The site has been known since the 19th century. We started looking for it systematically last year, really very rich and interesting, says the archaeologist.
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In the village of Jánovce near Poprad, archaeological research, which has been carried out there since the beginning of July, has made it possible to highlight settlements mainly of the La Tène culture, that is to say from the 1st century. BC.
In less than a month, researchers managed to uncover about 3,000 artifacts in the locality, reported Mária Hudáková from the Spiš Museum in Spišská Nová Ves.
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“The site has been known since the 19th century. We started to search for it systematically last year, it is really very rich and interesting,” said Hudáková, quoted by the TASR news wire. “The rarest items include, for example, glass beads. Glass decorated with carnations has also been found, which is rare.
According to her, part of a bronze belt deserves attention. Archaeologists examined two probes in the western part of Hradisko in Machalovce, following the results of research last year, when wheel pits dug into the bedrock were discovered.
Another wheel hole was found on the outer side of the rampart. It contained the remains of a burnt wooden wheel, and based on this, according to Hudáková, it can be assumed that the rampart had a wooden grid structure. It was filled with massive stone slabs and clay. The construction was burned in the examined parts, which can be attributed to the destruction of Hradisko in the 1st century BC until the beginning of the 1st century AD.
“During this period, the Celtic tribe of Cotins lived here, which we associate with the archaeological culture of Púchov,” added Dominik Repka from the Department of Archeology of the Faculty of Arts of Constantine the Philosopher University of Nitra, quoted by TASR.
Its function was commercial and productive, as evidenced by the finds: these are working tools and crafts, finished products, as well as several hundred coins, proof of the commercial nature of the territory, added Repka. They were at the crossroads of trade routes, which the locals took advantage of. During this season, they discovered various ceramics, bronze and iron products, decorative items, but also, for example, spirals made of graphite ceramics.
“The dock was actually a flywheel that served and helped spin the wires,” Repka explained.
An ancient tomb discovered just under the kindergarten Read more
The location was inhabited until the 2nd century, after which the Romans resettled the inhabitants south of Pannonia. The research of Púchov Hradisko is carried out by the museum and the department of archeology in cooperation with the museum of Kežmarok and the society Archeology Spiš.
“Field research ends and research in the museum and laboratories begins. The findings will later end up in the museum in Spiš. We are also planning to make an exhibition about the Celts in Spiš. We absolutely want to continue the research and systematically examine the site in the coming years,” Hudáková concluded, as quoted by TASR.
Gallery 25 and Creative Arts Studio in New Milford invite you to attend Song, Stories, and Art with John John Brown on September 10 at 7:00 p.m.
A unique musical and visual performance.
Galerie 25 is very pleased to present an imaginative musical performance woven into a unique visual experience by John John Brown on September 10 at 7:00 p.m. For reservations, call 203-788-7100 – Admission is $20.
Award-winning songwriter John John Brown has set out to explore visual storytelling with his imaginative new project “Songs, Stories and Art”. With his guitar in hand, John John is supported on stage with iconic photographs, a giant comic strip and a 19th century panorama. For the audience, the experience is like a melodic audiobook to beautiful visual works; weaving an artistic dimension through a night of original storytelling, song and art. John John may have found a new way to sing a song. Above all, it remains rooted in the soil of a good story.
‘No Depression’ calls John John Brown’s debut album ‘THE ROAD’ ‘a supple, suggestive blend of shrewd Americana accompanied by a quiet, thoughtful glow’, while ‘AmericanaUK’ said its latest release is ‘so well-written that every song could be a short story”.
On the road, John was invited to perform at Woodstock’s 50th anniversary in Bethel Woods, which is the original site of the legendary festival. Over the years, he has been chosen as the winner of the 2020 Kerrville New Folk, an emerging artist at the Falcon Ridge Folk Festival, and the winner of the singer/songwriter competition at the 2016 South Florida Folk Fest.
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 Wednesday, August 10.
NEED TO READ
Tate chairman responds to recent allegations – Tate chairman Roland Rudd said the institution ‘regrets’ the end of its relationship with three artists after one of them was uninvited from a museum program because she had made sexual abuse allegations against former Tate donor and art dealer Anthony d’Offay. Amy Sharrocks, who has been named lead artist for the Tate Exchange programme, was planning to bring artist Jade Monsterrat on board, but was asked to drop her due to Monsterrat’s claims against d’Offay. Tate reached a six-figure settlement with the couple, who were joined by artist Madeleine Collie in their fight against the museum. The expression of regret is a reversal for the museum, which previously refused the incident took place. (Guardian)
Pompeii archaeologists discover new rooms in a bourgeois house – A bedroom and storage room have been discovered in a 2,000-year-old middle-class house in the ancient Roman city of Pompeii. Archaeologists began excavating the site, which has long been buried in volcanic ash, in 2018. The discovery of the new rooms, along with fragments of furniture and traces of fabric, will help researchers understand the livelihoods of a class of upward social mobility during the Roman Empire. . (art news)
Archaeologists Rebury Ancient Villa to protect it – A Roman villa discovered in Scarborough, North Yorkshire, in 2021 has been reburied on the recommendation of preservation organization Historic England. The site, an elaborate complex of buildings with a number of rooms and a bath house, was believed to be potentially “the first of its kind” to be found. Keepmoat Homes, the developer of the area, now plans to create an interpretive representation of the site. (BBC)
Artwork made of radioactive blood in Japan warns of nuclear conflictAtomic Message, a work by Russian dissident artist Andrei Molodkin and Japanese noise musicians Makoto and Yutaka Sakamoto, was unveiled at the Nagasaki Prefectural Museum of Art yesterday August 9 to mark the 77th anniversary of the atomic bombings of Hiroshima and Nagasaki who killed hundreds of thousands of civilians. Projected onto an image of the White House, the quintessential symbol of Western democracy and power, the work features the blood of the Sakamoto siblings, born in Nagasaki, whose blood still bears radioactive traces because their grandfather survived the attack. (Express)
MOVERS AND SHAKERS
Qatar Museums Add 40 New Public Artworks Ahead of FIFA World Cup Some 40 outdoor sculptures and installations by some of the world’s biggest names, including Jeff Koons, Yayoi Kusama, KAWS, Rashid Johnson and Shilpa Gupta, will be featured in a new Qatar Museums program ahead of the FIFA World Cup in Qatar , which runs from November 20 to December 18. About 1.5 million visitors are expected in the country for the events. (Press release)
Lubaina Himid Wins Suzanne Deal Booth/FLAG Art Foundation Award – The artist, who came to critical attention after winning the 2017 Turner Prize, has received one of the biggest art prizes in the United States. The award comes with $200,000 and a performance set to take place at Contemporary Austin in Texas and FLAG Art. Foundation in New York in 2024. (ART news)
New Head for 9/11 Museum – Elizabeth L. Hillman, president of Mills College, has been named president and CEO of the 9/11 Memorial and Museum in Lower Manhattan, succeeding Alice M. Greenwald, founding director of the museum, who announced in December that would resign after 16 years. (New York Times)
LGDR Appoints New Southeast Asia Director – Singapore-based art dealer Dexter How, a former Southeast Asian art specialist at Sotheby’s and Christie’s, has been chosen by LGDR as its Southeast Asia director. (Press release)
FOR THE ARTS
Russian artist mounts suitcase sculpture to honor refugees Kostya Benkovich, who fled his country due to his opposition to the invasion of Ukraine, created a suitcase sculpture in Edinburgh to honor the memory of Ukrainian refugees and others who had to flee their homes with suitcases hastily packed. The work is on display in the meeting rooms until August 29. (The Edinburgh Reporter)
Russian sculptor Kostya Benkovich stands next to his new sculpture, The suitcasehighlighting the plight of refugees around the world (Photo by Jeff J Mitchell/Getty Images)
Hhow we “make” history changes. For centuries, historians have looked for the few, the privileged, the “winners”. But as millions tune in to A House Through Time and Who Do You Think You Are?, these social and alternative histories (including women’s histories) that had been pushed aside breathe new life into the way we we engage with the past. We can’t be what we can’t see, and many of us look for aspects of ourselves in what has gone before. History becomes a richer subject now that people who were ignored or written off are reinstated. It’s not just about dates and data – a historian can be a detective looking for human stories from the past.
Historians have found their work on documents and artifacts. But they also search for people from the past through the words, rituals, songs, artworks, buildings and music they left behind. Finding lost women requires a different set of tools and techniques. Today, we can all access archives, have our DNA examined, trace our genealogies and conduct global searches with the click of a mouse. Breakthroughs in archaeology, with the help of technology and science, bring us a rich and complete cast of people who lived before us. Women have always made up half of the world’s population. Framing them can allow us to think differently about the past.
In writing Femina, I wanted to show a version of the medieval world as rich and diverse as our present, full of fascinating characters that defy assumptions. Not just mothers and wives, these medieval women were spies, writers, scientists, entrepreneurs, and warriors – all words commonly associated with men. My approach sets the frame on lost women to expose wider societies and attract others who have also been overlooked. Here are 10 books that pushed the boundaries of history as a discipline and put women back in the spotlight:
1. The Five: The Untold Lives of the Women Killed by Jack the Ripper by Hallie Rubenhold This book has done more for women’s history than almost any other. Rather than continuing to fetishize the murderer, Hallie presents the stories of the victims. By immersing readers in the social conditions experienced by women, the five have contexts other than being labeled “prostitutes.” This book also affected the true crime genre, where more writers focus on victims rather than perpetrators.
2. River Kings: Vikings from Scandinavia to the Silk Roads by Cat Jarman Archeology has always sought the many rather than the few, so it is the natural companion to more inclusive historical approaches. It’s easy to assume that everyone in the Middle Ages, especially women, lived and died near their local parish church. But many have traveled great distances and engaged with cultures thousands of miles away, as this book reveals.
3. Medieval Women: Village Life in the Middle Ages by Ann Baer When asked which historical person they would have been, the majority of people choose a ruler or wealthy person. However, most of us would have lived a life more like that of the protagonist of this book – Marion. By following a poor woman for a year, the reader gets insight into larger issues, including natural disasters and the plague. Yet it’s the almost accidental moments that provide real insights into daily life in medieval times.
4. The Voices of Nîmes: women, sex and marriage in Reform Languedoc by Suzannah Lipscomb For anyone tracking down the elusive female voice in history, it’s unfortunate that so much is written on, rather than giving their own accounts. By looting the archives of the consistories – or “moral courts” – of the Huguenot church in Languedoc between 1561 and 1615, this book puts together the pieces of the puzzle and reveals how medieval women understood friendship, spirituality and female power.
5. Death in Ten Minutes: The Forgotten Life of Radical Suffragette Kitty Marion by Fern Riddell The death of suffragette Emily Wilding Davison at the Epsom Derby in 1913 has become familiar. She was a fascinating woman who fought for equal rights, but it was Death in Ten Minutes that really showed me just how radical the actions of the early suffragettes were. This book reveals the dangerous acts women have taken in desperate attempts to win the vote. By looting Kitty’s diaries, Riddell placed this woman at the center of his own narrative.
6. Medieval Women: Social History of Women in England 450-1500 by Henrietta Leyser Now is the time for the social historian. We want to know who walked where we walk, what they went through and how they made history. This book is unprecedented in its scope – spanning centuries and including all manner of evidence, from poetry to private filings. Leyser deals with individually notable women, such as Alice de la Pole and Julian of Norwich, but uses them to explore broader issues that have affected women’s lives, such as trade, work, and education.
7. The Taxidermist’s Daughter by Kate Mosse When I was young, historical fiction was the main way for me to connect with the stories of women from the past, and Mosse is at the forefront of the genre. I love all of her books, but this one is the most powerful for me because of the way she positions her protagonist Constantia in a complex and believable Sussex village over a century ago. You can see, smell, touch and taste the past. The backdrop to taxidermy is also fascinating, as it is an art form that attempts to capture time and preserve the afterlife.
8. The Book of Memory: A Study of Memory in Medieval Culture by Mary Carruthers Today we tend to consider ourselves intellectually advanced due to the great developments in science and technology. But this book shows how brilliant the minds of the medieval world could be. Through techniques of rumination and meditation, practiced by both men and women, the memories of those who lived a millennium ago have retained vast amounts of information in a way that our modern minds cannot because we are so dependent on writing.
9. Valkyrie: Women of the Viking World by Jóhanna Katrín Friõiksdóttir We would not attempt to describe what it is like to be alive today based solely on news reports. We would personalize and fill our account with music, movies, food, fashion and more. That’s what an interdisciplinary historian tries to do: bring an era to life by combining all types of evidence. Valkyrie includes Old Norse poetry alongside archaeological finds and painted runestones to show how varied and fascinating the experiences of women in the Viking world were.
10. Margery Kempe’s book (edited by Barry Windeat) The last word must go to a real woman in the story. This book is a fortuitous survivor, a medieval manuscript buried in a cupboard and rediscovered in the 1930s. crazy woman”. Yet, within its pages, a remarkable person emerges. Margery tells us about the problems with medieval package holidays, caring for her sick husband and her burning desire for sex. The text is over 600 years old, but when you read it, you feel like Margery is alive and sitting next to you.
The aviation museum at Paine Field may reopen this year; purchased collection
Photo of Michael Whitney in 2012
The museum’s artifacts were preserved during its two-year closure. Pictured is a Supermarine Spitfire Mark Vc which flew in combat during WWII. This aircraft was sold as scrap in the 1960s, but has been restored and is part of the museum’s collection.
EVERET — The Flying Heritage & Combat Armor Museum at Paine Field has a new collection owner who intends to reopen the museum by the end of the year. An announcement on Thursday, Aug. 4 says the museum’s artifacts and assets will be acquired by the Wartime History Museum, a new nonprofit created by entrepreneur and philanthropist Steuart Walton, grandson of Walmart founder Sam Walton. . The nonprofit says it will share additional reopening details when plans are finalized. He buys it from the estate of museum founder Paul G. Allen, the late co-founder of Microsoft. After building up a collection, the museum itself opened in 2004. The museum features an unrivaled collection of military artifacts – namely aircraft, tanks and armaments, many of which have been restored to their original flying or driving condition and emphasize paint schemes and authentic mechanical systems. The museum continued operations after Allen’s death in late 2018, but closed to the public in March 2020 due to the COVID-19 pandemic. Maintenance and restoration of artifacts continued while the museum was closed. “This incredible collection reminds us of the significance that vintage aircraft and other historic vehicles have had on our country and the world,” Walton said in the announcement. A curator and flyer, Walton co-founded Game Composites, a maker of aerobatic aircraft, and serves on the board of trustees of the Smithsonian’s National Air and Space Museum.
A new art gallery will host a grand opening this weekend.
AllArtWorks, an online art gallery, opened its first physical gallery space on Tuesday, August 9 at 333 Grandville Ave. SW, with a grand opening scheduled for 6-9 p.m. on Saturday, August 13.
The inauguration of the place will also serve as the first art exhibition at the gallery, or “observation studio”. To draw attention to its new space, AllArtWorks plans to host weekly art shows where people can meet the artists, as well as monthly art shows to benefit area charities.
AllArtWorks founder Tyler Loftis created the art sales platform in 2018 to be exclusively online, but is now launching a physical space to facilitate connections between artists and buyers.
“AllArtWorks is designed to connect people to art and allow them to discover their own tastes,” Loftis said. “Our website exposes people to a variety of artists, and the viewing studio goes even further, where the community can experience original art in person, without pressure to buy. It’s an opportunity to really connect artists with people in a welcoming environment.
The new location is a 3,000 square foot viewing space where visitors can browse works for sale without pressure to buy. In addition to the works on display in the gallery, iPads are available to help visitors research the vendor’s entire collection online.
Visitors can request to see anything from the inventory in person for as long as they want.
The artwork is then retrieved from the on-site storage facility for people to view on site.
All artwork continues to be viewable and available for purchase on AllArtWorks’ website.
After the “robbery”, Cambridge called the police, who sent armed officers to question Mumper and other employees at their home, including Anthony Mangiola, a teenage trainee who was still in high school at the time.
Mangiola said officers first interrogated him at home without his parents present, then later he was interrogated at a police station for about three hours.
“I remember following everything that happened. For about six months, every time someone came to the door out of the blue and knocked, my body would seize,” Mangiola said. “I would just stop. If someone rang the doorbell unexpectedly. I would stop.
Neither Mumper, Tomasetto nor Mangiola have been charged with any crime.
A Philadelphia police detective handling the case said earlier this year the case remains open.
‘Bug Out’ and the fallout
A recent documentary series on IMDB TV, which aired last spring, has now brought the missing bug case back into the spotlight. This four-part series – titled ‘Bug Out’ – featured ex-Cambridge workers’ argument that they simply brought their own bugs back with them after quitting.
Cambridge, represented by his father who is a lawyer and also a museum board member, has now sued the filmmakers and some of the interviewees, including Mumper, Tomasetto and Rzepnicki, for defamation.
The museum’s financial problems continued after the creatures disappeared. In 2018, the museum became a non-profit organization to “enable the avoidance of taxes that society was unable to pay”, as Cambridge explained in a lawsuit against Rzepnicki, the former director. museum operations.
In 2019, an employee who at the time worked in animal care said the department continued to be underfunded. They remembered buying animal feed and gasoline for tourist shows, without being reimbursed. The employee also stated that he was doing construction work for which he did not feel qualified. Cambridge maintains that the insectarium reimburses the work expenses of employees. WHYY has agreed to withhold this person’s name as they fear retaliation from Cambridge.
“We just knew that John was a little eccentric and it was just kind of something that we all laughed at and knew… But I don’t think I really realized how harmful his… eccentric nature really was to people. people around him and the museum as a whole,” the employee said.
A visible example of this that former employees point to is at the back of the museum, where 24 old shipping containers are stacked in what Cambridge calls ‘the sandcastle’, a structure he designed himself. and described as a work of art. It increased at the end of 2019.
“There’s so little else here that … serves as a community beacon, and so if we have the opportunity to create something that you can see from Frankford Avenue and … generate more interest in that area, we’ll do it,” Cambridge said.
He said he would like to see it become a playhouse and plaza.
It certainly caught people’s attention, said Trisha Nichols.
“It caused some commotion when all these shipping containers started coming in and they’re kind of rusty and ugly and piling up behind a building… people across the street were calling and complained,” she recalls.
The “sandcastle” and the museum itself also caught the attention of the Philadelphia Department of Licensing and Inspections. The Insectarium has 46 infractions in its ownership historyand failed most of its inspections.
Cambridge said the violations are simply demands that the city asks them to fulfill, and it tracks them all.
“Whatever you’re watching, there’s something we’re aware of and addressing with the city,” he said. “We are… eagerly compliant.”
Keeping the museum afloat was “a giant game of Sudoku”
Michael O’Leary, who briefly worked for the Insectarium and has been a friend of Cambridge for more than a decade, said he saw a different side to Cambridge. With him, he says, every day is a new adventure.
“It was fun and exciting, but it was a little chaotic at times,” he said. “He was like a real juggernaut. There was no stopping him. Whatever he wanted, it had to happen.
“It aimed for the stars and settled on the moon. So he had these very huge giant projects and ideas that he wanted to accomplish that were probably impossible. So if he was shooting there and we came to him and said, ‘Well, we’ve done half of it’, then he’d be like, ‘Cool, okay, well, that’s half .”
However, O’Leary said the quality also made it difficult to work with Cambridge – particularly if you hadn’t bought into his vision or wanted to push as hard as he did to get something done.
“There were times when I resisted because I thought, ‘That’s not the procedure for this…We have to do this…according to the book’…He threw the book away.” said O’Leary. “He was like, ‘We just need to figure out what we’re doing here, figure out how to do it, or get close to it.'”
Cambridge said that after a few years as CEO he had learned “not to be bullied so much. There is no possibility that you will make everyone happy.
“I’ve been bullied many times…by people who would just say, ‘you don’t know what you’re doing, so you shouldn’t be doing it.’ … No one knows what they do to begin with. That’s no excuse not to do it and not get things done. It is a call to learn quickly and to do so with humility,” Cambridge said.
At the start of the COVID-19 pandemic in 2020, Nichols was still working at the insectarium. She decided to create virtual classes, and later in-person classes, on insects and science that local schools would pay for. She said the work environment at the insectarium remained the same and scheduling classes was difficult as she had to balance virtual and in-person classes, the time it would take to drive, which employees liked young children. , who liked to work with which animals… and so on. on.
“It was like a giant game of Sudoku.”
“Money was tight and turnover was crazy. But you know what? I was actively teaching the kids, interacting with the kids every day, watching their faces light up… The reason I stayed was for that,” Nichols said.
That changed last year. Cambridge created and sold art classes, including juggling classes, which Nichols believed she and her team of science teachers weren’t really qualified to teach. She said that as director of education, she would like to have a say in what courses the museum offers, and to lose that was to lose the freedom to create programs and carry them out. So she eventually resigned.
“It ended with him wanting to teach…my educators how to juggle.”
“I absolutely loved the place while I was there and I absolutely loved the work I was doing and I loved the impact I was having on the kids and I wouldn’t change that for the world,” she said. “I also know that the insectarium was actively transforming into a place I didn’t really want to be a part of…I get a little sad every once in a while…walking past and knowing I’m not there. ”
She continues to teach science and insect classes through her own business.
In May, Cambridge filed for personal bankruptcy. He said he hadn’t had a salary for a long time and had invested all his money in the insectary.
“I’m proud of my bankruptcy,” Cambridge said. “I did everything I said I was going to do to try to protect, save and grow this place.”
The National Park Service (NPS) today announced $2.1 million in grants to nine Indian tribes and 20 museums across the country to assist in the documentation and repatriation of ancestral remains and cultural artifacts as part of the Native American Graves Protection and Repatriation Act (NAGPRA).
“The repatriation of human remains and sacred cultural objects to Native American tribes, Alaska Natives and the Native Hawaiian community is fundamental to ensuring the preservation of native culture,” said NPS Director Chuck Sams. “These grants are just one of the ways the National Park Service is advancing a whole-of-government effort to strengthen tribal sovereignty and repair our nation-to-nation relationships.”
Six grants will enable the return of cultural objects, more than 3,500 objects used in funeral rituals and the remains of 493 ancestors.
The Chickasaw Nation of Oklahoma will receive one of the largest awards.
Arizona Board of Trustees, University of Arizona
Listed Natural History Museum
Worcester Natural History Society
Burke Museum Association
Many of these artifacts were salvaged and sold before the tribes could claim them.
One of the recipients, Beloit College, will repatriate the remains of five people and 26 grave goods removed from Ventura County, California. NPS says that between 1875 and 1889 the ancestral remains were removed by an amateur archaeologist who then sold the collection to the Logan Museum.
Representatives of seven culturally affiliated Indian tribes will travel from California to Wisconsin to bring ancestors and grave goods back to California.
Twenty-four Consultation and Documentation Grants will fund travel for museum and tribal staff, consultation meetings, and research, all in support of the repatriation process.
In Oklahoma, the Caddo Tribe of Oklahoma received a $100,000 grant and the Gilcrease Museum Management Trust will receive $85,364.
PHILADELPHIA — Dazzled by iconic paintings by Cézanne, Matisse and Seurat, most visitors to the Barnes Foundation overlook African sculptures. Still at Albert C. Barnes, founder of the collection, they were central. He began to acquire African sculpture in 1922, the year the foundation was created, because it had inspired Picasso, Modigliani and many other artists in France whom he supported. “At the opening of the Foundation, Negro art will have its place among the great artistic manifestations of all time”, he wrote to his Parisian dealer in 1923.
Barnes believed that an appreciation of African masterpieces would also advance the cause he fervently championed alongside modern art: the advancement of African Americans in society. As a testament to his commitment, African sculpture was the subject of the foundation’s first published book, and the entrance to the original museum in Merion, a suburb of Philadelphia, featured tile and terracotta designs inspired by African pieces from the collection.
But the patronage of black art by a white millionaire is complicated, then as now. Acquiring cultural artifacts from a subjugated or impoverished society raises ethical questions. And once African sculpture is taken out of the context in which it functioned, what role does it play? And what interests does it serve?
With a commission from Barnes for the centenary of the foundation, black English artist Isaac Julien created a black and white cinematic installation on five screens, “Once More…(Statues Never Die)”, which examines the place of African art in the Barnes and other Western museums.
In two adjoining galleries, he complemented the film with a sculpture exhibition that features eight works of African art moved from their usual upstairs perches at the Barnes, accompanied by three bronzes of African-American subjects by Richmond Barthe (1901-1989), a prominent Harlem Renaissance artist, and five contemporary works, by Matthew Angelo Harrison, of cut-out African tourist sculptures embalmed in polyurethane resin and enclosed in aluminum framed display cases.
The protagonist of Julien’s film is Alain Locke, an African-American writer, critic, and teacher considered the intellectual father of the Harlem Renaissance. Through Barnes, Locke had his first significant exposure to masterpieces of African sculpture. Locke in turn gave Barnes access to black writers and artists. Julien explores the true working relationship — both collaborative and antagonistic — between these strong-willed men. Each learns but mistrusts the other. In a personal sense, their exchanges encapsulated the sensitivities and inequalities surrounding the adoption of black African art by mainstream white culture and the struggle of black Americans to claim and use this heritage as their own.
“I call it the poetics of restitution, something I try to explore in the work,” Julien said in a phone interview from London. “The debates that we have today and which seem contemporary took place 50 years ago, if not before. I think it’s really interesting.
In a way that won’t be obvious to most viewers, “Once Again… (Statues Never Die)” is a quasi-sequel to two movies: “Statues Die Too” a 1953 short film by Chris Marker and Alain Resnais, which ruminates on the displacement of African art to Western museums by imperialists who degraded the cultures and peoples they colonized; and Julien’s revolutionary film, “In Search of Langston”, from 1989, which he calls a “meditation” on poet Langston Hughes’ ambiguous queer identity. Locke, who was quietly but unmistakably gay, romantically pursued young Hughes. In “Once Again… (Statues Never Die),” Julien incorporates footage of Harlem gay balls he staged for “Looking for Langston,” as well as a musical setting he used earlier in the Hughes’ famous line, “What happens to a deferred dream? ?”
In “Once Again…(Statues Never Die)”, Julien, a black queer artist, watches with sensitive curiosity Locke’s sporadically sexual friendship with the young African-American sculptor Barthé. The film incorporates excerpts from archival footage but relies primarily on scenes directed by actors playing Locke, Barthé and Barnes. The recreations are often very precise, as when, mirroring the filmed documentation of Locke and Barthé, the actors reproduce their original positions and expressions while smilingly examining Barthé’s art.
One of Barthé’s major works, ‘Male Torso’, is a nude that departs from the Greco-Roman ideal in search of an alternative noir prototype. It was, writes Jeffrey C. Stewart in his authoritative biography of Locke, “The New Negro”, “a sculpture that visualized a new black masculinity” that was “leaner, slimmer, slimmer” and “an icon of black homosexual desire”. The nude model in the film strangely conforms to the sculpture. (Julien confirmed that he did “body casting” to find him.)
