship and history with the Indigenous peoples who live there.

The British Columbia government avoids comparisons, saying the museum in Victoria has a larger and more diverse collection and serves more visitors than the Glenbow. Upgrading and repairing the existing RBCM would cost more than building a state-of-the-art museum from scratch, the provincial government argues.

The Glenbow was a step ahead of dozens of museums being decolonized. He has re-examined his approach to artifacts and art from non-European cultures since missing an exhibit of Indigenous artifacts in 1988, as part of the city’s celebrations for the Winter Olympics. Among concerns, the Mohawk Nations sued the Glenbow for displaying a fake face mask; and the Lubicon Lake Nation boycotted the exhibit.

The Glenbow, in response, stepped up its consultation efforts and worked with Alberta to pass legislation that would allow it to repatriate items to the Blackfoot and Cree.

Jennifer Kramer, curator and professor at the UBC Museum of Anthropology, said museums should no longer think of themselves as giant display cases containing treasures from the past. Instead, she said, they should consider places active today that inspire the future.

Museums should create a space for artists to study objects and community members to hold ceremonies, for example. Objects should be “staged” and remain connected to their home communities, Ms Kramer said.

“You have to whistle,” she said, noting that museums can loan objects to home communities to expand access. “Button blankets should be worn.”

This is Western Canada’s weekly newsletter written by BC Editor Wendy Cox and head of the Alberta office James Keller. If you read this on the web, or if it was forwarded to you by someone else, you can subscribe to this and all Globe newsletters here.

The 12th Annual Fairy House Festival will be held on July 9

Archive photos of the fairy house festival

Fri, June 3, 2022 10:15 a.m.

The Artpark Fairy House Festival will return from noon to 4 p.m. on Saturday, July 9. Tickets are $12 and are available at the Artpark box office (450 S. Fourth St., Lewiston) and at ticketmaster.com.

Now in its 12th year, the Artpark Fairy House Festival has grown from an art walk of miniature fairy houses set up in the park by community and professional artists to an international, interdisciplinary and immersive performing arts festival with performances interactive by international, national and local actors. actors, performers and musicians featured in the park setting overlooking the Niagara Gorge.

Visitors can again marvel at the creations of the fairy house and enjoy the Artpark’s whimsical and enchanting fairies and traveling musicians dressed in costumes by Uta Bekaia, a multimedia artist residing and working in New York and Tbilisi. . He creates performances and installations inhabited by portable sculptures, exploring his historical cultural context and the cycles of the universe. Currently he is artist in residence at ART OMI in New York, and in partnership with ERTI Gallery, Tbilisi.

Star musical guests Mucca Pazza will entertain with a rock ‘n’ roll brass band, street theater performance. WNYC described the band as, “Watching this irresistible group of horns and fiddles, guitars and accordions march past and finally take the stage is infectious and chaotic. But it’s also an incredibly coordinated and choreographed performance full of cheers and bursting with energy that’s easy to get caught up in.

Aerial and acrobatic feats will be presented in a show called “Beatings of Circus”. Created by Anouk Vallée-Charest, an international circus artist who has previously worked with Cirque du Soleil and Cirque Éloize, it will include four performers. Poetry, prowess, agility and unparalleled grace will be on display through juggling, balance, aerial fabric and the aerial hoop.

Call for artists

Artpark accepts submissions from local professional and amateur artists to include in the Fairy House tour. More information on artpark.net.

The Artpark 2022 season is supported by: M&T Bank; Cullen Foundation; Labatt blue light; light bud; Southern Tier Brewing; Try-it Distribution; National Endowment for the Arts; New York Parks and Trails; Ralph C. Wilson, Jr. Legacy Funds at the Community Foundation for Greater Buffalo; New York State Parks, Recreation and Historic Preservation; New York Council for the Performing Arts; FACE Foundation; Mid-Atlantic Arts; and Northtown auto companies.

Visit artpark.net for a current calendar of events.

First Nation wants new $789 million Royal BC Museum project halted and artifacts returned

(Royal British Columbia Museum)

A First Nation on Vancouver Island is calling on the BC government to halt the construction of a new Royal British Columbia Museum (RBCM) and instead develop museums within First Nations, returning artifacts in their respective territories.

Port Alberni Tseshaht First Nation elected chief councilor Ken Watts released an open letter on Tuesday, saying his peers are “troubled” by the province’s plans to build a new $789 million museum in Victoria. .

On May 13, British Columbia officials said the RBCM on Belleville Street would close on September 6 to make way for a state-of-the-art, earthquake-resistant building that will open in 2030.

BC Premier John Horgan summed it up as a “historic investment” to build a safer, more inclusive and accessible modern museum, replacing the aging facility that people have flocked to for decades.

“For just as long, the stories told here have failed to accurately reflect our colonial history or include everyone…” Horgan said.

“Once completed, the new museum will be a landmark destination for tourism and a place where future generations will experience the rich and diverse history of British Columbia.

But Chief Watts calls the project a “misstep” that involved “little or no consultation or discussion” with First Nations, including the repatriation of thousands of artifacts to nations across British Columbia.

“While we know a business case has been presented, we believe the province needs to put the brakes on this work, develop plans to hold nations accountable and return the items to their rightful owners,” Watts wrote.

“We are not looking to derail; we look for solutions and paddle together in a canoe,” he said.

Released May 25, the Government of British Columbia’s report business case notes that the museum has reached the end of its useful life, as the costs of modernizing existing buildings exceed those of replacing them.

Yet rather than investing in the conservation of Tseshaht and other Indigenous artifacts at the RBCM, Watts suggests the province work with First Nations to fully fund the development of local museums in their territories.

Indeed, it would support reconciliation and tourism within the nations, ultimately boosting their economies while “significantly” reducing the province’s proposed budget, according to Watts.

He finds that many British Columbians are “frustrated” with the costs associated with replacing the existing RBCM and says Tseshaht echoes those sentiments.

“BC has a chance to be on the right side of history and do the right thing,” added Watts.

“…BC First Nations should be consulted, engaged and plans made to decentralize the RBCM and instead empower nations to tell their stories by making their collections sacred or as they see fit.

Please see the open letter below regarding the possibility of helping nations repatriate and build their own facilities after BC announced the construction of a new $789 million Royal BC Museum. dollars.

Posted by Tseshaht First Nation on Tuesday, May 31, 2022

Art industry news: Museums scale back global ambitions to refocus on well-being and local communities + Other stories

Art Industry News is a daily summary of the most important developments in the art world and the art market. Here’s what you need to know this Friday, June 3.


Museums are still closed in Shanghai – The city’s tough two-month lockdown was officially lifted on June 1, but museums, along with gyms and theaters, remain closed and have not been given a timeline for reopening. Authorities have offered rent relief to cultural spaces affected by the lockdown, but only certain galleries are eligible. A Yuz Museum spokesperson noted that staff may begin returning to work next week to prepare the institution for its as yet unspecified reopening. (The arts journal)

Italian curator Manfredi della Gherardesca has died – Della Gherardesca died at the age of 60 following a sudden illness. He played a central role in the conception of the exhibition “Les Lalanne: Makers of Dreams” currently on view at Ben Brown Fine Arts and Claridge’s ArtSpace, both in London. The curator and designer previously headed the Italian division of Sotheby’s. (Press release)

How the local supplanted the global in the arts – Museums are pivoting to focus on wellbeing and local engagement rather than trying to appeal to a small class of global tastemakers through blockbuster exhibitions. After attending the Global Cultural Districts Network conference, writer Felix Salmon attributes this change to a combination of prohibitive costs and changing values. Surprisingly, China is a leader in the “glocal” museum movement, having built 128 institutions over the past 30 years and discouraged international architects in favor of local talent. (Axios)

Harvard Museum Holds Human Remains – Harvard University holds the human remains of at least 19 people who were likely enslaved and nearly 7,000 Native Americans, according to a draft report obtained by the Harvard Student Newspaper. The report, released by the University’s Steering Committee on Human Remains in Harvard Museum Collections, calls on the school to return the remains to descendants. (Harvard Crimson)


Yto Barrada Wins Queen Sonja Print Award — The Paris-born, Brooklyn-based artist is the recipient of the Queen Sonja Print Award, a biennial prize that comes with a cash prize of NOK 1 million ($106,000), the largest monetary prize for art chart. The Queen Sonja Foundation also awarded William Kentridge the Lifetime Achievement Award and Meerke Vekterli, a Sami artist, the Inspirational Award. (The arts journal)

Dulwich Picture Gallery Drops Sackler Name — The South London Institution is the last to file Sackler’s tainted name, albeit very subtly. In the absence of a public announcement, the museum stopped using the title “Director Sackler” to describe its head Jennifer Scott on April 1. As of March 2020, Dr Mortimer and Theresa Sackler’s master fund endowment was valued at £3.5 million ($4.4 million). (The arts journal)

Opening of a museum on the site of the slave trading port — After more than 20 years of planning, the International African American Museum will open on January 21, 2023 in Charleston, South Carolina. The 150,000 square foot institution will be located at Gadsden’s Wharf, once one of the most prolific slave trading posts in the United States. “Engaging with history is a necessary step on the path to healing and reconciliation,” said museum CEO Tonya Matthews. (CNN)

Jim Carrey buys his first NFT — From the news department you might have thought already happened :Tactor-turned-artist has jumped on the NFT bandwagon. He revealed on Twitter that he purchased his first NFT from the SuperRare Marketplace by Stockholm-based artist Ryan Koopmans. Carrey praised the moving image of a garden growing inside an abandoned building for “gently capturing nature’s exquisite and relentless reinvention”. (Twitter)


Mixed reactions for Thomas Heatherwick’s Jubilee sculpture — The sculpture of the architect tree of trees, which was installed on the grounds of Buckingham Palace to honor the Queen’s Platinum Jubilee, is getting mixed reactions. Critic Oliver Wainwright described the installation as a “massively over-engineered structure”, and on social media the artwork – which is made up of hundreds of native British tree species – has been compared to the Unhappy Marble Mound and a “cell tower”. (TANNING, CNN)

A team of workers add the final pieces to the Queen’s green canopy ahead of the Platinum Jubilee. It consists of 350 native British trees planted in aluminum pots. Photo: Dominic Lipinski – WPA Pool/Getty Images.

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By far stops Melrose, Anna Hu’s museum pieces, Montserrat goes green – WWD

ROAD CLOSURE: Perhaps not since 2005, when Marc Jacobs threw a block party to open his LA store, Melrose Place hasn’t been shut down in the name of fashion.

But that was the case on Wednesday night, when By Far laid a pink carpet down the street and set an orange table for 100 guests to celebrate its first retail boutique with actresses and influencers including Talulah and Scout Willis, Delilah Belle Hamlin, Jaimie Alexander, Soko, Kitty Cash, Elsa Hosk and more.

The digitally-native affordable luxury accessories brand that helped bring the underarm bag back to the 90s, was launched in Bulgaria in 2016 by three co-founders – sisters Sabina Gyosheva, who is the chief executive, and Valentina Ignatova, who is the marketing director, and their friend Denitsa Bumbarova, who is the creative director.

Denitsa Bumbarova, Maria Bakalova, Sabina Gyosheva and Valentina Ignatova.
Courtesy/Getty Images for FROM FAR

Bulgarian actress Maria Bakalova, who was nominated for an Oscar for her role in ‘Borat Later Moviefilm’, was the guest of honor, wearing a sparkly pink ensemble from Good American with her stylist Jessica Paster in tow. “I love pajamas,” she said of the easy glam look paired with By Far boots.

Over dinner, the brand’s founders talk to their Bulgarian food-focused adoptive sister, and why you can’t find banitsa pastries in LA Made with a mix of yogurt, cheese and filo, the secret ingredient is sparkling water, according to Bakalova, who said her mother did better. “I should start a business,” she joked about the banitsa-free zone.

LOS ANGELES, CALIFORNIA - JUNE 01: Guests attend the BY FAR LA Store Opening Party on June 01, 2022 in Los Angeles, California.  (Photo by Donato Sardella/Getty Images for FROM FAR)

Guests attend the By Far LA store opening party.
Courtesy/Getty Images for FROM FAR

Also at the party was stylist Mimi Cuttrell, who helped boost By Far’s business by introducing her to influential clients Gigi and Bella Hadid.

Cuttrell became such good friends with the brand’s founders, she did a capsule collaboration with them that’s now in stores. “The only thing I regret is not being able to go to the factories,” she said of designing the platforms, kitty slingbacks and mini bags while working for COVID-19 restrictions.

New mom Emma Roberts wore shoes and bag from the collaboration, along with a By Far belt. Her next project, “Abandoned,” which premieres June 17, is a horror film that deals with postpartum depression, something she thankfully hasn’t experienced in real life.

The best part of a COVID-19 pregnancy during lockdown was having even more time to read, said the co-founder of Belletrist, an online bookworm community. His choice of summer reading? “Everyone thought we were crazy” about the stylish, wild and artistic life of Dennis Hopper and Brooke Hayward in 1960s Los Angeles. “It’s like Eve Babitz rose from the grave,” he said. -she says about the voice of author Mark Rozzo.

After shopping and dinner, attention turned to the stage and the surprise performers – Maya Rudolph and Gretchen Lieberum and their Prince cover band, Princess. Taking the mics in mini dresses and Go-Go By Far boots, they got the crowd on their feet with their “Delirious” jam. —BOOTH MOORE

LOS ANGELES, CALIFORNIA - JUNE 01: Maya Rudolph and Gretchen Lieberum of Princess perform at the BY FAR LA Store Opening Party on June 01, 2022 in Los Angeles, California.  (Photo by Donato Sardella/Getty Images for FROM FAR)

Maya Rudolph and Gretchen Lieberum of Princess perform at the By Far party.
Courtesy/Getty Images for FROM FAR

ETERNITY AND A DAY: After more than a decade with American artist Cindy Sherman, the snake duo designed for her by jeweler Anna Hu has moved to a forever home – the Musée des Arts Décoratifs in Paris.

“In France, an acquisition for a museum is forever, which means that forever this incredible work will remain here in the museum and [be] for so many visitors – for years, decades and centuries to come – a testament to your work and your talent”, declared the director of the institution, Olivier Gabet, during the ceremony marking the entrance of his design in the permanent collection of the Parisian museum.

“These snakes have their own destiny,” said Hu, who trained as a classical cellist and studied art history before turning to jewelry design.

This path has convinced her that her mission is “to use jewelry as a piece of music that connects past, present and future” while serving as a bridge between East and West – one of very elements that Sherman had wanted for his jewelry.

Hu recounted how, fresh out of her job at Harry Winston, a first encounter with Sherman at a charity gala led to an invitation to visit the jeweler’s first boutique at the Plaza Hotel in New York.

When Sherman arrived without makeup, “completely different from her very strong photographic work”, Hu was struck by the dichotomy. Their conversation turned to the harmony that emerges from the meeting of opposing elements or contrasting qualities and ultimately led the American artist to want “a duo” to create a piece together.

After agreeing to use the serpent – ​​their common Chinese zodiac sign – as a symbol of the connection between East and West, Sherman requested a design connecting the two elements.

Anna Hu Yin Yang Hand Ornament

The yin-yang hand ornament created for Cindy Sherman.
David Katz/Courtesy of Anna Hu

Hu eventually came up with the yin-yang, which she explained was not only a symbol of day and night, but also reflected duality in a person, which pleased Sherman so much that she “literally screamed with happiness,” the jeweler revealed, adding that the artist loved it so much she even wore it while sleeping.

“For me, a jewel is not just a beautiful object. It has a symbolic meaning and [embodies the] the love between collector and creator,” she said.

In the case of the hand ornament, two serpents with backs set with diamonds and gemstones and garnet eyes biting either side of an onyx and agate yin-yang symbol, it embodied the creative dialogue between “a great artist and another great artist,” Gabet said. .

During the ceremony, he revealed that the acquisition committee had unanimously approved the donation made by Sherman, who is also a member of the board of directors of the New York association of Friends of the Museum of Decorative Arts. .

He described Hu’s work as “totally consistent” with the history of jewelry, ranging from “Antiquity to yesterday morning, as evidenced by the museum and its Jewelry Galleries.”

The inclusion of the piece also made sense in light of the evolution of Western luxury. “There is such effervescence, such dynamism on the Chinese high jewelry scene that it was high time [for] that an artistic capital like Paris recognizes it and pays attention to it,” he continued. —LILY TEMPLETON

EYES ON THE PLANET: Montserrat New York launches its first line of sustainable eyewear with eyewear maker King Children on Friday.

Six cropped model faces with sunglasses from Montserrat's new line.

Montserrat New York has launched its first line of sunglasses in two vacation-ready styles.
Courtesy of Montserrat

The glasses – in two key styles and select colorways including fuchsia, black and navy – are made with special zero-waste 3D printing technology courtesy of King Children. ‘The Capri’, which is a classic cat’s eye shape, and ‘The Paros’, a ’90s-inspired rounded square style, were designed with Montserrat’s flair for gold accents and architectural details. Some of that flair is credited to co-founder and designer Carolina Cordón-Bouzán, who blends influences from New York and Barcelona with the aesthetic of a Manhattan vacationer.

The styles sell for $195, exclusively online at Montserrat-nyc.com.

The collection also uses a unique 3D printing technology called selective laser sintering, which reduces waste by engraving each frame from a fine powder of polyamide, a 100% organic material made from castor oil. . The high-tech material replaces traditional acetate and, according to King Children, does not compromise the integrity of the design. The company said the process generates a significant reduction in CO2 emissions compared to traditional eyewear companies.

“Our research estimates that for every frame produced, four pairs of materials are discarded. A traditional acetate frame is made by shaving off a block of plastic – a process that unfortunately only uses 20% of the actual material while the remaining 80% becomes production waste. With so much waste created for just one pair of glasses, it was clear that the traditional method is not sustainable,” said Sahir Zaveri, co-founder and chief executive of King Children, on the need for change.

Gayle Yelon, co-founder of Montserrat New York, said the collaboration highlights a shared passion for technological innovation and will set the tone for the brand’s upcoming lab-grown diamond initiatives.

“Montserrat will continue to make advancements in sustainability, especially in fine jewelry, as we continue to design using only lab-grown diamonds. A diamond that we say is grown out of love for the planet, and not mined from the planet… We are excited to turn to technology to reinvent the ways we create products to better our planet.—KALEY ROSHITSH

An artist creates a piece of Millersburg history | New

MILLERSBURG — Local resident and wood stain artist Angie Thieszen recently completed the Railroad Grain Cart on display in Millersburg.

Benjamin D. Eldridge, superintendent of utilities for the town of Millersburg and founder of Enhancing Millersburg, shared that the cart was donated to the town by local farmers a few years prior in hopes of someday being put on display.

“A few years ago, Enhancing Millersburg received this old grain cart that was used by local farmers in the late 1800s and early 1900s on the railroad here in Millersburg,” he said. declared. “We wanted to display it in town, but we couldn’t decide the best way to do it.

He explained that after speaking with Sonya Nash, director of group and experiential sales and marketing for the Elkhart County Convention and Visitors Bureau, Thieszen might be a good fit for the project.

“I wanted Angie to take this piece of our community history and improve it in a way that it tells a story about Millersburg’s past, shows our pride of where we are now and looks forward. future,” Eldridge said. “Angie hit the nail on the head.”