But in a half-hour film, the question of what it was like for a black homosexual like Locke to live in America in the first half of the 20th century is awkwardly intertwined with issues surrounding the displacement of art African in Western museums. . “Once Again… (Statues Never Die)” intercuts re-enacted scenes from Locke with a fictional character Julien describes as his “second protagonist”, a tall African curator who first appears in a scene shot in anthropological and archaeological Pitt Rivers. Oxford Museum, where she bears witness to the wounds suffered by civilizations stripped of their cultural treasures.
Towards the end of the film, historic photos of the 1897 British raiding expedition which destroyed Benin City in present-day Nigeria and brought a treasure trove of bronze and brass masterpieces to the British Museum, are accompanied by extracts from the journal of the expedition. leader. Julien also includes images of “You Hide Me” a 1970 documentary filmed in the basement of the British Museum in 1970 by the Ghanaian filmmaker Nii Kwate Owoo, which follows a young black man and woman as they unpack African artifacts stored in crates.
These scenes amplify Julien’s theme of African art’s restless journey into Western realms, while a recreation of Locke gazing lovingly at Barthé as he sleeps resembles an excerpt from “Looking for Langston.”
In the interview, Julien faulted Barnes for limiting his support of black art to the work of African civilizations and for not collecting output from his own African American contemporaries. (Barnes did, however, purchase and exhibit Horace Pippin’s paintings.)
“Someone like Barnes was not interested in the sculptures of Richmond Barthé, they are not part of his collection, but they were of great interest to Alain Locke”, Julien said. “Why don’t people know about the works of Richmond Barthé? He didn’t do a lot of work, but he was an important African-American artist. We feel the sensuality of Richmond Barthé’s sculpture. The reason they are disavowed, could it be their resonance in the way of something that was debatable? Even today, says Julien, homoeroticism is a delicate subject for many African-American art historians.
But Barnes ignored Barthé for other reasons. Barnes favored cutting-edge modernism; Neither a popular artist nor a cubist, Barthé was closer to Rodin than to Jacques Lipchitz, Alexander Archipenko, and the other sculptors Barnes collected. But for Locke, the primary significance of African art was its power to reinvigorate the flourishing of black consciousness in the present. This important distinction can get lost in the torrent of ancillary material from Julien’s film.
Unlike the British raiders in Benin, Barnes did not burn down a town to obtain his carvings. Yet his admiring acquisition of African art from the society that nurtured him continued a process that began with shipments of the bronzes from Benin to the British Museum in the late 19th century. Raising these questions in an evocative film, Julien’s installation shines a light on the Barnes’ prized treasure of African art – and the long shadows it casts.
Isaac Julien: Once again… (Statues never die)
Through September 4, Barnes Foundation, 2025 Benjamin Franklin Parkway, Philadelphia, PA; 215.278.7000; barnesfoundation.org.
THE Zimbabwe Military Museum (ZMM) located in Gweru, is the only museum of its nature in Zimbabwe.
The museum focuses on research and other museological efforts in the military field, thus liaising with the military, air force, and police.
The museum opened to the public in 1974 as the Midlands Museum, which was changed to the current name in 1985.
Gweru ZMM serves as the country’s national military and aviation museum. Various exhibits trace the history of the army, air force and police.
As the country commemorates heroes and defense forces today and tomorrow, a the Chronicle the press team made a tour of the museum to understand its importance.
Catching the eye of the visitor at ZMM are two massive main tanks placed a few meters from the museum’s main entrance. On the right is the Stuart M-3 MK1 tank (USA) and on the left is the USSR T34 tank.
Visitors can view aircraft engines, uniforms and equipment associated with Zimbabwe’s military history in the museum’s galleries including the foyer, military history gallery, armored vehicle hangar, police gallery , the Guinea Fowl School Memorial Hut and the Artillery Shed.
The entrance to the Military History Gallery features the two key figures of the Chimurenga (Mbuya Nehanda and Sekuru Kaguvi) and King Ndebele Lobengula to signify their importance during the liberation struggle.
Command Herbert Chitepo
The entire gallery is filled with illustrations and short profiles of nationalists such as Cde Josiah Chinamano, Cde Herbert Chitepo, the late father Zimbabwe Cde Joshua Nkomo and Cde Leopold Takawira – who are among the gallant sons and daughters who sacrificed everything for the freedom of the country.
The Zimbabwe Air Force has a number of aircraft that are no longer flying due to being disabled or damaged, including an AB-205 “Cheeta” helicopter; a Dakota DC-3 troop carrier, an Alouette III helicopter, a Riems Cessna-337G “Lynx” and a Hawk-60.
Likewise, the Armored Vehicle Hangar has some very interesting vehicles such as the 4×4 Field Artillery Tractor and Marmon Herrington Armored Cars, all used to counter Nationalist efforts to liberate the country.
In an interview after visiting the museum, the Acting Regional Director of National Museums and Monuments for the Central Region of Zimbabwe, Mr. Clapperton Gutu, said that the museum specializes in the collection, research and display of artifacts and paraphernalia that explain Zimbabwe’s military history from the first Chimurenga to date as well as how other wars have affected Zimbabwe’s military history.
“Like any other museum in the world, it fits the modern definition of a museum regulated by the International Council of Museums, that is, museums are democratizing, inclusive and polyphonic spaces for critical dialogue about the past and the future.
Recognizing and addressing the conflicts and challenges of the present, they hold artifacts and specimens in trust for society, preserve diverse memorabilia for future generations, and ensure equal rights and equal access to heritage for all” , did he declare.
Mr. Gutu said the museum involves an active partnership with and for diverse communities to collect, preserve, research, interpret, exhibit and enhance understanding of the world, with the aim of contributing to human dignity and social justice, to global equality and planetary well-being.
“Accordingly, the ZMM is the institution of the National Museums and Monuments of Zimbabwe.
Being an NMMZ property with a specialization in the military, the museum itself has galleries and an extension museum known as the Aviation Museum,” he said.
Mr Gutu said they had armored vehicles, uniforms, flags, buttons, badges, photographs, documents, maps and other items that make up the past and present history of the country, this which is important for the future generation.
“We have swords, medals, weapons, uniforms, photographs, aircraft parts too.
In 1985, the NMMZ Board of Trustees recommended a new name for the museum, hence the adoption of the appropriate name Zimbabwe Military Museum.
The organization is made up of several departments that combine their efforts to ensure the prosperous management of our national heritage.
These are the departments of Archaeology/Monuments, Mining, Militaria, Education, Technical, Exhibitions/Exhibitions and Administration,” he said.
Mr. Gutu said that with ZMM’s type of collection, the current and future generation can identify the breadth of the country’s history.
“What makes this museum vibrate is that it is one of those rare museums with rare objects.
Zimbabwe Defense Forces (ZDF)
For example, planes, tanks among other paraphernalia used in the campaigns and we hope to expand the museum to other campaigns run by the Zimbabwe Defense Force (ZDF) highlighting the importance of the campaigns to the county.
We must be proud of our army,” he said.
Mr. Gutu said that they have a program focusing on the national heritage of the liberation of the country.
“Here, there is uniqueness. We are a research institution and we must publish.
So we want one who has studied military history and general history degree,” he said.
“We’re going to include audio visuals for kids who come here for tours so they enjoy the story and can take it back to school.”
As the country commemorates Heroes and Defense Force Day, ZMM, Gutu said, is the right place to celebrate and showcase the history of the liberation struggle.
“Without these national heroes, some buried in unknown graves and at the acre of provincial and national heroes, the country would not commemorate its heroes day and the defense forces.”.
“We collect, interpret and store the history of the liberation struggle.
We are also the guardian of the Midlands Provincial Heroes Acre which we maintain.
So we are here to tell the people what happened in the country until we saw the nationalists rising up against the colonial rule until the time when we gained independence,” he said. he declares.
Tina A. Irvine is a 2022 ACLS Fellow and Visiting Scholar at the Center for Research on Race and Ethnicity in Society at Indiana University.
Hindman Settlement School Grounds and Troublesome Creek, Knott County, KY, ca. 1950
In the early morning hours of Thursday, July 28, rising floodwaters from Troublesome Creek in Knott County, Kentucky breached Hindman Settlement School records. Within fifteen minutes, the small room – which housed handmade dulcimers, century-old journals, letters to the school’s early workers and hundreds of photographs, account books, family Bibles and rare logs, including other historical artifacts – was filled with muddy water and mud. Hindman’s staff did their best to stop the flooding, but it was an impossible task. What happened to an employee’s wife, who fell and broke her leg as she tried to escape rising waters, is testament to that, as is the horrific news of a family who lost her four young children in the flood.
As a historian who has spent weeks in these archives – an essential source of information for my forthcoming book – I know better than anyone what was damaged in that flood. I could tell you about the few newspapers I found that helped me piece together a narrative that challenges stereotypes about the region as illiterate and ignorant. I could tell you about the diaries of Northeastern college girls who came to Appalachia at the turn of the century to work at the Hindman Colony School, founded in 1902. (Some of them let their experience change them – change their preconceived ideas about the people they worked with – and some not.) I could tell you about hundreds of photographs: of people, railroad trestles, coal dumpsters, and treeless landscapes at cause of overexploitation; photographs of hundreds gathered by a stream for a christening, or gathered on a mountaintop for the funeral of a little baby.
I could go on and on. Any historian or archivist knows what a treasure these little pieces of the past are. And I want to think that people who aren’t trained that way do it too. But we must realize that irreplaceable pieces of history have been lost forever. Volunteers moved as quickly as they could in the aftermath of the flood to salvage what they could, but even though they manage to salvage some of the materials that were sent last night to the Appalachian Archives of the ‘Eastern Tennessee State University for cleanup and preservation, there are hundreds more pieces of the past that have been lost forever. We have to stop saying “we could lose the story” and admit that we have already lost it.
We will continue to lose important chunks of the past if we don’t take climate change seriously. While it’s undeniable that more preventative work could have been done to protect the Hindman Archives from flooding, it’s also true that places like Knott County are increasingly exposed to climate emergencies due to warming temperatures. Climate change is making flooding worse, and a disproportionate share of that flooding is expected to affect Appalachia. Located in one of the poorest regions of the country, institutions like Hindman simply do not have the financial resources to protect their equipment against these kinds of natural disasters. Even better-known regional arts and cultural hubs, like Appalshop in Whitesburg, Kentucky, cannot escape this reality. They too were affected by the rapidly rising waters and suffered substantial losses to their collections of over 20,000 items. Many of them were decades-old sound and film recordings, including records filed by Harlan County’s Pine Mountain Settlement School for safekeeping.
External assistance to flood victims was prompt. The region desperately needs it; As Kentucky Gov. Andy Beshear (D) explained, it will take years for small towns like Hindman and Whitesburg to rebuild. This process will be an uphill battle to say the least, especially for families who lost everything – loved ones, cars, homes, savings, belongings – in the flood.
But we all lost something in that deluge, and we would do well to remember it. It’s easy to overlook climate change when it’s happening in someone else’s county. It is relatively easy to send money or cleaning supplies to ease their pain. And it is impossible to recover the pieces of the past washed away in these waters. These pieces of history belong to all of us and tell us a story of America’s history at large. Appalachian history is American history, even though contemporary perceptions often cloud our interpretation and lead us to regionalized and racialized assessments of “us” and “them.”
So what do we do now? Beyond the obvious and frustrating oft-repeated exhortations to call lawmakers, I’d like to see people who are invested in preserving the past pour their money into digitization efforts in these small places. Every historian can tell you that some of their most exciting and rare finds come from remote or unlikely places – from untreated collections, from shoeboxes in an attic, or from a folder in the basement of a courthouse. As climate change and extreme weather conditions continue to affect us, we will continue to see these types of records disappear forever.
We cannot afford this loss, which will disproportionately affect the historical record of the poor and people of color. Historical analysis has traditionally overlooked these groups, especially when these categories overlap. Climate change related disasters like this will only further erase the narratives and histories that these people have left behind. So it’s not too dramatic to say that inaction on climate change is erasing our collective past and erasing the histories of marginalized peoples with particular vigour. Black Appalachian scholars and activists, like Emily Hudson, who runs the Southeastern Kentucky African American Museum and Cultural Center in Hazard, Ky., and Dr. Enkeshi El-Amin and Angela Dennis, who host the podcast ” Black in Appalachia,” are doing what they can bring visibility to African Americans in Appalachia. But they need funds and resources to continue this work, just like Hindman and Appalshop. It is time we did something about this funding, because it is almost too late.
Editor’s Note: The Hindman Settlement School has a fundraising page for donations specifically to support the restoration and protection of its archives. It also raises funds to meet the dire need for food, shelter and sanitation for people displaced by flooding in eastern Kentucky.
When Mickey Lollar walks through the Alabama Music Hall of Fame, it feels like more than a museum.
He feels the history and history of Alabama.
“So many people just view the Alabama Music Hall of Fame as an induction and performance organization that also sports an additional museum branch,” said Lollar, the museum’s new curator. “It’s not just that, but also, equally, a fully functioning museum with artifacts that mean just as much as those on display from, say, the Mississippian, Middle Kingdom and Empire periods. How? Because all this represents the history of humanity. We.”
After completing his first month in this position, Lollar sorts through artifacts to begin cataloging them.
It is working to refresh exhibits, have more interactive attractions, and bring in outdoor artifacts, as well as special exhibits that celebrate cultural heritage.
He also wants to offer wider selections in the gift shop, have more indoor and outdoor concerts, and more community involvement.
“Setting up as an exhibition curator was quite a dynamic experience,” Lollar said. “Today I work in my office, both gradually making it my own and sorting through a mass of tote boxes that I inherited.
“From documents to artifacts to trash, I see it all. Of course, the waste of some is the treasure of others, especially in the field of museums. Absolutely everything must be examined and considered.
In addition to his public relations and community education responsibilities, Lollar’s goal is to transform the Alabama Music Hall of Fame into a comprehensive repository for the preservation of artifacts related to the diverse musical heritage and exciting from Alabama.
“Like all other history museums, I will use archival storage boxes and packaging, specialized tools and equipment, library supplies and preservation products to ensure the conservation, preservation, restoration and the exhibition of the archives Science at the service of history.
He is working on community education events in the coming months, including marketing for writers, preservation of personal documents and photographs, and for hospitality and tourism professionals.
Lollar is planning a permanent exhibit for GMane and additional artifacts from The Blind Boys of Alabama. He also wants to host an event for Hispanic Heritage Month, Sept. 15-October 15, that could include a curator presentation, salsa band, authentic food, mojito workshop, and art sale.
Studio 395, a Lake Elsinore non-profit arts coalition, opened its first gallery exhibition on August 5 at Gallery @ the Outlets, in Unit H185 of the Outlets at Lake Elsinore.
Twenty local artists contributed photography, traditional visual art, sculpture and digital art for the exhibition, which runs from 5-9 p.m. on August 6, 12 and 13.
Admission is free, but donations are welcome.
“We believe it is vital for artists to have a place and a voice to be able to express themselves in a creative and collective environment,” said Rebecca Esquibel, general manager of Studio 395, in a press release. “This exhibit will provide that forum and give local artists a chance to showcase their work and their message to the wider community.”
To celebrate Studio 395’s first gallery exhibit, Southern California-based Grammy-nominated reggae musician Pato Banton will perform a free concert featuring Antoinette Rootsdawtah at 8 p.m. on August 13 in the courtyard in front of the unit H185.
Lake Elsinore outlets are located at 17600 Collier Ave., Lake Elsinore.
For more information about the gallery exhibition, contact Dru Bradford, event coordinator, at [email protected] or call 951-471-4407.
STATEN ISLAND, NY — When people talk about visiting New York tourist attractions, most people immediately think of Manhattan.
While Manhattan takes the lion’s share of tourist attractions, Staten Island is packed with museums, parks and cultural institutions that draw thousands of people across the harbor or across the bridge each year.
data herald collected data on pedestrian traffic at tourist attractions in the five boroughs using cell phone location data, including Facebook registrations, Instagram location tags, and other location collection and tracking processes. social media.
Using location data does not give a full picture of how many people have visited Staten Island attractions, but does provide an idea of the borough’s most popular places for tourists.
Check out the list below for Staten Island’s top 10 tourist attractions.
The current Snug Harbor Cultural Center and Botanical Garden has 28 buildings on 83 acres of land and offers a variety of cultural experiences.
The Art Lab, Newhouse Center for Contemporary Art, Noble Maritime Collection, Snug Harbor Artist Residency Program, Staten Island Museum, Music Hall, Staten Island Children’s Museum, and Heritage Farm are all located on the property. Additionally, there are nine distinctive botanical gardens, the New York Chinese Scholar’s Garden and the Richmond County Savings Foundation Tuscan Garden.
FRANKLIN D. ROOSEVELT WALK
In 1935, New York City acquired this property and it underwent renovations by President Franklin Delano Roosevelt’s Works Progress Administration. The walk was dedicated to the former governor and president in 1939.
GREEN BELT INDIGENOUS PLANT CENTER
Lucy Rubino, the Greenbelt Native Plant Center director, oversees the installation of 13 acres of greenhouses, nurseries and a seed bank complex. Workers here subject the plants to various stages of meticulous care, from collecting the seeds, acquiring and cataloging them, planting the seedlings and watching them come to fruition before selling them to local consumers.
SANDY GROUND HISTORICAL SOCIETY
Considered the oldest permanently inhabited free black settlement in the country, Sandy Ground is one of many such places that once existed in New York City – most of the others are now eradicated entirely. Once full of 150 black-owned homes, each built and centered around Rossville’s African Methodist Episcopal (AME) Church (established in 1850 and a major stop along the Underground Railroad), the neighborhood was home to farmers , businessmen, doctors and other influential residents of Staten Island. Its name refers to the sediment-rich soil found in this part of the borough. The region was first cultivated as agricultural land, its sandy soil a fertile environment for strawberries and asparagus.
BOROUGH TOWN HALL OF STATEN ISLAND
Located at 10 Richmond Terrace in St. George, Staten Island Borough Hall is home to the Borough Presidentthe offices of the building and transport departments and other municipal offices.
NATIONAL LIGHTHOUSE MUSEUM
Built in 1862 by the United States Lighthouse Service (USLHS), the Staten Island Lighthouse Depot – now home to the Lighthouse Museum – was the primary manufacturing, storage, supply and maintenance center for the 3rd US Lighthouse District Service.
SKATE PARK 50/50
Not only is the 5050 Skatepark used for indoor in-line skating, skating, and skateboarding, but owners often rent it out for birthday parties, community events, and filming TV shows and shows. music videos. They also operate an online store that sells bicycles, skateboards, and scooters, as well as skating and cycling accessories.
MOUNT CARMEL SHRINE
Our Lady of Mount Carmel Grotto in Rosebank was handcrafted in 1937 by members of the Our Lady of Mount Carmel Society. It is listed on the National and State Register of Historic Places at 36 Amity Street.
“Conference House Park is an ideal destination for lovers of parks and history. Located in the far south of New York State, this park is home to four historic buildings that trace the borough’s history over three centuries. The Conference House, Biddle House, Ward House and Rutan-Beckett House all tell of a New York and an America of the past,” says the city’s parks department.
GARIBALDI MEUCCI MUSEUM
Formerly known as the Garibaldi Memorial, the museum is maintained by the Order of the Sons of Italy. The historic house houses a diagram of Meucci’s “teletrofono” invention, as well as photographs, letters, some of Garibaldi’s medals, and memorabilia related to both Garibaldi and Meucci.
A new group exhibition at the GRIMM gallery shows how strong British painting is today. The title of the exhibition, The kingfisher’s wingis taken from norton burntpoem by TS Eliot from 1936 which later became the first of a quartet and examined man’s relationship to time, the divine and the universe. norton burnt emphasized the importance of living in the present, while acknowledging the remnants of the past that persist in the present and endlessly spin into the future.
“…After the kingfisher’s wing
Answered light to light, and is silent, the light is still
at the still point of the spinning world.
Curator Tom Morton uses Eliot’s emphasis on stillness to frame the exhibition. The works in the exhibition position art, in particular the paintings, as a kind of “fixed point” that reflects much more than the present moment. The paintings inherently encapsulate a craft moment. Time is literally frozen in the layers of paint used to build each surface. Morton presents a rich selection of paintings that exist in their own history with stylistic and allegorical meanings that may indeed reflect the past, present, and an imagined future.
The works in the exhibition share common parameters: they are paintings and were made by artists who have close ties to Britain – all are British but not all were born there. Beyond these characteristics, the works on view embrace figuration and abstraction. Most are colorful, many are remarkably large. Artists range from established figures like William Monk and Mary Ramsden to up-and-coming names like Christian Quin Newell and Gabriella Boyd, the latter of whom just joined the GRIMM roster this spring.
Two notable pieces are monumental and abstract works by Tim Stoner. In Edge of town (Santa Barbara), muted browns and pinks cover the surface of the linen canvas, blending and overlapping in a dense landscape of shapes that meet bright purple and blue bands along the top. Bold black lines delineate geometric shapes, forming an abstract landscape, identified in the title as Santa Barbara. The work was immediately reminiscent of recent paintings by George Condo, including works from his November 2020 exhibition, internal riot, at Hauser & Wirth in Chelsea.
Similarly evoking other great artists, Matthew Krishanu red roof and water (2022). Tribute to abstract artist Richard Diebenkorn ocean park series, Krishanu’s work has a large square of blue acrylic paint along the bottom, which is topped with bands of faded gray blending with green. A bold red roof and a band of bright yellow rectangles emerge just below the top edge of the canvas. As if to give representative form to Diebenkorn’s abstract buildings, Krishanu’s composition bears a strong similarity to the color palette of Ocean Park no. 79 (1975). Religious symbols like crosses and suggestions of chapels also lurk in Krishanu’s canvases.
Krishanu’s work hangs in the back room of the gallery between two additional works by the artist, along with the aforementioned abstract paintings by Stoner and several other notable works by Francesca Mollett, Mary Ramsden and William Monk. This is where the show really shines. Mollett’s gestural abstract paintings blend beautifully with those of Stoner. The two artists fill their canvases with bands of relatively muted colors, almost washed out in places. Yet their works are remarkably distinct. Mollett’s layered surfaces make his paintings appear almost like collages. Frantic lines draw the eye, inviting the viewer to closely inspect every little detail. These dense, abstract lines give way to flecks of color, as if a top layer has been peeled off. Sometimes resembling Cecily Brown, others reminiscent of Mark Bradford, Mollett’s style is inevitably hers.
Ramsden features equally powerful works, including All the rest is only hypothesis and dream. First appearing as an abstract triptych, the work unfolds into a dreamlike interior scene on closer inspection. Again we see nods to art history and the long tradition of painting, especially domestic interiors. With a Matisse-like flatness, Ramsden’s triptych has a storybook quality. Indeed, a quick glance might even recall the classic children’s book good night moonwritten by Margaret Wise Brown and illustrated by Clement Hurd.
The subtle references to other artists are like ghosts of past works creeping up beneath the surfaces. That’s not to say they’re derivative or contrived, but rather that they evoke a sense of deja vu that causes the viewer to pause briefly in their tracks. These references could easily go unnoticed by a visitor unfamiliar with the history of painting, which is the precise beauty of art itself. Stripped of any historical context or knowledge, the works in the exhibition still elicit a sense of curiosity and excitement. This is perhaps the exact message that Morton seeks to convey – although very literally immutable and unchanging visual representations of the present, the paintings are layered with and within history and will inevitably evolve into the future.
The kingfisher’s wing offers a masterclass in curation. Although the intended purpose with Eliot’s poem may seem elusive, the very impact and nature that Morton aims to convey is achieved whether the viewer is aware of it or not. The works do not need to be “read” in order to relate them to time or the legacy of painting. They are receptacles for the past, the present and the future by their very existence. In the end, with or without the nuances added by Eliot’s poem, viewers find themselves in the presence of a visually stunning display of unforgettable paintings.
The kingfisher’s wing is on view through August 19 at GRIMM, 54 White Street, New York, NY 10013.
Akshita Gandhi challenges the British public in his ‘love letter’ to Mumbai
Writer, Cultbytes Annabel Keenan is a New York-based writer and arts consultant. As a writer, she focuses on contemporary art, market reports and sustainability. His writing has appeared in The Art Newspaper and Artillery Magazine, among others. Keenan has worked in several major museums and galleries around the world, including the Broad Museum, the Victoria and Albert Museum and the Gemini GEL print studio. As an advisor, Keenan specializes in prints and multiples, and aims to make the art collecting process more accessible. She holds a BA in Art History and Italian from Emory University and an MA in Decorative Arts, Design History and Material Culture from the Bard Graduate Center. l igram l email l
Tied discreetly to a screen door and leaning against an overturned truck is a small drawing on folded paper by Sol LeWitt (Untitled, 1973). Above, a living painting by Horace Pippin of an a cappella quartet (Harmonizing, 1944). Such is the tense composition of Ahmet Öğüt Bakunin Barricade (2015-ongoing), a realization of socialist revolutionary Mikhail Bakunin’s unfinished proposal in 1849 to barricade Prussian forces with paintings from national museums. Presented for the first time outside Europe and from the collection of the Allen Memorial Art Museum in Oberlin – one of the many sites of the FRONT International 2022: Cleveland Triennial for Contemporary Art – Bakunin Barricade, upon request, must be loaned for use in “extreme moments and movements of economic, social and political transformation”, according to a contract that hangs next to the facility. That political works by Alfredo Jaar, Barbara Kruger and David Wojnarowicz are also affixed makes Öğüt’s work read like an exasperation: if the art only seems theoretical against oppression, it might as well be serve as a literal line of defense.
Entitled “Oh, Gods of Dust and Rainbows” – inspired by Langston Hughes’ poem “Two Somewhat Different Epigrams” (1957) – this second iteration of the triennial features 100 artists in more than 30 locations and responds to the recent political turn of the right lasts in the United States with the premise that art is a form of healing. A frame that repeatedly asks what art can do, however, stretches the metaphors. And, while much of the work boldly resists oppression, the triennale as a whole is all high point and unresolved.
In a glazed gallery of the Cleveland Museum of Art, Firelei Baéz brings to life the ruins of the Palace of Sans-Souci in northern Haiti (former residence of King Henry Christophe, war hero during the revolution for the independence of the country in 1804) with a series of blue arches springing from the wall marked with raised fists, broken chains and black panthers. Title the vast ocean of all possibilities (19°36’16.9”N 72°13’07.0”W, 41°30’32.3”N 81°36’41.7”W) (2022), the installation resembles an unconvincing staging – its overly fabricated decay, its overly cared-for rubbish – on which these symbols of resistance unfortunately become decorative. A similar embellishment occurs in Devan Shimoyama February (2018), a silk floral hoodie honoring Trayvon Martin, a victim of teenage racial abuse, which opens the group display at the Akron Museum of Art. Seemingly a touching act of remembrance, the work ultimately seems superficial. Silk flowers add beauty to a culturally and often tragically charged garment, but make it a sugary distraction, like a luxury item.
Located in the cramped space of the Sculpture Center, Abigail Deville’s The Guardian of Dreams (2022) is a little more successful. The precariousness of its conglomeration of scaffolding, foil, plastic, chicken wire and salt is intensified by the looping sound of a hacksaw. Brief histories of the region – from indigenous artifacts to salt mining to photographic documentation of African Americans in the community before the Great Migration of the early 20th century – are conveyed through film screenings and photocopied, folded essays and draped over the installation.
But what the triennale loses in coherence, it makes up for in abundance, bringing a remarkable artistic profusion to the region. In addition to institutions, art can be found in neighborhood classrooms, bars, libraries, hospitals, factories, gardens and more. The scale suggests that FRONT is truly a public, even local triennial, meant to be viewed in parts, over time. Additionally, the exhibit’s pocket guide contains a question intended to open up the art featured in each venue. For example: “How can a work of art slow down the rapid pace of consumption and make us look deeper? Or: ‘What can storytelling teach us about healing, memory, trauma and bereavement?’ Perhaps the answers to these questions transcend issues of “good” or “bad” art.
The most successful component of FRONT is undoubtedly its program of films and videos, whose works reveal their interiority more gradually. Tony Cokes installed monitors in interstitial spaces across the city; paramount is a new collaboration with Sarah Oppenheimer at Transformer Station. SM-2N: sldrty? (2022), a supremacist fragmentation of space, encourages viewers to guide two black beams mounted on pulleys onto axles, moving screens and projectors to momentarily censor and focus Cokes’ particularly hushed video of cultural partitioning. Across the street at the Bop Stop community jazz club, Martin Beck’s Last night (2016) loops on stage in complete darkness. Presented during the opening and closing weekends of the triennale, the work is a complete and perfectly framed transposition of each record played by DJ David Mancuso during a loft party in SoHo in 1984: the needle oscillates and moves away, the disc wobbles, the label blurs. The beat could go on forever.
In a back room of the Cleveland Public Library, Moyra Davey surveys her film Western (2019-22) while telling the story of Elle, a young woman who could have been at Mancuso’s party. Davey’s narration is offbeat, like the swing of his zoomed-in camera, locked wonderfully to bird feeders, a dragonfly caught in a web, and a flying squirrel. In a dark study room in the Cleveland Clinic’s Samson Pavilion, Wong Kit Yi makes his debut Inner Voice Transplant (2022), an equally low-key video essay that’s subtitled like a karaoke track. A cheap disco ball spins among generic sofas as we listen to Wong link ancient medicine to his recovering mother and the jiangshi, or Chinese Hopping Vampire, cursed to steal souls forever. In another refurbished room in the pavilion, Naeem Mohaiemen projects Jole Dobe Na (Those Who Don’t Drown, 2021), an enveloping attempt to understand how and why life ends. Near the end of the film, a husband performs one last waltz with his wife amidst medical equipment, which we realize may have been just an unfulfilled desire.
Although “Two Somewhat Different Epigrams” is only four lines long, Hughes arrived at the poem after concerted revision – his articles can be seen in an accompanying exhibit at the Cleveland Public Library. An extra preposition or misplaced line break can be the difference between exaggeration and deep sentiment. It is therefore perhaps the collective of artistic activists Cooking Sections whose work has enjoyed the most success. Since the 1960s, due to heavy industrial pollution, nearby Lake Erie and its associated microclimates have been steadily dying. The kitchen sections have installed two fountains in the harbor to re-oxygenate the lake, but they are only poignantly symbolic – hundreds, perhaps thousands, more would be needed. At the SPACES gallery, there is nothing to show for the collective’s contribution beyond a photograph and the coordinates of the fountains – because, perhaps, we have reached our limit of doing shows of ecological or political conscience. Other SPACES works support this philosophy: Jumana Manna’s wild relatives (2018) is a patient and observant epic of seed dispersal while Haseeb Ahmed introduced a real-time opera of wind and its rhythms into the gallery (conquer the void, 2022). The presentation at SPACES is not a reaffirmation but rather a voluntary optimism. Over the next three years, the kitchen sections will bring together local farmers in hopes of reducing the use of chemical fertilizers. We can only hope that once the work leaves the gallery, its purpose will live on in the world.
This fall, the Zimmerli Art Museum at Rutgers University in New Brunswick is opening a major addition to its permanent collection that offers a variety of perspectives on American art and life through a regional lens.
“We are honored to have the opportunity to share this collection with the public,” said Maura Reilly, Director of Zimmerli. “It includes works by some of the most important artists of the past six decades – Emma Amos, Dawoud Bey, Chakaia Booker, Mel Edwards, Jaune Quick-to-See Smith and others – which, when combined with our stellar collection of American art, paints a fuller picture of American art and society.”
In 2018, the Zimmerli expanded the scope of its Art of the Americas collections by accepting the collection of the Jersey City Museum, which closed in 2012. This exhibit is an introduction to more than 80 artists from that collection. One of the most poignant works is Luis Cruz Azaceta’s 1992 print, Lotto: The American Dream, foreshadowing today’s daily headlines about income inequality and the precarious financial conditions of so many. Americans.
Other extraordinary works in the exhibition include a selection of prints made at the workshop of the Instituto de Cultura Puertorriqueña in the 1960s and 1970s; Big Daddy Draped (1971), a classic feminist and anti-war painting from May Stevens’ Big Daddy series; Untitled (red head on world map) by David Wojnarowicz, a 1982 painting that is a living meditation on the individual’s relationship and responsibility to a global community; and Juan Sanchez’s Para Don Pedro print from 1992, which combines the image of Pedro Albizu Campos, the hero of the Puerto Rican independence movement, with traditional religious imagery of martyrdom.
Additionally, the exhibit includes a recreation of Sheila Pepe’s Tunnel (2005), an installation of shoelaces and nautical rope that references the mostly immigrant laborers who dug the tunnels between New Jersey and New York, as well as to those who cross them. work in the factories of the city. October 13from 5 to 6:30 p.m., the public is invited to a conversation between Sheila Pepe and the director of Zimmerli, Maura Reilly, around the work of the artist and the exhibition.
American Stories also presents an opportunity for the Zimmerlis to collaborate with the Rutgers-New Brunswick History Department’s Public History Program. The undergraduates researched the artists and composed exhibition labels, which will be in English and Spanish in all galleries.
Additionally, the Zimmerli features two exhibitions drawn from the historical aspect of the newly acquired collection: Picturing Jersey City: Nineteenth-Century Views by August Will and “Beauty Among the Ordinary Things”: The Photographs of William Armbruster.
Will (1834-1910) and Armbruster (1865-1955) played significant roles in the formative years of the Jersey City Museum. They documented the city as it grew rapidly in the late 19th and early 20th centuries. Will chronicled the changing landscape of his adopted hometown and visually traced its transformation into an urban center, while Armbruster captured the region’s vanishing pastoral landscapes, nostalgically envisioning pre-industrial life.
American Stories: Gifts from the Jersey City Museum Collection is curated by Donna Gustafson, Chief Curator; Christine Giviskos, Curator of Prints and Drawings and European Art; and Nicole Simpson, Associate Curator of Prints and Drawings; in collaboration with the Public History Program of the Department of History at Rutgers University-New Brunswick. The Zimmerli gratefully acknowledges the contributions of Professor Kristin O’Brassill-
Kulfan and Rutgers undergraduate students Joana Llamosas, Elaine Milan, Sundia Nwadiozor, Amanda Nyarko and Amarillisz Tymofeev. Picturing Jersey City: Nineteenth-Century Views by August Will is curated by Nicole Simpson, Assistant Curator of Prints and Drawings. “Beauty Among the Ordinary Things”: The Photographs of William Armbruster is curated by Austin Losada, Andrew W. Mellon Post-Graduate Intern, 2019-2021.
Support for the exhibitions is provided by the Art Dealers Association of America Foundation, Mark Pomerantz (GSNB ’76), Voorhees Family Endowment, Glen Noland (RC ’70), and Zimmerli’s Major Exhibitions Fund donors: Kathrin and James Bergin, Joyce and Alvin Glasgold, Sundaa and Randy Jones, and Heena and Hemanshu Pandya.
ZIMMERLI|RUTGERS ART MUSEUM
The Jane Voorhees Zimmerli Art Museum houses over 60,000 works of art, with highlights in art from the Americas, Asian art, European art, Russian art, and Soviet nonconformist art and original illustrations for children’s literature. The permanent collections include works in all mediums, from antiquity to the present day, providing representative examples of the museum’s research and teaching message at Rutgers, New Jersey State University, which is among America’s top-ranked and most diverse public research universities. . Founded in 1766, as one of nine colonial colleges established before the American Revolution, Rutgers is the eighth oldest institution of higher learning in the nation.
Admission is free to the Zimmerli Art Museum at Rutgers. The museum is located at 71 Hamilton Street (at George Street) on the College Avenue campus of Rutgers University in New Brunswick. The Zimmerli is a short walk from the NJ Transit station in New Brunswick, halfway between New York and Philadelphia.
The Zimmerli Art Museum is open Wednesday and Friday from 11 a.m. to 6 p.m.; Thursday, 11 a.m. to 8 p.m.; Saturday and Sunday, from 12 p.m. to 5 p.m. The museum is closed on Mondays and Tuesdays, as well as major public holidays and the month of August. The café is open Monday and Tuesday from 8:30 a.m. to 2:30 p.m.; Wednesday, 8:30 a.m. to 4:30 p.m.; and Thursday from 8:30 a.m. to 7:30 p.m.
With crystal clear blue waters, the world’s oldest “books” and topographical wonders, Del Rio is a gem of a place that is home to many hidden treasures.
Located less than a mile from the Rio Grande and the Mexican town of Ciudad Acuña, this frontier town is just 150 miles west of San Antonio.
Here is your short list of things to do in this destination all year round.
Find an oasis in the desert Fed by the Rio Grande, Pecos and Devils rivers, Lake Amistad is the jewel in Del Rio’s crown with year-round water sports, snorkeling, camping and hiking, not to mention its rich cultural history. It’s also the third largest lake in Texas and one of the best bass fishing spots in the state.
Discover the purest water in Texas To the north of Lake Amistad is the Devils River State Natural Area. Once there, it’s a one mile hike from the parking lot to the river, but well worth it as you’ll be rewarded with clear spring-fed water tumbling down rugged ridges, scenic canyons and bushy banks. It is an idyllic place to swim, fish, paddle and more.
Be a rock star Native American prehistoric paintings abound in this region and, at 4,000 years old, these pictographs are the oldest “books” in the world.
Discover the fascinating ancient stone stories about 40 minutes northwest of Amistad at Seminole Canyon State Park and Historic Sitewhere you can join a walking tour.
There are also nearly 50 campsites available along with 10 miles of hiking and biking trails along the Rio Grande and the rim of Seminole Canyon.
Visit a winery that has aged well As the oldest continuously operated winery in Texas, the Vineyard Val Vert is a must-visit for its meticulously crafted, award-winning wines. They are handcrafted in small batches using traditional methods passed down from generation to generation.
Get airtime As the home of Laughlin Air Force Base, Del Rio preserves the base’s heritage and celebrates air power at Laughlin Heritage Foundation Museumwhere you can learn about the early years of aviation in the county and see artifacts related to the Cuban Missile Crisis and more.
Celebrate friendship Del Rio is a city of friendship, unity and love, and every October the people of there and neighboring Ciudad Acuña gather at the border to celebrate Amistad Festivala festival that celebrates both countries with a show and parade, chess tournament, bike race, arts and crafts, and more.
See (and hear) the scene The Del Rio Arts Council hosts Monthly art walks the first Friday night of every month, which include local galleries like the Fire station, Falcon Art Gallery, Culture Houseand Lee-Bunch Studio Gallery.
You can also take you on the Rio Mural Tourwhich showcases more than 20 colorful public artworks across the city.
Stack your Friday night with Musical Notes, too. This summer concert series takes place at Brown Plaza every Friday from June through August, and also features dancing, music, and food trucks.
Discover the history of the region The Whitehead Memorial Museum was established in 1962 and remains the county’s only full-time public museum. Through an immersive border village setting, it preserves historic and tangible artifacts that reflect the region’s history, cultures, and economy.
“Knowledge of these artifacts improves the quality of interpretation,” said Dr. Matthias Hugot, head of clinic in the medical imaging department of the Neuchâtel Hospital Network in Neuchâtel, Switzerland. AuntMinnieEurope.com August 3.
A 57-year-old patient with invasive ductal carcinoma marked with an O-Twist metal marker and treated with neoadjuvant chemotherapy underwent preoperative MRI on a Siemens 3T with T2-weighted (a), T1-weighted (b) and 3D Dixon in T1 weighting before (c) and after (d) injection of contrast product. The metallic marker is responsible for a hyposignal artifact with hyperintense peripheral halo. However, the diagnostic confidence was 3 for both readers. Despite the relatively small size of the artifact, the initial small size of the tumor (7 mm) led to uncertainty in the assessments of both readers in the presence of the metallic marker artifact. The patient was considered rCR but histology revealed the presence of residual tumor. All figures courtesy of Dr Matthias Hugot et al and European Journal of Radiology.
Hugot and his colleagues from the University Hospitals of Geneva have just published the results of a study on this subject. The results, published on July 28 in the European Journal of Radiologyshow that the diagnostic performance of preoperative MRI after neoadjuvant chemotherapy (NAC) for the prediction of pathological complete response (pCR) did not differ statistically depending on the presence or absence of metallic markers.
“Diagnostic performance for the detection of pCR at NAC was the same regardless of the presence of a marker,” they noted. “The type of metal marker, between the two broad categories studied, did not influence the diagnostic performance of readers to detect pCR. Agreement between readers was high regardless of the presence of a marker.”
The researchers included all consecutive patients who underwent preoperative breast MRI after completion of NAC (mean, 4.4 days +/- 15.9). They recorded the presence or absence of markers, the type of markers, and the size and type of artifact on each MRI sequence.
Two radiologists who were blinded to the histopathological findings and to the findings of the other assessed all MRI scans for the presence or absence of a complete response. Pathology was the reference standard. The diagnostic performance of MRI for predicting pCR in the presence or absence of markers – and also between the two most popular brands of markers (O-Twist and UltraClip) – was compared using chi-square tests or equivalent.
Ninety-three patients (mean age, 48 ± 11 years) were included in the Swiss study. Nineteen of them had no markers and 74 had 108 markers. The sensitivity and specificity of MRI for the prediction of pCR were respectively 0.73 and 0.81 for patients with and 0.67 and 0.90 for patients without markers (p
A 63-year-old patient with invasive ductal carcinoma marked with an Ultraclip metallic marker and treated with neoadjuvant chemotherapy underwent a preoperative 1.5T MRI examination with VIBE T2-weighted, T1-weighted 3D before and after injection of contrast product . The metallic marker is responsible for a hypointense artifact with a larger hyperintense halo with fat saturation than the Dixon sequences as expected. Due to this artifact, the patient was considered radiological complete response (rCR) with low diagnostic confidence from both readers, but residual tumor was detected in the final pathology results.
The authors’ hope was that the clips were not responsible for a decrease in the diagnostic accuracy of MRI, which would have challenged the interpretation of post-NAC breast MRI, Hugot explained.
“The most surprising result was to see that diagnostic confidence is affected by the presence of the clip – without however affecting diagnostic accuracy,” he noted.
Hugot admitted that there are several limitations to the study due to the retrospective nature of the research and the small number of patients in the study population. For these reasons, he believes that it is essential to conduct further research on a larger scale so that it becomes possible to generalize the group’s findings. He also thinks it’s important to test more clips from other manufacturers.
Overall, the Swiss authors report that magnetic markers are widely visible on MRI images due to the susceptibility artifact they generate.
“However, the same artifact that accounts for marker visibility may possibly mask or mimic, depending on the circumstances, residual tumor enhancement and thus reduce the diagnostic accuracy of MRI,” they wrote. “Indeed, the size and appearance of the metallic artifact in MRI depends on several factors, namely the material of the clip (in particular its magnetic susceptibility), the intensity of the magnetic field of the system and the sequence itself. (the gradient echo or the spin echo are not equally sensitive to the presence of metal).
Philadelphia is a city rich in history, but too often we’ve allowed the spaces where that history happened to decay. When this happens, we risk losing the stories of the past that gave these places their significance, and what those historical lessons can inform about our present and our future. Lose this connectionis what’s at stake for the Henry Ossawa Tanner house at Strawberry Mansion.
Tanner is one of the greatest artists in town. He was also one of the first African American artists to gain international recognition. He is someone Philadelphia deserves to be proud of, and his memory should be preserved.
This preservation effort should begin with his family home.
Home to generations of the Tanner family, 2908 W. Diamond Street was once referred to by eminent scholar and historian Carter G. Woodson “as the center of Philadelphia’s black intellectual community.” The Tanner family is part of a Philadelphia lineage that has helped shape the fields of law, medicine, civil rights, public service, theology, education – and, for our purposes, arts.
The house has been designated a National Historic Landmark, but is currently empty and falling into disrepair. If nothing is done, the building may become dangerous and must be demolished.
READ MORE: Once ‘the center of Philadelphia’s black intellectual community,’ the Henry O. Tanner House may be torn down
It would do great harm to the legacy of Henry O. Tanner, whose work forms the basis of the collections of two of the city’s great museums, the Philadelphia Museum of Art and the Pennsylvania Academy of Fine Arts. And as leaders of the Philadelphia Museum of Art’s African American Collections Committee, we felt it was our responsibility to highlight what Tanner has meant to our institution and the city’s cultural landscape – and to highlight the critical call to action to help preserve this historically significant home.
Born in Pittsburgh and educated in Philadelphia, Tanner studied painting with Thomas Eakins at the Pennsylvania Academy of Fine Arts from 1879 to 1885. He then moved to Paris, as hefelt he couldn’t fight racism and be an artist at the same time. There, he painted and exhibited his flagship work, The Annunciationwhich was purchased by the Philadelphia Museum of Art in 1899. It was the first painting by Tanner to enter an American museum and was one of the most significant events in the development of the museum’s collection.
“The Tanner House at Strawberry Mansion is important for more than art.”
The museum would continue to collect other works by Tanner, including Portrait of the artist’s mother, transmitted to the museum by the descendants of the Tanner family.
For more than a century, Tanner served as the basis of African-American heritage at the Philadelphia Museum of Art. This legacy encompasses not only hundreds of artists, but also the principal architect of the museum’s iconic main building, Julian Abele, and our committee’s founder, Dr. Constance E. Clayton, the first African American and first woman to serve as superintendent of the museum. Philadelphia School District.
As the mission of our committee is to manage this great collection, to advocate for its continued growth, and to preserve and share the consistent narrative of African American contributions to the museum, the condition of the Tanner House demands our attention. Tanner’s connection is far from tangential or abstract to our work; his great-niece, Rae Alexander-Minter, is a member of our committee.
But the Tanner House at Strawberry Mansion is important for more than art. Tanner’s father, Benjamin, was a newspaper editor who wrote about post-Civil War conditions for black people and likely met Frederick Douglass and other prominent figures; Booker T. Washington came to the house to discuss the issues of the day.
We fully support the campaign to save and restore the Tanner family home. The museum donates a portion of the proceeds from the sale of products featuring Tanner’s work to the campaign.
We pledge to continue to encourage every Philadelphian to visit the museum to experience Tanner’s artistic achievements, be inspired by them, and take pride in the important role he played in our shared cultural heritage. While these gifts are appreciated globally (and rightly so), we can do more to recognize and celebrate them locally. We invite you to join our efforts in this cause.
Darryl J. Ford and Nia Ngina Meeks are chair and vice chair, respectively, of the Philadelphia Museum of Art’s African American Collections Committee.
Mexico’s unique campaign – including a push on social media – to entice owners of stolen artifacts to voluntarily return them is paying off.
State of play: Since the launch of the #MiPatrimonioNoSeVende (my heritage is not for sale) campaign in 2018, the Mexican government claims to have recovered 8,970 objects.
This includes 2,522 pottery and other artifacts that a Barcelona family handed over to Mexico’s culture minister last month in the largest artifact repatriation in Mexican history. Some of the pieces went on display at a museum in Mexico City last Tuesday.
Separately, New Mexico’s Albuquerque Museum Foundation returned 12 sculptures of Olmec and other indigenous origins to Mexican authorities last week, though that happened when museum staff found the artifacts. in old boxes and investigated their origins.
Details: As part of the campaign, the Foreign Secretary and the Ministry of Culture are reaching out to institutes and collectors around the world to ask for voluntary returns.
They also attempted to stop auctions of Mesoamerican artifacts, arguing that they had been illegally obtained or stolen. The results have been mixed – some auctions in New York took place last year, while others in Europe were cancelled.
The big picture: Campaigns for art restitution are sprouting around the world amid a reckoning over cultural heritage and who owns it.
And after: Mexican authorities plan to discuss the return of cultural artifacts at a major UNESCO meeting next month in Mexico City, according to Culture Secretary Alejandra Frausto.
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One of North America’s largest art museums paid tribute to the late David Blackwood last week as the Newfoundland artist’s creative works were on display for a day-long event at the Museum of Ontario Fine Arts.
Julian Cox, Deputy Director and Chief Curator, says the AGO is blessed with the largest collection of Blackwood prints in Canada. He said Blackwood’s relationship with the city of Toronto and the gallery dates back to 1959, when the artist enrolled at the Ontario College of Art and Design.
“He spent a lot of his free time in the galleries here at the AGO, which at the time was called the Art Gallery of Toronto,” Cox told CBC News in a recent interview.
“He was deeply inspired by our collection here and that’s where his journey as a budding young artist really began.”
Cox said what Blackwood created over the next five decades was one of the most extraordinary sets of prints by any Canadian artist.
Blackwood was born and raised in Wesleyville on the north coast of Newfoundland, but spent most of his adult life in Ontario. He died July 2 at his home in Port Hope, Ontario. He was 80 years old.
In 1999 Blackwood made a great contribution to the gallery. He donated over 200 prints to the AGO.
“So we have an extraordinary collection that shows in depth his accomplishments as a printmaker and, above all, his kind of love affair with the province in which he was born and raised,” Cox said.
“We also have his papers and archives, which means several dozen sketchbooks, drawings, preparatory drawings and also many books and library items which were a deep source of passion and inspiration for his art. “
A long-standing relationship
Cox said the AGO’s long-term relationship with Blackwood has inspired past exhibits focused on Newfoundland and Labrador, despite being more than 2,000 kilometers away.
He said Blackwood also helped shape the gallery’s archives.
“We truly are the destination for the study and appreciation of the art of David Blackwood,” he said.
“This is not only an extraordinary contribution to the Art Gallery of Ontario and the Province of Ontario, but to Canada as a country. One of our deepest commitments is to collect and preserve works by Canada’s most important artists and David Blackwood really fits into that category.”
Cox said Blackwood was an intense and meticulous student of art history, drawing inspiration from the biggest names in craft history to perfect his own works.
In light of Blackwood’s death, Cox said the AGO wanted to honor him with free viewing of his collection.
“We’re looking at sort of other projects that we can do with his work in the future to appropriately commemorate his contribution to Canadian art,” he said.
“Our goal is always to preserve and make accessible the work of our great artists.”
Read more articles from CBC Newfoundland and Labrador
The exhibition Billie Holiday at Sugar Hill: Photographs by Jerry Dantzic features photographs by a photojournalist Jerry Dantzic who received special access to public and private life from Billie Holiday during a week-long residency at Sugar Hill nightclub in Newark, NJ.
It also includes commentary from acclaimed author Zadie Smith as well as the inclusion of ephemera like a copy of a 1957 SEE magazine, one of Dantzic’s Leica M3 cameras and other items related to the icon of the jazz and blues Billie Holiday (1915 – 1959).
Dantzic’s photography unveils an intimate portrait of Holiday that showcases her dignity and humanity and serves to challenge the narrative that frequently defines her. Sixty years after her death, Billie Holiday’s passion and originality shine through in each of her songs and are forever immortalized in these unique photographs.
Billie Holiday at Sugar Hill: Photographs by Jerry Dantzic is organized by the Traveling Exhibitions Department of the Smithsonian Institution in cooperation with the Jerry Dantzic Archives.
Jerry Dantzic (1925-2006) was an early 1950s photojournalist whose works are in the permanent collections of the Metropolitan Museum of Art, the International Center of Photography, the Whitney Museum of American Art, and MoMA, among others. A pioneer in color panoramic photography, Dantzic has won two Guggenheim Fellowships and has had numerous solo and group exhibitions, including an exhibition at MoMA. His photographs have appeared in The New York Times, Life, LOOK, The Saturday Evening Post, Vanity Fair and others. An assistant professor of photography for many years at Long Island University and Columbia University’s Graduate School of Journalism, he has lectured at many other institutions. His archives are managed by his son, author/archivist/curator, Grayson Dantzic.
Billie Holiday at Sugar Hill: Photographs by Jerry Dantzic Until August 21, 2022 The Newark Museum of Art 49 Washington Street Newark, New Jersey 07102 www.newarkmuseumart.org
The accompanying book of the exhibition: Jerry Dantzic: Billie Holiday in Sugar Hill With a reflection by Zadie Smith Published by Thames & Hudson by Jerry Dantzic (Author), Grayson Dantzic (Text by), Zadie Smith (Introduction by) https://wwnorton.com/books/9780500544655
Don’t let the title fool you; by Geraldine Brooks Horse is not black beauty for adults. Yes, the main character is one of the most famous equine celebrities in history, a colt named Darley, who later became a pop culture phenomenon called Lexington and was revered as the fastest horse in the world. . Butfirst of all, Horseis a gripping story about humanity in all its ugliness and beauty.
Lexington is one of many characters in the book – the rest of them being human – based on real characters, like Horse is the product of meticulous research enhanced by an overflowing imagination. It’s a technique that has served Brooks well; she won a Pulitzer Prize for March, which follows the fictional father in Little woman, based in part on the real Bronson Alcott. But while the book’s historical detail is impressive, it’s the fiction that fills in the gaps where Brooks’ genius really shines.
Arguably, the central character is Jarrett, the slave groom who raised Darley from a colt and risked his own life more than once to protect the horse. In her fascinating afterword, Brooks explains that she was inspired to create Jarrett after reading an article about a missing painting by equestrian artist TJ Scott, described in an 1870 issue of Harper’s New Monthly Magazine as representing Lexington led by “Black Jarrett, his groom”. With no more information about the man available, Brooks took his name and created a complex individual, realizing the true scope of Horse. During her research on 19th century racing, she discovered, as she writes in her endnote, “this flourishing industry relied on the labor and skill of black riders, many of whom were or had been reduced to slavery… it became clear to me that this novel couldn’t just be about a racehorse, it would have to be about a breed as well.