Thieszen shared that she enjoyed her time working on this piece for the city.

“It was a joy to work on this piece,” she said. “I love learning about the history of places so it was great to look at all the photos and read the notes the town has about life here in the early years. . Being able to capture that in a visual way for others can enjoy it in a public space is always a victory.

The hope behind this piece of wood stain art is to display a way for the community to not only unite, but to look into the past and see its beauty.

“The purpose behind the artwork chosen was to help the community reflect on the history of the town as well as move forward with what Millersburg still enjoys and has to offer. of Millersburg in the early 1900s and I chose a few to illustrate on the hopper,” Thieszen said. “The railroad was essential to business and community then, so it was an appropriate theme to focus on.”

Eldridge ended with his thoughts on the community’s perception of the project. He shared that there has been an outpouring of support and appreciation for the piece.

“So far, the community support and reaction to the project has been exactly what we wanted,” he said. “We’ve received a ton of positive feedback. I often see cars slowing down to take their time looking at the art project, and I often see residents sitting on the park benches at the site observing the project and to relax.

For more information on the railroad’s grain cart display, visit millersburgin.com.

5 Egyptian artifacts confiscated in New York


The golden coffin that once contained the mummy of Nedjemankh, a priest from the Ptolemaic period around 2,000 years ago, is on display at the National Museum of Egyptian Civilization in Old Cairo, Egypt. (AP)

CAIRO – June 2, 2022: The New York Attorney General’s Office has confiscated five Egyptian artifacts, worth a total of over $3 million, from the Metropolitan Museum, after a thorough investigation into the international trade in Egyptian antiquities, which led to the indictment of the former president and director of the Louvre museum in Paris, Jean-Luc Martinez.

The illegal possession of the artifacts was first reported by ARTnews. Four of the pieces belong to the collection of Robin Dib, a German-Lebanese dealer suspected by US and French authorities of selling looted pieces to art institutions, including the Metropolitan Museum of Art.

Dib is currently being held in Paris, where he is awaiting trial for mass fraud and money laundering, but he has denied all charges.

Among the artifacts seized is a Fayum mummy portrait, painted on a wooden board typically placed on the faces of royal mummies in Roman times in Egypt. It depicts a woman in a blue dress and dates from around 60 BC.

‘Sunlight and Shadows’ will be presented at the Orland Art Gallery

June 1 – For the June installment of its “First Friday of the Month” event, the Orland Art Gallery will present “Sunlight and Shadows,” featuring artists Beverly Wilson and Carl Ciliax.

“Beverly Wilson and Carl Ciliax once again grace our gallery, providing ample evidence of their ability to create stunning works of art. Beverly’s vibrant oil paintings are bursting with rich color that touches every person and every place in every painting,” reads a statement released by the gallery. “The images of harvesters and hills covered in vineyards, or rows of crops that cover California valleys, and buildings old and new, all seem lit from within.”

According to the release, Wilson turns to pastels for his western scenes, skillfully rendered on textured canvas to convey the strength and poetic beauty of the cowboy lifestyle.

“Ciliax has lived this life and knows it well,” the statement read. “His beautifully crafted bronzes highlight his reality. Accurate in every detail, his sculptures honor those who inhabit the traditional west, animals and people alike.”

One of his large bronzes, “Sagebrush and Silence,” adorns historic downtown Orland.

“With honesty and skill, Carl’s work captures the traditional Western spirit and truth in his stories,” the statement read.

The reception will be Friday from 3-7 p.m. at the Orland Art Center Gallery, 732 Fourth St. in Orland.

The artists will be on hand during the reception and Veronica Wiedeman will also perform live on the small grand piano.

The Orland Art Center gallery is open Tuesday to Saturday from 1 p.m. to 5 p.m.

For more information, visit www.orlandartcenter.com.

Rachel Haidu on Muzeum Sztuki

FEW SURVIVING INSTITUTIONS are born of artists who self-organize in times of extreme stress. On February 15, 1931, in the depths of Poland’s interwar depression and deeply uneven modernization, Katarzyna Kobro and her husband, Władysław Strzemiński, attend the opening of a room in the new museum city ​​of Łodz, an industrial city two hours southwest of Warsaw. Although ‘room’ may seem modest, it has become central to the history of modern European art: here Kobro and Strzemiński, together with friends and colleagues such as Henryk Stażewski, presented the International Collection of modern Art. Practitioners and theorists alike, the group ventured into institution building when it was clear to them that not only their small town but Poland as a whole lacked both awareness of modernist trends in art and international dialogue networks. The twenty-one works making up the collection were accompanied by an ephemeral publishing house and an exhibition circuit designed to allow exchanges between distant avant-garde coteries, from the Circle and Square in Paris to UNOVIS in Vitebsk . That these artists managed to do so much while creating their own work, teaching, writing and unionizing – a multi-pronged set of activities familiar to any member of the engaged classes of contemporary Poland, where taking to the streets in protest against the Law and Justice Party’s relentless assaults on democracy can consume as much or more of their time, energy and dedication than their daily work – is a remarkable aspect of the history of the Muzeum Sztuki, the institution that grew from this collection into a gem of the sophisticated, if stressed, Polish art scene.

Cut to April 25, 2022: The director of the museum, Jarosław Suchan, is abruptly ousted at the request of a deputy minister of culture and national heritage, a member of the far-right ruling party in Poland. Suchan had held this position since 2006. By this time, the Muzeum Sztuki had expanded to include MS2, a second building, in which works from the permanent collection could enter into dialogue with others through temporary exhibitions. The museum had become a busy and brilliant space for exhibition and research during Suchan’s tenure, thanks in part to this expansion. However, it is possible that it was a 1970s addition to the museum campus, Herbst Palace, that caught the attention of regional party ministers. A mini Versailles that bears witness to the wealth amassed by 19th-century Polish industrialists, the palace, with its gilded carvings, lustrous curtains and stately oil portraits, is likely an attractive target for class power brokers. autocrat. Or is it simply the next step in the odious string of layoffs that has already cost Poland professional leadership at other key institutions, such as the Zachęta National Art Gallery in Warsaw and the Center for Contemporary Art in Ujazdowski Castle – whose two directors were dismissed without cause. and replaced by direct appointments by the Law and Justice Party.

View of “The Earth Is Flat Again,” 2021–22, Muzeum Sztuki, Lodz, Poland.  Floor: Jakub Woynarowski, Templum, 2021. Monitor: Anne-Mie van Kerckhoven, Maybe this time I win, 1989. Photo: Anna Zagrodzka.

Whatever the rationale, it is the museum itself, its packed exhibition calendar, its extensive research and public programming, and its highly skilled staff of experts, which, along with Suchan, pays for it. the price. How big is the threat, if not to the museum’s remarkable collection, then at least to the kind of programming it has become known for? A quick look at the lineup of upcoming shows gives an idea of ​​what’s at risk. As of this writing, the list includes “Time out of Joint,” about queer temporalities as well as the impact of Covid on artistic thought; “Tectonic Movements”, on the Polish period of transition out of state socialism; and a performance exploring cosmism, the philosophical school of Russian origin that placed the right to immortality within the framework and goals of the revolution of the international proletariat. In other words, an exhibition program as inventive and transformative as one could come across anywhere.

The museum’s new director instrumentalizes the concept of battle to justify using any means necessary to win a culture war.

“You lost.” Both confusing and hair-raising, these three words condense the attitude of Suchan’s replacement, the new director of the Muzeum Sztuki, Andrzej Biernacki, gallerist and painter from a small town, towards the art professionals of the committed class of Poland. They were spoken at a public meeting of members of the Citizens’ Forum for Contemporary Art (Obywatelskie Forum Sztuki Współczesnej, or OFSW), a self-organized group of striking and lobbying artists and museum workers for fair wages and living conditions for creative work. in Poland since 2009. A sort of coalition of 21st century art workers – a coalition that joins street protests by other professional groups as well as protests defending abortion rights and gay and queer life – l OFSW has worked diligently to bridge the gap between artists and ‘elitist’ art workers, whose position in Poland’s unstable economy is increasingly precarious. To say to the face that OFSW members “lost” goes beyond bad faith and hypocrisy; it foments opposition with the very art workers who make up the profession.

Władysław Strzemiński, Domy w ogrodzie (Houses in the Garden), 1928–29, oil on canvas, 19 3⁄4 × 28 3⁄4

Not only does Biernacki involve and declare loyalty to an anonymous group that is not art professionals, he also instrumentalizes the concept of battle to justify the use of any means necessary to win a culture war. This rhetoric and the attitude it signals would be unscrupulous at any time, but it is all the more distressing in a real war in which Poland acts as a buffer zone between Ukraine, Belarus and the Western Europe. War, which plays out on the cultural terrain as well as in the air and on the ground, is known for its dazzling ability to erase complexity with a “moral factor that slips and deceives”, as Jacqueline Rose puts it in her essay by 1991’s “Why War?” Unsurprisingly, Biernacki also called for “sovereignty” in his new workplace, contrasting it with the “pro-environmental, gender or queer narratives” he intends to displace. claimed the desire to disturb the system of loans, insurance coverage and privileged status that have allowed the Muzeum Sztuki to stay afloat despite its permanent underfunding and its location in a city whose largely abandoned city center seems familiar to anyone who has seen the deindustrialization in living color. These are the life-saving measures that have been painstakingly put in place to achieve institutional autonomy and sustainable working conditions. This is what allows the museum to achieve ambitious international exhibitions and robust public programming and research efforts while maintaining and expanding an international collection whose historical core – including the art of Kobro and Strzemiński – had already been designated “degenerate” (piea sin entarte und jüdische Kunst) in 1941.

Louis Marcoussis, The Big Fork, 1929, oil on canvas, 9 1⁄2 × 12 3⁄4

Kobro has gone through a decades-long effort to define its nationality. Born in Moscow to a family of German descent and raised in Riga, she fled to her birthplace during Germany’s eastern offensives in World War I. In Moscow, she started art school precisely when the October Revolution was unfolding, and in 1918 entered the same profession. union of artists like Kazimir Malevich, Aleksandr Rodchenko, Olga Rozanova and Vladimir Tatlin. From this remarkable basin, only Kobro and Strzemiński would migrate to Poland (in Strzemiński’s case, returning), specifically to one of the many small towns in the country’s surprisingly decentralized art circuit. During World War II, Kobro continually had to navigate his own particular identity: refusing German nationality, signing a “Russian list”, thus declaring himself a foreigner to the Nazi occupiers, while helping to rebuild the collection’s new home in the period. post-war. Then as now, artists determined if and how their personal trajectories defined their nationality and what to do with the relationship between the internationalism that fuels so much art and the nationalism that constantly reconstructs a global stage in its own image. . Creating a cosmopolitan collection of avant-garde art was a way of responding to the framework of nations and nationalism at a time when existence itself was precarious. Rather than subjecting art institutions to the leveling effects of war, Kobro and Strzemiński made strenuous efforts to protect ideas, objects, theories, and pleasures. We can’t protect against extinction forever – Kobro famously burned his own sculptures to keep his daughter alive in the bitter days of early 1945 – but we can campaign against the co-optation of what still has value.

Rachel Haidu is an art historian and critic. His book Each Other: The Self in Contemporary Art (University of Chicago Press) is forthcoming in March 2023.

Art, Music and More at First Fridays Event in Downtown Aurora – Chicago Tribune

The First Fridays event in Aurora Friday will celebrate Pride Month and include a variety of activities in the city’s downtown area, organizers said.

The food truck food court will return from 5-9 p.m. to the Water Street Plaza across from City Hall with Grumpy Gaucho, Tapville, Holy Pierogi, Home Run Hot Dogs and Lemonade, Harvey’s Fire Box and Snow Cone Sisters, according to Aurora Downtown, organizers of First Fridays.

SUPERJUMBO, 105 E. Galena Blvd., from 5-9 p.m., will feature the release of a clothing line with a “low-quality video aesthetic” featuring nostalgic VHS, vaporwave, and abstract glitch designs.

Artesan Lofts Art Gallery, 2 S. Stolp Ave., will host “Ruin and The Traveler: Sculptural Work by Aurora Artist Jonathan Pacheco,” featuring ceramics for sale and sculptures from 6-9 p.m.

Chupacabra Puerto Rican Kitchen, 31 N. Broadway, will present Talento Creations Art from 5-9 p.m.

Gary Brown Art Gallery and Studio and Mark Radina Stained Glass, 7 S. Broadway, will be open from 5 p.m. to 9 p.m. with an art raffle featuring creations donated by artists Randy Meyers, Mark Radina, Gary Brown and Susan Brown. Winners will be announced at 8 p.m. All proceeds from the raffle will be used to help the people of Ukraine.

The ArtBar at Two Brothers Roundhouse, 205 N. Broadway, will host its Season 10 finale with new artwork by more than three dozen local artists from 7 p.m. to midnight in the Tavern.

Aurora Public Art at the David L. Pierce Art and History Center, 20 E. Downer Place, third floor, will host “Remix: Work by Local Collage Artists” with DJ YoKev from 6-9 p.m.

Offbeat Thrift and Vintage, 14 W. Downer Place, Suite 16, will host “Cindy Fonseca: The Stages of 30,” a solo exhibition, 5-9 p.m.

If These Walls Could Talk, 32 S. Stolp Ave., will host “Red Door 202,” featuring artists Anne Von Ehr, Mary Powers, Anne Eifler, Jean Pechtel, Jen Hunger and Judith Vaczo, from 7 p.m. to 10 p.m. .

The Nieponski Gallery at Crystal House, 59 S. LaSalle St., will host a free tarot card reading by Ptah from 5-8 p.m.

French 75 Gallery and Lounge, 56 E. Galena Blvd., will feature new works by Daniel Mundy, David Hettinger, Martin Mondrus, Hope Ashworth and Jake Beltran from 5 p.m. to midnight.

La Quinta de los Reyes, 36 E. New York St., will host live music from La Sociedad D’Paul Music as well as models giving paloma and margarita samples to Hornitos from 6-8 p.m.

Altiro Latin Fusion, 1 S. Stolp Ave., will host live Spanish rock with Damian Rivera from 7-9 p.m.

Endiro Coffee, 29 W. New York St., will be open with art and music from 6-9 p.m.

Tavern on Broadway, 24 N. Broadway, will host live music by Ryan Worthy from 8-10 p.m.

Tredwell Coffee, 14 W. Downer Place, Suite 18, will be open with live music from 5-9 p.m.

Aurora Tap House, 134 W. Downer Place, will host DJ HappyMeal starting at 9 p.m.

1881 Electric Cycle Company, 1 E. Benton St., lower level, will be open with e-bikes and art, plus free trials.

The Perch, 31 W. Downer Place, third floor, will host a craft project and offer summer self-care tips from 5-8 p.m.

SciTech Hands On Museum, 18 W. Benton St., will be open for a “last look” from 4 p.m. to 9 p.m. The public will be invited to visit the museum one last time before the doors close for good. The gift shop will be open and will offer merchandise at half price.

The Aurora Public Library, 101 S. River St., will host an interactive group dance with Simply Destinee, performances by a professional Hula Hoop artist and juggler, and a DJ from 6-8 p.m.

Aurora Regional Fire Museum, 53 N. Broadway, will be open from 5 p.m. to 8 p.m.

The Cotton Seed Creative Exchange, 64 S. River St., will be open with shopping, raffles and music from 5:30 p.m. to 9 p.m.

McCarty Mills Taproom and Bottleshop, 140 S. River St., will host Chalos Grill and art by Joshua Schultz, and music by Brittnee Meghan, TeeJayKay and Double Ontendre, until 11 p.m.

The GAR Museum, 23 E. Downer Place, will host a Boy Scouts Lego Race Track from 5-9 p.m. Participants will be able to build a Lego race car with members of the Boy Scouts of America’s Three Fires Council during the event.

Aurora Historical Society at the David L. Pierce Art and History Center, 20 E. Downer Place, will host “Head to Toe: Exhibit of Hats and Shoes from 1850s to 1970s”, and the Cosmopolitan Club of Aurora will celebrate its 95th anniversary with a special exhibit , from 6 p.m. to 9 p.m.

Zen Loft Wellness Center, 6 W. Downer Place, upstairs, will host Magnolia Belly Dance at 7:30 p.m. Attendees can also shop I of the Angeles who will be on site, meet the Business Collective and hear live music with Mo Pippy, from 5 p.m. to 9 p.m.

Wyckwood House Boutique and Bar, 80 S. River St., will host business pop-ups and music by Who We Are featuring Nick Gutierrez from 5-9 p.m.

Society 57, 100 S. River St., will be open with cocktails and food from 6-9 p.m.

All Spoked Up, 14 W. Downer Place, Suite 10, will feature handmade Croc charms, an assortment of positive daily reminder decals, vegan leather keychains and more from 6-9 p.m.

Aroma Roots Bath & Body and Obsidian Clothing, 32 N. Broadway, will present Vela Bae Candles pop-up from 5-9 p.m.

For more information on First Fridays, visit www.auroradowntown.org.

Hong Kong Palace Museum welcomes donation of 946 artifacts


(ECNS) — The Palace Museum in Hong Kong has received 946 pieces of ancient Chinese gold and silver artifacts donated by the Mengdiexuan Collection. The donation ceremony was held at Government House in Hong Kong on Tuesday.

This donation will establish the Hong Kong Palace Museum as a leading museum of its kind and lay a solid foundation for building a world-class collection. It is also important for Hong Kong to become a cultural and artistic hub between China and other countries, said Carrie Lam, chief executive of the Hong Kong Special Administrative Region in her speech at the ceremony.

Ancient Chinese gold and silver artifacts from the Mengdiexuan Collection have been exhibited in many museums in Europe, America and Hong Kong. The donations included horses, vehicles and burial ornaments of nobles from the Eurasian Steppe, Qinghai-Tibet Plateau and Central Plains, which span 3,000 years and bear witness to life among different ethnic groups, regions and cultures. in ancient times, Mr. Lam said.

She added that the current HKSAR government attaches great importance to culture and art. With the opening of the Hong Kong Museum of Art, Xiqu Centre, M+ Museum and Hong Kong Palace Museum, a new model of Hong Kong culture and art has gradually developed.

Hong Kong will celebrate the 25th anniversary of its return to China with a brand new look.

Mengdiexuan is the name of the collecting workshop of famous collectors Lu Yinyin and Zhu Weiji.

Samella Lewis, tireless champion of African-American art, dies at 99

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When Samella Lewis began teaching art history in the 1950s and 1960s, black artists were often excluded from major American museums, neglected in favor of European masters and white abstract expressionists. Artists of color had few opportunities to reach large audiences, she later recalled, and “there was no African American museum west of the Mississippi”.

So Dr. Lewis, a New Orleans native with a doctorate in fine arts, began creating alternative institutions, aimed at promoting and preserving the work of black artists like Sam Gilliam, Jacob Lawrence and his mentor, Elizabeth Catlett. Moving to Los Angeles in the mid-1960s, she founded three galleries for artists of color, created the city’s Museum of African American Art, published a historical study of contemporary black art, and wrote one of the first textbooks on the history of African American art.

“Art is not a luxury like many people think,” she said, according to the website black art in america. ” It’s a necessity. It documents history – it helps educate people and store knowledge for generations to come.