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The lost painting also features in the book, as Brooks imagines a dramatic and violent story that connects characters and time periods. In 1954, Martha Jackson, a dealer in a male-dominated art world, stumbles upon a similar work that is tangentially implicated in the death of Jackson Pollock. In 2019, Jess searches for portraits of Lexington to help reshape her skeleton for an exhibition, and Theo, a Lagos-born, Oxford-trained art historian, finds an abandoned horse painting and begins studying equine art. through a post-colonial lens. Examining a portrait of a thoroughbred named Richard Singleton alongside several black grooms, titled Richard Singleton with Harry, Charles and Lew de Viley, Theo thinks the artist “may have portrayed these men as individuals, but perhaps only in the same clinical way that he documented the exactly splendid musculature of the thoroughbred. It was impossible not to suspect some equivalence between men and horses: valued, no doubt, but living by the will of their slaveholder, subjected to the whip. He goes on to remark that “while the horse had two names, men had only a”.
Horse unfolds in chapters told from different points of view, and each time the reader finds Jarrett, the chapter is named after his slaver, as the groom might have been described in the title of a painting: Warfield’s Jarrett, Ten Broeck’s Jarrett , Alexander’s Jarrett .It is a device that compels the reader to consider a world in which gifted horses are valued more than human beings. And that’s not the only big question Horse request. At a research facility studying the decline of the North Atlantic whale population, Jess ponders “the artistry and ingenuity of our own species” and wonders, “How can we be both so creative and destructive? But far from being a moralizing tale of man’s inhumanity to man and beast, this novel is a page-turner that reads like a series of riddles: Who is this horse? Who was her fiancé? What happened to their shared portrait?
While these explorations drive the plot, it’s the voices of the different characters, each so distinct, that make the novel as enjoyable to read as it is thought-provoking. In 2019, Jess thinks, “quarries can be as accidental as car wrecks.… Few of the girls from Burwood Road in western Sydney have been able to travel to French Guiana and bounce through the rainforest with specimens of scorpions tied across the jeep like so much laundry drying.” In 1854, Jarrett observed that “to be regarded as cattle was as bitter as a gall nut.” And that same year, the equine painter, gambler and sometimes journalist Thomas J. Scott muses: “Modest earnings, payments for reporting – as always, paltry and laggy – would not have kept me long in New Orleans, a city whose pleasures are immense .are a constant tax on the purse.The care with which Brooks crafts each character’s voice is a call to look beyond the categorical labels and captions with which we describe each other, to truly see the individual. .Asso Tied to a compelling plot, the evocative voices create a story so powerful that reading it feels like watching a neck and neck horse race, galloping to its conclusion – you just can’t look away.
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The Eagles date back nearly 90 years, and much of the team’s storied past is part of the extensive archives of the Pro Football Hall of Fame in Canton, Ohio.
But the vaults of the Hall of Fame are large enough that much of the collection is not on public view, stored on shelves in dark rooms that overlook the government warehouse at the end of The Raiders of the Lost Ark a run for his money. The museum is home to over 40,000 artifacts and 40 million pages of documents, most of which can only be seen if you purchase a behind-the-scenes tour for $2,000 per group.
Longtime Hall of Fame archivist Jon Kendle opened the museum’s vault to offer a glimpse of some of the Eagles memorabilia that visitors don’t get to see.
READ MORE: An Eagles fan visiting the Pro Football Hall of Fame in Guangzhou? Here’s what you need to know.
Although he ultimately decided to leave the Eagles rather than back Carson Wentz, Nick Foles will always be a hero in Philadelphia for his role in securing the team’s first Super Bowl win (including calling the decisive game of the game).
Kendle said the Hall of Famer worked with the Eagles to collect items that embody their win over the New England Patriots. Foles – the game’s MVP – was central.
His helmet is preserved in the Hall of Fame archives, as are the cleats he wore during an Eagles game in November 2013, when he tied an NFL record by throwing seven touchdown passes against Oakland. Raiders of the era. His Super Bowl LII jersey is on display in the museum’s Super Bowl gallery, where it hangs alongside the jerseys of two Hall of Famers – Tom Brady and Joe Montana.
But Canton won’t be allowed to keep Foles’ Eagles memorabilia indefinitely.
“Well, I’m going to get them back, let’s be clear,” Foles joked to reporters in 2018. “These will go to my kids. Hall of Fame, if you’re listening, these will go to my kids one day. .
The famed Eagles defenseman has been open about his religion during his 16 NFL seasons, and his personal Bible was among the items he donated to the Hall of Fame when he was ordained in 2018.
Listed on the Bible is “Minister Brian Dawkins,” since he served as the Denver Broncos’ religious leader during his three years with the team. Kendle said the Hall of Fame now houses six Bibles, including those donated by coach Tony Dungy and running back Curtis Martin.
“What I love about Brian’s Bible is that it’s been very well used,” Kendle said.
In addition to the usual helmets and jerseys worn by the game, Dawkins donated several statues of the X-Men character Wolverine, hence his nickname “Weapon X”. He also included a drawing of him as a famous Marvel character.
“I was a huge Wolverine fan,” Dawkins told the Inquirer in June. “I was lucky to be able to kind of use some of that energy that he put into the comics in the field. That kind of animal instinct.
Most football fans know John Madden as a coach, broadcaster or video game icon. But few remember that he was once a player drafted by the Eagles.
Madden was an all-conference lineman at California Polytechnic State University in 1958, and the Eagles selected him in the 21st round with the 244th pick (at the time, the NFL Draft was 30 rounds). Madden injured his knee during training camp and never played a down in the league, but the injury also set him on the path to training.
“While I was in rehab, [Eagles great] Norm Van Brocklin would watch movies and explain what was going on,” Madden told Electronic Gaming Monthly in 1995. “I got a teaching degree, and my love for football tangled with teaching.
Madden’s 1959 contract with the Eagles paid him $7,000, which would equate to about $71,000 in today’s dollars.
“Madden was like, ‘I don’t have a hobby. I don’t fish. I don’t play golf. soccer.”
READ MORE: ‘I might have cried:’ Former Eagles remember honor of being named All-Madden
Vermeil wears his heart on his sleeve, but he has kept his NFL secrets in massive binders.
One is his 1982 Eagles offensive notebook, which contains about 700 pages of formations, plays, and definitions players were expected to learn. It also includes touches of Vermeil’s connection to the team, such as a heartfelt introduction dedicated to six former players and coaches who took jobs with other teams but “exemplify what it means to be an Eagle”.
“Part of his coaching philosophy was to build strong relationships with every individual in this organization,” Kendle said. “And you see that in all of his books.”
Vermeil donated other playbooks, including a 2005 Kansas City Chiefs offensive binder and his playbook while he was head coach of the former St. Louis Rams. Vermeil was also the first special teams coach in NFL history, and his 1969 Los Angeles Rams playbook is on display.
READ MORE: Hall of Fame coach Dick Vermeil on Eagles representation: ‘This is my community’
The “Minister of Defense” spent eight sack-loaded seasons in Philadelphia, but 1987 was by far his best.
In the strike-shortened season, White recorded 21 sacks in just 12 games, an astonishing pace that has yet to be matched. White also scored a touchdown in the season opener after pulling the ball off Washington quarterback Doug Williams and returning it 70 yards.
“He could throw offensive linemen in the air. He could crush them. Sometimes he did both in the same room,” wrote former Daily News columnist Sam Donnellon. “And he was so ridiculously fast that he would sometimes finish practices by running passes with the receivers.”
White’s 1993 Pro Bowl jersey, which he won in his freshman year with the Green Bay Packers, is also on display.
Bednarik was known as “Concrete Charlie” for a reason, and the nicks and scratches on his helmet are hard to miss.
It was during the 1960 season that Bednarik knocked out former Giants running back Frank Gifford with a tackle so vicious he became known simply as “The Hit”. The image of Bednarik celebrating is an iconic photograph symbolizing the violence of the game.
“Frank missed an entire year of football the following season, that’s how affected he was,” former Giants linebacker Sam Huff told NFL Films. “I thought Bednarik killed him.”
What is often overlooked is later that season, Bednarik made a game-saving tackle in the closing seconds of the 1960 NFL Championship Game against the Green Bay Packers, securing the Eagles victory.
» READ MORE: Chuck Bednarik, Frank Gifford and the collision that still resonates, 60 years later
The Pro Football Hall of Fame is located in Canton as it was where the association that became the NFL first organized in August 1920.
The Eagles did not become members of the league until 1933, when they were selected as an expansion team to replace the Frankford Yellow Jackets, who played eight seasons in North Philly (the Eagles retained the blue color scheme and yellow of the team for several years).
Instead of taking their name and logos from their baseball counterparts like other new NFL franchises that season, the Eagles took inspiration from the Blue Eagles, symbolizing the National Recovery Administration, which was an important part of the program. President Franklin Roosevelt’s New Deal.
The Eagles franchise certificate is signed by Joseph Carr, who served as NFL president from 1921 to 1939.
Famed Eagles wide receiver Harold Carmichael, dubbed the ‘king of disputed ball’, won his golden Hall of Fame jacket in 2020. In exchange, he donated one of his own to the museum.
READ MORE: Eagles great Harold Carmichael finally earns Hall of Fame induction
Among the items Carmichael donated was the XXL Eagles track jacket he wore during the 1980 season on away trips. The coat has both Carmichael’s name and number – 17 – embroidered on the front.
Carmichael played 14 seasons, including 13 in Philadelphia, and still holds the Eagles records for receptions (589), receiving yards (8,978) and touchdown catches (79). After retiring, he spent nearly 20 years working in the Eagles front office and is still an ambassador for the team.
While the Eagles didn’t win their first Super Bowl until 2018, Philadelphia won three NFL championship games before the NFL and AFL merged in 1970.
Among these was the 1948 championship game against the Chicago Cardinals, which was later dubbed the “Blizzard Bowl” because it was played during a heavy snowstorm. There was so much snow on the ground at Shibe Park that Eagles fans were told if they arrived at the stadium with a shovel they could watch for free.
According to Kendle, Hall of Fame running back Steve Van Buren went through his own version of Planes, trains and automobiles to get to the stadium after waking up assuming it would be canceled due to snow.
“He’s going to get in his car, but it’s snowing,” Kendle said. “So he walks to the bus station and takes the bus to the train, which takes him downtown. Then he has to take the subway, which drops him off four or five blocks from the stadium, and walks the rest of the way in the snow.
The stressful drive didn’t stop Van Buren from scoring the lone touchdown and being named the game’s most valuable player.
The deputy director of the British Museum has proposed a “Parthenon partnership” with Greece that could see the Marbles returned to Athens after more than 200 years.
The sculptures – 17 figures and part of a frieze that decorated the 2,500-year-old Parthenon temple on the Acropolis – were taken by Lord Elgin in the early 19th century when he was British ambassador to the empire Ottoman, and have since been the subject of a long-running dispute over where they should be displayed.
In an interview with the Sunday Times Culture magazine, Jonathan Williams said the British Museum wanted to “change the temperature of the debate” around marbles.
Williams said: “What we are asking for is an active ‘Parthenon partnership’ with our friends and colleagues in Greece. I firmly believe that there is room for a truly dynamic and positive conversation in which new ways of working together can be found.
The British Museum has not said it will return the sculptures, with Williams saying they are “very much an integral part” of the collection.
However, he said they “want to change the temperature of the debate”, adding that all parties must “find a way around cultural exchanges of a level, intensity and dynamism that have not not been designed so far”.
He added: “There are many wonderful things that we would love to borrow and lend. This is what we do.”
Greek Prime Minister Kyriakos Mitsotakis has repeatedly called for the Parthenon Marbles to be returned to Greece, even offering to lend some of his country’s other treasures to the British Museum in exchange.
Mitsotakis reaffirmed that Greece was open to negotiations, but said: “Small steps are not enough. We want big steps.
Acropolis museum director Nikolaos Stampolidis said there could be a “basis for constructive discussions” with the offer of “positive partnership with the Parthenon”.
He added: “In the difficult days we live in, giving them back would be an act of history. It would be like the British restoring democracy itself.
The lasting legacy of John “Buck” O’Neil was honored with the Key to the City of Sarasota on July 24 to celebrate his induction into the National Baseball Hall of Fame.
The key, commemorating O’Neil’s powerful history in the community, will be donated to the Sarasota African American Cultural Coalition for display at the future Sarasota African American Arts and Culture Center located in Newtown.
“Buck O’Neil has made countless contributions to the city of Sarasota and had a profound impact on the African-American community,” said Sarasota Vice Mayor Kyle Battie. “He is a shining example of strength and has broken down barriers for children and adults. It is an honor for me to celebrate his well-deserved induction into the National Baseball Hall of Fame and present him with the key to the city.
O’Neil grew up in Sarasota in the 1920s and played and managed for 18 years in the Negro leagues from 1938 to 1955. He did not play in the major leagues. O’Neil, who died in 2006 at age 94, became the first black major league coach in 1962 when he was hired by the Chicago Cubs to coach third base. In 1994, he achieved national notoriety for his narration of black leagues in Ken Burns’ baseball documentary.
The city’s citation at a downtown community celebration follows the recent unveiling of a mural in the Rosemary Art & Design District (RADD) commemorating O’Neil’s legacy and the path he opened for future generations. Part of the Gilbert Mural Initiative, the mural cements O’Neil’s legacy in the old Overtown.
“Iconic Baseball Legend”
“We sat down with all of the organizations that helped us honor Buck today and ultimately decided that this key truly belongs to the Sarasota Center for African American Arts and Culture so that it can inspire future generations. “said Anand Pallegar, founder of DreamLarge and RADD who accepted the key on behalf of the assembly.
“As an iconic baseball legend and historic figure in Newtown, his legacy in pursuing equality in baseball for African Americans is something every person in our community should understand and recognize,” Pallegar said.
The mural is painted by artist Matt McAllister and was supported by the Community Foundation of Sarasota County, the Baltimore Orioles Foundation, DreamLarge, Newtown Alive, RADD and the Sarasota African American Cultural Coalition.
The Rosemary Art & Design District began as an initiative of DreamLarge and a group of community-focused creatives with a mission to advance RADD as Sarasota’s art and design district while preserving cultural history of Overtown. For more information, visit rosemarydistrict.org.
The Gilbert Mural Initiative is a multi-year initiative led by RADD to celebrate and preserve the history of the Rosemary District. Visit rosemarydistrict.org/gilbert-mural-initiative.
Treasures salvaged from a shipwreck at the bottom of the Atlantic Ocean since 1857 are now on tour before being auctioned in the fall.
From work pants and wedding rings to letters and a first edition of “The Count of Monte Cristo,” the artifacts represent both a snapshot of American life during the California Gold Rush and the human tragedy behind the sinking of the SS Central America.
Four hundred and twenty-five people drowned when the ship sank 7,000 feet below sea level during a hurricane off the Carolina coast.
The Secrets of the Deep Sea and the “Ship of Gold”:Why a treasure hunter sits behind bars as the bounty circles the country
The tragedy has long been overshadowed by two facts.
First, the ship was laden with tons of gold, the loss of which made it the greatest economic disaster in American maritime history and contributed to a global panic.
Second, a treasure hunter who found the ship against all odds in 1988 found himself embroiled in a decades-long legal battle over gold before becoming a fugitive from the law and ultimately ending up in a jail cell. .
While gold and the treasure hunter have made headlines over the years, hundreds of artifacts belonging to those who perished in the sinking are in storage.
USA TODAY got an exclusive first look at the artifacts, which include personal letters, toiletries, a saloon sign, a holstered gun and a photograph dubbed “The Mona Lisa of the Deep.”
“It’s such a time capsule,” said Bob Evans, who was part of the original team that discovered the SS Central America 35 years ago and was tasked with restoring the artifacts for a tour and auction. .
Evans hadn’t been able to truly inspect every item since they were recovered in the early 1990s and during another expedition in 2014.
What he found were hundreds of little slices of life.
“It was fascinating,” he said in May when the artifacts were first displayed at a Wild West show outside Sacramento. “The closer you look, the more detail you start to find in things. Stupid little human things.”
For example, among the artifacts is a key to the “L Wine Room”, although Evans does not know what the “L” stands for.
“It could be ‘lower’, it could be ‘left’, but that key was used heavily because it’s off-center,” he said. “Either someone made it really difficult. It’s often little forensic things like that, that’s what keeps me going.”
As Evans worked with the objects, he often thought of the people who owned them, the people who were on their way to New York from San Francisco only to succumb to a storm 500 nautical miles from their destination.
“The SS Central America site is an accidental time capsule and as such is a perfect glimpse into the era of these people,” Evans said. “It was the days of the California Gold Rush… It was three years before the Civil War and that kind of unrest. So we had people from all over the country who had traveled to California and were now going home them with their wealth.”
In addition to their historical value, some objects have a fairly high monetary value.
As a USA TODAY Network photographer captured photos and video of the artifacts, an armed security guard wearing a body armor kept a close watch. The value of each item ranges from a few hundred thousand dollars to over a million dollars.
Where to find the treasures of the “Ship of Gold” on tour
The artifacts will be made available to the public this weekend during the first of a three-city tour that may be expanded before being auctioned.
The first display will be Friday through Sunday at the National Antique Bottle Convention in Reno, Nevada. The artifacts will then be showcased at the Chicago World’s Fair of Money in Rosemont, Illinois from August 16-20, before heading to the HardRock Summit 2022 Gem and Jewelry Show in Denver from September 8-11.
All items will be auctioned in October and November, although exact dates have not been announced. Keep an eye on the auction site for details.
As the treasures of the “Ship of Gold” come back to life, the man tasked with finding them remains behind bars for a sixth year.
Deep-sea explorer Tommy Thompson has developed new technology to locate and recover objects from the SS Central America. He turned 70 as he sat in his Michigan jail cell in April.
Thompson is being held in contempt of court and fined $1,000 a day for each day he does not answer government questions about the whereabouts of 500 gold coins. He’s racked up more than $2 million in penalties and there’s no indication he’s about to be released.
Created in 2014 and organized in collaboration with the Friends of Welgemeend and Strauss & Co, August Art Month always presents a thematic art exhibition presenting rare and important works of art from private collections. This year’s exhibition is titled Tribute: Erken/Verken (August 5-31) and celebrates the achievements of art market pioneers Louis and Charlotte Schachat, founders in 1971 of Cape Town’s legendary art gallery, Die Kunskamer.
Charlotte Schachat will play an active role in the commemorative exhibition Tribute: Erken/ Verken. She has agreed to loan key works of art as well as providing valuable information and archival material on Die Kunskamer and the artists it has represented for half a century. Works by leading artists such as Kenneth Bakker, JH Pierneef, Alexis Preller, Deborah Poynton and Irma Stern will be on display.
“Louis Schachat had a great influence on me and opened my eyes to many artists,” says Strauss & Co president Frank Kilbourn, who was a long-time customer of Die Kunskamer. “I have many works manipulated by Oom Louis, including that of Irma Stern Two Arabs. He taught me the importance of buying what you like, not what you think is a good investment. He also introduced me to exciting contemporary artists. The exhibition Tribute: Erken/ Verken commemorates the role played by a gallery in influencing collecting habits. It also acknowledges the immense support that Die Kunskamer has given to the local art market, not only by promoting established artists, but by taking courageous positions on little-known artists.
Louis Schachat was born into a farming family in Robertson, Western Cape, in 1926. His father was a Lithuanian Jew and his mother an Englishwoman. He attended an Afrikaans school and grew up speaking Afrikaans and Yiddish. He studied law at the University of Cape Town and practiced law for several years before, in 1971, opening Die Kunskamer with his wife, Charlotte, in Cape Town. At that time, the Schachats were already seasoned collectors.
Through Die Kunskamer, the Schachats earned a reputation as avant-garde dealers focused on South African art. Their asking price of R5,000 for a Stern caused a stir from the start. The Schachats set other benchmarks. They were the first buyers to pay over R1 million for a work by Irma Stern, and in 2010 they paid well over R10 million for a still life by Stern. When Louis Schachat died in 2013, aged 87, the Sunday Times published a full obituary: “More than anyone, he was responsible for raising the monetary value, recognition and status of the ‘South African art’.
The story of Die Kunskamer is one of focused commitment, but it is also one of open tastes and the pleasure offered by new art. “It wasn’t just about the big names in Oom Louis,” says Frank Kilbourn. “He supported artists like David Brown, Norman Catherine, William Kentridge, Malcolm Payne, Michael Pettit, Stanley Pinker and many more. It represented the curious and exploratory side of Die Kunskamer, the verkenning aspect of what he offered. I have always experienced a real sense of adventure when visiting Die Kunskamer. It was like a voyage of discovery. I got the most joy from the unusual works on display. Oom Louis did not abandon the artists he loved.
Earlier this year, the WWII naval museum ship, a Buffalo treasure, began to sink after a severe hull breach; Schumer immediately came to Buffalo and began working to develop an all-hands-on-deck approach to saving WNY Landmark
The senator says the funding he got in the upcoming appropriations bill is the lifeboat the USS The Sullivans needs to carry out essential repairs to restore the ship and the waterfront
Schumer: It’s full steam ahead for Sullivans’ repair effort
After promising to help restore the USS The Sullivans After the ship tragically began to sink earlier this year, US Senate Majority Leader Charles E. Schumer revealed today that he had secured $7.5 million in the bill to Just-announced Senate appropriations to fund repairs to the iconic landmark in Western New York during World War II. The money will go to Western New York after the appropriations bills pass through Congress later this year.
“In April, I issued an SOS to the federal authorities – Save Our Sullivans – and promised that everyone would be on deck until we secured the funding needed to restore that Buffalo pride and joy. Today, I am proud to report that hope is on the horizon to fully restore the USS The Sullivans and make sure she stays on Canalside as a beacon on Buffalo’s beautiful waterfront,” said Senator Schumer. “This funding is the lifeboat this historic vessel needs to complete its repairs, and I will continue to fight to guide us through these rocky waters and lead this vessel through the repair and restoration process to bring it to life. keep them safe and seaworthy for generations to come.”
“This investment will mean the restoration of USS The Sullivans and secure its place in Buffalo’s Naval and Military Park for generations to come,” said Buffalo Mayor Byron W. Brown. “I was proud to stand by Senator Schumer almost immediately after the ship began to sink and once again delivered for an iconic Buffalo institution.”
“When Senator Schumer visited the Naval Park after the ship’s hull ruptured, I knew we were in good hands,” said Paul Marzello, director of the Buffalo Naval and Military Park. “USS The Sullivans is stable and in safe hands, but long-term restoration work has yet to begin. With this funding, we will be able to ensure that all necessary repairs and improvements can be carried out and that the USS The Sullivans will remain a centerpiece of our facility for all time to come, honoring the brave men and women who served their country. This is exactly what we needed and Senator Schumer delivered everything he said he would do.
Immediately after the USS The Sullivans began to sink, Schumer came to Buffalo and stood outside the sinking ship to pledge his support for the veteran and the Western New York community to help secure funding federal to fix the landmark. The funding will go directly to ensure that this beloved vessel can be restored and remain on permanent display at Buffalo Naval and Military Park. Specifically, $2.5 million of the funding will come from the National Park Service’s Historic Preservation Fund and $5 million from the U.S. Department of Housing and Urban Development’s Community Development Fund as once-directed Congressional spending. that Congress will have passed its annual appropriation bills. Schumer said the City of Buffalo and the Naval Park are currently receiving proposals from naval architecture firms with expertise helping unique museum institutions, like the USS The Sullivans, assess the condition and structural integrity of the hull of the vessel to determine the best course to follow. for repairs, and this funding will go directly to carrying out these efforts. The vessel, Schumer added, is currently stable and no longer poses an environmental hazard to Buffalo’s waterfront. However, the repairs made to her hull and interior were intended only to stabilize the vessel and do not represent an adequate or permanent repair.
In addition to lobbying for funds through the appropriations process, Senator Schumer is also exploring ways to ensure USS The Sullivans, the historic Buffalo Lighthouse and other historic marine facilities across the country have the funding they need for years to come by bolstering the National Maritime Heritage Grant Program available through the National Park Service. This funding could also be used for other ships in the naval and military fleet.
Commissioned in 1943, USS The Sullivans operated in the Pacific theater during World War II and is one of four remaining Fletcher-class destroyers in the world. The ship is named for the working-class Irish-American family who lost their five sons in the 1942 Naval Battle of Guadalcanal. She was decommissioned in 1965 and donated in 1977 to the City of Buffalo, where it remains a National Historic Landmark and has served as a memorial ship and museum ever since.
By Catie Joyce Bulay Excerpt from our August 2022 issue
Farnsworth Art Museum
Farnsworth Forward: The Collection
The Farnsworth is well known for its Wyeths, and rightly so – the museum holds a remarkable cache of the first family of American art. Farnsworth Forward: The Collection, however, highlights how its collections—some 15,000 works—can convey more broadly and deeply Maine’s place in American art. The exhibition is curated by Suzette McAvoy, who was the museum’s chief curator in the early 1990s before leading the CMCA for many years. The concept began with a discussion between McAvoy and Farnsworth brass about how to look at the permanent collection again. A key result: what McAvoy calls “contemporary interventions” – combinations of historical and contemporary paintings intended to “ignite a visual conversation”.
So a 2003 work by Boothbay-born artist Sam Cady, for example, appears next to a 1916 painting by George Bellows. Both depict the construction of a wooden ship, showing the continuity of a traditional Maine industry but also an evolution of the way of seeing it: Bellows brings a realistic eye, Cady zooms in on intersecting beams, blurring the line between realism and abstraction. The pairs of works seem to challenge and reinforce each other – and cast the collection in a new, meaningful light. Until December 31. 16 Museum Street, Rockland. 207-596-6457.
Ogunquit Museum of American Art
The view from the narrow cove
Painter Charles Woodbury first ventured from Boston to Narrow Cove, Ogunquit, in the late 1800s after marrying a Mainer native. The couple purchased five acres, and Woodbury, a painter and instructor established in the town, began holding multi-week art classes on the shore. His influence sparked a seasonal migration along the coast, transforming Ogunquit into a renowned artistic colony. The view from the narrow cove is now in its fifth iteration, following its debut in 2018, bringing a new dive into the museum’s collection each summer, which opened on the former Woodbury property in 1953.
The exhibit draws lines between the Ogunquit settlement and broader art movements. Interesting, for example, is a landscape by German Rudolph Dirks, a famous early 20th-century caricaturist who honed his fine art skills in Ogunquit. The general impression is one of the diversity of influences that have entered and left the small town. Associate Curator Devon Zimmerman describes the exhibit as “a wonderful opportunity to see Ogunquit’s rich history but also to look at it through the lens of the broader artist communities.” Until October 31. 543 Shore Rd., Ogunquit. 207-646-4909.
Maine Center for Contemporary Art
The view from here
The CMCA has always focused on the here and now – a non-collecting institution always on the lookout for what’s new, never saving anything for later. On the occasion of the 70th anniversary of the museum, however, the curators allow themselves a look back, at least in a way. The view from here contains the works of 20 artists, aged between 20 and 90, who have played a role in the history of the CMCA, from exhibiting works to donating works at auction. It’s still very current – most of the pieces are recent, although 95-year-old Lois Dodd, who had a major solo show at the CMCA in 2008, lent her 1974 painting Sunlight on spruce at noon, which previously hung in her Cushing home. Midcoast-based nonagenarian painter Alex Katz, one of the institution’s earliest exhibitors, contributed his 2017 abstract landscape Grass 7a large canvas of bright green and yellow brush strokes.
“We wanted to celebrate our history,” says CMCA Executive Director Tim Peterson, “but from a contemporary perspective.” It is a retrospective which is light on the retrospective but which always touches on the identity of the museum. Over the decades, the CMCA has been a home for artists of all media, as long as they are connected to Maine. If you lived here (you’d be home now) is a fiberglass replica of a camping trailer with a neon sign on the side that says “It’s the little things” and a built-in screen showing a looping video of the coast. Tectonic Industries, the collaborative duo behind it, was looking for a creative community by the sea where they could live and work, which brought them here. Until September 11. 21 Winter Street, Rockland. 207-701-5005.
GEORGE SOUFFLET, THE CREW, 1916, OIL ON CANVAS, LEGACY OF MRS. ELIZABETH B. NOYCE, 1997; RUDOLPH DIRKS (1877-1968), HILL TO THE SEA (OGUNQUIT, MAINE), 1930, OIL ON CANVAS, 21 X 24 INCHES, GIFT OF JOHN AND MARY DIRKS, 1997.10.2. Katherine Bradford, SUMMER NIGHT2021, ACRYLIC ON CANVAS, PHOTOGRAPHED BY DAVID CLOUGH
Artifacts from one of two Buddha statues destroyed by the Taliban in 2001 at the famous Bamiyan site in central Afghanistan were stolen immediately after the Islamist group returned to power last August, according to reports. people close to the file.
The stolen Buddhist sutra and hessian sack that had been kept in the warehouse of a German archaeological team in Bamiyan are considered prime finds that could shed light on the creation of the information cliffs carved by the Greats 6th century Buddhas at the UNESCO World Heritage Site. .
“Extremely valuable historical material that tells us what kind of thought people had about great Buddhas at the time of their creation has been lost,” Takashi Irisawa, a Buddhist culture expert and president of Ryukoku University Kyoto, said in a statement. western Japan. “It’s devastating.”
File photo taken in June 2022 showing the remains of historical monuments in the Bamiyan Valley in central Afghanistan. (Kyōdo) == Kyōdo
In 2001, when the Taliban were in power, they blew up the two statues because of their belief, based on an extreme interpretation of Islam, that idolatry is forbidden.
The sutra and the hemp bag were discovered by the German team between 2006 and 2008.
The sutra was found in the rubble of the “Eastern Buddha”. It was written in a script used from the 6th to 7th centuries and is said to have been kept inside the statue. The bag was found on the right arm of the statue.
File photo taken in June 2022 showing the Bamiyan Valley in central Afghanistan. (Kyōdo) == Kyōdo
The Taliban took control of the capital Kabul on August 15. The artifacts were stolen from the warehouse the next day after someone broke in, according to people familiar with the matter.
Excavated Buddha heads and other artifacts were looted from the warehouse of a French archaeological team during the time of the Taliban takeover. The warehouse stored valuable artifacts excavated from the vicinity of the “Eastern Buddha”.
File photo taken in June 2022 showing the Bamiyan Museum and Cultural Center under construction in central Afghanistan. (Kyōdo) == Kyōdo
At the Bamiyan site, a cultural center that will serve as a museum is being built on a hill overlooking the location of the two giant statues, with the construction of its main building already completed.
An official from the Afghan Ministry of Information and Culture lamented the loss of the precious artifacts, saying they were meant to be the museum’s main tourist attraction.
In 2003, the cultural landscape and archaeological remains of the Bamiyan Valley were simultaneously inscribed on the UNESCO World Heritage List and the List of World Heritage in Danger.
Discover the transformative power of the visual arts at Katonah Art Museum on this week’s Road Trip: close to home.
The museum changes its exhibits every few months, and right now it’s embracing “Tradition Interrupted” – where international artists merge traditional craftsmanship with modern ideas.
“KMA is really unique in that we are a non-collecting institution, so all of our exhibits are special programs,” says KMA curator Emily Handlin.
Each piece breaks down known stereotypes in different ways.
Like a traditional Middle Eastern rug that seems to be melting away – but it can also be interpreted as symbolizing the collapse of the standard oil industry in that part of the world.
Or skateboards topped with a Muslim prayer rug. It’s designed to resemble the motion of a kickflip, but combining praying and skateboarding highlights some hidden similarities.
An exhibition with porcelain take-out containers is particularly intriguing. “It makes us think about how we go through these kinds of restoration rituals now. For example, where we used to all eat together, maybe on china plates, now we eat in our cars in these take-out containers. So it highlights that cultural difference,” says Handlin.
The Summer Concert Series will captivate you with live music – classical, opera, jazz and more!
Small ancient sculptures that have gathered dust in an Albuquerque storage box are coming home to Mexico, where they are closely tied to the identity of indigenous communities.
The Albuquerque Museum Foundation celebrates the repatriation of the dozen sculptures in a ceremony Wednesday. The local Mexican consulate will accept Olmec greenstone carvings, a figure from the city of Zacatecas, bowls that have been buried with tombs, and other clay figurines dating back thousands of years.
The event comes as indigenous, indigenous and African communities have pushed museums, universities and other institutions to repatriate objects that are important parts of their cultures and histories.
Foundation President and CEO Andrew Rodgers said returning the sculpture that had been in storage for 15 years was the right thing to do. Even the foundation’s board agreed. But some outside their organization had a different idea.
“We met a few people who suggested, ‘Oh, you should just sell them. … ‘They might not be worth a ton, so keep them’ or ‘Mexico doesn’t really care about that stuff,’ Mr Rodgers said.
Mexico, however, cares a lot.
“We appreciate and acknowledge the steps taken by the Albuquerque Museum Foundation to voluntarily return these archaeological pieces to the Mexican nation,” Mexican Consul Norma Ang Sánchez said in a statement. “These are important pieces of memory and identity for our Indigenous communities, and we are happy that they are being recovered.”
The effort to find the origins of the artifacts began more than five months ago when they were discovered sitting in a storage box. Mr Rodgers’ assistant obtained the original appraisal form when a donor offered them in 2007.
“Immediately alarm bells started ringing in our heads when they saw the label ‘pre-Columbian,'” Rodgers said.
Playing detective on the internet, Mr. Rodgers found the original dealer. A woman from New York in the 1990s still had the original note cards from the sale of the items to donors in 1985. She said they were bought on the side of a road in Mexico or from dealers in New York. England.
“I don’t think anyone had a bad intention. I just think there wasn’t a lot of clarity or transparency in this kind of practice 30, 40, 50 years ago,” Rodgers said.
Archaeologists from the University of New Mexico Museum and Emory University in Atlanta authenticated the objects before speaking with the local Mexican consulate. The Mexican National Institute of Anthropology and History, which will end up with the figures, estimates that they were made in western Mexico between 300 and 600 BC.
There has always been a desire to reclaim pre-Hispanic culture and artwork, according to Tessa Solomon, a reporter for online publication ARTnews who has covered dozens of stories on the subject.
When Andrés Manuel López Obrador became president of Mexico in 2018, his administration made recovering artifacts a priority. Culture Minister Alejandra Frausto Guerrero tried to stop sales of cultural objects at auction. These efforts spawned a social media movement called #MyHeritageIsNotForSale. It is estimated that more than 5,500 archaeological objects from Mexico have been recovered in recent years.
“[Mexican officials] certainly have the most concerted effort to stop the auctions of these coins,” Ms Solomon said. To place these objects in a European or American gallery or museum is “to create these voids in the history of the art of these places which are difficult to fill. It should not be up to other countries to create these stories.
Campaigns for the restoration of artifacts and works of art in a country or a people are taking place all over the world. The US Department of the Interior is considering changing a federal law that guarantees the repatriation of Native American remains and sacred objects. Proposed revisions include more clarity, specific timelines and stiffer penalties for violating the law.
Indigenous groups in Canada are asking the Vatican Museums to give up tens of thousands of artifacts and works of art. The Vatican says the feathered headdresses, carved walrus tusks, masks and embroidered animal skins were gifts to Pope Pius XI.
Germany and Nigeria signed an agreement on July 1 to facilitate the return of hundreds of artifacts known as the Benin Bronzes that the British stole from Africa more than a century ago. Hundreds of bronzes have been sold to museums around the world. The Smithsonian had 29 at its National Museum of African Art in Washington, D.C. They will go to the Nigerian government.
Other Smithsonian museums have been returning objects to their rightful owners for more than three decades, said Kevin Gover, undersecretary for museums and culture. Determining who owns objects can be a long process.
“Some of these things, remember, are often very old,” said Mr. Gover, a citizen of the Pawnee Nation of Oklahoma. “So it takes a lot of research to be sure we understand exactly what it is and exactly how it was acquired. … I’m impressed that this museum in Albuquerque [Foundation] had done it in six months.
The racial reckoning that began in the United States in 2020 has likely increased the number of calls for the recovery of antiques and works of art. In April, the Smithsonian enacted an “ethical return policy” that requires a review of how an item came into the possession of the institution.
Museums and other art venues must face the fact that they are in a time when they will be judged by their actions, not just their works of art.
“The public kind of expects more from these institutions,” Gover said. “That’s part of maintaining that trust, being able to say that we came into this object in an ethical way, in a fair way.”
Mr. Rodgers of the Albuquerque Museum Foundation sees the ordeal as a key learning opportunity.
“This experience mostly gave us exposure to this world and a better understanding,” he said. “So I think we’re certainly much better prepared to make sure that we never agree to anything that we shouldn’t.”
Jackie Robinson’s family home in Stamford, Connecticut had a den with trophies, artifacts, and a large scrapbook commemorating her many accomplishments. David Robinson, his son, fondly recalled in an interview how one wall held pictures and plaques depicting his father’s success in sport. Another wall – with a collection twice as large – highlighted her father’s social activism, something of far greater significance to Jackie Robinson and her family.
The philosophy evoked in this lair, emphasizing social activism rather than sport, is continued, along with many of the same artifacts, in a new museum in Lower Manhattan dedicated to the legacy of one of the figures most important in American history.
The new Jackie Robinson Museum – New York’s first museum largely dedicated to the civil rights movement – held a ribbon-cutting ceremony on Tuesday and will open to the public on September 5, allowing visitors to soak up the legacy of Robinson and his widow, Rachel, in a much larger and modernized version of the family home, with the same spirit of using sport as a vehicle for social progress.
“But the collection is a thousand times bigger,” said David Robinson, who lives in Tanzania but was in New York for his mother’s birthday and the opening of the museum. “Some of the things we grew up with now have huge historical significance, and the museum is a place where anyone can see that, and so much more. It will be a marvel of modern information dissemination.
Rachel Robinson, who turned 100 last week, cut the ribbon for an institution she had long envisioned as a center for people to experience the courageous work her husband has done, hand in hand with her, to help transform American society through the integration of Major League Baseball and many other businesses.
Jackie Robinson, who had been a young star with the Kansas City Monarchs in the black leagues, broke the color barrier into the white major leagues on April 15, 1947, when he made his debut for the Brooklyn Dodgers of the National League. He immediately became a symbol of hope for racial equality in the United States, but as visitors to the museum will discover, Robinson’s tireless work to break down barriers began long before that. And the work continued long after he retired as a player after the 1956 season.
Visitors will see that while Robinson was in the army during World War II, he successfully lobbied for black soldiers to be allowed to attend an officer training program, which he completed in 1943 and emerged as a second lieutenant. They will learn how, after retiring from baseball, Robinson broke barriers in advertising, broadcasting and business, how he started a bank to help black citizens, so often excluded from basic loans, secure their capital .
They will also be inspired, museum organizers hope, by his and Rachel’s work alongside many stalwarts of the civil rights movement, including the Reverend Martin Luther King Jr., Medgar Evers and Whitney Young, people David Robinson remembers. remembers visiting with her parents at the Stamford home.
“It was such an important period in history that the museum encapsulates,” said David Robinson. “If we don’t remember that struggle, we lose touch with an important period in American history that can guide us today and it’s a tribute to all the people who took the desire from my mother and realized it.”
One such person is Della Britton, the tireless President and CEO of the Jackie Robinson Foundation, a nonprofit created by Rachel Robinson to continue her husband’s legacy through education and scholarship. universities for 242 students each year.
The museum has already begun online programs with schools across the country and, in line with Rachel Robinson’s ultimate goal, hopes to become a beacon that will encourage and support the next wave of leaders in the fight for social justice.
“When we first took on this mission to build the museum for the first time, Rachel said to me, ‘I don’t want it to just be a sanctuary for Jack, I want it to be a place that brings people together and continues the dialogue around the most difficult problems. problem of our society, then and now, which is race relations,” Britton said. “That’s what has kept me here for the past 18 years. And as we have evolved politically during this time, it seems even more compelling and important.
Setting up and running the museum has been a challenge. Funding issues dating back to the 2008 financial crisis, followed ultimately by the pandemic and ensuing global supply chain issues, Britton said, forced the museum to delay opening for years. The foundation raised $38 million of the $42 million it sought to build the museum, of which $25 million went to capital investment for construction.
Now the museum is finally ready to open, with 4,500 artifacts and 40,000 historic images. It has over 8,000 square feet of permanent exhibit space in a prime location on the TriBeCa border, and an additional 3,500 square feet for classrooms and a gallery.
A study conducted on behalf of the museum in 2018 estimated between 100,000 and 120,000 visitors a year, Britton said, but the museum is preparing for more, especially since there is currently no other museum like this. here in New York.
“In a town where Lady Liberty welcomes you, there is no other civil rights museum,” Britton said. “It is significant.” The museum has a fascinating collection of artifacts and exhibits that connect Robinson’s athletic success to his pioneering civil rights work. Visitors will be able to see letters he exchanged with Branch Rickey, the Dodgers president and general manager who originally signed Robinson, which reflect their complex relationship.
They can also learn about some of Robinson’s friends and allies, including Ralph Branca, the Dodgers pitcher who was the first teammate to befriend Robinson, and Hank Greenberg, a Jewish Detroit Tigers slugger who experienced anti-Semitism in baseball and was the first opposing player. offer words of support and encouragement to Robinson. There’s an exposition on John Wright, a lesser-known black league pitcher whom Rickey signed three months after signing Robinson. Along with Robinson, Wright suffered devastating racist abuse in the minor leagues. He eventually returned to the Homestead Grays without having had the chance to break into the Dodgers.
The museum also obtained a uniform and bat that Robinson used in 1947, his Rookie of the Year award, his 1949 National League Most Valuable Player award, his original Hall of Fame plaque, his Presidential Medal of Freedom and many other items.
Each day, an e-tape brand will offer a question of the day to visitors and school groups to generate conversations about the race.
“It could be something like, ‘Was Colin Kaepernick right to kneel during the national anthem? “Said Britton. “The idea is to start a conversation and make people think.
Britton and family hosted the ribbon-cutting ceremony on Tuesday, and guests included trailblazing tennis star Billie Jean King; filmmaker Spike Lee; Eric Holder, former United States Attorney General; former players CC Sabathia and Willie Randolph; and John Branca, board member and nephew of Ralph Branca.
During a recent visit, Britton highlighted many unique features of the museum, including a three-dimensional Ebbets field that highlights where many of Robinson’s accomplishments took place, but also things like the stand of hot dogs where Rachel Robinson warmed bottles of milk for Jackie Robinson, Jr., their eldest son, who died in 1971.
David Robinson, who was born in 1952, was too young to remember his father’s playing days. His fondest memories revolve around family dinners, fishing trips and especially golf, where David loved to caddy for his father.
“We played where we could, in a segregated and discriminatory Connecticut,” David recalls. “He could only be a guest of a European at these golf clubs. But we traveled to the Caribbean, to Spain. It was great fun to be there.
Other important memories include home rallies with other civil rights leaders and lively discussions about ways to improve the lives of millions of Americans – the central theme the museum strives to convey. In this way, David, his sister Sharon and their mother believe that Jackie Robinson would have seen the museum as an important extension of a common heritage.
“Very rarely would he say, ‘I’,” recalls David Robinson. “He said, ‘We’ve done great things.’ But I think he would love to have his accomplishments presented in terms of American evolution, to try to inspire action today.
Frida Kahlo was perhaps one of the most influential female artists in history and drew inspiration from Mexican popular culture. She explored gender, class, race and identity in society. Seeing his work and his colorful display of self-portraits is impactful, but seeing him in an immersive way is spectacular.
The program “Frida Kahlo, An Immersive Biography” takes up her story and brings it to life on several media. When you walk through the door, you start with an altar setup in traditional Day of the Dead style, and it immediately sets the mood for what you’re about to experience. If the goal was to invite his spirit to take the journey with the visitor, then it worked.
Each room was an experience in itself. You start looking at historic photographs and turn a corner to see an amazing impactful projection or installation and even a hands-on room for artistic expression. There are virtual reality experiences and relevant moments of his moving life and work.
The exhibition was a co-creation between Frida Kahlo Corporation and Layers of Reality, a digital art center in Spain. His works were wildly successful after his death, and the progressive subjects of his life are perhaps even more relevant in today’s culture.
The show is at Walter Where? House, 702 N. 21st Ave. The place itself has its own je ne sais quoi and was unexpected in the industrial part of Phoenix. The exhibition runs until August 7 and tickets start at $34.99. Visit fridakahlophoenix.com for more information.
It’s the brainchild of Arinah Rahid, a 28-year-old architecture graduate. Convinced in making beauty, wellness and art accessible to everyone, she created White Pyramid at the height of COVID-19, in September 2021.
Arinah’s youth was mostly spent abroad, traveling between France and the Far East. It was during a visit to an art gallery abroad that she was inspired to dip her toes into the world of entrepreneurship.
Art is a form of communication, whether on walls or on fingernails. I saw an opportunity to create something different for people to enjoy. They can do their nails and admire the works of art in the same space.
– Arinah Rahid, Founder of White Pyramid Gallery & Nail Bar
With a background in art, Arinah is closely connected to the local art scene. In addition to providing beauty services, she wanted to attract local and international artists and provide them with a platform to showcase their works in her gallery.
For her, the collaboration would allow artists to better connect with people.
Custom nail polishes safe for everyone
The space oozes luxury, from the overall aesthetic to its services. Its all-white interior is anchored with a chic communal nail bar, accented by a Delft Blue backdrop by Carasaven.
Arinah’s Gallery also houses a single facial booth. Customers can choose from several trendy facials ranging from 30 to 80 minutes. Free Sakura black tea will be served or, if guests prefer, champagne is available at an additional cost.
“We mix all of our custom nail colors in-house for our clients. As this is a custom nail polish line, there is no limit to the range of colors we can supply. White Pyramid customers have the artistic freedom to create their own unique color to reflect their personality,” explains Arinah.
Her nail polishes are also easy to apply and can be peeled off. All colors are also created to only require one coat for full opacity and can last up to a week.
Meeting challenges with creative solutions
The biggest hurdle that Arinah faced when starting her business was mainly finding experienced and knowledgeable staff.
“Like other companies, the challenges we have faced over the past two years are the workforce. In order to overcome the lack of manpower, I sometimes take on clients myself to ensure that we provide the best customer service experience.
She also took to social media – Instagram, TikTok and even YouTube – to boost brand awareness. However, she admits that her most important resource has been word of mouth from her satisfied customers.
In terms of funding, Arinah shares that she pooled a considerable amount of her savings in order to start her business. Despite initiating White Pyramid during the pandemic, it was fortunate that it managed to break even within the first six months.
For now, she is concentrating on the success of her two new stores in Sentosa and i12 Katong — which she opened in less than a year — and distribute their range of custom-made nail polish internationally.
“With the success, my plan is to establish many nail bars in Singapore and expand my product line to the international market,” she says.
Buy now the White Pyramid Nail Bar on VP Label:
Featured Image Credit: White Pyramid Gallery & Nail Salon
Quito (AFP) – The Ecuadorian prosecutor’s office said on Monday it was investigating former President Lenin Moreno over the disappearance of priceless artifacts from the presidential palace.
The prosecution said on Twitter that it was raiding Moreno’s home “as part of an investigation into the alleged crime of embezzlement related to the alleged disappearance of heritage pieces” from the government building.
Embezzlement is punishable by up to 13 years in prison in Ecuador.
Moreno, who served as president from 2017 to 2021, was accused of taking the artifacts by an ally of his predecessor Rafael Correa.
Moreno served as Correa’s vice president from 2007 to 2013, but the couple fell out and became enemies.
Correa is currently living in exile in Belgium, which granted him asylum after he was convicted in absentia of corruption and sentenced to eight years in prison.
Moreno dismissed the accusations in a post on Twitter as “just another story out of many that have been made up.”
He said he had opened his home to the search.
Moreno claims that the archaeological pieces that allegedly disappeared from the seat of government during his presidency “have been handed over, where appropriate, to the competent institutions for their register and custody.”
During his presidency, Correa opened a museum in the presidential palace to display jewelry and other gifts he received during official engagements, but Moreno later closed it.
Sinking into the plush mound of a beanbag chair, I close my eyes as the hypnotic, layered music takes me – where? An echo chamber at the bottom of an Egyptian pyramid? A chaotic bazaar in Cairo? It’s cool and dark in the underground gallery of the Contemporary Arts Museum in Houston, but time seems to ripple like a haze of heat waves between ancient and present.
Such is the charm of “Mariah Garnett: Dreamed This Gateway”, one of the most mind-blowing inner experiences of this blazing summer. On view until August 28, the exhibition features two opera video installations and an audio recording. This makes it as much a sonic adventure as it is a visual one.
Sarah Barr and Sharon Roberts, VISAC Gallery with Shelly Martin, KSCU Marketing Department. Photo: Submitted
Ruth Hackett of the Passmore Public Hall Association and Amy Bell, KSCU Kaslo/South Slocan Branch Manager.
Peggy Vayro, KSCU Salmo Branch with Abra Brynne and Marya Skrypiczajko of the Central Kootenay Food Policy Council. Photo: Submitted
Andrew Creighton of the Nelson Community Food Center with Amy Bell, KSCU Branch Manager for Kaslo/South Slocan.
The Kootenay Savings Credit Union (KSCU) community foundation recently announced $65,000 in new grants.
“There are so many amazing community initiatives going on across our region right now, and the diversity of applications this grant round was great to see,” shares Aron Burke, KSCU Community Liaison Officer.
“We know how much time, effort and energy goes into helping to make our communities stronger and places to live more inclusive, and we are so happy and proud to be able to support this work.”
In addition to recent grants, the foundation has also awarded $58,450 in scholarships and sponsorship of summer camps to help local high school and post-secondary students pursue their dreams and goals.
The 25 organizations benefiting from this latest round of funding include:
Beaver Valley golf society $3,000 for restaurant and pro shop repairs;
VISAC Art Gallery $1,000 for a new small oven;
Trail Room $2,500 for the Kootenay Teen Chef Club;
Sanctuary Pre-teen Center $2,500 for life skills program;
Take A Hike Foundation $1,500 West Kootenay Education;
Rossland Arena Society $2,500 for concession improvements;
Rossland Library $2,000 for after-school programs and book club;
Rossland Scouts $2,500 for hall repairs;
Passmore Public Hall Association $5,000 for site upgrade;
Salmo Valley Trail Society $2,500 for trail expansion;
Nelson Community Food Center $5,000 for kitchen renovations;
Central Kootenay Council $1,100 to update the food and farm directory;
Dark Water Dragons (Kaslo) $1,000 for UV protection shirts;
Kaslo Curling Club $1,000 for ice maintenance and improvements;
JV Humphries $700 for Kaslo Outdoor Shelter/Classroom;
Lardeau LINKS Society $2,000 for new electronics;
Nakusp Youth Society $1,200 for summer recreation for youth;
Slocan Park Hall Society $2,500 for building improvements;
Valhalla Foundation for Ecology $8,900 to build trails accessible to people with disabilities.
Summit society (Cranbrook) $2,000 for a men’s support group;
Spark Society for Youth (Kimberley) $1000 Youth Food Club;
Kimberley Gymnastics Club $5,000 for reconstruction and daycare;
Kimberley Public Library $2,000 for improved shelving;
Peaks Gymnastics (Invermere) $5,000 for a training center;
Lake Windermere Lions Club $2,000 Development of a campground.
Since its inception in 2000, the Kootenay Savings Community Foundation has invested millions of dollars in nonprofit cultural, economic, educational, environmental, health and social projects and initiatives in the Kootenays.
The National Publications and Culture Archive of China, consisting of a headquarters in Beijing and branches in three major Chinese cities, was inaugurated on Saturday. After a three-year construction, the institution aims to act as a “seed bank” for Chinese culture by playing a significant role in preserving ancient texts and modern publications in China.
The Hangzhou Branch of the National Publications and Culture Archive of China Photo: IC
The institute’s three branches are located in Hangzhou, Zhejiang Province (east China), Xi’an in Shaanxi Province (northwest), and Guangzhou in southern Guangdong Province.
In a bid to enhance the legacy of Chinese civilization, the central government began construction of the buildings in 2021.
Integrating exhibition halls, libraries, archives, museums and other functions, the archive collects physical embodiments of China’s “cultural heritage of publications”, such as ancient books, opera masks and stamps that document Chinese civilizations.
The establishment of the institute is one of the major cultural projects supported by the central government in China’s 14th Five-Year Plan (2021-25).
Zhang Yiwu, a professor at Peking University, told the Global Times on Sunday that the project will have a major impact on the heritage of Chinese culture and the preservation of the vast amount of Chinese texts created since the beginning of writing. in China.
Wu Xiaotian, head of the planning and implementation group of the institute’s headquarters, explained that the central location in Beijing will lead the coordination of national publishing resource planning, while the three branches will gather and cover the publishing resources for different regions locally. .
Unlike the main headquarters in Beijing which stores some of China’s most central cultural heritages, the Xi’an branch focuses in particular on the culture of northwestern China, known for the cosmopolitan Tang Dynasty (618- 907), while the Guangzhou branch focuses on Chinese Lingnan culture. , which encompasses iconic heritages such as Cantonese opera.
Located near the southern Qinling Mountains, the Xi’an branch is home to approximately 2.09 million copies of historical texts and 160 terabytes of digital resources.