A tireless champion of African-American art, Dr. Lewis was also an accomplished painter and printmaker in her own right, with works in the permanent collections of the Museum of Modern Art and the Metropolitan Museum of Art, both in New York. She was 99 when she died on May 27 at a hospital in Torrance, Calif., after suffering from kidney disease, according to her son Claude.

In a life guided by his dedication to art and social justice, Dr. Lewis taught in Jim Crow-era Florida while working with a Tallahassee branch of the NAACP – rabid members of the Ku Klux Klan , who fired through the windows of his home, according to his gallery Louis Stern fine arts.

Her activism continued after moving to upstate New York, where she co-founded a chapter of the NAACP while teaching at the State University of New York at Plattsburgh in the late 1950s. , and after moving to Southern California a few years later. While coordinating education programs at the Los Angeles County Museum of Art, she picketed the museum, according to her son, “because they had almost no African American art – or art from anyone of color”.

To promote African-American artists, Dr. Lewis made short documentaries about sculptors such as Barthé and John Outterbridge. She also teamed up with printmaker Ruth Waddy to interview dozens of artists for the book “Black Artists on Art” (1969), a two-volume survey of the contemporary scene which she published through Contemporary Crafts Gallery, a publishing house and exhibition space she co-founded with actor Bernie Casey.

The book was intended to “promote change”, she writes, “change so that art can function as an expression rather than an institution” – and thus serve whole communities, rather than amuse or enrich a privileged few. His own work featured poignant depictions of African American life, including scenes of field workers like the man depicted in his 1968 linocut. “Field,” who is depicted raising his arms towards the sun and clenching one hand into a defiant fist.

“The artist is a performer”, Dr. Lewis later wrote, “a voice which makes intelligible the deepest and most significant aspirations of the people” and “a channel through which their resentments, their hopes, their fears, their ambitions and all the other unconscious impulses that condition behavior express themselves and become explicit.

Dr. Lewis reached a wide audience with his 1978 textbook “Art: African American”, which draws on the work of African-American art historian James A. Porter and describes more than two centuries of black American art, beginning with the colonial era. Revised and expanded as “African American Art and Artists”, it became a staple of college courses, assigned to art and African American studies classes for years.

“Thanks to Samella Lewis,” artist and art historian Floyd Coleman wrote in a preface to the 2003 edition of the book, “we gain a deeper appreciation and understanding of the richness and diversity than the African-American art adds to American civilization”.

The daughter of a farmer and a seamstress, Samella Sanders was born in New Orleans on February 27, 1923. (Many sources give her year of birth as 1924, although her son Claude stated that her birth certificate had was given late and had taken a sabbatical at the wrong age.)

In high school, she met an Italian portrait painter, Alfredo Galli, after lingering in the window of his shop in the French Quarter. He didn’t speak English, she recalls in an oral history interview, but was impressed by his drawing talent and taught him and a classmate for free for two years. “He really worked with us and warned us about the evils of modern art,” she said with a laugh. “But he taught us the technique, and that’s priceless.”

Dr. Lewis went on to study art at Dillard University in New Orleans, where she met Catlett and her then-husband, artist Charles White. When the couple moved to Virginia to take up a teaching position at the Hampton Institute (now a university), Dr. Lewis followed them, continuing his studies under Viktor Lowenfeld, an influential arts educator who taught him “to paint with the heart”. “, as she later said the Richmond Times-Dispatch.

She received a bachelor’s degree in 1945 and later studied fine art at Ohio State University, earning a master’s degree in 1948 and a doctorate in 1951. Two years later, she helped organize the National Conference of Artists, a gathering of black artists and teachers, while chairing the fine arts department at Florida A&M University.

Continuing her interest in East Asian art, Dr. Lewis traveled to Taiwan on a Fulbright scholarship in 1962, then moved to Los Angeles to study Chinese, earning a postdoctoral fellowship at the University of Southern California. By 1970, she had joined Scripps College in nearby Claremont, where she became the school’s first tenured African-American professor and taught art history for more than 15 years.

Supported by a grant from the National Endowment for the Arts, she founded the Los Angeles Museum of African American Art in 1976. The museum acquired works by Barthé and the painter Palmer Hayden, among other black artists, and is now located in a Macy’s store. at the Baldwin Hills Crenshaw Mall, in line with Dr. Lewis’ mission to bring art to the people.

“The average American sees museums the way some people see church — a special occasion, not an everyday affair,” she told the Los Angeles Times. in 1986. “I think if we’re going to ask people to engage with arts and culture and integrate it fully into their lives, we have to make it available to them.”

Dr. Lewis also founded the journal Black Art: An International Quarterly, now known as the International Review of African American Art, and directed the Clark Humanities Museum at Scripps College. She donated part of her personal art collection to the school, including works by Catlett, Faith Ringgold and Carrie Mae Weems, and in 2007 Scripps launched the Samella Lewis Contemporary Art Collection. in his honour.

Her husband of more than six decades, Paul Lewis, died in 2013. In addition to her son Claude, survivors include another son, Alan; and three grandchildren.

Dr. Lewis received the Distinguished Artist Lifetime Achievement Award last year by the College Art Association, a group of visual arts professionals. She was still working until her health deteriorated about three years ago, her son said, and had long viewed her books, documentaries, gallery exhibitions and artwork as one unified project.

“I can’t stop,” she told the Times-Dispatch in 1997. “It’s all a work of art.”

Rethink Paper and Work at New Lounges at SAM at Tanjong Pagar Distripark

SINGAPORE – Omnipresent but often overlooked, paper acts as a medium through which ideas are conveyed.

A new exhibition, Superfluous Things: Paper, seeks to examine whether the unassuming material is still relevant in an increasingly digital world.

The exhibition at the Singapore Art Museum (SAM) in the Tanjong Pagar Distripark explores the creative manipulation of paper through five installations by six artists.

Dr. Lim Chye Hong, who leads the exhibition’s curatorial team, says the works invite visitors to look at the paper “with fresh eyes”.

She gives the example of artist Nabilah Said’s work 100ish Meaningless Statements, a collection of a hundred sentences that reinvents the role of paper in people’s lives.

“Excess things spark curiosity and exploration through play,” adds Dr. Lim.

There is also an activity corner, where visitors can assemble their own paper sculpture. The activity follows Cheryl Teo’s installation – Just A Little At A Time – which features intricate paper sculptures about as big as a matchbox.

Superfluous Things: Paper is one of the exhibits that SAM at Tanjong Pagar Distripark will host. It started on May 28 and will run until August 14.

Another exhibition, from June 3 to September 4, is Lonely Vectors, which focuses on the flow of bodies and labor that characterizes our world.

The facilities are inspired by Tanjong Pagar Distripark’s proximity to the port. One such work is H For Humidity, by Singaporean contemporary artist Ho Tzu Nyen, 46. Drawing inspiration from the intense rainfall and humidity in Southeast Asia, the works are also inspired by water cycles and hydraulic infrastructure.

“When we think of infrastructure, it’s so big we don’t see it. But we live and operate in it, and it shapes the way we live and feel.”

His virtual reality installation allows visitors to transform into states of liquid and gas and ask themselves, “What does it mean to us to be like water?” »

“Through art, I want to create a situation that can give the audience the maximum opportunity to feel, imagine, and experience,” Ho adds.

Another piece is Loading/Unloading, a performance by dance collective P7:1SMA that explores the theme of work. Performers rhythmically interact with pieces of metal, showcasing the invisible work behind the structures around us.

Escape brewer: Job | Craft beer and brewing

Many breweries say they want to help strengthen their communities, but few can show as much expertise, commitment and follow-through in this area as Métier Brewing. Everything from where the beer is sold, to who creates the artwork, to the choice of general contractors, reflects the brewery’s mission: “Brewing great beer and building a stronger community to inspire bigger dreams for all. »

Prior to opening Craft in 2018, co-founder and CEO Rodney Hines had a career in nonprofit organization, community development, and corporate citizenship. Critically, he also had an interest in home brewing dating back to his college days. Years later, when his cycling coach at Métier Racing and Coffee, Todd Herriott, mentioned a brewery for sale a half-hour drive from Seattle in Woodinville, Washington, Hines saw an opportunity. During a semester spent in London during his university studies, he had discovered how beer could bring more than just relaxation.

“It’s fascinating to see how art, conversation and dialogue unfold in a pub,” says Hines. “I go back to the civil rights movement and how these conversations sparked and continued in churches, basements and kitchens, and I think about the relationships between space, connection, dialogue and the ‘stock.”

Creating inclusive beer and hospitality spaces is both a professional and personal priority for Hines, who is black. “Having loved beer all my adult life, I often find myself entering [to a bar or taproom] and I don’t see myself reflected at all,” he says. “There are places I chose not to go back to because of that.”

In just three years, Métier has exemplified how breweries can infuse an ethos of social and racial equity into day-to-day operations. In June, Métier plans to take this mission to a wider audience by opening a craft brewery in Seattle’s Central District, a historically black neighborhood, in partnership with Chef Harold Fields of the Umami Kushi restaurant. Métier will also be the brewery’s partner for the development of Seattle Mariners’ Steelhead’s Alley, planned for the former Pyramid Alehouse space across from T-Mobile Park. These ambitious plans aim to welcome people who may not already consider themselves craft beer fans, not just as consumers, but as collaborators.

“The success metrics for businesses need to be disrupted,” says Hines. “The default is to only look at your revenue or gross net, but how do you look holistically and define what it means to be a successful business? I want Craft Brewing to be a new model for measuring success.

“Brew damn good beer”

Here is the word that comes up more often than any other in discussions with the Métier brewing team: integrity.

For head brewer Michael Daly and managing director Dreux Dillingham, who also leads research and development, that means brewing consistent and accessible beers. It also means researching the history and technical parameters of a style, sometimes to honor that heritage, and sometimes to intentionally step outside of it.

Whether it’s brewing classic styles like Czech lagers and pilsners or something new (like a recent spicy imperial amber lager), every beer should tell a bigger story than there is. in the glass. A story that connects to worlds beyond beer – food, art, sport, history – helps to invite drinkers who don’t consider themselves beer lovers.

“For me, coming from a wine background, one of the things I saw right away in the beer industry was the simplicity of the pitch: ‘Hey, it’s cold, delicious and hoppy’, explains Dillingham “But where can we offer more than that?”

He takes as an example one of the most popular beers of Métier, the MBC Pale Ale. The brewery first developed the beer to benefit a local nonprofit, the Major Taylor Organization, which provides bicycles and cycling programs to children in King and Pierce counties, allowing them to better explore their cities. Beer label art by local artist Damon Brown depicts Major Taylor, the black cyclist who was world champion in 1899. Sales helped the non-profit organization buy a van for transport these bikes.

“It’s about identifying a need, a goal, and then tying it to something we’re preparing for,” says Dillingham. “Let’s tie this story to this historical figure and this mission to what these children need.”

Not only does the beer tell a story beyond the liquid, but the lager recipe itself was brewed not to be too bitter or too high in ABV, choices intended to endear it to a wide range of drinkers and cycling enthusiasts.

However, those intentions to connect with more people hinge on making delicious beer, and Craft does just that. In addition to earning a solid reputation within Seattle’s high-quality beer scene, the brewery has won medals at the competitive Washington Beer Awards for its wheat beer, coconut porter and strong ale. Belgian gold.

“They don’t specialize in any particular style…so it’s hard to name just one beer they’re known for, but all of their beers are solid, and it’s a very cozy and welcoming atmosphere there,” explains Rachael Engel, head brewer at neighboring Bosk Brew Works, who collaborated with Métier on a rauchbier in 2020. “I drank their beer, and everything is excellent. The community here certainly respects them.

Left: The brewery also focuses on beer quality, inclusive environment and community engagement. Right: Hines and Dreux Dillingham

“Building Stronger Communities”

For Hines, who has worked for years in the field of corporate citizenship, every business decision is a chance to support other black-owned businesses and organizations.

The brewery has a general contractor, developer and black chef as partners at its Central District location. He has brewed beers in conjunction with black-owned businesses in the area, including The Jerk Shack restaurant and Boon Boona Coffee, a roaster that sources beans exclusively from Africa. His brewery project with the Mariners is named Steelhead’s Alley after the Seattle Steelheads, a Negro league baseball team that played in 1946.

Last year, Métier partnered with Seattle-based brewery Reuben’s Brews to launch the Mosaic State Brewers Collective, a mentorship program aimed at developing the talent and careers of people from underrepresented groups in the brewing industry. . Earlier this year, 11 participants in this program began classes at the University of Washington’s Foster School of Business. As part of the program, Métier and Reuben’s Brews launched Lily of the Nile Chicory Stout, a beer designed by the participants. Sales support program growth.

Such initiatives may require additional effort, but Hines says the investment also supports Métier, especially during the difficult times brought about by COVID.

“It was one of the major learnings of the pandemic, ‘Oh, we’re really not alone,'” Hines says. “There is a lot of love internally within our team and externally for our community to enable us and other businesses to thrive.”

He says one of the company’s goals during this year’s growth period is to better quantify and evaluate the success of its community programs. So far, he sees the bar being used as the gathering space he envisioned: Last year he hosted his first baby shower and his first engagement, the latter between two women of color who are regulars at the brewery.

“I think about those types of experiences, and that tells me that in some ways, we’re unique,” ​​Hines says. “But we shouldn’t be so unique.

“So what is our job to help that not to be unique for this industry? »

Episode 8 shows the importance of magic items


Naofumi Iwatani has faced many challenges during his tenure as the ill-fated Hero of the Shield, from betrayal at the royal court of Melromarc to the wrath of the Church to being separated from his party of adventurers a times arrived in a whole new isekai world in Season 2. The odds are against Naofumi again, but he’s got the right gear for the job.

Any adventurer in the isekai anime of a Dungeons & Dragons-esque campaigning needs the right tools, and Naofumi has more than just his shields to rely on. He and his new friend Kazayama Kizuna can put potions, magic stones, and dragon hourglasses to good use, and they might reap unexpected rewards for using them. That’s what it takes to defeat Kyo Ethnina and his minions.

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In this new world, Naofumi’s party suffers many penalties, from Filo the missing faithful Filolial to Naofumi, Rishia Ivyred and Raphtalia the level 1 reset tanuki girl. Even Kizuna’s help is not enough for Naofumi to defeat Kyo Ethnina the villain or even L’Arc Berg, if it comes to that. Once again, Naofumi has to rely on his wits and ingenious thinking as an underdog isekai hero to succeed, just like at the beginning of Season 1, and Kizuna knows that too.

Luckily for both of them, Naofumi and Kizuna have access to magical items such as potions and enchanted rocks, and in Episode 8, the two isekai heroes experiment with these vital artifacts to see what might happen. To their surprise, any given item will have a different effect on each of them, ranging from boosting weapon damage to healing or getting a stack of XP. Both characters are understandably excited about this, as they can tinker with their stats and abilities to use unexpected techniques in battle against their most powerful foes. Naofumi and Kizuna might even surprise each other with what they can do when taking advantage of their potions and magic stones – and they have even more upsides on top of all that.

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Another, even greater magic item promises to even the odds for the desperate group of Naofumi and Kizuna in the multi-world battle against Kyo Ethnina: the Dragon Hourglasses. Not only do these hourglasses count until the next wave, but the hourglasses in the world of The Arc can also serve as teleport points, making them far more useful than their counterparts in the realm of Melromarc. These magic items now rank among the most useful Naofumi has access to, although he needs Kizuna’s help to activate them.

As the Cardinal Hero, Kizuna can use what is called the Return Dragon Vein to teleport via these dragon hourglasses, and she intends to use the Mikakage Nation’s one to warp her entire party to Sikul, the friendly nation that had summoned it to begin with. . Traveling to Sikul on foot would prove a slow and dangerous quest for a low-level party like Naofumi’s, so with Kizuna’s help, these dragon hourglasses will make all the difference and bring Naofumi closer to her goals. He doesn’t have access to Rage Shield or Filo’s offensive power, so those magical artifacts are essential. However, he will have to reach one first, and brand new enemies will stand in his way. It will be far from easy.

My Hero Acamedia Chapter 353 Anything But Confirms Highly Anticipated Match

My Hero Academia Chapter 353 Anything But Confirms Highly Anticipated Match

Read more

What I Buy and Why: Hotelier Lena Evstafieva on Why She Buys the Work of Emerging Female Artists and Almost Never Sells

Lena Evstafieva may have made a professional leap when she decided to set up the hotel that became Villa Lena in 2013, with her musician and producer husband Jérôme Hadey, and Parisian restaurateur and nightclub owner Lionel Bensemoun. But the project became more than just a plan to redevelop the property in Tuscany, and Evstafieva barely left the art world behind.

The former curator of the Garage in Moscow and director of the Pace Gallery in London also runs the Villa Lena Foundation, a non-profit organization which offers artist residency and supports artists around the world working in a range of media, from visual art, music and film, to literature, fashion and interdisciplinary practices. The foundation is backed by an advisory board that includes Wu Tang Clan rapper RZA, fashion designer Barbara Casasola, curator Caroline Bourgeois, journalist Charlie Porter, architect Rafael de Cardenas and film curator Leonardo Bigazzi.

As an art collector, Evstafieva revealed that she was more “emotional” than “strategic”, rather than full of strategic planning. Emerging artists and women artists have become a major focus of her career as a collector. We caught up with Evstafieva about what she bought and why.

The photographic prints of Pieter Hugo Mallam Galadima Ahamadu with Jamis (2005), and Mallam Mantari Lamal with Mainasara (2005) from his series “The Hyena and the Other Men”, hanging at Villa Lena. Photo: Levgeny.

What was your first purchase (and how much did you pay for it)?

It was that of Pieter Hugo The Hyena and the Other Men series. I bought each for $1,000.

What was your last purchase?

A work by a former resident of Villa Lena Bradley Kerl. He painted a beautiful view of blooming flowers outside a window of our 19th century villa, and I had to buy it.

What works or artists do you hope to add to your collection this year?

I am an emotional collector, not a strategic collector. I don’t really foresee what kind of artists I would like to collect. I just react to certain pieces that I see coming. That said, in recent years I’ve started to pay more attention to female artists and would love to add works by Zhanna Kadyrova and Olga Chernysheva to my collection, both of whom I find such deep thinkers.

Bradley Kerl, This Sunburned Dream 2022, oil on canvas, Image courtesy of the artist

Bradley Kerl, This sunburnt dream (2022). Image courtesy of the artist.

What is the most expensive work of art you own?

I can tell you which work is the most expensive per square inch: an overpainted photograph by Gerhard Richter from the 1990s.

Where do you most often buy art?

Everywhere, but I find art fairs to be the most effective way.

Is there a work you regret buying?

No, I usually don’t regret any purchase and, in fact, I would have to sell a work due to exceptional circumstances.

Kathleen Ryan, Untitled, 2017. Glazed ceramic, chromed steel, 70 x 30 x 25 inches, 177.8 x 76.2 x 63.5 cm.  Image reproduced with the kind permission of the artist and the François Ghebaly gallery.

Kathleen Ryan, Untitled (2017), enamelled ceramic, chromed steel. Image reproduced with the kind permission of the artist and the François Ghebaly gallery.

What work have you hung above your couch? And in your bathroom?

Above my couch I have a very large piece by Valerie Snobeck. It is a six-panel piece of transparent film with imprints of a large sheet on three of the panels and negative space on the other three.

What’s the least practical piece of art you own?

I am not hurt ! Kathleen Ryan’s parrot sculpture is very impractical when you have young children and dogs running around, but it has survived so far.

Gaia Fugazza, Plants like him - Cerulean Blue, 2020, Image copyright the artist, Courtesy Richard Saltoun Gallery London and Rome

Gaia Fugazza, Plants like him – cerulean blue (2020), © Gaia Fugazza, courtesy of Richard Saltoun Gallery London and Rome.

What work would you have liked to buy when you had the opportunity?

I prefer to buy from emerging and less established artists, which is why I am delighted to partner with She Curates for our artist residency. With that in mind, I wish I had purchased more works by Sara Anstis, or more works by the incredibly talented Gaia Fugazza. Both are female artists and their work depicts surreal and dreamlike images that I love.

If you could steal one piece of art without getting caught, what would it be?

Probably the most cliched answer of all – on a grand scale water lilies by Monet. I just love them.

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Alice in a new city museum

Our city is woefully inadequate when it comes to the number of museums it can “brag” about. Lack of funding, vision or intention? Until this shocking figure is corrected, we cannot call ourselves a cultural metropolis

Aaditya Thackeray. File Picture

Fiona FernandezWhile perusing architect and urban columnist Robert Stephens’ seminal and groundbreaking book, Bombay Imagined, this columnist often found herself falling down a fantasy rabbit hole; it’s the kind of imaginary, utopian streetscape that only true blues and (often crazy) Bombaywallahs are likely to view from time to time when the opportunity (or in this case, a book) presents itself for a teleported distraction.

I found myself in this particular area towards the last segment of the book, where plans of unimaginable waterfronts, futuristic running passages, and wharf redevelopment plans were presented in visual detail for the reader. Ideas of what if and almost there left us feeling nostalgic most of the time. I’ve been down this route many times as I’ve been digging into the epic and visually appealing research project.

Call it a coincidence, but it was a few days after getting my hands on this book that I attended the launch of Mumbai – A City Through Objects: 101 Stories edited by Tasneem Zakaria Mehta, Director and Administrator of Dr Bhau Daji Lad Mumbai City Museum. The event was also held to inaugurate the 150th year of the museum’s opening.

At the session, the book was released by Aaditya Thackeray, the state’s tourism minister who is also Mumbai’s custodian minister. It was held in the presence of the city’s top bureaucrats, cultural ambassadors, urban planners and architects, and it was among them that he enthusiastically shared news of plans to expand the idea of ​​the museum. of the city with the opening of another building. The collective applause that followed was quite something. Later, the idea was reiterated and supported by biggies in the city bureaucracy. It made people like us smile; this small community of observers who have carefully followed the cultural ups and downs of the city for decades. I was tempted to have another rabbit hole moment. Well, almost. You will understand why I stopped before going there.

The spirit returned to a participant in Stephens’ book that caught my eye in a flash. This was a 2014 plan by Zaha Hadid Architects (ZHA) and Sameep Pandora and Associates for the City Museum’s north wing extension in the same space, near Rani Baug. This plan in the words of ZHA, and as reproduced in the book, explains the idea as follows: “The formal response is soft, ductile, less rigid than its historical counterpart.” The sweeping design selected from an original list of 104 entries would have breathed fresh air by offering a range of possibilities and introductions to enhance the experience and influence of the city’s oldest museum. We followed this design competition closely at the time. The plan was never allowed to take off due to a host of unfortunate developments; the idea stayed in the “imagined” space and thus ended up in Stephen’s curated compilation of world-class ideas that were never adopted by the city.

And so, the skeptic in me didn’t allow the smile to expand into a smile amid the applause. And it’s not just this plan. After reading and reporting countless examples of almost there and almost done projects in the city, I found myself in no man’s land with this important announcement. Honestly, I’d be the happiest if I turned out to be wrong. The month of June was revealed during the forum where all heads would come together to get the ball rolling. We will follow closely how it goes.

To say the city needs more museums is like saying we need more local trains or better roads. Mumbai can’t even compare to London, or even its Asian counterparts like Singapore and Dubai. Ours is a richer, more illustrious, and older historical timeline, if the city’s origins are recorded. So, compared to these two Asian cities, the number of museums we have is a shame.

Regardless of how, when, and how capable this new expansion of the city museum is, we would certainly like to see more than just this project receive the impetus and support. Asia’s wealthiest municipal corporation can and should consider various alternative avenues to fundraise, so that we can become a true force to be reckoned with; a city that can boast of having more museums, especially in specialist areas that will do justice to its multi-layered histories and multicultural identities. At the top of our list, we so desperately need a space to salute our textile traditions and our milling histories, our rich maritime and shipbuilding heritage needs to be documented, as well as our diverse communities who have come here from all corners of India and the world. to settle down and settle down.

It is hoped that the June meeting will lead to its logical conclusion in due course, in the form of another city museum, and not become another pipe dream as long as the Tulsi Pipeline. And yes, let’s hope our powers identify and commission many more such projects with serious commitment.

After all, a museum is an essential and balanced institution that showcases our stories and histories. And heaven knows this city has so much to tell.

Midday editor Fiona Fernandez savors the sights, sounds, smells and stones of the city… wherever ink and envy take her. She tweets @bombayana
Send your comments to [email protected]

NMSU Art Museum Grant Approved by NEA to Support Fall Exhibition

LAS CRUCES — The National Endowment for the Arts has approved a $40,000 grant for the University Art Museum at New Mexico State University, among $1.6 million in NEA awards recommended for art projects in the New Mexico.

The NEA recently announced more than $91 million in recommended grants to organizations in all 50 states and jurisdictions across the United States. Grants are divided into three NEA funding categories: Grants for Arts Projects, Our City and State, and Regional Partnerships.

The NEA grant to the University Art Museum will support “Contemporary Ex-Votos: Devotion Beyond Medium,” a two-part exhibition featuring 19th- and 20th-century retablos from NMSU’s permanent art collection alongside new works by Latinx artists, which will open in September.

NMSU holds the largest public collection of retablos in the United States – over 2,000 works on pewter, wood, copper, and canvas in addition to other objects of sacred art.

“The exhibit, associated public programming, and accompanying catalog will demonstrate the important place that altarpieces hold in the history of the Americas, recontextualizing future studies of contemporary devotion in Latin America and the United States,” said said Marisa Sage, Director of UAM.

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Ex-votos are retablos depicting miracles painted on pewter and other found materials, usually painted by self-taught artists. They are part of a tradition of Mexican folk art depicting religious stories of hope and suffering alleviated by divine intervention, resulting in healing and devotion.

“This NEA grant is one of many awards given by different organizations to the University Art Museum in recent years,” said Enrico Pontelli, Dean of the College of Arts and Sciences. “In this case, the NEA grant will not only help expand public access and understanding of NMSU’s vast collection of retablos, but also increase scholars’ access to these works which form an important part of the culture and community of the border regions.”

The UAM exhibit will be accompanied by a digitization project of over 250 of the NMSU altarpiece collection. It will include an artist residency and commissioned works.

“The intent of this project is to analyze ex-voto via new Latinx art practices that expand this historical medium,” Sage said. “The breadth of the commissioned works, the experimentation with mediumistic and disparate approaches to devotion will shed new light on this important and often overlooked genre of art. This project will demonstrate not only the power of “popular painting,” but also how the resilience of historical material culture can engender powerful dialogues that can shape new approaches to contemporary political, social, and cultural issues. »

An altarpiece titled

The emerging Latinx artists were chosen by exhibition curator Emmanuel Ortega, The Marilynn Thoma Scholar in Art of the Spanish Americas at the University of Illinois at Chicago. Ortega has held numerous exhibitions across the United States and in Mexico. Selected artists will use the NMSU retablo collection through residency and digitized works to create ex-votos of various media to shed light on understudied iconographic/ideological aspects of the genre.

Artists in residence include Yvette Mayorga and Xochi Solis. Solis will spend time in the retablo NMSU collection to contemplate the social construction of how artists and cultural production existed around the creation of ex-voto and how this mode of functioning can exist in contemporary artistic practices, and will create 20 works on paper imitating the floor-to-ceiling displays seen at pilgrimage sites. Mayorga will create a sanctuary site filled with ex-votos in the UAM using his method of sculptural ceramic piping and found materials and objects from his NMSU retablo collection residence and pilgrimage to El Santuario de Chimayó in the northern New Mexico.

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Other artists include: José Villalobos, Daisy Quezada, Francisco Guevara, Krystal Ramirez, Dan Hernández, Guadalupe Maravilla, Justin Favela, John Jota Leaños, Eric J. Garcia and Sandy Rodriguez.

Educational programming includes a video commissioned by the ‘Unsettling Journeys’ YouTube channel, which examines the historical contexts of the art of ex-voto production in Mexico, including research, interviews and digital animations of the collection restore NMSU.

An animation workshop presented at Las Cruces Public Schools will teach students to digitally glue ex-voto items, selecting cutouts from digitized historical retablos.

“The goal of this workshop is for students to understand their stories in relation to the context and iconography of retablos while learning digital skills,” Sage said.

“UAM aims to reflect and amplify the voices of our predominantly Hispanic community,” she added. “We are committed to creating new spaces to collectively reimagine narratives of decolonization, democracy, and justice through art.”

Minerva Baumann writes for New Mexico State University Marketing and Communications and can be reached at 575-646-7566, or by email at [email protected]

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Genshin Impact Xiao Artifacts, Weapons, and Team Guide


Adeptus Xiao, also known as The Vigilant Yaksha, has been one of the most anticipated characters in Genshin Impact since its release in updated version 1.3. First appearing in the Chapter 1, Act 1 story quest, “From Earth Amid Monoliths”, Xiao has become increasingly popular due to his unique playstyle which focuses heavily on plunging attack damage. He also has a health reduction mechanic that activates when using his Elemental Burst, “Bane of All Evil”.

Due to Xiao’s wide range of talents and adaptable playstyles, many players will find it difficult to decide how to build Xiao to get the most out of him. Everyone has their own idea of ​​what will work best, whether using it primarily as a main DPS or as a sub-DPS, with each having their own different versions. Throughout these, there are a few major DPS builds that stand out. It would be an Anemo DPS version and a Burst DPS version.

Related: Genshin Impact: What We Know About Archon Dendro So Far

Xiao’s Best Artifact Sets in Genshin Impact

When building Xiao as a primary DPS, an Anemo DPS build is a viable option for those who want to focus on his elemental skills and elemental reactions. To get the most out of Anemo’s damage from his Elemental Skill and Burst, players will want to give Xiao a Sands of Eon Attack, Anemo Damage Goblet, and Crit Rate or Damage Circle . For sub stats, a high attack percentage is a must on every artifact piece, while having at least 120% energy cooldown is essential to keep its elemental skill cooldown low. Follow this with the Crit Rate and Crit Damage sub stats.

For those who want to give Xiao a more focused version of his elemental burst, have a Sands of Eon attack alongside an Anemo damage attack or goblet followed by a crit rate or damage circle is the way to go. With a Burst DPS build, it’s essential to focus on the Critical Rate and Critical Damage sub-stats. Attack percentage and energy recharge are secondary.

Best Artifact Sets for Xiao as DPS Anemo is a split build between a two-part Attack Percentage set – players can choose between Gladiator’s Endgame, Shimenawa’s Resistance, Echoes of an Offering or the Vermillion Afterlife – and a two-part viridescent Venerer, which is found in the Valley of Remembrance just south of Wolvendom. As a Burst DPS, players should focus on getting a four-piece set of Vermillion Hereafter. In two pieces, it increases Xiao’s attack by 18%. However, it’s the four-piece set that really brings out the best in Xiao. Vermillion Hereafter as a four-piece set increases Xiao’s attack by an additional eight percent for six seconds after his Elemental Burst is activated. When Xiao’s HP naturally decreases, his attack increases again by 10%, which can stack up to four times.

Related: What Genshin Impact Update 2.7 Delay Means For Players

The best weapons for Xiao in Genshin Impact

Xiao’s best weapon for his Anemo and Burst DPS build is his signature weapon, Primordial Jade Winged-Spear, which is a five-star polearm that is permanently on the standard banner. His secondary sub-stat is Crit Rate, and his passive increases his attack by 3.2% for six seconds after hitting an enemy. This effect can only occur once every 0.3 seconds and can stack up to seven times.

While it’s best to equip Xiao with his five-star weapon, there are a few four-star alternatives for players who haven’t obtained the Primal Jade Winged Spear yet. The Deathmatch is another Crit Rate sub-stat weapon that can be obtained through the Battle Pass, and the Blackcliff Pole, with a Crit Damage sub-stat, is a fantastic alternative that can be purchased with Starglitter from Paimon’s Bargains.

For purely free options, the White Tassel has the Crit Rate secondary sub-stat, and its passive increases normal attack damage by 24% on first refinement. There is a downside to this weapon though, as the White Pompom can only be found in Liyue Treasure Chests. However, it is also available from chests in the new area, The Chasm.

Related: Genshin Impact: Lisa’s Best Build

Build Xiao’s team in Genshin Impact

To make full use of Xiao’s talents, players should take into account that Xiao does his best damage when fully in the field. As such, characters capable of dealing damage off the field are critical to Xiao’s effectiveness within a team composition. This makes characters such as five-star Geo character Albedo and even new Hydro user Kamisato Ayato useful for creating highly damaging crystallization or whirlwind reactions while Xiao is still in the field. Having another Anemo character such as Jean, Sucrose, or Venti on the team can give needed skill cooldowns while reducing stamina consumption by 15% due to the Rash Winds effect.

One of Xiao’s biggest team compositions is the Anemo Geo team consisting of Xiao, Albedo, Jean, and Zhongli. Zhongli shields Xiao from interrupts and enemy attacks while Albedo applies geo damage off-screen. Jean increases movement speed and can provide much-needed healing during Xiao’s Elemental Burst cooldown. However, the huge amount of five stars on this list can make it difficult for players to get.

Related: Angelic Archon Venti Cosplay Brings Beloved Genshin Impact Character To Life

A more accessible squad for Xiao includes the four-star Fischl and Barbara, the latter of which can be obtained for free early in the game. Barbara acts as a protective healer for Xiao when using her elemental burst between cooldowns, while also having the potential to buff his whirlwind damage with Hydro. Fischl is an ideal candidate for a support or sub-DPS role on this team. Her elemental skill “Nightrider” summons her companion, Oz, to the field, which consistently hits enemies with high electro damage, especially when she equips it from the Thundering Fury set.

Fischl and Barbara make a brilliant duo, applying the Electro-Charged effect to enemies and stunning them for short periods of time so Xiao can dive straight into them without fear of them moving. Players can get creative with the end member. However, Anemo Particle Generators such as the Anemo Traveler, Sucrose, or Jean are optimal.

Overall, Xiao’s main DPS build is a highly accessible and solid comp that makes it the best build for him. Players may find useful sets early in the game and can easily adapt to include their readily available weapons or artifacts. With easy-to-build teams and free-to-play options, both new and veteran players should find racing easy.

shikanoin heizou genshin impact

What We Know About Genshin Impact’s Shikanoin Heizou So Far

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SWCA 2022: 5 Product Reveals We Love From The Star Wars Merchandise Preview Panel

Obi-Wan’s Lightsaber and more are on their way to Disney Parks and shopDisney.

Around your wallets, a perimeter is created. At the Disney Parks/shopDisney merchandise panel, moderated by Amy Ratcliffe, Brad Schoeneberg (VP, Brand Merchandising), Cody Hampton (Senior Director, Brand Merchandising), Amanda Luna (Brand Merchandising Manager), Elisa Melchiori (Head of Brand Merchandising) and John Henselmeier (Associate Head of Product Design) announced some exciting and upcoming new releases star wars goodies for the Disney Parks and the shopDisney online store. Here are five of our favorites.

1. “Your focus determines your reality.” Qui-Gon Jinn’s Lightsaber is finally coming to Disney Parks, featuring a rechargeable battery and soon to be available at Dok-Ondar’s Den of Antiquities. “We were really excited to work with the team to make sure those details were as accurate as possible,” Cody Hampton said.

Don’t be overshadowed by the revelation of the beloved Jedi Master’s lightsaber, Obi-Wan Kenobi’s lightsaber from the Disney+ limited series Obi Wan Kenobi will also be available on shopDisney at a later date. Other legacy lightsabers heading to Disney parks will be Plo Koon and Darth Sidious’ lightsaber.

Vote for the next Legacy Lightsaber to be showcased at the Dok-Ondar Antiquities Lair

You can vote for the next legacy lightsaber to display at the Antiquities Lair of Dok-Ondar, including those of our favorite Jedi Librarian Jocasta Nu, Quinlan Vos, Sifo-Dyas, and more.

2. Star Tours fans and collectors, there is some very good news. To celebrate Star Tours’ 35th anniversary, Disney Parks will have limited-edition apparel, collectible pins, and a limited-edition RX-24 “Captain REX” figure available for purchase at both parks. Longtime Star Tours fan and Associate Product Design Director of Lucasfilm, John Henselmeier designed the Star Tours 35th Anniversary logo with the number “35” embedded in the iconic triangle that shapes the traditional Star Tours brand. “It’s a celebration of both old and new Star Tours,” said John Henselmeier. “It certainly draws inspiration from the costumes of the original attraction’s cast members on both coasts, but it also ties into The Adventures Continues.”

Obi-Wan Kenobi and Darth Vader figure set based on the work of Ralph McQuarrie out of box

3. Disney Parks will celebrate star wars the story. In honor of the 45th anniversary of Star Wars: A New Hope, Disney Parks will release products inspired by the storyboard art and concept art of Ralph McQuarrie. “It really ties into the concept and storyboard art of [A New Hope]“said Elisa Melchiori. The collection will include, for the first time ever, a set of two Hasbro Black Series Obi-wan Kenobi and Darth Vader action figures. It will soon be available on shopDisney and Disney Parks.

Star Wars: Galaxy's Edge Gorg Star Wars Plush: Galaxy's Edge Therii

4. Star Wars: Edge of the Galaxy receives a dose of kindness. The Toydarian Toymaker and the Creature Stall will soon welcome new stuffed animals. star wars resistance fans will be able to catch their very own cute little gorg, who can open its mouth to reveal adorable yet deadly sharp teeth. “We also wanted to make sure we had something for everyone,” laughed Amanda Luna. “Whether you like cute, cuddly creatures or something with a little more teeth.” Each creature available at the Creature Stall also has hangtags that show how to care for them and where they come from! The cuddly therii from Amy Ratcliffe’s children’s book, Elee and Me, will also be available at Disney Parks at a later date!

5. “If there is a luminous center in the universe, you are on the planet from which it is farthest.” Journey to the lush sands of Tatooine this fall with the star wars Planet Series! This line will offer products from different planets; Tatooine is the first destination in the Planet series and will include plushies, clothes, pins, and a map of the desert world with locations to put those pins. “The collection will celebrate many of the planets around the galaxy,” Luna said. “The program is really rooted around apparel and accessories as well as plush and prints.”

Check out the gallery below for even more new products coming to Disney Parks and shopDisney.

Kristen Bates flies by the seat of her pants and does the best she can. Slow walker. Spends too much time on the Internet. Holder of a season ticket for the Boonta Eve Classic. Budding smuggler. Find her on the interwebs @kristenkbates.