The national-level project not only focuses on preservation, but also on education. For example, the Xi’an branch is currently holding two exhibitions of 2,343 texts so that visitors can learn more about the civilizations of the Silk Road.
“Although these archives are defined as ‘databases’ for China’s cultural genes, the interactive events serve the purposes of public education and transmission of culture. Therefore, I predict that this project will have a range various activities in the future that will make it even more influential,” historian and museum expert Sun Shuyi told the Global Times.
The three branches have several sections that not only serve as exhibition halls, but also as libraries and archives. For example, the Guangzhou branch covers an area of 246,900 square meters, and its Wenqin Pavilion can store about 2.65 million texts. Many of the rare publications in the archives have been donated by private collectors.
For example, 782 volumes of precious old books were donated by collector/businessman Jin Liang to the Hangzhou branch in 2021.
The communist manifesto Photo: IC
As a densely populated and industrialized area since ancient times, Hangzhou also bears the responsibility of preserving the culture of Jiangnan, which encompasses the eastern part of China.
The Hangzhou branch will also be responsible for academic communication between different branches and other types of institutions in China and around the world.
The branch is located near the Liangzhu Archaeological Ruins, which once housed an ancient regional state that had already started cultivating rice more than 5,000 years ago.
“The places are positioned to inherit traditional Chinese culture, which is why we chose the location near Liangzhu, an area where the 5,000-year-old Chinese civilization began,” said well-known architect Wang. Shu, who also designed and built the complex. local media.
To date, the Hangzhou complex, consisting of 13 units, has received a total of 1 million important texts such as The communist manifesto in various languages donated by local offices and bureaus and private collectors.
“Before the project, we understood the enormous importance of the program and the responsibility we bear. It is an archive of ancient books in the modern era and it is an institution for inheriting Chinese history and culture,” Wang added.
Wu said that in addition to preserving and transmitting culture, the archive will also enhance the cultural confidence of Chinese people, present a strong cultural image and promote dialogues among world civilizations.
Zhang, the professor, added that with the institute, more attention will certainly be given to Chinese texts, while research on these important works of culture will have a base camp.
A 28-year-old publisher by the name of Wei told the Global Times that the creation of the archive shows the central government’s interest in ancient texts and modern publications and that she is happy to see that these exquisite cultural products will be preserved for the future generations.
A thousand-year-old statue of a monk from southeast China, stolen in 1995, was found in the Netherlands 20 years later. The return process to China has been long as international coordination is involved.
According to the official website of Datian County Government in Sanming City in Fujian Province, on June 22, the local tourism authority said it would redouble its efforts to recover the statue from a Western collector by all means.
The priceless statue is of a monk named Zhang Gong, commonly known as Zhang Qisan, and whose art name was Liuquan, and dharma name was Puzhao. He was born in the Northern Song Dynasty (960 to 1279) over 1000 years ago. He was a doctor and was known for his benevolence.
Zhang Gong converted to Buddhism, practiced devoutly, and became a monk. He died aged 37, the date is estimated between 1022 and 1155.
Medical imaging (a CT scan) shows Zhang Gong’s mummified body, without all internal organs, sitting inside the gold-lacquered statue.
Locals carved her likeness into a statue and worshiped her as the grand master of Zhang Gong in Puzhao Hall in Yangchun Village, Fujian Province.
But since the Chinese Communist Party (CCP) came to power, many such Buddhist treasures have been nearly destroyed, or stolen and shipped out of the country.
Lin Mingzhao, who lived in Yangchun Village, told Chinese media The Paper on December 13, 2018 that the village has been worshiping and guarding the Buddha body statue of Zhang Gong for over 1,000 years.
“Every generation of Yangchun grew up listening to the story of the great master of Zhang Gong,” Lin said.
The villagers have followed Buddhism since ancient times.
However, during the Cultural Revolution (1966-1976), a political movement that Mao Zedong launched to consolidate his rule, traditional Chinese thought, culture, customs and habits were defined as the “four olds” and to eradicate at the root.
Buddhist temples, scriptures and treasuries were no exception to the cultural havoc.
Some locals began to protect the Buddhist treasures from destruction, so the statue of Zhang Gong was hidden.
One winter day in 1966, the “Destroy the Four Elders” task force was stationed in Yangchun Village and asked the villagers to hand over the statue of Zhang Gong.
To keep the statue hidden, the villagers moved it overnight and hid the 1.2 meter (3.9 ft) tall, 50 kilogram (110 pound) artifact, deep in the mountains.
Officials tortured villagers to reveal the whereabouts of the statue by forcing them to kneel on broken porcelain tiles.
In desperation, some villagers found a solution: a substitute. There was a statue of another monk, Chen Gong, which did not contain an undecomposed body, but had another Buddhist treasure sarira, a glowing substance found in the ashes of a cremated monk.
According to a local villager’s recollection, one night a villager led a task force to search for the Zhang Gong statue, but in fact he “discovered” the Chen Gong statue. In order to prevent the group from recognizing the statue’s identity, the villager used a knife to destroy the statue’s face. The villager then opened the base, pulled out the sarira, and threw it in the grass while no one was watching.
The group then burned the Chen Gong statue and demolished the Puzhao hall.
Then the villager quietly returned and picked up the sarira.
Thus, the statue of Zhang Gong survived a potential disaster.
In 1993, locals rebuilt Puzhao Hall and restored the golden statue of Zhang Gong.
But after the Cultural Revolution, more and more people sought to earn money and didn’t care so much about traditional things.
On December 15, 1995, villagers were surprised to find that the statue of Zhang Gong had disappeared, leaving only the robe and hat that Zhang Gong had been wearing. The thieves entered the Puzhao Hall by digging into a side wall.
Although the villagers called the police and searched everywhere, the statue was not found.
The millennial Buddhist treasure had mysteriously disappeared without a trace.
Thefts of cultural objects were commonplace in the 1990s. A 2013 article in Archeology, an American archaeological journal, estimated that around 100,000 people in China are engaged in this underground occupation and have excavated at least 400,000 ancient graves over the past 20 years.
Most stolen cultural artifacts are transported overseas for lucrative profits.
The villagers recognize the statue
On February 23, 2015, the Daily Mail reported that an expert had studied a statue and was surprised to find through CT and endoscopy that it contained the remains of a monk and could date back to the 11th-12th century. .
The report says the mummy was that of Buddhist master Liuquan, who belonged to the Chinese school of meditation. Liuquan is the artistic name of Zhang Gong.
After the scan, the mummy was taken to Budapest, where it was exhibited at the Hungarian Museum of Natural History until May 2015.
Westerners have mistaken Zhang Gong’s flesh body for being mummified, in fact, these are two different things, said Lei Shuhong, a medical doctor at the University of Tokyo, saying a mummy is a corpse treated with ‘a special way, so it’s dry. In contrast, a non-decomposing body like Zhang Gong’s does not require special treatment, and his body remains “elastic” even over a long period of time.
News of the statue’s contents was widely reported and also attracted attention in China.
A villager from Fujian Province looked at the photo and said, “Isn’t that Zhang Gong? The Fujian Provincial Bureau of Cultural Heritage has confirmed that the seated figure exhibited in Hungary is Zhang Gong.
Shortly after, Chinese state media claimed that the monk’s statue had been “stolen from China” and demanded that the collector return the statue to China.
Oscar van Overeem, a Dutch architect, acknowledged ownership of the golden Zhang Gong statue and said he bought it in Hong Kong in 1996 from another collector. The previous collector is said to have acquired it from an artist friend in China, Dutch News reported on July 17, 2017.
As to how the seated statue arrived in Hong Kong from the Fujian countryside, no one knows.
After the Chinese side contacted van Overeem in the Netherlands, he agreed to conditionally return the statue, but the two sides failed to negotiate acceptable terms.
In late 2015, village committees in Yangchun and Dongpu, Fujian Province, filed a lawsuit in Amsterdam, the Netherlands, demanding the return of the Zhang Gong statue.
On December 12, 2018, the Amsterdam District Court ruled that community groups could not be considered legal persons and therefore were not eligible to claim compensation.
The two village councils also filed a similar lawsuit in the Fujian District Court and won. But there is no bilateral agreement between the Netherlands and China to recognize civil judgments, so the outcome of the Chinese court’s decision has no meaning in the Netherlands.
Disputes for the recovery of cultural relics across borders are quite complex, involving both issues of jurisdiction and applicable law, and sometimes historical disputes.
China News reported on January 29, 2017 that data from the Academy of Cultural Relics shows that more than 10 million pieces of cultural relics left China for Europe, America, Japan, South Asia -East and other countries and regions since the Opium War. in 1840,
According to the British Museum, he collected around 23,000 objects from China.
There has been a long-standing controversy over the need to recover these lost artifacts in China. Some argue that China should find a way to reclaim its cultural relics; while others believe that if the artifacts had not been taken out of China, they would have been destroyed by the CCP and are therefore best kept in foreign museums to promote Chinese culture.
The flesh body of a monk Decompose after death
The phenomenon of a Buddhist adherent’s flesh body remaining intact after death was a common occurrence in ancient China.
The most famous is the sixth patriarch of Zen Buddhism, Hui Neng, whose incorruptible body has been at Nanhua Temple in Guangdong Province for over 1,300 years.
It was vandalized three times and nearly destroyed during the Cultural Revolution.
In 1996, Li Jinsuo, a village headman from Mianshan City in Shanxi Province, was cleaning a Buddha statue at the local Zhengguo Temple when he found a tile of mud on the head of the statue. Beneath the pane he saw an exposed white skull. Li immediately reported to his superiors. Later, it was confirmed that there was a monk’s body inside. And it wasn’t the only one. The temple’s 15 statues were made from mud sculpted from the bodies of deceased monks. So far, this may be the world’s largest group of non-decaying flesh statues discovered.
The CCP, which only recognizes atheism, said nothing about this important news until 20 years after it was reported in the media.
The reason a monk’s body doesn’t decay after death, Lei told The Epoch Times, cannot be explained by modern science. Based on her practice of Falun Dafa, a spiritual discipline, she knows that monks can break through the present material world and enter another, more microscopic dimension that transcends the boundaries of time and space; thus their body of flesh will not decay after their death after hundreds or even thousands of years.
Ellen Wan contributed to this article.
Shawn Lin is a Chinese expat living in New Zealand. He has contributed to The Epoch Times since 2009, with a focus on China-related topics.
Perry Rubenstein, a socially connected dealer in New York and Los Angeles whose career was cut short by a grand theft conviction, has died at 68. His ex-wife, public relations executive Sara Fitzmaurice, confirmed Rubenstein’s death and said he was deceased. from natural causes.
“Perry has had a few twists and turns on his journey, but his true north has always been his unconditional love for his daughters and his legacy will live on with them,” Fitzmaurice wrote in an email. “He will be truly missed.”
Before spending six months in prison several years ago, Rubenstein was esteemed on the New York and Los Angeles stages, thanks to his eponymous gallery, which filed for bankruptcy in 2014.
Rubenstein had worked with artists such as Mike Kelley, Sturtevant, James Lee Byars, Diana Al-Hadid, Iwan Baan, Jesper Just, Kamrooz Aram and Robin Rhode. First opening on Prince Street in SoHo in 1989, Rubenstein opened two spaces in Chelsea in 2004, then moved its entire operation to Los Angeles in 2011, at a time when few New York galleries had it. had done.
But his grand theft charge, which stemmed from allegations involving two Los Angeles collectors, tarnished his reputation. While he continued to work as an artistic adviser, his gallery never reopened.
Born in 1954, Rubenstein got his start as a model. He claimed he was first noticed by designer Gianni Versace in the 70s when he was in Milan.
“Versace threw several sweaters at me, photographed me, then said, ‘You’re the best model in town,'” Rubenstein Told Artillery in 2013. “Of course, I was the only 6-foot-tall male model, because it was off season. At the end of the day, he gave me $1,000 in cash. Soon, I worked with Versace, Armani, Valentino and other top designers, modeling for French and Italian voguetraveling throughout Europe and Africa.
While in Europe, he purchased works by burgeoning Italian artists such as Francesco Clemente, Enzo Cucchi and Sandro Chia, building up a collection that Artillery described as “small but significant”. Several years later, he quit modeling and moved to New York.
In this city, he met a crowd that included Andy Warhol, Larry Gagosian, Tony Shafrazi and Jean-Michel Basquiat. In one of the many Medium articles that Rubenstein has written over the years, he describes his friendship with Basquiatcalling himself a “facilitator” of the artist’s drug-using habits early in Basquiat’s short career.
“Our relationship was based on my passion for his work and our shared passion for some of the same recreational drugs that became quite dangerous for both of us as we went from ganja to fine wine to the queen of drugs, cocaine,” he said. writes Rubenstein.
Although Rubenstein did not begin his career with serious ambitions in the art world, his gallery eventually became a success. He said Artillery that he had been able to gain a foothold in the New York art world because “the barriers to entry into that world were significantly less structured than they are today”.
Much later, Rubenstein’s decision to open for Chelsea in 2004 was seen as significant. He became an early adopter of the neighborhood, which is now considered one of New York’s central gallery districts. “If you go to Berlin and tell an artist you’ll only show him on 57th Street and not Chelsea, he won’t show with you,” he said. say it New York Times in 2007.
His tune changed in 2011, when he moved to Los Angeles and told the Los Angeles Times that there were “very limited possibilities in terms of what you can do with gallery space” in New York. He said Los Angeles was “no longer the sideshow; it is no longer second only to New York as the capital of the arts.
Things started to change when, in 2013, Michael Ovitz, a collector and co-founder of the Creative Artists Agency, sued Rubenstein over the sale of two works by Richard Prince worth nearly $1 million. Ovitz claimed that Rubenstein withheld proceeds from the sale of one piece and peddled another at a lower price than they had agreed on. That same year, collector Michael Salke also alleged that Rubenstein defrauded him when selling a piece by Takashi Murakami. Rubenstein denied Ovitz and Salke’s allegations.
A year later, in 2014, the Perry Rubenstein Gallery filed for bankruptcy in Los Angeles. In the bankruptcy filing, the gallery reportedly listed $1.2 million in assets, much of it in the form of artwork, but said it owed $5.4 million. Also in 2014, Rubenstein and Fitzmaurice divorced.
In 2017, Rubenstein did not contest grand theft embezzlement charges and was sentenced to six months in prison.
In a Average position, Rubenstein described the “injustice” he witnessed during his time behind bars. He recounted various instances of racism towards other inmates around him, many of whom were black or brown, and he pledged to make himself a better person.
“Through the fog of my own misery,” he wrote, “I began to see more clearly.”
When I was a kid in the early 1960s, my Republican doctor-father Eisenhower always had the latest copies of his favorite subscription publications on his home desk: Time, Life, the Journal of the American Medical Association, and Mad Magazine. .
For me, Time and Life connect him to a committed citizen; JAMA, as a conscientious professional. But crazy? With his Mascot of Alfred E. Neuman and the anarchic and sacred humor of the cow? It signaled a whole different type of reader, a reader with a taste for cultural weirdness similar to the one I was developing.
This taste ran through the early 1960s, a manic era and pivotal moment between the Cold War and Vietnam, Civil Rights and Black Power, repression and liberation; beatnik and hippie; Ab-Ex and Pop. This is the era documented in the intelligent two-tier show called “New York: 1962-1964” at the Jewish Museum, an institution which, we learn, has played an important role in cultural change.
This survey of nearly 300 works of art and ephemera, in a suave design by Selldorf Architects, starts by putting us right in the middle of midtown Manhattan with a photo mural of foot traffic on West 8th Street in Greenwich Village. With a neon liquor store sign hanging overhead and a soundtrack of urban static, you have a classic New York scene, which could be anytime.
It becomes era-specific in the first gallery with a selection of shots of early 1960s sidewalk prowlers: Diane Arbus on the city’s waterfront, Lou Bernstein on the Bowery, Leonardo Liberated in Harlem, Frederick Kelly in the subway and Garry Winogrand at the Central Park Zoo. There’s also a soundtrack here, emanating from a vintage jukebox with a selection of vintage tunes, and what a burgeoning moment in pop music it was: Bob Dylan, chubby checkerJohn Coltrane, the Shangri Las.
A new abnormal in art begins here too. A few years earlier, New Art in New York still meant Abstract Expressionism: brushy, dripping, splattered paint, epic in scale, operatic in tonality. But that’s not what’s here.
In the center of the gallery, we see a lean, leaning scarecrow of a sculpture made from construction remains by an artist in his twenties named Marc di Suvero. On the wall behind her hangs a hyper-realistic close-up painting, of Harold Stevenson, with one fixed eye. A nearby shrine-like niche frames a roughly hand-cast relief, in plaster and paint, of women’s undergarments by a young Claes Oldenburg.
All three artists operated outside of the Ab-Ex world. Stevenson (1929-2018) was a friend of another young realist, Andy Warhol, and an early regular at the Factory. Oldenburg, who died this month at 93, took his pictures — shoes, sandwiches, street signs — of things in his East Village neighborhood. Di Suvero, part of a new generation of lofts, lived far from the city center, in the Wall Street district, where he scoured the streets for materials at night.
And not far from his South Street Seaport studio in Coenties Slip was a small community of artists who, for reasons of both economic necessity and self-definition, had distanced themselves from the art establishment. . These outliers included Robert Indiana, Ellsworth Kelly, Agnes Martin, James Rosenquist and Lenore Tawney, and, forming their own nearby community, Jasper Johns and Robert Rauschenberg. All are represented in the show, Johns and Rauschenberg extensively. And all of them were as different from each other as they were from the dominant styles of their time.
It wasn’t long before downtown was knocking on the door, with the Jewish Museum leading the institutional pack. Arrived in 1962, a new director, Alan Solomon, determined to make the museum a precursor by introducing what he called “new art”, wasted no time.
In 1963, he gave Rauschenberg his first retrospective. The following year, he did the same for Jasper Johns. Also in 1964, at the request of the United States government, he presented a major group exhibition of young American artists at the Venice Biennale and scored a success there that tipped the balance of power in the world of art. art, from Europe to New York.
The Jewish Museum could easily have presented “New York: 1962-1964” as a tight little institutional tale. Instead, it’s part of the story of a much bigger story, with a broad view to be credited to its original organizer, Italian curator Germano Celant, who died of Covid complications in 2020. (The exhibition is presented as a collaboration between his studio and a team from the Jewish Museum that includes Claudia Gould, Director; Darsie Alexander, Chief Curator; Sam Sackeroff, Associate Curator; and Kristina Parsons, Curatorial Assistant.)
The larger, multi-disciplinary, and largely grassroots political story unfolds chronologically on the second floor of the show. In 1962, the Cuban Missile Crisis and the suicide of Marilyn Monroe, in different ways and to varying degrees, shook the nation. The 1963 March on Washington for Jobs and Freedom was an exhilarating moment, and the show gives it and the civil rights movement itself great attention, through archival documents and works produced by artists and collectives – the Spiral groupAtelier Kamoinge — inspired by movement.
Then, a few months later, the country experienced a frontal psychic shock with the assassination of John F. Kennedy. And here, the popular pre-digital press becomes the main expressive voice in galleries of newspapers, magazine covers, and a music video of Walter Cronkite’s muffled on-air announcement of the President’s death.
Through it all, much of Solomon’s “new art” was at work, plugged into the manic national mood. The exhibition concludes with an extended tribute to the curator through the documentation of the Venice Biennale triumph of 1964, when Rauschenberg became the first American to win his grand prize, the Golden Lion, in painting. In fact, in the context of “New York: 1962-1964”, the Venice event seems anti-climactic. It’s the audacity of much of the art that preceded it, and the political questions that this work brings to the fore, that make you watch and think.
Solomon’s group show in Venice—designed, he said, to “impress Europeans with the diversity of American art”—had no women, but Celant’s had several. Materially rich assemblages from Nancy Grossman and Carolee Schneemann seen here are more interesting to look at and think about than almost anything around them. (Schneemann had to wait decades for her own moment in Venice; she won the Biennale prize Golden Lion for lifetime achievement in 2017.)
And in an exposition of what could be considered, among many other things, a mini-investigation into the rise of Pop Art, the most dynamic Pop image is the big and bold image of Marjorie Strider. “Girl with radish.” The relief painting originally appeared in a 1964 Pace Gallery exhibition titled “The First International Girlie Show” which, in keeping with the distorted irony that has always shaped the market, had work of only two women, Strider and Rosalyn Drexler, among its ten artists. (Clearly determined to restore this balance, Celant also included Drexler’s piece, an antique self-portrait and, in other sections of the exhibition, works by Lee Bontecou, Chryss, Sally Hazelet Drummond, Martha Edelheit, May Stevens and Marisol Escobar.)
Finally, it’s worth noting – the museum barely does – that in a pre-Stonewall era when having non-heterosexual sex could get you beaten, arrested, or killed, the “new art” world had a dense gay population. . The proof is here, in the crowd of Coenties Slip, at Johns and Rauschenberg, at Stevenson and, of course, Warhol. John Cage and Merce Cunningham, in a section of the show devoted to experimental dance, can be counted, as can John Ashbery and Frank O’Hara, whose voices echo from recordings of avant-garde poetry.
And then there is the big one Jack Smith and his movie “Flaming Creatures” (1963), in which a multitude of non-binary bodies, some clothed, some not, tumble and swirl orgiastic to the music of top 40 radio hits. It’s pure silly poetry. And it earned filmmaker and critic Jonas Mekas a charge of obscenity when he screened it in March 1964, at a time when the city was frantically trying to clean up its act ahead of a World’s Fair that would feature, among other entertainment edifying, the venerated “Pietà” by Michelangelo, imported from the Vatican.
Michelangelo. Jack Smith. Strange bodies. “pieta”. Art in New York in the early 1960s was a heady mix. Culturally, we were perched on the edge of something and leaning forward. And a quick flip through the show’s catalog, an illustrated three-year timeline edited by Celant and designed by Michael Rock, gives a sense of a larger tipping condition — national, global.
Here’s a photo of Jacqueline Kennedy leading her White House TV tour, and one of the segregationists George Wallace blocking the entrance to the University of Alabama. There’s Martin Luther King Jr. discussing civil rights with Lyndon Johnson in the Oval Office; and there is the Buddhist monk Thich Quang Duc who cremated himself in Saigon to protest American intervention in South Vietnam. Here’s a studio shot of the “Leave It To Beaver” TV family; here is a blurry clip of two guys kissing in a Warhol movie.
Most of these images have appeared at one time or another in popular magazines. I don’t know what my father might have thought when he saw them in Time or Life. But his devotion to Mad makes sense.
New York: 1962-1964
from July 22 to January 8, 2023 at the Jewish Museum, 1109 5th Ave at 92nd Street, Manhattan; 212-423-3200, jewishmuseum.org.
You never know what you’ll find when you dig into a 2,000 year old city.
During a construction project at the Western Wall in Jerusalem, Israel, to install an elevator as part of an effort to increase access for people with disabilities, archaeologists from the Hebrew University of Jerusalem made new discoveries, according to the Associated Press.
The main find of “an ornate first-century villa with its own ritual bath” was unearthed during years of salvage excavations, which are carried out before any modern construction so that researchers and archaeologists can remove the artifacts s there are.
Inside the villa were “fragments of intricate frescoes and mosaics”, but archaeologist Oren Gutfeld said the final find was a private Jewish ritual bath. Michal Haber, an archaeologist from the Hebrew University of Jerusalem, added that the location of the bath was important because it overlooked the Temple esplanade and showed the wealth of the owners.
“We are in the wealthy part of town on the eve of its destruction,” Haber said.
The Jewish Quarter Reconstruction and Development Society began the construction project in 2017 with the aim of building two elevators so that visitors can get to the Western Wall much more easily from the Jewish Quarter.
Previously, people had to descend a flight of 142 steps to descend 85 feet from place to place. If they could not physically descend the stairs, visitors had to take a long walk around the city walls to an entrance gate.
“This plot of land where the elevator is going to be built has remained untouched, giving us the great opportunity to dig through all the strata, all the layers of ancient Jerusalem,” Haber told the AP.
During construction, archaeologists found a number of other ancient artifacts in addition to the villa, including oil lamps and Roman army bricks.
“Historic crossing points included Ottoman pipes built into a 2,000-year-old aqueduct that supplied Jerusalem with water from springs near Bethlehem; early Islamic oil lamps; bricks bearing the name of the 10th Legion, the army which besieged, destroyed and was then encamped in Jerusalem two millennia ago; and the remains of the villa of Judea of the last days before the destruction of the ancient Jewish temple in the year 70.
Beyond Amazing: Learning From 60 Years of Spider-Man
Exploring comic book art and pop culture history through the lens of Marvel’s iconic superhero, English teacher Ben Saunders is curating a 2022 exhibit at the Comic-Con Museum in San Diego
Story By Jason stone | Original art and graphics by Wonder
It’s really unbelievable ! Marvel’s Spider-Man turns 60 this year.
The wall-crawling crime fighter was introduced to the world in August 1962, making his anthology comic book debut amazing fantasy #15. Created by the collaborative team of writer Stan Lee and artist Steve Ditko, Spider-Man was an instant hit with readers. Marvel quickly made him the star of its own title, establishing a classic character from the Silver Age of comics. Featured for decades in movies, TV, toys, video games, apparel, and countless other media, the iconic web-slinger’s final stop is a grand museum exhibit.
“Some of the best commercial artists in history have worked at Marvel, from the 1950s to the present day. And Marvel’s real-world narrative is just as compelling as the fictional superhero worlds they created.
The series editor for Penguin Classics’ New Historical Marvel Anthology SeriesSaunders also served as co-curator of the new exhibit, which features original artwork drawn for comic books from all eras, as well as thousands of unique artifacts spanning every facet of the hero’s life in media. .
“When you get to see the original artwork, traditional distinctions between fine art and commercial art break down,” he says.
Lifelong comic book reader who is also a english teacher and an expert on the works of Shakespeare, Saunders brought to the exhibition project not only his literary and historical ideas, but also significant elbow grease. He estimates he has digitized over 300 images from his personal comic book collection for use in the show. For the many original works exhibited, however, he acknowledges the exhibitors’ trust in generous collectors who have agreed to lend them the materials. Marvel Comics divested its production art archive during the 1980s, Saunders explains — most of those pieces ended up in private hands, making full exhibits like this a particular challenge to curate.
“For several years, my goal in curation has been to bring this production art, which most of the public has never seen, to gallery walls where it can be enjoyed. A well-drawn and inked comic book page is, I think, one of the most beautiful works of art you can find.
Saunders’ collaborator in the creation of the show, Patrick A. Reed is an events professional and independent pop culture historian. It promises that visitors will not only be immersed in the world of classic and contemporary comics, but can anticipate a large-scale multimedia experience encompassing Spider-Man’s entire journey through popular imagination: cinema, animation , games, collectibles, and many more.