Site tags: #StarWarsBlog, #SWCA22

KEY WORDS: Disney Parks, Star Wars Celebration, Star Wars Anaheim Celebration

Several children made 911 calls while the shooter was inside the Uvalde school

More details emerge on 911 calls made by children inside Robb Elementary School in Uvalde, Texas, as an 18-year-old gunman killed 19 children and two adults at the elementary school . Public Safety Department Director Steven McCraw held a press conference on Friday to discuss an updated timeline for the shooting, the belated police response and heartbreaking calls made by students to 911. .

“Better for me to read it than listen to it,” McCraw said before discussing the calls, taking a moment to collect himself.

Without naming the children, McCraw said a student in room 112 made four emergency calls: First, at 12:03 p.m. for one minute and 23 seconds as she whispered her location to first responders. She called back at 12:10 p.m. and said several people had died. She then called at 12:13 p.m. and 12:16 p.m. and said eight to nine students in her class were alive.

At 12:19 p.m., another student had called 911 from room 111. “She hung up after another student told her to hang up,” McCraw said. Two minutes later, three shots could be heard on a second call. At 12:36 p.m., this same student called back for 21 seconds, before making a final call and staying on the line.

“She told us he shot the door at 12:43 p.m.,” McCraw said. “At 12:47 p.m. she called 911 to ‘Please send the police now. “”

Minutes later, the student said she could hear officers at the scene pulling students out of classrooms. Later in the conference, answering questions from reporters, McCraw said more than one of the 911 callers survived. He provided no further details.

The 911 calls discussed by McCraw were made as students waited more than 40 minutes for officers to respond to the school shooter and enter the school building, despite the presence of 19 officers on the premises. school. McCraw explained that instead of entering the building, officers waited to enter — after being given a master key — because they believed the shooter was barricaded and the children were no longer in danger.

“Of course it wasn’t the right decision,” McCraw said. “It was the wrong decision.”

The press conference comes a day after the Associated press reported that bystanders urged the police to enter the school building.

” Go for it ! Go for it ! cried women, according to a witness.

Javier Cazares, whose daughter Jacklyn was killed, said police were gathered outside the building when he arrived, before suggesting the parents burst into the building.

“Let’s go fast because the cops aren’t doing anything like they’re supposed to,” he said. “More could have been done.”

A mother told the the wall street journal that she was handcuffed as she tried to urge law enforcement to enter the school.

“The police weren’t doing anything,” she said, according to the Log. “They were standing just outside the fence. They weren’t going there or running anywhere.

Tulsa Foundation for Architecture partners with local breweries for creative workshops | Arts & Theater

There isn’t much that could make the experience of enjoying a locally-brewed Tulsa beer even better. Thanks to the Tulsa Architectural Foundation, however, local beer lovers now have the opportunity to learn a new skill while sipping.

TFA’s new Drafts & Design initiative is a partnership with local Tulsa breweries that has resulted in a series of creative architecture-related workshops. As participants learn a new artistic skill, they can sip local stouts, sours and IPAs at some of Tulsa’s most popular breweries.

“So far, all of our events have sold out,” said TFA Executive Director Amber Litwack. “This initiative is definitely something people are interested in. We attracted a number of people who had never interacted with our organization before. It was so exciting.

The Drafts & Design program began in March with the goal of exposing more people to Tulsa’s architectural heritage.

“We conceptualized this program because the TFA didn’t do a lot of programming that wasn’t tour-based, so we wanted to do something that would meet people where they are – maybe people who are not architecture and design enthusiasts – something that would open the door for these people to connect with our organization,” Litwack said.

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So far, the TFA has partnered with local breweries such as Eerie Abbey Ales, Nothing’s Left Brewing Co., American Solera Brewery and Cabin Boys Brewery.

“Tulsa has so many great breweries, so we decided to contact a number of them to see if they would like to partner with us,” Litwack said. “It’s a win-win situation for both of us — we usually run the workshops on Thursday evening or Sunday afternoon, times when the breweries aren’t as crowded as Friday or Saturday. So it brings additional business to the breweries and gives us space in the community to do a fun and hands-on project centered around architecture.

In March, Tulsa photography artist Rachel Rector led attendees in a hand-dyeing class at Eerie Abbey Ales. Rector guided the students as they practiced the art of tinting two 4 x 6 inch photographs of Tulsa’s historic places. The process of hand-tinting black and white photographs is nearly 200 years old and is used to add a vivid splash of color to a colorless film photograph.

Participants learned the art of punch needling at the Cabin Boys Brewery in April. Taught by Beth Henley of Black Moon Tulsa, people learned beginner punching techniques and designed their own 8-inch wall hanging, inspired by iconic pieces of Tulsa architecture. The process, much like rug making, is a form of embroidery that involves pushing yarn or yarn over a piece of fabric, using loops to create a textured pattern.

In May, attendees headed to Nothing’s Left Brewing Co. to learn about the timeless art of embroidery. In a class taught by artist, designer and art teacher Taryn Singleton, people were given facsimile plans of one of Tulsa’s quintessential architectural feats: the Mayo Hotel. Using different colors of string, participants learned embroidery techniques to adorn the plans, creating a work of art they could take home and frame.

The TFA is also planning several upcoming monthly workshops this summer. On June 2, the organization is partnering with Anthousai Florals and American Solera for a workshop teaching the Japanese art of ikebana flower arranging, inspired by the architecture of Frank Lloyd Wright.

“I’ve been interested in ikebana for several years and wanted to look for a class locally, but never found anything, so I decided to start one,” Litwack said. “We drew inspiration for this class from the architecture of Frank Lloyd Wright. He was so influenced by Japanese design and culture, so that goes without saying for this workshop.

Wright’s reverence for Japan is well documented. The architect spent several years exploring the country and amassed a large personal collection of Japanese pottery, screens, textiles, sculptures and more. Wright drew heavily on the Japanese architectural style which combined elements of the natural world in modern home design, allowing nature to have a distinguished place in home design concepts. This principle is clearly exhibited in Wright’s personal homes, Taliesin and Taliesin West, according to the Frank Lloyd Wright Foundation.

At the upcoming TFA workshop, Anthousai founders Jenny Rausch and Katie Allen will teach attendees the ikebana floral style, which emphasizes each individual flower using a limited number of stems and a low vase. With guidance from Rausch and Allen, participants will learn to create their own ikebana arrangements influenced by some of Wright’s most important design work.

In July, Drafts & Design participants will return to Eerie Abbey Ales for a polaroid emulsion workshop, once again led by Rector. People will receive a Polaroid camera and be invited to explore downtown Tulsa and take two photos of their favorite architectural features. Once inside the brewery, they will be trained in the art of polaroid emulsion, which involves taking the top layer of a Polaroid image and transferring it onto watercolor paper. Each participant will receive two works of art to take home.

For more information about the TFA or to register for a Drafts & Design workshop, visit tulsaarchitecture.org

Watch now: 5 things to do this weekend

The Winnipeg Art Gallery creates a permanent gallery for young artists

The Winnipeg Art Gallery (WAG) creates a permanent gallery to showcase the work of young artists.

To this day, the “Through the Eyes of a Child” exhibition is an annual six-week event, showcasing some of the art created by the hundreds of young students who take classes at WAG Studios.

Now the WAG is working to establish a permanent gallery that would present up to 52 exhibitions each year, with each exhibition created and curated by the children.

“We’ve pivoted to something that we believe will have greater impact and can bring more students into the process,” said Cara Mason, learning and curriculum coordinator for WAG, in an interview Thursday. .

“From curating and hanging their own artwork to being able to showcase their work throughout the year.”

She noted that involving children in this gallery would teach them about the curatorial process and show them the many considerations involved in creating an exhibit.

“How high on the wall it hangs, what it hangs next to – all of those things are considerations artists and curators make and now students will be involved in that,” Mason said.

She added that the permanent gallery will allow young artists to showcase their success.

“By giving them this opportunity, I think it validates the importance [their art] is and how proficient they have become,” Mason said.

The art gallery is raising funds to build the space on the fourth floor of the WAG. Those interested in donating can do so on line.

“As an art gallery, we have a responsibility to the community to give them the same opportunities that we promote in the building,” said Taylor Goodson, WAG Advancement Manager.

“To set up this exhibition is to give young people the opportunity to become artists and curators.

– With files from CTV’s Danny Halmarson

Clash: Artifacts Of Chaos is a mind-bending brawler that pulls no punches


Not long ago I attended a newspaper event in Paris, where game developers and their demo booths lined the walls. But none stood out like Clash: Artifacts Of Chaos, a third-person combat adventure set in a punk-fantasy universe. Despite only the briefest of practice sessions cut short by turf law, I just can’t shake the game off my short back and side-furnished skull. I think I need someone to kick me into reality, before I fall asleep and wake up for good in Zenozoik’s fantasy reams.

What’s Happening in Northern Michigan: Twisted Fish Gallery

It’s almost summer, and that means it’s time to start planning trips and getaways.

Erin Murphy has fun things to do in Michigan for this week’s What’s Happening in Northern Michigan.

Domain Brys; Reservations/Tours & Secret Garden opens May 27

With summer fast approaching, it’s the perfect time to visit the Brys Estate Vineyard and Cellar in Traverse City, especially since the Secret Garden opens for the season on Friday, May 27. The secret garden consists of twelve acres of lavender, flowers, a strawberry herb garden and much more! Visitors can stroll through the garden or picnic areas and browse a variety of handmade lavender products in the farmhouse-inspired garden shop. Lavender lemonade, as well as custom flavors of Moomer ice cream, made with Secret Garden strawberries and lavender, are also available for purchase.

Also, be sure to reserve a table for the upper deck of the cellar, where you can sample Brys Estate’s delicious wines and charcuterie boards with spectacular views of the vineyard and East Grand Traverse Bay.

Michilimackinac Historical Society; Full season of programming kicks off May 27Michilimackinac Historical Society

Friday, May 27 marks the start of the Michilimackinac Historical Society’s programming season, which will run on Fridays throughout the summer. These programs will cover a variety of topics, including quilting, Native American beadwork, local plant identification, and more.

This week’s program begins at 7 p.m. and highlights the story of lumberjack life with Dan McDonough, nine-time World Lumberjack Champion and owner of the Jack Pine Lumberjack Shows in Mackinaw City. Dan will discuss the tools of the trade, describe life in the logging camps, and more.

Presentations are free, although pre-registration is encouraged. For a complete list of programs and descriptions, visit the Michilimackinac Historical Society website.

Elk Rapids/Twisted Fish Gallery – Art Beat (June 4-11)Twisted Fish Gallery

Save the date for Elk Rapids’ Art Beat event, taking place Saturday, June 4 through Saturday, June 11. Join area galleries like Twisted Fish, for a week filled with creative fun. This multi-gallery tour takes you through the village, exploring a long tradition of artistic exploration, artist demonstrations and even award-winning opportunities. Twisted Fish also hosts workshops throughout the summer, so be sure to check out their events calendar for all the details.

Top Gun Artifacts Land at Union Station Ahead of Movie


KANSAS CITY, Mo. – Top Gun: Maverick is flying into theaters Memorial Day weekend.

To celebrate the release, Union Station is giving fans an experience you can only get by visiting the Kansas City Landmark.

Union Station features an exhibit of Top Gun memorabilia.

Most of the items belong to Commander Jesse Reed, a true Top Gun naval aviator.

Visitors can view his MILSPEC leather flight jacket and helmet. A 50mm round shell, a model F/A-18E multirole fighter aircraft, and an anchor point of a landing aircraft carrier are also part of the exhibit.

You will also be able to see an actual Navy flight log used by pilots to keep track of their flying hours.

The display will be in Union Station’s Extreme Screen Lobby until June 16.

Watch the video in the player at the top of the page to hear Commander Reed to see what he thinks of the new movie and what you won’t see there.

Fans can also watch Top Gun: Maverick at the Regnier Extreme Screen Theater in Union Station. It is the largest screen in the region.

It starts showing Top Gun: Maverick on Thursday, May 26. Tickets are $8 for adults and $7 for children until June 16. There are three shows a day.

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Walker Art Gallery ‘The Tudors’ is a ‘once in a generation’ exhibition

The Walker Art Gallery has opened its successful summer exhibition, The Tudors: Passion, Power and Politics.

The exhibition will focus on life at the Tudor court, inviting the public to discover the fascinating politics, powerful family ties and unique culture of history’s most famous royals. The Tudors: Passion, Power and Politics features over a hundred objects.

This includes 68 works from the National Portrait Gallery collection, as well as paintings from the Walker Art Gallery collection and a selection of additional items on loan – some of which have rarely been on public display. Kate O’Donoghue, Curator of International Fine Art at National Museums Liverpool, said: “Through this very special partnership with the National Portrait Gallery, we look forward to providing visitors with a unique opportunity to view some of the most famous in the world here at Liverpool.”

READ MORE:Paul Curtis’ epic Doctor Who mural unveiled at World Museum

Kate added: “We are also delighted to have secured some exceptional additional loans for the exhibition, including some of the Armada cards and the extraordinary Westminster Tournament Roll. In addition to these items we will be showing the Bristowe Hat – per tradition associated with Henry VIII – and the Bacton Altar Cloth, believed to have been made from the only surviving fragment of one of Elizabeth I’s robes.”

The National Portrait Gallery is currently temporarily closed until 2023 for a major redevelopment project, which has presented this remarkably rare opportunity to share so many important paintings from its collection with other UK galleries. The exhibition features the five Tudor monarchs: Henry VII; Henry VIII; Edward VI; Mary I; and Elizabeth I. Together they represent some of the best-known figures in English history.

Their instantly recognizable portraits – among the most famous in the National Portrait Gallery’s collection – have retained their likeness for 500 years. The dynasty’s rule over 16th-century England, from 1485 to 1603, encompassed the tumultuous years of the Reformation, a literary renaissance, conflict with Scotland, France and Spain, and conquest and colonization in Ireland and America.

Their instantly recognizable portraits are among the most famous in the collection of the National Portrait Gallery.

This major exhibition explores the Tudors from different angles and sheds light on some historically underrepresented aspects of the period, including Black Tudor history and LGBTQ+ history. Portraits on display include Tudor monarchs alongside their advisers and courtiers: Thomas More; Thomas Cromwell; Robert Dudley; William Cecil; and Francis Walsingham.

Some of the works have never been exhibited outside of London, including a portrait of Jane Seymour, after Hans Holbein the Younger, and the highly unusual portrait of Sir Henry Unton. One of the highlights of the Walker exhibition is the Westminster Tournament Roll (College of Arms, London).

Produced in 1511, the Roll celebrates the birth of Henry VIII’s son with Catherine of Aragon, Henry, who unfortunately died at a young age. This extraordinary document – ​​last on public display almost 20 years ago, and never before outside London – gives a glimpse of the grandeur and spectacle of the Tudor court.

Books from the gift shop on Black Tudor history
The exhibition explores the Tudors from different angles, including the history of the Black Tudors

The exhibit also highlights the life of court trumpeter John Blanke. His image, which appears twice on the Westminster Tournament Roll, is the only known and identified portrait of a black figure in Tudor England.

The altar cloth from Bacton (Parish of St Faith, Herefordshire) is also on additional loan. New research supports the theory that it is a garment from the wardrobe of Elizabeth I, making it the only known surviving example of her clothing.

It is believed that the embroidered silk cloth, containing gold and silver threads, was sent to the village of Bacton by the Queen in memory of her resident Blanche Parry, who was Elizabeth’s most faithful servant and her companion of most of her life. It was kept safe as an altar cloth for centuries, before being identified as a rare 16th century garment.

The Bristole Hat (Historic Royal Palaces, London) will also be included. The hat is a very rare example of Tudor fashion or early Stuart fashion. The Bristowe family traces its genealogy to important Tudor courtiers. It is proposed that Nicholas Bristowe (1495-1584) – a prominent member of the family – caught the hat when Henry VIII threw it into the air during the surrender of Boulogne in 1544.

Visitors will also be able to see some of the Armada maps (National Museum of the Royal Navy, Portsmouth). Recently saved for the nation, these drawings depict the dramatic conflict between the Spanish Armada and the English fleet off the south coast of England in 1588. Led by Sir Francis Drake, the English fleet defeated the Spanish forces in the one of the most important naval battles. in history.

Tickets are on sale now, with prices starting at £13. For more information and to book tickets, click here. The exhibition is here until August 29, 2022.

The Universal Hip-Hop Museum under construction in the Bronx

THE BRONX, NY (PIX11) – The Universal Hip Hop Museum is nearing completion.

Organizers celebrated the completion of the building’s structure on Wednesday. The museum is expected to be a cultural anchor in the Bronx, but there’s still a lot of work to do before it officially opens to the public.

“Today is a celebration just to really say thank you to all of the elected officials and supporters of this project because without their support this wouldn’t be happening,” said Rocky Bucano, Founder and Executive Director of the ‘Universal Hip-Hop Museum.

Millions of dollars have already been allocated for the project, but approximately $5 million in additional funding is needed to complete the interior. Officials say the institution will be a global tourist attraction honoring the birthplace of hip hop.

Former Bronx Borough President Ruben Diaz Jr. is now a member of the museum’s board of trustees.

“To the whole planet – if you listen to hip hop music, if you love hip hop, if you really want to celebrate the culture, if you really want to celebrate the pioneers – it’s time for you to help us by putting your all into it. money you can put into action so we can do another 50 years of hip hop,” Diaz said.

Pioneering beatboxer Doug E. Fresh also attended Wednesday’s ceremony. “Hip-hop has saved lives. Hip hop has changed lives. Hip hop has made a big difference in the world,” said Doug E. Fresh.

The museum will be over 50,000 square feet. Above, there will be more than 500 permanently affordable housing units overlooking the Harlem River. The waterfront development was once located on vacant land. The apartments are expected to be completed next year and the museum completed the following year in 2024.

Siuslaw News | Discover Florence’s public art through a self-guided tour

May 25, 2022 — The City of Florence Public Art Committee (PAC) has partnered with local volunteers and

Oregon Coast Quests to create a Florence Public Art Quest, a self-guided educational experience about art, local culture, and architecture in historic Old Town Florence.

Oregon Coast Quests is a program under the Sea Grant Program of Oregon State University’s Extension Program. Quests are fun, free-form learning adventures that use clues and hints to encourage participants to discover the natural, cultural, and historical treasures of a place and community. Suitable for all ages, self-guided quests allow lifelong learners to explore the outdoors in new ways and at their own pace. At the end of each interpretation quest, participants find a hidden box containing a logbook to sign and a hand-engraved stamp to mark their accomplishment.

“Oregon Coast Quests inspired us to create the Florence Public Art Quest for our community and visitors to showcase our public art. People can move forward at their own pace, learn new things, and be inspired by what they experience” , said Jo Beaudreau, co-chair of the public art committee, who learned about Questing through Dina Pavlis and Jo-Ann Curtola and their work with Vision Quest.

“One of the purposes of the Quest is to provide Questers with a broader base of art and culture that is found right here in Florence. In rural communities, residents may have fewer opportunities to expand their understanding and their knowledge of arts and culture due to lack of exposure and resources Florence Public Art Quest can be adapted for school trips, senior living centers, multiple individuals or larger groups questing at the same time, or people traveling alone. It was also created so that visitors of all ages and backgrounds can experience Florence,” said Beaudreau.

The Public Art Committee has worked to make the public art quest as accessible as possible by conducting several tests with a large test group, including members of the community with disabilities.

“The Florence Public Art Quest is unique in nature as it is ongoing, collaborative, multi-level educational and entertaining,” added local artist Patricia Williams, who worked with PAC to create the quest.

On Saturday, May 28, from 10 a.m. to 1 p.m., volunteers from the Public Arts Committee will be at the Siuslaw Harbor Boardwalk to help guide people through the Art Quest and celebrate the quest launch.

PAC also wanted to ensure it was a timeless quest, so efforts were made to allow for flexibility with changes in our region. Oregon Coast Quests books are revised and published every two years. Florence’s Public Art Quest will be featured in the next book, to be released in early 2023. The current Oregon Coast Quest book is available for purchase from Books ‘n’ Bears at 1255 Bay St .

A free Florence Public Art Quest document will be available at the Florence Events Center (715 Quince St.), BeauxArts Fine Art Materials (2285 Highway 101 Ste. H), Florence Regional Arts Alliance (120 Maple St.), Siuslaw Public Library ( 1460 9th St.), Books ‘n’ Bears (1255 Bay St.) and the Siuslaw News (148 Maple St.).

Visit www.ci.florence.or.us/bc-pac/florence-public-art-quest for more information on the Florence Public Art Quest.

More information about Oregon Coast Quests can be found on their website: seagrant.oregonstate.edu/education/quests.

PAC was created in 2015 by the City Council of Florence. PAC’s mission is to integrate art into the daily life of our community, inspiring extraordinary creative expression by enhancing the vitality, economy and diversity of Florence through the arts.

Questions regarding the Public Arts program can be directed to Sarah Moehrke, Senior Economic

Development Analyst, via [email protected] or 541-991-8276.

Germany loans looted artifacts to Namibia instead of returning them


A German museum has agreed to loan ancient artifacts looted from the African country of Namibia by the former European colonizer instead of returning them to their true owners.

The Ethnological Museum of Berlin announced on Tuesday that it will send 23 jewels, tools and ancient objects to the National Museum of Namibia to allow local artists and scholars to conduct research on these objects.

Ancient artifacts include a three-headed drinking vessel, a doll in traditional dress, and various spears, hairpieces, and other fashion accessories.

Authorities said the indefinite loan of the artifacts was part of a project to encourage closer ties between the two countries.

The decision opens a new chapter in “the long and complex history of Namibia and the Germans”, Esther Moombolah, director of the National Museum of Namibia, told reporters in Berlin.

Namibians should not “have to fly to see our cultural treasures which are kept in boxes in foreign institutions”, she said. “We urge all future partners to follow suit like this institution.”

The German ethnological museum has 75,000 African objects. In addition to stealing Namibia’s treasures, German colonizers plundered resources and committed genocide in Africa, killing tens of thousands of natives, notably in the massacres of 1904-1908.

Other Western countries, including France, Britain, Belgium, Holland, Italy and Spain, have done the same.

The French Quai Branly Museum has nearly 70,000 ancient African artifacts, the British Museum has 73,000, and the National Museum of World Cultures in the Netherlands has 66,000. Belgium’s Royal Museum for Central Africa has alone 180,000 ancient African objects in its possession, and museums in the United States have 50,000.

In this regard, French President Emmanuel Macron has gone so far as to publicly acknowledge the atrocities committed by French soldiers and police in the history of African states.

He has just become the first French leader to return looted treasures from Africa’s colonial era, returning a dozen artifacts to Benin and a sword to Senegal.

Macron, however, ruled out a formal apology to France’s former African colonies and instead ordered the establishment of expert commissions to dig into historical records.

Fine Art Leads Sale of Westchler’s Capital Collections

Auction in Rockville, Md.

ROCKVILLE, MD. – Was there cosplay in 18th century French art? You bet. Ladies of nobility and female members of royal families were depicted as goddesses in many paintings. “History portraiture” is the term that describes depictions of well-known individuals in different roles such as characters drawn from the Bible, mythology or literature. These portraits are particularly common in French and English art of the 18th century.

At the Weschler Capital Collections spring auction on May 13, Nicolas Colombel’s “Portrait of a Woman in Flora” (French 1644-1717) found favor with bidders, who pushed it above his estimate of $12/18,000 to take the sale to $34,440. The oil on canvas, which shows an unknown model taking on the appearance of Flora, the Roman goddess of flowers and the season of spring, measured 29 inches by 32 inches. He returns to France.

Overall, Westchler’s posted an 81% sell-through rate of the 152 lots on offer, with 225 registered bidders.

With the exception of the best lot, overall the sale seemed to reflect the trend in market taste that moved towards more abstract works.

Another notable work of art was an iconic work by Charles White (American, 1918-1979), a print that served as the frontispiece for the artist’s 2018-19 retrospective at the Museum of Modern Art. “Sound of Silence II”, 1978, an example of White’s commitment to creating powerful images of African Americans, sold on the phone for $15,860. White himself described these works as “pictures of dignity” and created them tirelessly over his four-decade career.

All four batches of paintings by Filipino artist Oscar Deveza Zalameda (1930-2010) sold above estimate, with competitive internet and telephone auctions, and two of the paintings are returning to the Philippines. Zalameda’s top batch was an untitled mixed media on cardboard from an estate in McLean, Virginia. It beat its estimate by $1.5/$2,500 and sold for $11,685.

An American internet bidder has won the untitled oil and encaustic on canvas by Shanti Dave (Indian, b.1931) for $9,840 after an international competitive bidding. It was signed Shanti Dave and dated 63 lower left and also inscribed XXV on the frame.

American artist Sam Gilliam (b. 1933) was represented in the sale by “Two”, 1994, a monotype with serigraphy, collage, acrylic, stitching and color embossing on handmade paper. Signed Sam Gilliam in black ink and inscribed P/P in silver ink on the lower right, the 33-by-25-inch work sold to a private buyer for $7,930 over the phone. Although it is a monotype, the artist has done extensive stitching and embossing which likely added to its appeal.

A large selection of plates received a lot of attention at preview and later did well at auction, with all but one lot selling above estimate. The lots were from a single collection – mostly purchased in the 1980s and re-entering the market at a time of renewed interest in craftsmanship with many well-made examples. The main plate was an allegorical example in Berlin porcelain depicting “The Three Fates”. From the late 19th/early 20th century and after a painting by Paul Thumann (German, 1834-1908), it sold over the phone for $10,980 after long online competition. The 21 x 15 1/8 inch plaque was part of the Jill D. Sachs collection assets.

Beyond fine art, notable lots included a Massachusetts gentleman’s desk with mirror that sold for $7,995, more than ten times the low estimate, on the internet to an American bidder. The federal figured maple and mahogany two-part office was from North Shore Massachusetts, probably the Salem area, circa 1805-10.

One of two Patek Philippe watches that sold above estimate for $11,070 to a dealer/collector, received a lot of attention before and during the exhibition; and a Lalique Peruches vase, model 876, circa 1919, sold within estimate for $12,300 to a foreign bidder.

The prices shown include the buyer’s commission as quoted by the auction house. Westchler’s next Capital Collections sale will take place on Friday, September 16. For more information, www.weschlers.com or 202-628-1281.

A Lalique Peruches vase, model 876, circa 1919, sold within estimate for $12,300 to a foreign bidder.


An American internet bidder after an international bidding has won the untitled oil and encaustic on canvas by Shanti Dave (Indian, b.1931) for $9,840.


“Two” by Sam Gilliam (American, b. 1933) 1994, a monoprint with silkscreen, collage, acrylic, seam and color embossing on handmade paper, sold to a private buyer for $7,930 over the phone.


There was a lot of interest in this Patek Philippe watch, which sold above estimate for $11,070 to a dealer/collector.


Back in France, Nicolas Colombel’s “Portrait of a Woman in Flora” (French, 1644-1717) led the sale, pushed by bidding from its $12/18,000 estimate to $34,440. The oil on canvas depicts an unknown model taking on the features of Flora, the Roman goddess of flowers and the spring season.


Charles White (American, 1918-1979), ‘Sound of Silence II’, 1978, illustrates White’s commitment to creating powerful images of African Americans. It sold on the phone for $15,860.


Among a wide selection of KPM plates that did well in the auction, the main example was an allegorical example in Berlin porcelain depicting “The Three Fates” from the late 19th/early 20th century and after a painting by Paul Thumann (German, 1834-1908). It sold on the phone for $10,980 after a long online competition.


One of four paintings by Filipino artist Oscar Deveza Zalameda (1930-2010) offered in this sale, two of which return to the Philippines, this untitled mixed media on cardboard from an estate in McLean, Va. the best, topping its 1.5/$2,500 rating to sell for $11,685.

Judge Halts ‘Wizard of Oz’ Dress Auction Amid Ownership Battle

A federal judge on Monday stopped Catholic University from auctioning off a memorable white and blue dress worn by Judy Garland in ‘The Wizard of Oz’ after a Wisconsin woman filed a lawsuit claiming she was the rightful owner of the gingham chasuble garment worn by Dorothée.

Judge Paul G. Gardephe of the U.S. District Court in Manhattan granted a preliminary injunction a day before the dress was scheduled to go to auction in Los Angeles, where it was expected to sell for more than $1 million. The Catholic University had planned to use the money to staff a new professorship at the School of Music, Drama and Art in Rome.

Judge Gardephe ruled that the dress could not be sold by the Catholic University until the lawsuit was resolved. The two sides are due to meet in court on June 9.

In her lawsuit, filed earlier this month, Barbara Ann Hartke claims the dress belonged to the estate of her uncle, the Reverend Gilbert Hartke, who was once chairman of the university’s drama department and was awarded the dress as a gift in 1973 from the Academy. Award-winning actress Mercedes McCambridge, who was also artist-in-residence at the university.

Ms McCambridge had ‘specifically and publicly’ given the dress to Mr Hartke as a token of gratitude for ‘helping her deal with alcohol abuse’, the lawsuit says.

Mr Hartke died in 1986 and Mrs Hartke says she is his closest living heiress.

The lawsuit says Ms McCambridge was a ‘close confidante’ of Ms Garland, but it’s unclear exactly how she got the dress.

The university maintained that the dress was a gift from Mr. Hartke and that he wanted it to be kept at the institution.

Shawn Brenhouse, a lawyer for Catholic University, said in a statement late Monday that the judge’s decision “was preliminary and did not address the merits of Barbara Hartke’s dress claim.”

“We look forward to presenting our position, and the overwhelming evidence contradicting Ms. Hartke’s assertion, to the court in this litigation,” Mr. Brenhouse said.

Anthony Scordo III, a lawyer for Ms Hartke, did not immediately respond to an email seeking comment on Monday evening.

The flimsy dress has become a legend since Mrs. Garland wore it in the Technicolor classic in 1939, completing the checkered look with ruby ​​red slippers sought after by the Wicked Witch. Ms. Garland wore several versions of the dress, but only one other is known to still exist. It was sold in 2012 by Julien’s Auctions for $480,000. In 2015, it again sold for nearly $1.6 million.

The location of the second dress was a mystery until it was found by chance last year in a shoebox, inside a bag, sitting on top of college mailboxes. Matt Ripa, a lecturer and operations manager at the drama school, found the bag while clearing the area in preparation for the Hartke Theater renovation.

the Smithsonian National Museum of American History helped authenticate the dress, which features a fitted bodice, high-necked blouse and full skirt, with a fabric tag inside inscribed “Judy Garland 4223”.

Ms Hartke claims in her lawsuit that her family was never informed of the discovery by the university. They knew a dress existed and were surprised to read headlines about preparations for its auction “without any compensation to its rightful owners,” the lawsuit says.

“There is no documentation showing that ‘Mr. Hartke ever donated the gown to Catholic University,’ the lawsuit says.

Mudlarkers extract historical artifacts from riverbank mud


Maryland Heritage Scholar Henry M. Miller, Ph.D., recalls walking the muddy shore of the Thames in October 2016 with author Lara Maiklem. A modern day pundit, Maiklem had agreed to take Miller through the mud – scouring the river bed for treasures buried in centuries of underwater detritus.

A dirty job? Yes, but exciting for Miller, an American historical archaeologist, who was stalking the riverbed of this southern England estuary with Maiklem to create a comparative collection of known London artifacts for archaeological analysis of early American sites .

Sifting through the trash in the Thames may seem distasteful to some, but doing so is almost guaranteed to find a curious and possibly valuable artifact. Discovering a piece of Roman pottery, a tobacco pipe from the 1650s, or a small, well-preserved wax seal from the time of King Richard III is exactly the kind of thing that keeps mudlarkers in the mud.

“It’s the excitement,” says Miller. “You never know what you’re going to find. It’s like all archeology, it’s the thrill of discovery. What will I find next and what will it tell me about people from the past? That’s an exciting thing.”

What is mudlarking?

If you’ve never heard of mudlarking, you’re not alone. “People don’t even know what the word means because only a very select group actually use it,” Miller says. Mudlarking basically consists of digging in a river bed in search of lost and forgotten objects.

The concept originated in the 18th or 19th century and referred to a time when low-income people – including children – would crawl along the shore of the Thames at low tide to pick up, says Miller, “nails or lumps of coal or the occasional coin – anything they could sell for food.”

There was a lot to find there. For thousands of years, the Thames served as a dumping ground. “People would dump their daily garbage in the river and the tide would distribute it and it would basically disappear from sight,” Miller says. “It was unpleasant, especially as the population of London grew and the Thames became more and more affected.”

In fact, 60 years ago the River Thames was so polluted from centuries of spillage that it was declared dead. Fortunately, efforts were made during the 20th century to clean up the river and it is now considered one of the cleanest rivers in the world. But its polluted past has made it one of the best places to go mudlarking. The River Thames contains literally thousands of years of waste from the prehistoric era to the present day. As the old saying goes, “One man’s trash is another man’s treasure”. Mudlarkers can unearth a host of interesting artifacts, including Venetian glass chevron beads, Tudor piggy banks, medieval pewter pilgrim badges and 16th century shoes.

Throwing all that bric-a-brac into the Thames certainly made it go away, but it didn’t really go away. It settled in the mud at the bottom of the river. “And what’s cool,” adds Miller, “is that there’s an anaerobic condition that means things like wood, bone, cloth, and leather sometimes survive in a pretty pristine state.” More durable materials like pottery, nails, tobacco pipes, and glass bottles turn around a bit, but can also stay in great shape. “I found the cork of a wine bottle probably from the late 1700s with the cork still intact,” he says.

What makes the Thames ideal for Mudlarking?

The tides of the Thames create the perfect storm to dig up artifacts that many other waterways don’t have. For starters, its tide has a surprisingly wide range. It can rise and fall up to 15 to 24 feet (about 4 to 7 meters), two low tides and two high tides each day, leaving behind a wide swath of exposed river bottom. “Here along the Chesapeake or along the Hudson, you have tidal action, but it’s relatively weak,” says Miller. “Here, there is no more than a meter [0.91 meters] in most of the cases.”

The Thames tide also comes in quickly – over 5 miles per hour (8 kilometers per hour). This allows the current to scour the riverbed and push a veritable treasure trove of valuables to shore where they are left as the tide recedes.

Can anyone Mudlark?

Of course, technically you can mudlark the banks of any river in the world, but if you want to travel to England and mudlark the Thames – or even walk the muddy tidal zone without getting your hands wet – you’d better get a permit from the Port of London Authority first. This process takes at least four weeks and costs around £35 ($43) per day for a standard license. With this permit, you will only be able to dig about 3 inches (7.5 centimeters) into the mud, and you will need to replace the soil you disturb to help preserve the food chain for the river creatures.

The protection of the natural and agricultural resources of the foreshore and the safety of the larmans are of the utmost importance; therefore there are areas where digging is not allowed. Restricted areas include the shoreline along the Tower of London and Queenhithe, an ancient Roman wharf which was later developed by Saxon King Alfred the Great in the 700s.

No permit is required for mudlark in the United States. You can find items of interest, but you won’t find the quantity, and very rarely the quality that you can find along the Thames. “We unfortunately don’t have massive amounts of Roman artifacts on display here,” Miller laughs.

Regardless of where you mudlark, you can most likely overlook a valuable artifact like junk or mistake a worthless piece of debris for valuable treasure. In other words, finding lost treasures requires a trained eye and a good working knowledge of antiquing.

Do you remember that wine bottle stopper that Miller had the pleasure of finding during his excursion in the Thames? Some may have assumed it was a trash can. But Miller knew it was from the late 1700s because of the cap style. “On handmade bottles [from that time] there is a piece of glass applied just below the opening at the top called a string edge. This is where they tie a rope or wire to hold the cork in place. The style has changed over time. So knowing the style of the rope edge, that’s how I was able to date the wine cork,” he says.

If you find something and are curious about its value, contact your state archaeologist or an archaeologist at your local college or university.

Can you keep what you collect?

If you think mudlarking has the potential to be a get-rich-quick scheme, you’re wrong. In England, your mudlark permit allows you access to the collection, but it also explicitly says that when you find materials that may be of value, you must give them to an authority for appraisal. “England has a treasure law on things like gold or silver or something like a full Roman sword – things that are really rare – because it’s the property of the English people,” says Miller.

In England, that authority is a Finds Liaison Officer, who has access to experts who can help identify what a found item is. These objects are also registered in the Portable Antiquities Scheme, a British Museum project to keep track of all historical artefacts found in the River Thames and other locations in the UK.

If someone finds something of great value, museums have the right to purchase the object, for which the researcher would be compensated, Miller says. However, many of the objects found, such as “tobacco pipes, bottle fragments, a pig’s jawbone, a specimen of medieval pottery or a thimble”, he says, “are so common and these household debris that [museums] already have thousands or millions of these specimens in their collection. » Once the item is examined and deemed not to be treasure, the slime puddler may take possession of it.

However, the rules are not as strict in the United States. But that doesn’t mean you can pocket something that looks valuable. “As an archaeologist, I must point out that for exceptionally rare things that are part of our collective history, it would be really appropriate to let the state historical trust or the archaeologist know,” Miller said.

Beyond The Scream: why Edvard Munch was not a marvel | Edvard Munch

FNew artists are as strongly associated with a single painting as Edvard Munch is with The Scream. Even before his endless memorization became apparent, he was as much a part of popular culture as he was of art history. But Munch has always been more than his most famous work, and a new exhibition at the Courtauld Gallery in London gives a rare chance to retrace his wider career.

The exhibit comes from the collection of Norwegian industrialist Rasmus Meyer, who discovered Munch’s work in the early years of the 20th century and quickly became an avid supporter and collector, purchasing paintings directly from Munch’s studio, the paint almost still wet, as the saying goes. This is the first time that his collection, kept at the Kode Art Museum in Bergen, has been shown together outside of Scandinavia. It picks up work from the 1880s, when Munch was the rising star of Norwegian art, through to his “golden decade” of the 1890s – when he developed his signature style and produced what became known as his The frieze of life series, including various iterations of The Scream – and into the 20th century.

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“Norway had only really begun to crystallize as an independent nation at the end of the 19th century,” explains Courtauld curator Barnaby Wright, “and Meyer wanted to build up a collection of Norwegian art that would say something powerful on their culture and identity.” Not that Munch’s work was universally appreciated in 19th-century Norway. As he achieved international recognition, disputes between conservative and avant-garde opinion played out. the same way they had with French Impressionism in the 1870s.