“Our exhibition is rooted in the classic structure of the museum – the power and resonance of the artifacts on display,” he says.
“But we also used modern digital technologies and brought something like a world-building theme park construction. It is a hybrid concept. People will experience bits and pieces of Spider-Man’s fictional worlds and also learn the real story behind them.
Timeless themes; Lasting popularity
An exhibition on which Saunders and Reed have previously worked together, Marvel: the universe of superheroes debuted at Seattle’s Museum of Pop Culture in 2018 and found enough success to go on to tour the country. Organizers predict that tens of thousands of people could also attend their new single-character show. What can explain the immediate success and enduring appeal of Spider-Man? According to these experts, it has to come down to a variety of factors, but perhaps the most important is Spider-Man’s underlying psychology and his impressive roster of enemies.
“Comic fanatics like to argue over which title produced the best rogues gallery,” Saunders confesses. “To me, it really comes down to Batman or Spider-Man.”
From Doctor Octopus and the Green Goblin to Kingpin and Kraven the Hunter, early issues of The Amazing Spider-Man featured over a dozen villains that proved almost as popular as the hero himself. They would continue to plague Spidey and reappear frequently in other Marvel titles over the decades.
“There’s no other brief, intense burst of creativity in comics quite like it,” says Reed. “It’s like the Beach Boys or the Beatles or the Rolling Stones in popular music at the same time – artists who were releasing two or three albums a year and not just high quality, but growing by leaps and bounds at each new release.”
As for Spider-Man’s unique inner life, most of it has been explored through his secret identity. Peter Parker, a somewhat introverted high school student from Queens raised by his elderly aunt and uncle, gained his powers from the painful bite of a radioactive spider. Unlike young superheroes who had always been relegated to sidekick roles by comic book writers, Parker didn’t have superpowered adults to guide him. On his own, he had to learn to control his strange new powers and apply them “with great responsibility”.
“They were breaking new ground by making Peter Parker’s teenage years the emotional center of their stories,” Saunders says. “The interiority of the sidekick hadn’t interested the creators of comics of the 1940s and 1950s. How Robin, for example, feels about being an orphan boy who ends up with the strangest stepfather of all the times play no part in the narrative machinery of previous Batman stories. When Spider-Man appeared, he expanded the emotional reach of the entire superhero genre.
Spider-Man and Peter Parker were a great metaphor for the angst, excitement and transitions of adolescence itself, and 1960s teenagers – a whole new class of people who rather suddenly evolved from of the older concept of “children” – easily identified. Unlike previous generations of teenagers, baby boomers also had disposable income that could make Spider-Man a bestseller.
Although it sounds like an “overnight sensation,” the web-slinger’s success was actually carefully planned by its creators, Saunders says.
“Stan Lee and his co-workers at Marvel weren’t young upstarts. They were mid-career, seasoned professionals in those days. Sure, their primary concern was selling comics. But they knew they were playing with a new sociological and commercial category and recognized how this could broaden the entire bandwidth of expression in the genre.
The heroic gaze of success
To help imagine this new kind of hero, Lee reached out to Marvel’s most idiosyncratic artist. Unlike most of his peers, Steve Ditko had little interest in anatomical precision or drawing with “realism”. He was, however, a master of gesture and character design, and his unique style brought a kinetic feel to the pages. Perhaps most impactful, Ditko invented Spider-Man’s iconic threads.
“There’s something inherently appealing about the Spider-Man suit,” Reed enthused. “Children react immediately, even before they are old enough to really understand the character. Just Spider-Man looks cool.”
At a time in comics when the vast majority of characters were still white — and most wore masks that partially revealed their faces — Lee also credited the head-to-toe styling of Spider-Man’s costume with helping readers of all races connect. with the character by imagining himself inside his costume. It’s probably no coincidence that Spider-Man is an ever-popular subject for Halloween masks and children’s pajamas. And the universal nature of the character’s appearance has undoubtedly contributed to his appeal across cultures and generations.
In recent years, with the growth of the Marvel Universe in print and explosion across various media, this inclusive aura has expanded to also include depictions of the character behind the mask.
“In fact,” Reed notes, “to a younger generation of fans, Spider-Man is not Peter Parker is Miles Morales.
A biracial teenager, Morales made his comic book debut in 2011. Ultimate Fallout #4 introduced readers to this next-gen hero who took over the mantle of Spider-Man after the death of Peter Parker. In 1977, Marvel also introduced its first Spider-Woman, a literally self-contained female model. Her character continued to evolve, with Parker’s original lover Gwen Stacy recently taking on the role of the expanding Spider-Verse.
Reed explains that one of the challenges of putting together a show like Spider-Man: Beyond Amazing stems from their need to recognize and engage the many diverse audiences that have forged personal bonds with these much-loved characters over time.
“As curators, we always strive to be aware and to include all the different perspectives,” he says. “There are many ways to recognize the resonances of central creation. Our hope is that people will leave the exhibition with a greater awareness not only of the work itself, but of its cultural impact.
In the words of its creator, the great Stan Lee: “Excelsior” to Spider-Man! A 60-year-old hero to millions, Spidey continues to weave vast networks of influence.
Liebestraße Written by Greg Lockard Art by Tim Fish and Hector Barros Review by Felix Whetsel
If a summary includes the phrase “queer historical romance,” you bet your buns I’m going to check it out. “Liebestrasse”, written by Greg Lockard, with illustrations by Tim Fish and Hector Barros, is a love story set in the tumultuous political atmosphere of the late Weimar Republic.
Samuel is an American working in Berlin in 1932. While browsing an art museum, he comes across a handsome blond man, to get really acquainted in a backdoor gay bar. Philip introduces him to an entire underground community where they can openly be themselves, despite the rise of Nazism. As Philip dreams of an escape together, Samuel insists they must fight fascism.
20 years later, Philip returns to Berlin to find the man he loved, the man he lost in the chaos of the fall of the Weimar Republic. “Liebestrasse”, which translates to “street of love”, refers to the last place they were together, and is a story of forbidden love at a time when marginalized people struggled to survive, and the guilt of those who did. If you’re looking to learn more about the genocide of the queer community during WWII, it also includes a list of books and movies on the subject.
New Fantastic Four #1 Written by Pierre David Illustrated by Alan Robinson Comment by Krystal Moore
In the original “Fantastic Four” series, issues 347, 348, and 349, the “new Fantastic Four” made their debut. That was 1990, and since then fans have lamented that Marvel never gave this legendary team its own series. Now those fans can rejoice as the formidable team of Spider-Man, Hulk, Wolverine and Ghost Rider finally gets at least five issues together in this limited series.
The “Hell in a Handbasket” storyline has a very colorful but dark-themed beginning. A lot of Marvel books will carry a teen or adult rating that seems questionable, but I think this one might deserve it. Long story short, something mystical happens, bringing our four heroes together in Las Vegas, shortly after the timeline of those original issues. Something is afoot in Sin City involving priests, nuns, demons, and homeless people who live in underground tunnels.
The book is written by Peter David with artist Alan Robinson and exceptional color by colorist Mike Spicer. Just the different teammate personalities are entertaining, but add some pretty serious events and you have a really fun comic! I hope the next four issues will be as good as this one. We don’t want to disappoint fans who have been waiting for this for 30 years!
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LAKESIDE — When Mame Drackett was growing up, she spent a lot of time watching her father build boats at his company, Sandusky Boats.
“And I spent a lot of time falling off the docks. I was still in the water by mistake,” she said.
Mame’s grandfather helped her father run Sandusky Boats and her grandmother was the company secretary. Her childhood in the middle of woods and water gave birth to Mame a passion for boats that will remain all her life. Her husband, Bill Drackett, honored that passion when he surprised her with one of his father’s original boats.
“For a major birthday, Bill found one and gave it to me,” Mame said. “Now we have seven of my father’s boats. It’s very special.
The Dracketts’ boats were among several on display at the Lakeside Wooden Boat Show and the Plein Air Art Festival on Sunday. The boat show was started 19 years ago by the Dracketts and a few other members of the Lakeside Wooden Boat Society.
“Exactly 19 years ago, I said, ‘We should do a boat show.’ We didn’t ask for Lakeside. We didn’t ask for security. We just dragged three small boats to the bend,” Mame said.
The Boat Show is Lakeside’s second most popular weekend
Since then, the show has become Lakeside’s second most popular weekend event. This year’s show featured a variety of wooden boats, including Chris-Craft, Thompson, Richardson and several of the locally popular Lymans. Wet weather kept some boats away, but Mame said the show normally had around 60 boats.
“We’ll have as many as will fit on the docks, and the rest will sit on the hotel lawn,” she said.
This year’s show also featured the traveling Lyman Boat Works Historical Display, owned by Lyman historian Tom Koroknay, whose expertise earned him the nickname Doc Lyman. In 1988, Koroknay purchased hundreds of Lyman Boat Works artifacts from the closed company, and he displays them in the traveling exhibit. The museum is popular with many Lyman fans.
“These are well-built boats, they have great design and they’re built for the lake,” Koroknay said.
Koroknay said he hopes to find a local, permanent location for his museum where people can have better access to artifacts and information. He often answers questions about Lymans.
“I do hull documentation and historical matters,” he said.
The author uses the show to meet historian Lyman
Brenda Haas, who owns a home in Lakeside, asked an unusual historical question in Koroknay on Sunday. She wanted to know which Lyman was a typical choice for a family living in the 1950s.
“I’m working on a piece of fiction – it’s a women’s fiction called ‘Found on Beddington Bluff’. It’s generational, and it goes back to the 1950s. I’m trying to find Tom to ask about the Lymans, because I want it to be accurate,” Haas said.
Haas wasn’t just looking for Koroknay. She also walked to the living room to see the boats.
“I love coming to this event every year,” she said. “They’ve cultivated it over the years, and it’s a nice throwback. Some boats are in amazing condition.
Barn find becomes immaculate 1954 Aristocraft
Not everyone started out that way. Monte and Kitty Bauman brought their pristine 1954 Aristocraft Typhoon to the show from their home on Lake Buckeye near Columbus. The Baumans also posted photos they took when purchasing the boat. It was broken and unusable.
“It was a barn find,” Kitty said. “It was a six-month restoration.”
Among the boats were brightly painted depictions of lake life created by dozens of outdoor artists, including Cleveland’s Kelsey Schaffer. Schaffer, who owns Art by Kelsey Rae, normally specializes in live event paintings at weddings, corporate events and other venues. At the Plein Air Art Festival, she painted her memories.
“My family has had a cabin at Lakeside my whole life,” Schaffer said. “I paint some of the summer scenes that marked my childhood.”
She painted the view of the Hoover Auditorium from her cottage porch and the pier where she spent countless hours “eating, drinking and sunbathing”.
“And this is the hotel,” she said, pointing to a painting. “This is where we sit to watch the sunsets.”
For more than a quarter of a century, a sculpture by Claes Oldenburg has been a landmark on a West Hollywood side street. A massive stainless steel knife blade, 6ft high and 12ft long, cut from the roof of a vernacular building on North Hilldale Avenue, jutting out to the street.
The gleaming silver blade, cutting through the center of the facade, curled sheets of gray stucco on both sides. The composition resembled the bow of a ship moving steadily through the water.
Or, like a cake being sliced, as the artist told Times reporter Suzanne Muchnic when unveiling the elegant sculpture in 1989, its architectural flourish like the frosting decorating the building. Oldenburg, the witty and prolific pop sculptor who died Monday in New York at 93, had an astonishing ability to layer provocative references through a precise selection of ordinary objects as sculptural motifs.
Hamburger, Pepsi-Cola sign, sports shoe, scissors, Pentecostal cross, three-way plug, underpants – these mundane objects and more, mostly made of plaster and covered in colorful brush paint, are among the nearly three dozens of his sculptures, drawings and multiples in the collection of the Museum of Contemporary Art, Los Angeles. They form one of the largest groups of his significant contribution to art in the second half of the twentieth century.
Popular culture is regularly misunderstood as a subject of Pop art, but Oldenburg knew that art culture is his true focus. Central to his stellar achievement was his ability to reveal the operations of art circulating in the spectral media maze of contemporary society. Its perfectly identified popular shapes are just the contemporary language for its delivery.
For example, the 1976 American Bicentennial celebration in Philadelphia – a fairly high-profile commission, with government monuments long out of fashion for major art – saw him craft a masterpiece. The massive 45 foot upright”Clothespin” is identical to those in your laundry basket – with some striking contextual differences. The pair of upright wooden pins, here crafted from industrial Cor-ten steel, echo (and surpass) the famous 37-foot-tall standing bronze figure. William Penn visible atop the nearby Town Hall, made in 1890 by sculptor Alexander Milne Calder. The two pins are held together in an embrace by the coil spring, also evoking the 1916 form of the smooching couple in “The kissa treasure in the Philadelphia Museum of Art down the street, sculpted in limestone by Constantin Brancusi, arguably the greatest modern sculptor.
The graceful line of the Oldenburg coil spring brings everything up to date, artfully and patriotically suggesting the number “76”. A century of sculpture is absorbed.
The Knife in West Hollywood had been commissioned for the facade of the Margo Leavin Gallery’s sculpture annex on the next block, where Stockholm-born, Chicago-raised, New York-based Oldenburg has shown numerous times over the years. (The sculpture was removed after the gallery closed in 2013.) Its reference to cake cutting implied a festive dimension, fitting for the opening celebration of an art exhibition.
He had been making cake sculptures since at least 1962, when his first wife, artist Patty Mucha, helped sew yards of canvas stuffed with foam rubber and cardboard into the shape of a giant slice of chocolate for a sculpture soft and fluffy that stands on the ground. (Over 9 feet long, that’s big enough for a futon.) And knives had been an integral part of his work since 1966, when he proposed a monumental one that would appear to open a London building at the bustling shopping intersection of London. ‘Oxford and Regent. streets, preparing the contents of the stores to spill onto the sidewalk. (The project never saw the light of day.)
Closer to home, Oldenburg has collaborated on several occasions with Los Angeles architect Frank O. Gehry, including the design and manufacture of an enormous Swiss army knife with enormous blades and a corkscrew spiraling towards the sky like a caricaturist’s scribble signifying madness. In collaboration with art historian Coosje van Bruggen, Oldenburg’s second wife, it was built to serve as a boat to navigate the absurd but charming canals of Venice, Italy, as part of a performance elaborated. With the famous versatile mutability of a Swiss pocket knife, always at the ready, he made manifest the multiple allusions offered in Oldenburg art.
On Hilldale Avenue, the stab in the stucco facade also suggested the spectacular opening of a modern art gallery. Hollywood popular culture dominates contemporary society, while artistic culture stands on the sidelines, occupying a somewhat cloistered space in everyday life. Oldenburg changed everything.
“I’m all for art that a child licks after removing the wrapper,” he once explained. Oldenburg’s embrace of ordinary objects to get to the heart of the matter fits perfectly with Gehry’s architecture of everyday materials, like chain-link fence and plywood, deployed as telltale elements of the real art.
The two worked together at the offices of an advertising agency in Venice, where Oldenburg provided a hilarious pair of giant binoculars that function like a triumphal arch, enshrining the driveway in the underground car park, as if acted as the modern version of ancient Hades; and, with Van Bruggen, the downtown Loyola Law School campus, where the artists’ self-descriptive “Toppling Ladder With Spilling Paint” — a sculpture notably wrapped in an oversized chain link — snidely warns students of the legal profession against accidentally making a terrible mess of things.
This fortuitous activity is reserved for art and artists. They get messy and experimental. Time and time again, Oldenburg made pop sculptures that contained art. Art is the ghost that lurks in Los Angeles’ global pop culture machine, and Oldenburg has set it free.
ROME — Last month, the Italian authorities inaugurated a new museum here whose title sets an ambitious agenda: the Museo dell’Arte Salvataor the Sauvé Art Museum.
Rescued art is a broad term, it turns out, and the museum will showcase the countless ways works of art can be salvaged – from thieves, from rubble from earthquakes and other national disasters, from ancient shipwrecks in the Mediterranean or the ravages of time by Italy’s expert restorers.
Italian Culture Minister Dario Franceschini said at the museum’s inauguration that it would “show the world the excellence of our work” in all of these areas.
But it’s telling that the museum’s first exhibition – which runs until October 15 – focuses on the recovery of looted works of art and pays tribute to Italy’s art-theft police squad – the Command carabinieri for the protection of cultural heritage. The unit is credited with returning thousands of works of art to Italy, effectively thwarting “the black market in archaeological artefacts”, explains an exhibited panel.
About 100 pieces – Greco-Roman vases and sculptures and even coins dating from the 7th to 3rd centuries BC – are on display at the museum, which has been housed in a cavernous hall that was built as part of the baths of Diocletian and is now annexed to the National Roman Museum.
Their stay in the exhibit here, however, will feel like a pit stop.
For years, the policy of the Italian Ministry of Culture has been to return recovered artefacts to museums closest to the site from which they were likely looted, a process that can sometimes involve arduous deduction given the clandestine nature of the artifacts. excavations.
So, for example, when the looted 2nd-century AD marble statue of Vibia Sabina, Hadrian’s wife, was donated by the Museum of Fine Arts, Boston, in 2006 it was returned to her villa. of Tivoli (although it is on temporary display in Rome these days, highlighted by the Chamber of Commerce).
The task of figuring out where the artifacts in this new museum should go will fall to a team of archaeologists and experts.
“I consider this a wounded art museum, because the works exhibited here have been deprived of their contexts of discovery and belonging,” said Stéphane Verger, director of the National Roman Museum, under whose tutelage the new museum falls. .
Italy’s emphasis on recovering art and returning it faithfully to its places of origin, however remote, has had its detractors. Some say that in a globalized world where efforts are being made to spread culture, solve international problems and break down economic and social barriers, the repatriation of Western antiquities demonstrates a more insular persistence of the importance of national identity. Others argue that antiquities are best viewed in institutions that attract millions of visitors rather than local museums in isolated towns where they are more likely to attract dust than people.
A case in point is the evolution of an exhibition known as “Nostoi: Recovered Masterpieces”, from the Greek word for homecoming, which was first mounted in 2007 by cultural officials Italians as triumphant recognition of their success in securing the return of stolen antiquities. . Held in Italy’s presidential palace in Rome, the exhibition recognized the tremendous success Italy had had in persuading several American museums to return dozens of objects to Italy, including the Metropolitan Museum of Art in New York and the J. Paul Getty Museum in California.
But since 2017, a renovated version of the “Nostoi” exhibition has been installed in a series of small rooms in a low building in a central square in Cerveteri, once an Etruscan stronghold known as Caere, about 25 kilometers away. northwest of Rome. The exhibition does not have regular visiting hours, but an association of tourist guides who occupy the adjacent space will open the rooms on request.
“We have to rely on volunteers to keep it open,” noted Alessio Pascucci, who was mayor of Cerveteri until last month (he didn’t run for office), who nonetheless hopes the current museum can become a national institution for returnees art.
A stone’s throw away, arguably Italy’s greatest prize in the war against the looting of antiquities, the highly prized Euphronius Krater, is also on display in a local setting, where it can be displayed in context and boost tourism and the local economy. The 6th century BC red-figure krater. J.-C. had been looted in 1971 from a tomb in Cerveteri and sold a year later to the Metropolitan Museum of Art for 1 million dollars, an unprecedented sum at the time. The Met abandoned the crater in 2006. After a stint at the Villa Giulia in Rome, it is now a permanent addition to Archaeological Museum of Cerveterias well as a kylix, or drinking cup, also of Euphronius, which the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance.
Franceschini, the culture minister, said the idea for a new museum that would showcase recovered antiquities before they returned to their local origins came to him when these two pieces were loaned to the Archaeological Museum of Cerveteri in 2014. Rather than return the pieces to Villa Giulia, culture officials decided the two vessels were better off in Cerveteri, near the sites from which they had been illegally mined.
Today, the Euphronius krater is “a symbol of the city itself,” Franceschini said at the inauguration of the Museum of Rescued Art. “We are certain of the paramount importance of returning the works to their place.”
Vincenzo Bellelli, the new director of the Cerveteri Archaeological Park, said it was a “courageous decision” and an “enlightened policy that has given local museums new opportunities” to broaden their appeal. “It’s betting on culture sites,” he says.
In October, after the exhibition at the Museum of Rescued Art closes, 20 pieces are expected to be attributed to Cerveteri, including a white-on-red lidded pithos decorated with the blinding of Polyphemus, the giant son of Poseidon and Thoosa. The pithos, or large vase, is an Etruscan work from the 7th century BC. AD recently recovered from the Getty Museum.
Bellelli said that for now the pithos would have its own display in the museum, alongside the Euphronius pieces.
But like Verger, he argued that the story of the looting and recovery of these coins should only be a footnote to the much larger narrative of the city’s history.
That two vases made by Euphronius, one of the most renowned artists of ancient Greece, were discovered in Cerveteri shows the importance of the Etruscan city at the time. “It was a hub in ancient times”, a “major market” and a place where ideas travelled.
“There was a reason why such precious vases were found in Cerveteri,” he said.
Until then, however, returning artifacts will take center stage at Rome’s new museum.
The works currently on display there had been seized by the Manhattan District Attorney’s Office from museums, auction houses and private collectors in the United States, acting on evidence provided by the riflemen regarding their illegal source.
Last December, 200 pieces were handed over to Italian authorities, a handover described as the largest repatriation of relics from America to Italy, and such a large return “called for exposure”, said Massimo Osanna, chief of the Ministry of Culture. management of museums.
“We are already working on a new exhibit because we have so much interesting material,” he said.
Verger said the current exhibit “exemplifies the great effort of the Carabinieri” in Italy’s decades-long crusade to stem antiquities trafficking, as well as the work of Manhattan prosecutors, “which has been very important.”
Explanatory panels located inside the display cases summarize decades of investigations by the carabinieri which often led to criminal prosecutions and then the restitution of ill-gotten gains. But there’s not much finger pointing at the museums and collectors who – inadvertently or not – fueled this black market. For the most part, the dozens of vases, jars, statues, and coins are presented according to their type and potential provenance, not according to the collections from which they were taken.
It was a conscious choice not to blame.
“The coin has been returned, it’s back,” Verger said. The exhibition at the museum was a kind of “parenthesis in the life of the object”, he added. “A phase of illegality is over, and now a new life begins.”
The Bengaluru Museum of Art and Photography (formerly Bangalore), South India’s first major private art museum, will open to the public in December after a pandemic-induced delay. The institution will try to fill a void in a country where many museums are in a “state of disrepair”, according to India today.
The new museum, based in the country’s booming “silicon valley”, is housed in a 44,000 square foot building designed by the Bengaluru-based company Mathew & Ghosh Architects. Its ambitious program of exhibitions understand Visible/Invisible which explores the representation of women in art history of the Indian subcontinent. The painting Woman in the Blue Room by KG Subramanyan (1981) and the hemp sculpture by Mrinalini Mukherjee Naag (1986) are among the works included.
American artist Chitra Ganesh will present a photographic series entitled Hidden trails (2007). “My work of installation, photography and sculpture is inspired in particular by mythological stories, current imperialism and queer politics, old Bollywood images and songs, lyrics poetry and erased moments in South Asian history,” she says in a previous online statement.
Another show, Time and again, is the first major retrospective of photography by Indian artist Jyoti Bhatt. The Conservatives will shoot from the MAP photographic archive, containing 1,000 prints of Bhatt and 60,000 negatives. Another exhibition will be dedicated to the artist LN Tallur, born in the state of Karnataka.
Philanthropist and businessman Abhishek Poddar donated the the bulk of its collection to form most of the MAP’s 60,000 works of art and artifacts that tell the story of Indian culture spanning from 12th century to the present day. It contains sections on photography, folk art, textiles and design as well as contemporary and 20th century art, including works by great South Asian modernists such as Tyeb Mehta. Poddar said in a statement: “I think we need the MAP Museum of Art & Photography now because South Asian cultures represent the cultures of nearly a quarter of the world’s population and yet their stories have not been told.
In a recent press briefing, Poddar said the new institution will “push the needle” for museums in India where the culture budget was slashed last year by 15% to INR 26.8 billion ( £284 million). Poddar’s LinkedIn page describes him as the “director of Sua Explosives & Accessories and managing director of Matheson Bosanquet, an 80-year-old company with activities in the production, trade and export of tea”.
The museum land was purchased with a donation from the Poddar family; the building is financed in part by a donation from the Poddar family and group of philanthropists including Kiran Mazumdar Shaw and Sunil Munjal as well as companies such as Citi and Tata.
“MAP is a non-profit institution that does not currently receive any government funding and is a major unit and project of Art & Photography Foundation. The programming is financed by private patrons and corporate sponsorship. All income received through retail, membership or ticketing for entrance fees, special exhibitions and certain events will be reinvested in the subscription of the museum activities,” a spokesperson said.
So is this a watershed moment for Indian museums? Born in India Natasha Ginwala, Associate General Curator at Gropius Bau in Berlin, says: “What is exceptionally interesting about MAP is the complex web of visual cultures that come together in this collection ranging from early photography to “calendar art”, movie posters and indigenous traditions from ironwork to painting. These facets are accompanied by a extensive inclusion of figures of modernism that emerged across the country, the likes of Jyoti Bhatt to Arpita Singh. What’s left to see that’s how adventurous the curatorial and discursive setting will be through the exhibitions and programs produced.
In recent years, private museums and foundations have played a more active role in the cultural landscape of India which is a vital and welcome sign, she adds. “[This development] must be understood in light of today’s social fractures, limited freedoms and ethnonationalism. Politics. These entities have the immense responsibility of ensuring access and an atmosphere of openness while preserving the pluralism of and contemporary cultural experience.
Last year, curators at the MAP museum used artificial intelligence software to create a fire Bombay “conversational digital persona” Progressive painter, MF Husain. Throughout the pandemic, the MAP has developed several innovative digital initiatives including Museums Without Borders (each episode of the YouTube series juxtaposes a work from the MAP with an object from a partner museum). “We hope that the MAP will be a catalyst that will help to democratize art. We hope to collaborate with other museums across the country to create exciting spaces that people love to visit,” said Kamini Sawhney, Director of MAP.
Summer Field School as part of UNC’s Archeology Program found archaeological evidence of pre-contact native settlements while excavating sites in Duke Forest and Mount Ayr Field .
The team, led by professors Heather Lapham and Steve Davis, excavated hundreds of shards – broken shards of ancient North American pottery – and other historical artifacts.
“Often when you first find a shard it looks like an oddly flat rock and it can be hard to tell if it’s something – but once you realize it’s made of a shard, you’re overjoyed,” Annie Veum, a junior history and archeology major at UNC, said.
She said other things they discovered in the field included lithic shards, which are stones used to scrap tools, the occasional arrowhead, lots of charcoal, an ax head and a piece of a tobacco pipe bowl that can be dated to the early post-contact period.