The layout of the Courtauld, passing their stellar collection of Impressionist and Post-Impressionist art on the way to the exhibition space, is fortuitously suited to this spectacle. Munch had been fascinated by the Impressionists’ exploration of the effects of light and new techniques for capturing them, but the lessons he took were then deployed for his own purposes. Rather than following Monet in taking his canvas outside into nature, Munch was more interested in painting from memory and from his imagination, using light in a much more expressive and symbolic way.

By the 1890s he had developed this style of painting, employing richer, darker colors to evoke an atmosphere of anxiety in which figures and landscapes were increasingly reflected. He named these explorations The Frieze of Life, and “his ambition was to cover a spectrum of the deepest human emotions and experiences,” says Wright. “Often relying on his own childhood memories; the loss of loved ones; tortuous relationships with women. What makes these images endure is the complexity and multiplicity of feelings and emotions it evokes. As great as The Scream is, it’s just one example of Munch’s extraordinary production. This collection shows why so many of his photos still speak to us so powerfully.

“Morbidity, death and precarious anguish”: four key works of the exhibition

Evening on Karl Johan Street (1892, main image)
Light plays a vital role in all of Munch’s work, and here he captures the creative possibilities of eerie moonlight mixed with gaslight. The Evening on Karl Johan Street is a key image in the Frieze of Life and the first time Munch used these skeletal faces rising from the canvas, which he repeated in his Scream paintings. This is the original image of this now famous visual device.

Self-Portrait at the Clinic, 1909, by Edvard Munch. Photography: Dag Fosse/KODE Bergen Art Museum/The Rasmus Meyer Collection

Self-portrait at the clinic (1909)
When Munch had a nervous breakdown, he sought treatment at a clinic in Copenhagen. His life had been lived at an intense pace. When Munch was a child, his father was zealously religious, and an air of morbidity and death hung over the family. He clung to Munch for the rest of his life and it was this sense of precarious anxiety that fueled his art. This particular work has an interesting parallel to Van Gogh’s self-portraits after his severe mental episodes in depicting a man and an artist trying to rebuild himself.

Children playing in the street at Åsgårdstrand, 1901-1903, by Edvard Munch
Children playing in the street at Åsgårdstrand, 1901-1903, by Edvard Munch. Photography: Dag Fosse/KODE Bergen Art Museum/The Rasmus Meyer Collection

Children playing in the street at Åsgårdstrand (1901–03)
Munch spent most of his summers in the small coastal fishing town of Åsgårdstrand. Here he takes a seemingly mundane daily activity and transforms it into something deeper. Do the boys make fun of the girl, look at her as an object of desire or just play? Equally enigmatic, is she, on the verge of adolescence, begging for help or facing them?

Melancholy, 1894-18996, by Edvard Munch.
Melancholy, 1894-18996, by Edvard Munch. Photography: Dag Fosse/KODE Bergen Art Museum/The Rasmus Meyer Collection

Melancholy (1894–96)
The idea that emotions are at their peak when people are on the boundary between areas such as shore and water was fertile for Munch. Here he reflects the central character’s state of mind, lost in his own tragic thoughts and equally isolated from the two background characters on the pier. It was the first time that Munch had adopted this profoundly brooding and symbolic new manner.

Edvard Munch: Masterpieces of Bergen is at the Courtauld Gallery, London, from from Friday to September 4.

City Life Org – The Metropolitan Museum of Art received a grant from the Mellon Foundation to support the James Van Der Zee Archive, established with the Studio Museum in Harlem

James Van Der Zee (American, 1886-1983), [Self-portrait], 1931. Gelatin silver print. © James Van Der Zee Archive, Metropolitan Museum of Art

The Metropolitan Museum of Art announced that it has received a $2 million grant from the Mellon Foundation in support of its collaborative initiative with the Studio Museum in Harlem to research, preserve and provide full public access to the life work of photographer James Van Der Zee (1886–1983). The funds will enable the immediate preservation of some 6,000 deteriorated negatives and support the formation of a team to catalog, relocate and digitize the entire archive, which includes approximately 20,000 prints made during Van Der Zee’s lifetime, 30 000 negatives, studio material and ephemera, which will be managed by the Met’s photography department. Throughout his long career, Van Der Zee celebrated black culture in Harlem from the first decade of the 20th century to the early 1980s and simultaneously created one of the greatest bodies of work in the history of the American photography.

Max Hollein, French director of Marina Kellen of the Metropolitan Museum of Art, said: “Van Der Zee was a virtuoso portrait painter and one of the most remarkable photographers of the 20th century. With support from the Mellon Foundation and as custodians of the James Van Der Zee Archive, The Met and the Studio Museum in Harlem will undertake the important and necessary work of curating, preserving and cataloging the artist’s archive. We are grateful to the Mellon Foundation for this extraordinary grant which will help us fulfill our commitment to make the entire archive accessible to scholars and the general public.

Thelma Golden, Director and Chief Curator of the Studio Museum in Harlem, said, “Our ongoing work to increase public knowledge of James Van Der Zee and advance critical understanding of his art is inextricably linked to the preservation, organization and the study of the complex and often fragile materials in its archives. This Mellon Foundation grant moves us immeasurably forward in the vital effort we share with the Met.

About the James Van Der Zee Archive

The creation of the James Van Der Zee Archive was jointly announced by the Metropolitan Museum of Art, the Studio Museum in Harlem and Ms. Donna Van Der Zee in December 2021. A historic collaboration between the Met and the Studio Museum to research, preserve, and offer full public access to James Van Der Zee’s remarkable photographs. A world-renowned chronicler of black life in New York during the Harlem Renaissance and for decades thereafter, Van Der Zee was a virtuoso portrait painter and one of the most celebrated artists of the 20th century. The James Van Der Zee Archive is the third archive of an American photographer to be acquired by the Met – preceded by those of Walker Evans and Diane Arbus, which were acquired by the Museum in 1994 and 2007, respectively – and its first effort with a partner institution to safeguard the legacy of an individual artist.

Ravalli County Museum Exhibits ‘The Art and History of Quilts’ | Local News

The Ravalli County Museum opened the new ‘The Art and History of Quilts’ exhibit with a traditional revolving bed last week.

Executive director Michelle Nowling said the new exhibit is beautiful, has been on the program since 2020, and will run until Apple Day, October 1.

“It was entirely organized by Heritage Quilters, a mini-group of the Bitterroot Quilters Guild,” she said. “They study old quilts, accept blocks, create new things from old blocks, and do all kinds of really fun crafts.”

The Bitterroot Quilters Guild collected 50 quilts for display from guild members, friends and the museum’s collection.

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“They pulled together all the stories about each quilt,” Nowling said. “They do all the leg work and we can accommodate him. We’ve helped hang quilts, created all the labels, and filled in a few pieces for our collections. They did a great job, it turned out so beautiful.

The Bitterroot Quilters Guild also offered instructions on how to care for an antique quilt and keep it beautiful. They have developed a brochure in the exhibit for visitors to take care of antique quilts. For orphan quilt squares where there isn’t enough for a quilt, they can be made into a table runner or wall hanging.

Nearly 60 community members attended the launch of the exhibit which began with a bed change. A bed bumper is a traditional way for a woman to show off her duvets to friends and family.

“She would gather her friends and family, provide refreshments,” Nowling said. “It’s called a bed flip because you’re layering all the quilts you want to show. You lay them flat on a bed on top of each other.

The top quilt is shown and its story told then it is folded to the end of the bed or folded and pushed aside for the next quilt and its story. Everyone can gather around the bed and see the details.

“That’s what the ladies did,” Nowling said. “We put the bed on stage so they could talk about it and then fold them up. It was really fun and we had a good crowd with good questions. It was fun to see people enjoying the quilts.

Although the museum asks people not to touch the quilts on display, there are a few practical things – quilting terms with samples, personal quilt stories, and designing a quilt.

The Glossary of Quilting Terms is for people who are unfamiliar with quilting. In front of each page or term, an example to touch allows you to better understand the different kinds of quilts and the different materials used.

The Station to Write Your Quilt Story is for pondering, writing, and sharing.

“What is your background with quilts? How have quilts affected your life? Nowling asked. “They can take it with them or hang it on our board for other visitors to see their story.”

A design station provides interaction for community members of all ages to color, quilt, and show off their artistic side.

“The quilts are very artistic and very personal,” Nowling said.

She is a quilter who grew up with her mother and grandmother. She has a few favorites in the show.

“I love the iris quilt on the north wall,” she said. “I am very attached to the Dresden Plate pattern and there are several Dresden Plate quilts in there. There are so many fun quilts out there. I love traditional quilts, Civil War quilts, patterns and reproduction fabrics. I am very traditional.

The Ravalli County Museum has a display of tools in the next room, for people who aren’t interested in quilting.

“For those who think they don’t like duvets, I would ask them if they’ve ever slept under a duvet,” Nowling said. “Have you ever used one to keep yourself warm?” If so, quilts are part of your life even if you don’t recognize them as a passion. I think most people know what a quilt is, even if they don’t sew. If not, they should come and learn.

She said quilts have been around for millennia and quilting is an iconic American art form that began in Europe.

“That’s where those skills come from,” Nowling said. “American quilt making is unique, they took it and ran with it. It was a way for women to express themselves and their artistic nature. Quilts were used to tell stories. I think of the Underground Railroad where quilts were often a symbol of safe houses, often a map for people who couldn’t read.

The social aspects of quilting are also historic as they brought women together for “quilt bees”.

“They were sharing fabric, sharing patterns, coming together to work,” Nowling said.

She said quilts were used to preserve family memories, especially as people moved west.

“Friends and family would get together and make a quilt that people could take with them,” Nowling said. “It was a keepsake, they could say, ‘this was from grandma’s dress’ or ‘it was grandpa’s shirt.’ It was a way of keeping stories alive before there were photo albums.

In the Bitterroot Valley, the history of quilting is strong. There are currently over 40 members in the Bitterroot Quilters Guild who have mini-groups that come together to make special quilts. The Quilts for Kids group makes quilts for children and donates them to SAFE and the police department. The Comforter Group makes quilts for the hospital and hospice. There is an Art Quilter group that makes more artistic and modern quilts and wall hangings.

“There’s the Heritage Quilters and a few other mini-groups,” Nowling said. “It’s a way for you to find yours, so to speak, and learn new skills. I joined a year ago and I have already acquired new skills. They are wonderful people.

The Bitterroot Quilters Guild meets at 6:30 p.m. at Daly Leach Chapel on the fourth Wednesday of each month except July. They have a booth at the Ravalli County Fair to raise money for scholarships.

Enjoy “The Art and History of Quilts” at the Ravalli County Museum, 205 Bedford St. in Hamilton. For more information, visit https://ravallimuseum.org/.

“We want people to come see the quilts, come back and bring their visitors,” Nowling said.

USS Arizona artifact arrives in Vacaville – The Vacaville Reporter


When the USS Arizona was shot down in the attack on Pearl Harbor in 1941, killing 1,177 service members aboard the battleship, a piece of America’s collective heart was also lost.

A shard was recovered on May 18, thanks to the delivery of a historic memento – a literal fragment of the ship – which will soon be displayed at the Rowland Freedom Center in Vacaville.

“I think it’s something the public will enjoy coming to see,” Paul Mirich, the center’s chief executive, said on Saturday. “Everyone has learned about Pearl Harbor, what happened there. It’s expensive to visit Hawaii. That way, we can bring them a bit of Hawaii.

Located in Oahu, Hawaii at Naval Station Pearl Harbor, the Arizona Memorial honors those who died, including the 1,102 service members buried on the ship. Hawaii is about 2,500 miles from California, and round-trip tickets can run into the thousands depending on when you visit.

This section of metal, pock-marked by intense heat, is a memento of the legendary World War II battleship, the USS Arizona. A display case will be built for the artifact, which will protect it and allow visitors to the Rowland Freedom Center to touch it. (Photo by Kimberly K. Fu, The Reporter)

Years ago, Mirich watched a documentary about Arizona. He learned that parts of the battleship had been dismantled and left in a heap at Hospital Point, on the base. He also later discovered that the Navy allowed museums and veterans’ organizations to apply to receive one of these highly revered historical pieces.

So he sent in an application and hoped for the best. When he heard from the Navy office in Hawaii, he was shocked.

“It was a shot in the dark,” he recalls. “We were pleasantly surprised.”

Various documents accompanied the heavy artifact recovered – a square of heat-burnished metal, likely from the explosion aboard the ship during the attack, with a small circular dent in the middle. The idea is that the knot is a nut that once held a bolt.

“I guess it either held like a staircase or a ladder,” Mirich advised.

The hope is to place a glass display case in the museum’s World War II wing. The area already features a large backdrop of the attack on Pearl Harbor, the burning USS Arizona, a Japanese flag found in the cockpit of a downed Zero, a Japanese headband, media coverage and more.

This diagram indicates the likely origin of the USS Arizona souvenir received by the Rowland Freedom Center.  (Photo by Kimberly K. Fu, The Reporter)
This diagram indicates the likely origin of the USS Arizona souvenir received by the Rowland Freedom Center. (Photo by Kimberly K. Fu, The Reporter)

Ultimately, the Arizona coin will be placed in a glass box with a grip at the top, allowing people to reach and feel the metal.

“I want people to be able to say they hit the USS Arizona,” Mirich said.

The Rowland Freedom Center is located at Nut Tree Airport and is open daily.

For more information, visit https://www.facebook.com/groups/492347858795070/ or rowlandfreedomcenter.org.

Art Gallery Software Market Share Expected to Witness Substantial Growth Over the Forecast Period – The Daily Vale

The global Art Gallery Software industry research report provides an in-depth and methodical assessment of regional and global markets, along with the most recent service and product innovations and projected global market size. Art Gallery Software Research performs a comprehensive analysis of the market to find the major vendors integrating all relevant products and services to understand the roles of key industry players in the Art Gallery Software segment art. The Global Art Gallery Software Market also provides an in-depth analysis of cutting-edge competitor research and new industry advancements along with market dynamics, challenges, restraints, and opportunities, in order to to give accurate information and latest scenarios for proper judgments.

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This report focuses on the major players in the global Art Gallery Software market:
ArtBase, Art Galleria, Art Systems, Masterpiece, ArtCloud, Managed Artwork, Artlogic, Spinnsoft, Artlook Software, Artfundi Software, ITgallery, exhibition-E, Arternal, ArtVault Software

This research study contains SWOT analysis, significant trends, and financial assessment of the Art Gallery Software and leading competitors in the global market. Additionally, the Art Gallery Software study provides a comprehensive perspective of the Art Gallery Software market and assists organizations to generate sales by providing better insight into growth plans and competitive environment of the main competitors. This report includes an in-depth investigation of PEST and the overall dynamics of the industry over the anticipated period. the to research includes essential findings along with highlights of important industry tips and changes in the Art Gallery Software industry, helping market leaders develop new tactics to increase revenue.

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Cloud-based, on-premises

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PC, mobile terminal, others

Global Art Gallery Software study also examines trends, size, cost structure, revenue, potential, market share, drivers, opportunities, competitive environment, challenges in the market and market forecasts. This study also includes a comprehensive and general review of the Art Gallery Software industry, along with in-depth industry variables that affect market growth. In addition to the characteristics of the supply chain, current market conditions of the main players and a generally discussed study of market prices, research on art gallery software contains information on the characteristics of the chain of supply, recent market situations of major players, and widely discussed market price study. Apart from the acceptance rate, the global art gallery software market study shows the whole amount of technical advancements that have been made in recent years. It carries out a comprehensive study of the Art Gallery Software market using SWOT analysis.

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    Our pre-integration strategy for publishers is perhaps what sets us apart in the market. The publishers & their market share, the reports are meticulously validated by our panel of internal consultants, before being posted on our website. These in-house consultants are also responsible for ensuring that our website features only the most up-to-date reports.

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    The Best Washington DC Museums to Visit This Summer

    There are many amazing things to do in Washington DC, the capital of the United States of America. From sites of memorable events to stunning architecture, the city is a giant whirlwind of whispers of past and present moments that write the future. It’s no surprise, then, that the home of the Smithsonian Institution is a hotspot for some of the best museums in the country. Some of the free things to do in Washington DC include many museums that put people’s education above capitalist gain. Even the White House, although not a museum in the traditional sense, is steeped in history and can be visited on request, provided you do so well in advance.

    With over 70 museums to choose from, some travelers may find planning their trip daunting. However, here are the top 10 museums travelers should visit this summer.

    ten National Museum of African American History and Culture

    One of the largest history museums in Washington DC, this museum is the only one of its kind dedicated exclusively to documenting and teaching life, African American history and culture. Created in 2003, it is the result of decades of effort by many people to share and showcase the many contributions of African Americans. The design of the building – an inverted three-tiered pyramid – was inspired by a Yoruba caryatid, a traditional West African column or pole.

    RELATED: The Lost Gypsy: New Zealand’s Weirdest Museum?

    9 National Museum of Asian Art

    This museum is dedicated to the preservation, presentation and interpretation of Asian art. In the museum there are two galleries: the Freer Gallery of Art and the Arthur M. Sackler Gallery. The Freer Gallery features a premier collection of Asian art, housing artefacts that date back to Neolithic times and date back to the early 20th century. The Sackler Gallery, meanwhile, is home to some of the best and rarest Asian art in the world, including ancient Chinese jade. Both galleries also offer special and innovative programs for all ages of visitors, including podcasts, concerts and lectures.

    8 National Museum of the American Indian

    Home to the world’s largest and most unique collections of Native American culture, this museum spans the entire Western Hemisphere. From native landscaping to exhibits featuring photographs and artifacts from various tribes, the museum has collaborated with indigenous tribes and communities to create an educational and historical look at the lives of the people who first inhabited the western part. of the globe. It is the first museum of its kind to present all exhibits from the perspective of the natives.

    7 Hirshhorn Museum and Sculpture Garden

    Fans of contemporary and modern art need look no further than this unique museum. Featuring current international artists, the museum offers a platform for artists and their art that are here and now, rather than long gone. From the building itself to the sculpture garden below, everything has been artistically designed with theme and tone in mind, providing visitors with an interesting and in-depth experience from the moment they park until they leave. .

    RELATED: 8 Incredible London Museums Worth Visiting

    6 National Museum of African Art

    With over 9,000 works of art, this African art museum showcases almost every part of the African continent. Containing a wide range of art forms and media throughout human history to the present day, it is the only such museum in the United States. It is dedicated to sharing the beauty, power and diversity of not only art but also the culture of African communities around the world. They also offer panel discussions and film screenings to increase conversation around African art and culture.

    A branch of the much larger Smithsonian American art museum, the Renwick Gallery celebrates modern artisans and decorative artists who use both centuries-old methods and innovative creativity in their work. Designed in 1858 by James Renwick Jr., it was the first building constructed specifically for the purpose of being an art museum in the United States. The pieces in the exhibition are made from all sorts of mediums – from traditional textiles to mundane objects and insects.

    4 National Air and Space Museum

    The largest and largest collection of space and aeronautical artifacts in the world is housed and displayed at the National Air and Space Museum. Ranging from rockets to missiles and other flight-related contraptions, the museum houses historic innovations such as the space shuttle Discovery and the Spirit of Saint Louis. There are plenty of interactive exhibits to inspire and educate, especially younger visitors, but everyone can find something to enjoy in the museum. Ongoing renovations mean there’s always something new to discover.

    RELATED: 8 Museums In Tokyo That Will Make Your Trip To Japan

    3 National Museum of Natural History

    The largest natural history collection in the world is also the most popular museum in its category. Boasting a stretch of over a mile, the museum is steeped in history, from the fiery birth of the planet to the Earth as it exists today. Interactive and informative, it offers fun and exploration for individuals and families of all ages. Visitors can learn about ancient dinosaurs, immerse themselves in other cultures, or learn about the many creatures that inhabit the world. There is always something new to see in this museum.

    2 The United States Holocaust Memorial Museum

    Designed as a living memorial to those affected and killed during the Holocaust, this museum was built to inspire people around the world to confront hatred, prevent genocide, and promote human dignity. The museum is a raw and powerful reminder of the fragile freedom enjoyed by the many and of the eternal need for vigilance and education in the preservation of everyone’s rights and values. It also ensures that present and future generations remember the horrors and lessons learned from the Holocaust, as many have already begun to deny its existence.

    1 International Spy Museum

    No matter what media one consumes, spies and their secret lives fire the imagination and inspire many fantasies about what it would be like to be in their shoes. In this museum, visitors learn all about espionage and other intelligence operations. Interactive and educational, guests are given special missions and identities as they explore and learn the history of spy operations around the world. With artifacts such as the Enigma machine and Trotsky’s ice axe, there are hundreds of spy tools to discover, from real life as well as media.


    America’s Colonial Williamsburg: The Largest Living Museum

    Read more

    Review: Soprano Julia Bullock Counts Race and Art in Powerful Vocal Recital

    Julia Bullock performs with conductor Christian Reif and the San Francisco Symphony, in front of a portrait of artist Nellie Mae Rowe as part of Hana S. Kim’s video screenings. Photo: Kristen Loken

    It’s one thing to sing with grace, beauty and expressive depth, and quite another to design an evening’s program that places these musical gifts in an urgent and meaningful context.

    Soprano Julia Bullock can do both.

    “History’s Persistent Voice,” the dazzling and varied recital program Bullock unveiled Tuesday, May 17 with the San Francisco Symphony Orchestra, brought together new works by five black women to present a tense musical symposium across an array of topics: race, freedom, art, language, motherhood and more.

    And with her husband and collaborator, German conductor Christian Reif, leading members of the Davies Symphony Hall Symphony Orchestra in the performance, Bullock brought an almost supernatural measure of eloquence to the proceedings. It was music that simultaneously functioned as deep social commentary and pure sensual delight.

    That is to say that Bullock, the American artist who is one of the eight Collaborative Partners that the musical director Esa-Pekka Salonen has gathered around him to revitalize and rethink the possibilities of a symphony orchestra in the 21st century , is very much at work. . There was nothing about this 90-minute program without intermission that felt like business as usual.

    Julia Bullock (left) with conductor Christian Reif and members of the San Francisco Symphony Orchestra. Photo: Kristen Loken

    Two thematic components permeated the program. One was the historical continuity of the black experience in America, a malevolent thread running unbroken from the institution of slavery – an ostensible relic that is neither forgotten nor gone – through the horrors of Jim Crow to the reality of mass incarceration in our time. And age.

    For this first segment, Bullock and composer Jessie Montgomery drew inspiration from “Slave Songs of the United States,” an anthology published in 1867 that documented the words and melodies with which enslaved African Americans sought solace – spirituals, work songs, hymns of hope and desolation. .

    Montgomery’s beautiful cycle “Five Freedom Songs” takes five of these historical curiosities and creates a web of edgy, evocative musical ornamentation around each. The core melodies and rhythms are recognizably intact, but Montgomery’s creative commentary breathes powerful new life into each.

    In the harrowing “I Want to Go Home,” for example, she maintains a dull, haunting harmonic dissonance throughout, with chords that constantly waver on the verge of resolving but never do — not even at the end of the song.

    ‘Lay This Body Down’ coats a lofty melody with delicate spectral emanations, while in ‘My Father, How Long?’ Montgomery isolates the song’s powerful herky-jerky rhythms.

    Soprano Julia Bullock (left) and composers Carolyn Yarnell, Allison Loggins-Hull and Pamela Z salute alongside conductor Christian Reif and members of the San Francisco Symphony Orchestra. Photo: Kristen Loken

    Bullock intertwined these songs with readings of poetic excerpts from contemporary inmates, Craig Anthony Ross and Joe Sullivan, who both spent decades on death row (one in San Quentin State Prison, the other in a Florida prison after being sentenced to death at 13 years). ). Only a fool could fail to sense the unbroken link between these two forms of physical and spiritual bondage.

    The rest of the program was devoted to music inspired by the visual art of black creators, mostly women. While the relationship between these two segments was never clear — the evening felt more like two separate ventures than one integrated whole — the musical rewards were none the less resplendent.

    They included “I Came Up the Hard Way,” California composer Carolyn Yarnell’s irresistible vocal treatment of a reminiscence by artist and quilt maker Sue Willie Seltzer, and a long setting to music by the American-born composer. Cuban Tania León from an interview with the American painter Thornton Dial. In “Mama’s Little Precious Thing,” New Jersey composer Allison Loggins-Hull rewrote Brahms’ lullaby in a bluesy, soulful version that tugged at the listener’s emotions.

    Most powerful of all, however, was “Quilt,” by skillful San Francisco songwriter and performer Pamela Z. black music from Gee’s Bend, Ala., the piece transmutes the cadences of spoken language into delicate and irresistible melodic arabesques. Bullock’s delivery, here and everywhere, was both evocative and richly sweet.

    In addition to the musical and spoken components, “History’s Persistent Voice” also featured video projections by Los Angeles set designer Hana S. Kim, an assortment of largely abstract colors and patterns that didn’t get in the way of the proceedings but did not didn’t add much either. . (Musicians keep insisting that visuals are a useful addition to their art, but they never seem to be able to pull it off.)

    In a particularly raw and impactful moment, Bullock noted that the practices of racial discrimination and oppression extend everywhere, including the history of the San Francisco Symphony Orchestra itself. Addressing this history is an urgent task for all arts organizations, and “History’s Persistent Voice” is a step in that direction.

    Ogden’s 25th Street Museum showcasing unique historical artifacts for one day only | News, Sports, Jobs


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    The museum on 25th Street in Ogden is pictured Thursday May 19, 2022. Members of the museum’s board of trustees prepare for its grand reopening on Saturday May 21, 2022.

    Deborah Wilber, Standard Examiner

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    The museum on 25th Street in Ogden is pictured Thursday May 19, 2022. Members of the museum’s board of trustees prepare for its grand reopening on Saturday May 21, 2022.

    Deborah Wilber, Standard Examiner

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    The museum on 25th Street in Ogden is pictured Thursday May 19, 2022. Members of the museum’s board of trustees prepare for its grand reopening on Saturday May 21, 2022.

    Deborah Wilber, Standard Examiner

    ❮ ❯

    OGDEN — To celebrate its grand reopening, the museum on 25th Street in Ogden is displaying unique artifacts from the Brent and Charlene Ashworth Collection on Saturday from 10 a.m. to 1 p.m.

    Amelia Earhart’s flight jacket, Butch Cassidy’s revolver, Muhammad Ali’s autographed boxing glove, George Washington’s wallet and dozens of other artifacts from the Ashworths’ collection will be at the museum for a single day.

    According to 25th Street Museum board member Joseph Kerry, the Ashworth Collection is one of the largest private historical collections.

    “It’s just phenomenal, he (Brent Ashworth) has it all,” board member Emilea Middleton said of the Provo collector.

    A special exhibit honoring the service of deceased Ogden police officer Charles Manzel will also be on display during the museum’s open day. Manzel was killed in the line of duty on May 9, 1921, where the museum stands today.

    Three rooms and a hallway make up the quaint museum just above Legacy Tattoo on historic 25th Street. With only a sign on a small door to the right of the shop, Middleton said too often people walk into Legacy Tattoo looking for the museum.

    Although the museum never officially closed during the pandemic, Kerry said it hadn’t advertised or presented any exhibits in the past two years and was excited to be exhibiting pieces again. historical artifacts.


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    Museums try to cash in on expiration of alienation truce

    In April 2020, just weeks after the global Covid-19 shutdowns began, the Association of Art Museum Directors (AAMD) announced it was relaxing rules on how museums use proceeds from sales. of art, or alienation, for two years. He said museums could direct funds towards “direct maintenance of collections”, rather than limiting them to other art acquisitions. Intended to mitigate the disastrous financial consequences of the pandemic, these resolutions expired on April 12. Did this brief change have a lasting impact on the activities of American museums? The answer is complicated.

    Despite the AAMD’s relaxed policies, several museums were still under public scrutiny over their disposal sales. The Baltimore Museum of Art (BMA) faced particularly fierce condemnation in October 2020, when it announced plans to sell three works from its collection. The sales were intended to fund a $65 million endowment supporting initiatives such as staff salary increases, diversity programs and free admission to special exhibits. While the plan was supposed to align with AAMD guidelines, the BMA faced an outcry, including resignations from the board and a terse letter from a group of US museum executives. Sales were canceled at the last hour, leaving the planned endowment with significantly reduced funds.

    Look beyond the pandemic

    Christopher Bedford, the outgoing BMA director, said in a statement to The arts journal that diversity and inclusion “should be a central part of the ongoing conversation about alienation”, adding that he hopes there will continue to be a “vigorous discussion” about the practice “well beyond of the needs and contexts of the pandemic”.

    write for ART news, art lawyer Donn Zaretsky also argued that looser restrictions should apply permanently, giving museums more freedom to weigh the costs and benefits of art sales themselves. For its proponents, alienation represents another tool in a museum’s arsenal for overcoming financial setbacks. For critics, valuing a museum’s collection in economic terms is an untenable prospect.

    “The definition of ‘direct care’ is notoriously vague, and many museums may be tempted to monetize collections to meet budget shortfalls in the future if this option is deemed acceptable by the profession,” warns Martin Gammon, l author of Alienation and its Discontents: A Critical History. He points out that few of the recent disposal sales have been driven by financial desperation.

    For some museums, selling works from the collection to increase staff compensation amounts to “direct care”. For others, ensuring that an early Impressionist masterpiece remains in the public’s trust is a priority. The looser policies of the past two years have done little to clarify these divergent interpretations.

    Nevertheless, a conservative approach to alienation still seems to prevail. For example, the Metropolitan Museum of Art says the $48.4 million (with fees) fetched by its bronze Picasso at Christie’s on May 12 will be reserved for acquisitions. The same applies to the sale by the Museum of Fine Arts (MFA) in Boston of two paintings by Georgia O’Keeffe, although one of them (A sunflower from Maggie, 1937, is $6-8 million) was repurchased at the same May 12 sale. “We don’t take disposal decisions lightly,” says museum director Matthew Teitelbaum. “Our commitment has been, and under the current circumstances, will continue to be to use funds [from] alienation for purchases of works of art.

    From this point of view, it seems that the alienation debate is practically settled. The AAMD reverted to its pre-pandemic regulations, and museums followed suit. The idea of ​​selling works to guarantee the functioning of museums has become a pipe dream for some, a nightmare for others.

    Vaughn Palmer: John Horgan can only blame himself for museum misstep

    Opinion: No design, no business plan, unexplained early demolition – is it any wonder the BC Museum announcement landed with a thump

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    VICTORIA — When Premier John Horgan announced the provincial museum’s billion-dollar overhaul last week, some business and community leaders were surprised the existing institution would close in September and the replacement won’t be ready for eight years.

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    “It was not clear to everyone how long the closure would last,” says Bruce Williams, CEO of the Greater Victoria Chamber of Commerce.

    “We heard it would be three to five years,” he told Gregor Craigie during an interview on CBC’s On the Island this week. “The museum is one of the keystones for visitors to the area.”

    Williams, who was present at the announcement last Friday, and said “there was a pretty intense, palpable sense of energy in the room.”

    It’s probably because the Prime Minister pointed out the good news that the government was spending $1 billion on a new state-of-the-art archives building and museum.

    Horgan never mentioned that the tourism sector and the downtown business district would have to go without museums for eight full years.

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    One had to read page three of the press release to find that the museum “will close on September 6 (and) the new, modernized Provincial Museum is expected to open in 2030.”

    The prime minister also didn’t have a good justification when asked why the eight-year shutdown, given that the government is four years away from starting construction on the replacement.

    “Tourism will be stifled for a while,” he conceded, “but will expand to a level we’ve never seen before, bringing more and more people to British Columbia.”

    Choked for a period? The government says nearly 900,000 people visit the museum every year.

    The Prime Minister’s ruthless construction schedule means seven million fewer visits to a tourist town still recovering from the pandemic.

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    As for Tourism Minister Melanie Mark, she was (by her own admission) caught up in the emotion of the moment.

    At one point, she referred to the “Beloved Old Town” exhibit that used to be on the third floor of the existing museum.

    Last fall, she presided over the permanent closure and removal of the Old City on the grounds that it was part of an institution that needed to be “decolonized” immediately.

    It was only after an outcry from residents of the capital region who really loved the old city that Mark abandoned the rhetoric of “decolonization” and began to refer to the need to “modernize” and seismically upgrade the museum.

    But Horgan himself gave some insight into what New Democrats really thought of Old Town and the museum in general.

    Last Friday, he described the museum as a place where he sends visitors he doesn’t want to meet when they come down. He also said he had had enough of the old town: “I yearn for something new.”

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    Listening to the premier and the minister, one gets the impression that New Democrats are determined to tear down the provincial museum as soon as possible and commit its contents to memory.

    1. People walk up the stairs leading to the entrance of the Royal BC Museum in Victoria, British Columbia, Thursday, Dec. 21, 2017.

      Daily poll: Should BC taxpayers spend $800 million on a new museum?

    2. A view of Totem Hall, the centerpiece of the Royal BC Museum's First Peoples Gallery.

      BC’s new museum project costs $800 million. Why?

    3. The Royal BC Museum has been a top attraction in Victoria, attracting around 880,000 visitors a year before the pandemic.

      $1 billion for Museum Victoria could be better spent elsewhere, critics say

    4. The Royal British Columbia Museum in Victoria will soon be closed and replaced in order to

      BC to demolish ‘racist’ museum and build replacement at unprecedented cost

    Indeed, a longtime museum insider speculates that New Democrats want to “Site C” the museum project.

    It’s a reference to how BC Liberal Premier Christy Clark ensured construction of the Site C dam was “past the point of return” in the 2017 election.

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    As turned out to be the case when Horgan took over.

    On Thursday, Horgan acknowledged that the museum’s announcement “landed with a thump”.

    Switching to lecture mode, he told reporters that “the announcement was inappropriately characterised. … It was certainly not our intention to sound deaf to the challenges facing British Columbians.

    Now let’s see: the government announces a billion-dollar project with no design, no rationalization for the eight-year closure and no explanation for the designation of an award-winning museum in a “dismantling” in September.

    Plus, no business plan to answer all the unanswered questions.

    And he wonders why he landed with a thud.

    Finance Minister Selina Robinson informed the legislature this week that a comprehensive business plan was approved by the Treasury Board cabinet committee last March.

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    Robinson, who chairs the Treasury Board, said he understands all the elements of a proper plan: budget, schedule, risk analysis, procurement strategy, consideration of alternatives.

    But when the opposition asked for specifics, Robinson repeatedly – I did 19 times – referred those questions to Mark.

    Of course, Robinson was well aware that the legislative debate over the budget and Mark’s spending plan had taken place in March, around the same time that Robinson presented the business plan without disclosing it publicly.

    Still, Robinson declined to confirm exactly when the business plan went through Treasury Board.

    “After so much tap dancing, a performing arts center should have been built,” joked Liberal MP and Finance Critic Peter Milobar.

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    Content of the article

    The tourism minister, struggling to contain the fallout from the billion-dollar announcement, promised to publish a business plan by “the end of the week”.

    On Thursday, she postponed it until next Wednesday, saying the delay was due “to the complex nature of the project”.

    More likely, a group of officials will spend the weekend with banners of whiteouts and black censorship, removing anything that could actually shed light on this mess.

    “I very much regret that the jewel of our collective history has become political football,” the Prime Minister said on Thursday.

    He has only himself and his minister to blame.

    [email protected]

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    John Dillinger Museum in Mooresville? A local resident pitches


    MOORESVILLE – A living relative of Depression-era bank robber John Dillinger is seeking to bring a museum of artifacts related to the infamous criminal to the town of Mooresville.

    Jeff Scalf, who is Dillinger’s great-nephew, pitched the idea to Mooresville City Council at its Tuesday meeting.

    “Proud to be from Mooresville”: Working class roots guide area originating from the Ohio Governor breed.

    The John Dillinger Museum at Crown Point abruptly closed in August 2017 after being open for just two years. The museum contained a number of artifacts, including the wicker coffin used to carry Dillinger’s remains and the fake wooden gun he used to successfully escape from Lake County Jail at Crown Point in 1934.

    Scalf said he has an offer to purchase the museum and its artifacts from the South Shore Convention and Visitors Association, which retains ownership of the objects.

    All he needs, he said, is a place to house the exhibit, as well as a $2,000 monthly fee from Mooresville taxpayers.

    Any proceeds from the sale of tickets and merchandise would go back to the city, he told the council.

    “I really believe that’s what will drive traffic to downtown merchants,” Scalf said.


    Dillinger was born and spent most of his childhood in Indianapolis before his family moved to Mooresville in 1921. He later joined the United States Navy but deserted after a few months and returned to Morgan County.

    It was in Mooresville that the infamous bank robber attempted to settle down and start a family, only to find that the quiet country life was not for him.

    I-69 to Martinsville: Here’s what you need to know about interstate work along the corridor counties this week.

    After he was caught robbing a local grocery store, he was charged and sentenced to 10 to 20 years in Indiana State Prison, where he befriended bank robbers who learned the skills he would use to commit 12 separate bank robberies in less than two years.

    Dillinger will return to Mooresville one last time, in 1934, while on the run from the FBI. The agency finally caught up with him after receiving a tip that the mobster would be attending a film screening at the Biograph Theater in Chicago.

    He was shot outside the theater and later pronounced dead at a local hospital.

    Council response

    Council Chairman Tom Warthen expressed support for Scalf’s idea, but not at the city’s expense.

    “This is an exceptional project for investors,” he said. “But not sure if this is the best project for taxpayers’ money…Obviously it would be an opportunity for possible revenue, but we have to operate on things that are safe for taxpayers.”

    Related: John Dillinger’s family abandon last attempt to exhume his body.

    Councilman Shane Williams liked the concept, but noted that he grew up in the old Dillinger house and still owns part of the property that used to be the Dillinger farm.

    He was concerned that voting on the issue would create the appearance of a conflict of interest.

    “I always thought the city missed the mark on John Dillinger – many cities and communities do things around their most famous people, and he was part of the story – but I don’t know if I could. vote. “

    Council members voted 4-0 to table the matter until its June 21 meeting, with Williams abstaining from voting.

    Contact reporter Peter Blanchard at 765-346-2942 or [email protected] Follow him on Twitter @peterlblanchard.

    City Life Org – National Postal Museum Announces Postal History Scholarships

    Professional and graduate student awards given for 2022

    The Smithsonian’s National Postal Museum sponsors biennial awards for recent scholarship in the history of the postal system in the United States and its territories and their antecedents. The US Postal Service launched these award