According to Veum, being in the field is a dirty and tiring experience due to hours of hard physical labor. However, she said the experience was exhilarating and made her realize how much she wanted to pursue archeology for the rest of her life.
“Most of what you hear on the pitch are voices; we talk to discuss what we’re doing, what we find, and just for fun,” Veum said. “But the best sound is the cheers when someone finds something, and then you rush to see and participate. There’s nothing like the euphoria of finding something.”
Elizabeth Maguire, a UNC junior majoring in anthropology and archaeology, said she hopes to become an archaeologist.
“For me, I’m just interested in how humans lived and how they once lived,” Maguire said.
According to Davis, the field school team chose to excavate in Duke Forest and Ayr Mount due to historical evidence of remnants of ancient settlements in the areas.
“The first site where we spent half of the field school was on Duke Forest property, just outside of Chapel Hill,” Davis said. “It’s a lowland that is heavily forested and because of those conditions it had never been examined before by archaeologists.”
Bashi Hariharan, a junior UNC student majoring in anthropology and archaeology, said he chose Mount Ayr because of UNC’s past excavations of Native American settlements along the Eno River, such as the Hogue, Wall, and , Jenrette and Fredricks.
Ayr Mount is a plantation house built in 1815 in Hillsborough.
“I loved being there and working to find cultural relics – that was one of the best feelings,” Hariharan said. “It was hard work, especially with the summer weather, but it was worth ten times over when we found artifacts in the ground.”
Hariharan said his first reaction when their team excavated a shard was pure joy and proof that all of the team’s efforts have materialized into a find.
“Touching something someone else had handled, had done hundreds of years ago, was a feeling I will never forget,” they said. “History is written in archives and books and told in stories, but to have something tangible in the palm of your hand that you know a human being has touched is awe-inspiring.”
Davis, who is the associate director of UNC’s Archeology Research Laboratories, said he has taught at field schools every summer for the past 40 years, except for a few COVID-19 pandemic breaks. .
“Until about 2000, that was our goal,” he said. “For the last 20 years, at least until the last two years, we’ve been working on a somewhat later historic era settlement of the Catawba Indian Nation south of Charlotte, and these sites were from the early 1900s. 1800.”
Davis has seen several technological changes throughout his career. For example, surveying techniques using optical transits for measurement and mapping have moved to digital coding stations.
However, Davis said most of the work is still done by hand, using trowels and shovels to dig.
“Students in the field learn things that can be taught to them in class, but until you’re in the field and experience it day in and day out, you don’t really appreciate what it’s like. really, really, archaeological field work,” he said.
An artist who has spent four winters living, writing and photographing from a small Scottish beach is due to unveil a special exhibition at Wester Ross later this month.
The exhibition titled ‘From the Seahouse’ by artist Linda Lashford is on view at the Rhue Art Gallery, just outside Ullapool. The exhibition runs from July 23 to October 31. The exhibition will open on Saturday July 23 from 2-4pm and will feature prints, poems and the book “From the Seahouse”.
Art Gallery Rhue said: “From the Seahouse is a collection of images and words that grew out of a period of retirement and spans four winters living, writing and photographing from a small Scottish beach.”
The artist, Linda Lashford, said: “At night I write, drawing words from the same physical and emotional landscape as the photographs. And while the images have the stillness of the wintry shore, the words explore that tumult; the raw physical power of the winter surroundings and my inner world, where unsettling memories are unlocked by a scent or a stone.”
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It was one of the most famous baseball moments in the sport’s long history, when lanky New York Giants outfielder and third baseman Bobby Thomson tossed a 0-1 fastball Ralph Branca into the field. left from Polo Grounds for a three-run home run that clinched the 1951 National League pennant.
“The Giants win the pennant!” Sportswriter Russ Hodges shouted several times as Thomson rounded the bases before jumping onto home plate and was mobbed by his Giants teammates, including Hall of Famer Willie Mays, who was on the deck when Thomson crashed. connected for the “Shot Heard ‘Round the World”.
“If you’re a baseball fan or a Giants fan, that’s way up high,” says David Hunt, president of Hunt Auctions.
On Tuesday in Los Angeles – where the 2022 All-Star Game will take place at Dodger Stadium – Hunt Auctions will hold a signature event at the LA Convention Center (and online): the 2022 All-Star Auction, featuring dozens of sports memorabilia items , including the pair of cleats Thomson wore when he crashed that 1951 circuit.
“One of those shoes hit home plate (at the Polo Grounds),” says Hunt, who has been in the memorabilia business for more than 30 years. “It’s such a famous story, one of those moments that will be talked about even decades from now.”
Despite inflation fears and the tumult of the past two years, the memorabilia trade continues to attract big spenders, and Hunt says prices for famous baseball artifacts “have only gone up” in value.
“What’s nice to see is the maturation of this industry,” says Hunt. “People are gaining a much better understanding of these memorabilia, especially historical pieces, almost like an asset class. The good thing is that (items) have gained ground in the general market as a phenomenal investment class.
The upcoming auction will feature considerable treasure from the Stoneham family. Charles Stoneham, then his son, Horace, owned the Giants for 57 years (1919-1976), a period that included the managerial tenure of John McGraw, and later the Mays era and the 1954 World Series title of the club. Horace Stoneham moved the Giants west to San Francisco after the 1957 season. One of the other auction items is a 1972 Giants home and away Mays uniform.
Mays’ last season with the Giants was in 1972 and he was traded to the Mets in early May of that year.
“The Stoneham family collection is very prestigious and we are honored to be part of this representation,” says Hunt. “From the point of view of authenticity, it’s the ideal, it’s the pinnacle. What you want is that first primary source. I have never had a collection with so many items.
The element of authenticity in the souvenir business has been at the heart of several past scandals within the industry. Bill Mastro of Mastro Auctions was indicted by a federal grand jury in 2012, and among the charges in the indictment was that Mastro altered the legendary Honus Wagner T206 trading card. In August 2015, the United States Attorney’s Office for the Northern District of Illinois announced that Mastro had been sentenced to 20 months in federal prison for his role in an auction scam.
The industry has seen a recent surge in the modern card category, though Hunt says that segment has shrunk somewhat during the pandemic. However, older baseball and sports artifacts are only growing in popularity and value.
Last fall, Hunt Auctions partnered with famed auction house Christie’s for a baseball memorabilia event that generated over $15 million in sales. It’s a far cry from the industry’s earliest roots of what Hunt calls a “mall lounge environment, complete with baseball table shows.” There is nothing wrong with that. That’s where I started.
“The key part of why we got into sports is that I thought the potential growth of sports-related artifacts was much higher than a fine art category, or an obscure china category or furniture,” adds Hunt. “There are so many more people who appreciate the sport. We partnered with Christie’s and it was one of the most successful sales we’ve ever had. You walk up to 30 Rock Plaza and look up and there’s a 40 foot tall image of a Babe Ruth ball that we’re selling. It matched perfectly with a Van Gogh painting next to it.
The professional artist exhibition “No Place to Show” will be on view through August 6 at the Springfield Art Association’s MG Nelson Family Gallery.
The exhibit is the association’s response to the Illinois State Fair’s decision to remove the fair’s professional artist exhibit from the annual event, according to executive director Betsy Dollar. The fair’s children’s art and amateur art exhibits are scheduled to run as usual, but there was no clear explanation for the decision to scrap the professional category, Dollar said.
Latest News in Black Art features updates and developments in the world of art and related culture
THE BOARD OF TRUSTEES of the Baltimore Museum of Art (BMA) elected James D. Thornton chairman of the museum’s 36-member board. Thornton is the first black person and the first person of color to lead the council. “I am extremely honored to follow in the footsteps of so many accomplished board chairs who have played a pivotal role in establishing the Baltimore Museum of Art as a cultural anchor over the past 108 years,” Thornton said in a statement. “Since developing our strategic plan in 2018, we have made significant progress in better reflecting and connecting with our community and becoming a leading cultural voice in the region and country. My commitment is to continue to build on both our strong arts program and our work on social equity and diversity across the institution. This work to define the museum of the future will require unwavering commitment from my colleagues on the Board of Trustees and from our dedicated staff and management. I am confident that with the continued support of our donors, patrons and visitors, we will lead this institution to greater achievements. Thornton founded Thorwood Real Estate Group LLC, where he serves as Managing Director. He retired from MBNA Bank as Senior Executive Vice President and Chief Diversity Officer. In 2004 Thornton joined BMA’s board of directors. He is a member of the Director Search Committee, which is currently looking for a new director to succeed Christopher Bedford, who transformed the museum’s engagement with the community during his tenure by diversifying programming and expanding representation of women and artists. of color in exhibitions and its collection. . Bedford recently left BMA to direct the Museum of Modern Art in San Francisco. | After
IMAGE: Top right, James Thornton. | Photo by Christopher Myers
Awards and honors
Black Rock Senegal has announced its artists in residence 2022-23. The residency program was created in 2019 by the artist Kehinde Wiley in Dakar. Working in a variety of mediums, 16 artists from Africa, Europe, Brazil and the United States were selected for Year 3, including Pemi Aguda, Gouled Ahmed, Sophia Nahli Allison, Adrian L. Burrell, Panmela Castro, Chinwe Chigbu, Ayan Farah, Enam Gbewonyo, Stephen Leo Hayes Jr., Amina Kadous, Mae-ling Lokko, Nasheeka Nedsreal, Nengi Omuku, Leonard Pongo, Khalif Tahir Thompson, and Paul Verdel. | After
Two years ago, the curator Dexter Wimberley announced plans for the Hayama artist residency in Japan. The opportunity was immediately blocked due to the pandemic. Representing two cohorts, four new residents will inaugurate the residence this summer—Nadia Liz Estela and Linn Meyers (2021) and francisco maso and Asim Waqif (2022). Applications are open for the 2023 program now. | After
In the fall of 2023, the Frick Collection in New York will present an exhibition of portraits of Barkley L.Hendricks (1945-2017). A dozen paintings by the late artist will be exhibited throughout the museum in dialogue with its collection of masterpieces from the Renaissance to the 19th century. Hendricks will be the first artist of color to have a solo exhibition at The Frick. The exhibition will be presented at Frick Madison, the museum’s temporary space. Frick’s curator, Aimee Ng, is curating the exhibition with curator Antwaun Sargent, director of Gagosian Gallery who presented the project. | New York Times
pioneer architect Paul R. Williams (1894-1980) is best known for his work in Los Angeles, where he was based. A new exhibition presents photographs of Ireland of Williams-designed projects in neighboring Nevada, from the 1930s through the 1970s. “Janna Ireland on the Architectural Legacy of Paul Revere Williams in Nevada” is currently on display at the Nevada Museum of Art in Reno. In December, the show travels to the Nevada State Museum Las Vegas. | After
Launched by Getty Images, the Black History & Culture Collection features photographs curated in collaboration with renowned scholars and historians, including Deborah Willis of New York University’s Tisch School of the Arts; Jina DuVernay of Clark University in Atlanta; Tukufu Zuberi of the University of Pennsylvania; and Mark Sealy MBE and Renée Mussai of Autograph ABP in London. | Video by Getty Images
Getty Images announced a new initiative this week. The Black History and Culture Collection was “created to provide free, non-commercial access to historical and cultural images of the African/Black Diaspora in the United States and United Kingdom from the 19th century to the present day”. Getty images has partnered with several organizations that have previously leveraged the collection, including the media platform black archives, whose founder Renata Cherlise is particularly fascinated by the 1940s and 50s dance images she discovered from the Savoy and Audubon ballrooms in Harlem. “Having access to this collection, I think, will do wonders for the future of storytelling,” Cherlise said. | After
The Museum of the African Diaspora (MoAD) in San Francisco is one of the awarded establishments more than $3.9 million from the Museum Grants for African American History and Culture program set up by the Institute of Museum and Library Services (IMLS). MoAD’s $237,000 grant will help expand its emerging artists program. | After
Pin-Up is a New York magazine about “architectural entertainment”. The Spring/Summer 2022 issue explores the architecture of art, with a focus on Women of New York, a visionary group of black curators, gallerists and scholars. The characteristics of the cover Naomi Beckwith, Legacy Russell, Salome Asega, Ebony L. Haynes, Kellie Jones, and Nicolas Vasell. Inside the post, Emmanuel Olunkwa, editor-in-chief of Pin-Up, conducts interviews with each cover subject. | After
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Professor of Art at the University of Maryland Jordana Moore Saggese who wrote two reports offering tentative opinions on the authenticity of the paintings attributed to Jean-Michel Basquiat which were later displayed in a solo exhibition at the Orlando Museum of Art and seized by the FBI before the exhibition closed, released a statement trying to “set the record straight”. | Baltimore Sun
The Equity in Pay + Pay Transparency Accountability Tracker, a crowdsourced project created by the National Emerging Museum Professionals Network, identifies job posting boards that include salary information for available museum opportunities. | Hyperallergic CT
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The 500-lot auction includes an Egyptian “sickle sword”, an Imsety human-headed canopic jar, ancient Roman jewelry, Chalcidian helmets, a medieval silver-gilt dish with a niello lion, a Sumerian pictograph tablet
LONDON, July 15, 2022 /PRNewswire/ — A museum-quality selection of expert antiques, ancient and Asian artwork, jewelry and weapons will be offered by Apollo Art Auctions on Sunday July 24from 12 noon BST (7:00 a.m. Eastern Time). The sale of 500 lots will take place live in the elegant Apollo London gallery, with international participation cordially welcomed by phone, purchase order or live online via LiveAuctioneers.
The sale is divided into four sections encompassing a wide range of artifacts originating from Europe, Egypt and the Near East, as well as numerous precious objects from India and China. Bidders can choose from a host of unique treasures from reputable collections such as Captain’s Magnus Julius Davidsen, Alison Barkerand John Lee – all names of great distinction in the field of antiques. All pieces chosen for auction have been examined by a team of world-renowned ancient art experts, including Laetitia Delaloye, Emma Saber, James Brenchley, Sami Fortunaand the founder of Apollo Art Auctions, Dr. Ivan Bonchev (PhD, University of Oxford).
Egyptian relics include a rare and highly unusual khopesh “sickle sword”, circa 1550-1070 BC It is 556mm long and looks like a sword from the book The Art of War in Bible Lands. From the Alan Baidun Collection and accompanied by a professional historical report from Ancient Report Specialists, its estimate is £45,000-50,000 ($54,120–$60,135).
Of egypt New Kingdom period, around 1550-1070 BC. AD, a wooden canopic jar is finely modeled in the form of a human-headed Imsety, one of the Four Sons of Horus and guardian of the liver. The jar displays three columns of hieroglyphics enhanced with black pigment. Its inscription evokes in part an offering of “bread, oxen and poultry”. ex-captain Magnus Julius Davidsen (1877-1962) collection, the vessel is estimated between £7,500 and £15,000 ($9,020–$18,040).
More than 80 lots of ancient Greek, Byzantine and Hellenistic artifacts will be displayed, including pottery, sculptures, gold jewelry and weapons of war. A fine Chalcidian helmet from around 400 BC. was forged in one piece with arched eyebrows under a raised, pointed band and with a teardrop nose guard. Similar to an example in the collection of the Walters Art Museum, it is estimated between £6,000 and £9,000 ($7,215–$10,825).
About four dozen Roman jewels were chosen for the auction, including necklaces, pendants on chains, gemstones, wearable earrings and gold rings set with stunning gemstones. A hollow gold ring with a richly colored D-shaped garnet intaglio depicting the god Mercury wearing a caduceus has undergone XRF analysis and is priced at £10,000-15,000 ($12,030–$18,045) estimate.
A beautifully modeled medieval Western European vermeil dish, circa 1200-1400 ADis probably Limoges and the Limousin region of France. The central tondo is delicately worked in gilded niello inlay of a mythological animal, perhaps a lion. With similarities to a dish in the collection of the Metropolitan Museum of Art, it is estimated at £20,000-30,000 ($24,055–$36,080).
Apollo Art Auctions July 24, 2022 live gallery sale at 25 Bury Place, Bloomsbury, Londonwill begin to 7 a.m. US Eastern Time/12 noon BST. Bid remotely or live online via LiveAuctioneers. GBP, USD and EUR accepted. International delivery; all packaging is handled in-house by white glove specialists. Such. +44 7424 994167, email [email protected]. Online: www.apolloauctions.com
Apollo Art Auctions is a member of the British Numismatic Trading Association (BNTA) and the Art Loss Register (AR).
Media Contact: dr. Ivan Bonchev Such. +44 7424 994167, email [email protected]
CHILLICOTHE— Protecting beautiful state and national parks is no easy task, nor is it educating the public about the land’s rich history, but that’s exactly what rangers at the Cultural National Historic Park do every day. Hopewell.
The Hopewell Rangers cover several parks including the Mound City Group, Hopeton Earthworks, Hopewell Mound Group and Seip Earthworks. Although the home base is at the Mound City Group Visitor Center, the rangers still try to have a presence at each park during the week.
“We are here to interpret the site,” said Ranger Galen Dills. “You have questions and we have answers.”
With the park welcoming over 50,000 visitors each year, park rangers stay busy providing programs and keeping everyone safe. Park rangers are interpretive rangers, which means they are in the parks to help visitors better understand and connect with the history of the land and the people who once lived in the area. They are not law enforcement but will enforce rules to protect the historic site.
Weekends and the summer are often the busiest for the park as people aren’t working or going to school. Rangers run programs, like porch talks and guided tours, throughout the day to educate visitors about the site.
Every time a visitor comes to the park, they will have a unique experience as each ranger offers their own program. Some rangers focus more on the old Camp Sherman while others focus on plants native to the area that the Hopewell culture would have used. They all tap into the same well of knowledge to give visitors a basic understanding of the site, but each guard has a particular interest to focus on. During the visits, each guard has a bag with examples that he chooses to better highlight the site.
“An important part of acting is having images and things to show,” said Ranger Will Novotny.
Showing people examples and letting them touch the objects helps build a stronger connection between visitors and the site. It also helps visitors stay engaged with the program, as people can get bored quickly if a guard lectures them for too long.
Mound City rangers all come from different backgrounds. Some are full-time rangers while others are trainee rangers completing a trail program with the National Park Service. This program provides students with an internship where they can explore career opportunities working at the park.
No matter how they became a ranger, almost everyone agrees to be a successful ranger, you have to like to talk. Rangers speak to nearly 100 guests a day, sometimes having simple conversations like telling visitors where the bathroom is and other times having in-depth conversations about the park and its history.
“I like to talk,” Dills said. “Probably more than most people.”
Sue Rasche, a full-time ranger, thinks a good ranger has to be able to talk, but she also says they have to be believable. Being a ranger isn’t just about educating visitors, it’s about connecting them with the park.
“You have to know your stuff and know how to present it,” Rasche said.
As the faces of the park, rangers also need to be approachable so people don’t feel intimidated asking questions. The rangers encourage people to ask any questions they may have as they enjoy helping people learn about the park.
The park also works with many active Native American tribes to ensure that what rangers present is accurate and respectful. They consult with the tribes to find out more about the artifacts and discuss any archaeological work that might be done. This connection helps to better understand what the land was used for and how the artifacts found were used.
“It’s still their land,” said Ranger Novotny. “We listen to them on how we run and take care of this place.”
The park is currently under consideration for World Heritage designation. Be added to the UNESCO World Heritage List. A decision is expected to be made in the summer of 2023, if added the park expects substantial growth in tourism. Being added to the list will also help further protect the historic mounds, which all park rangers believe is important.
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By Emily Finallyger (July 14, 2022, 7:57 p.m. EDT) — A New York couple on Wednesday urged a federal court to find they should be paid $1.4 million after a Chubb unit refused to cover the theft of their antiques and art collection. Meanwhile, the insurer asked the court to reject the position and rule in its favor.
Art collectors Philip and Jamila Weintraub and their insurer, Great Northern Insurance Company, each filed memoranda on Wednesday in support of their separate motions for summary judgment.
The insurer pleads that the couple’s request should be rejected because they did not produce a sworn declaration of loss within the required time and, moreover,…
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The National Coalition Against Censorship has written to the Lyman Allyn Art Museum in New London, Connecticut, urging them to restore a censored work. A video of a guest-curated exhibit was removed because it “disturbed the public” and was deemed by the museum to be “inappropriate for children”. This act of censorship goes against the museum’s obligations towards its public, as well as towards the artists it exhibits and the curatorial collectives with which it works.
Nasty Women Connecticut organizers held their sixth annual Expo, The will to change: coming together as a practice, at the Lyman Allyn Museum. The organizers invited artists to submit work for the exhibition through an open call. The video chosen by Rebecca Goyette, “My snake is bigger than your snake”, was presented, along with all the other works, in the presence of the museum’s exhibition manager. The exhibition opened on June 18 and will run until August 12, 2022. However, three days after its presentation, Ms. Goyette’s work was removed and she was asked to donate a non-video piece to the place. At the request of the organizers, an explanatory note placed next to the placeholder piece acknowledged the censorship and attempted to mitigate it by adding a QR code linking to the video.
While the transparency provided by the explanatory memorandum is commendable, it does not change the fact that the work has been censored. Ms. Goyette’s video certainly contains humorous and burlesque references to sex, but it is far from being obscene or harmful to minors. By removing it, the management of the Museum has made an arbitrary decision that silences an artist and deprives the public of the chance to see the work.
References to sexuality are present in many works, both classical and contemporary. Seductive nudes and scenes of violence and rape adorn the halls of most museums. Children and school groups visit and come out unscathed. Contemporary feminist treatments of sexuality may be more in your face, but, arguably, present a healthier, often funnier, and fairer viewpoint. To judge a work unsuitable for the museum solely because it refers to sexuality is both surprising and disappointing. And, if the reason is that the work’s references to sexuality lack the “decorum” of classical paintings, then the problem is compounded: there is a sad irony when a show, which brings together groundbreaking work on gender, sexuality and change, is censored. due to its display of representational conventions.
There are a range of other options to address any concerns regarding the underage audience. It is possible to post signs advising the public that art is often disturbing and that they should exercise discretion when bringing underage children – indeed, we understand that such a sign has been placed at the entrance to the whole show. The Museum can also work with the organizers to adjust the placement of the works in order to make less visible pieces that some might consider unsuitable for children. The only option that a cultural institution should always avoid is the outright elimination of work.
For more than 90 years, architects have been at the heart of the art and design exhibitions at the Milan Triennale: from the hypermodern Casa Elettrica to the 1930 exhibition by Gruppo 7 to the display installations of this year’s edition designed by Francis Kéré – winner of the 2022 Pritzker Architecture Prize – who will also organize two installations dedicated to the voices of the African continent.
So when the triennial foundation and its Museo del Design Italiano, home to its permanent collection, chose to explore its 99-year history in virtual reality (VR), it was more than fitting that the museum’s curators, in collaboration with the Milanese creator the agency Reframe VR and the VR platform Vive Arts, should have chosen the architecture of the Palazzo dell’Arte, the headquarters of the triennale built for this purpose in 1933 in the center of Milan, and the designs by its architect Giovanni Muzio, as a narrative and aesthetic framework for the VR Room. catchment areathe first chapter of the VR experience 1923: Past Futureswill be launched at the opening of the 2022 exhibition—Unknown Unknown. An introduction to the mysteries— on July 15, with the remaining chapters to launch on September 1.
Recreate lost spaces
The project focuses on two areas of virtual reality of specific use both at the triennale and in museums more broadly: the ability to recreate lost objects or installations – as Matteo Lonardi of Reframe VR puts it, “recreating lost spaces in three dimensions so that the viewer can live in them” – and the possibility of playing with narrative timelines. Whether in the biography of an artist or an institution, VR has the power to offer users a cleaner and clearer documentary line. It can offer the choice of following “life” or “works” – and switching between the two – rather than a single “life and works” narrative, with other narrative spaces potentially devoted to historical, political or cultural. It is an approach well suited to managing the overabundance of information available in a retrospective of an artist or an institution.
Vive Arts, which has already worked with the Tate, in London, on a recreation of the Modigliani studio in virtual reality, and with the Victoria and Albert Museum on a Alice in Wonderland launched in 2021 – moved closer to the triennial to offer a VR piece. “Initial ideas were to spotlight an Italian designer represented in the collection,” says Celina Yeh, executive director of Vive Arts, “but [ultimately] the Triennale team decided to use virtual reality to present moments from the history of the international exhibition.
Vive introduced the triennial team to Reframe VR, founded by Milanese brothers Matteo and Francesco Lonardi, whose Reframe Saudi Arabia drew large crowds at Art Dubai in 2018. The brothers had previously worked with Vive on Il Dubbio, a two-part VR play, which premiered at the 2021 Venice Film Festival. Matteo Lonardi says museums are ideal partners for VR creators: “Because the problem with VR is distribution, the museum already has the audience built in, both the space and the audience.” Triennial Commissioners are targeting two groups with what is their first VR piece. In a statement to The arts journalthey said they were looking to attract local audiences aged 20 to 35 – “they are already part of our audience but we would like to increase their presence and involvement with the institution” – as well as “experience seekers culture and technology and international visitors”.
Exploring future pasts
The experience will recreate remarkable installations from the triennial’s fragmented history: the event was launched as a biennial in Monza, 20 km north of central Milan, in 1923, before becoming a triennial in 1930 and transferring to Milan in 1933. There was an inescapable break during World War II, and a 20-year gap without an official expo between 1996 and 2016. The triennale established its Museo del Design Italiano in 2009 and has built up an outstanding archive , a rich visual resource for the VR project.
Historic facilities that will come to life include the catchment area courtyard installed in the newly built palace in 1933, with statuary designed by Mario Sironi; the fantastic neon installation on the main staircase by Lucio Fontana from 1951; the futurist kaleidoscope from 1964; the “Triennale Occupata” of 1968, when demonstrators, dismissed by the demonstrators events in Paris, occupied the Palazzo dell’Arte; a recreation of Chamber of Changethe first part of the 2019 broken nature triennial; and a virtual tour of the museum’s archives, which will serve as a gateway to a work by landscape artist Giuliano Mauro, before rediscovering what Lonardi calls “the wise voices” of the 2022 exhibition.
Lonardi, who works closely on the VR experience with Marco Martello, digital director of the triennial, explains how Muzio’s drawings suggested the framing of the VR experience. “It was important to anchor the experience in some sort of identity. And the identity of the Triennale is linked to the architecture and designs of Claudio Muzio,” he says. “So we’re trying to create a bit of a vintage look. you click [using the hand controllers of a Vive headset] and see the lines of the catchment area form around you.
Lonardi and the curators see the experience as a “time machine”, where the user will be able to move between installations from 1933 to 2022 and back, and as anchored in the “future past”. (As part of the 2022 exhibition, Marco Sammicheli, the director of the Museo del Design Italiano, is organizing an exhibition whose subject, The tradition of the new— “The tradition of the new” — plays with this “past-future” theme.)
For the curatorial team of the triennale, the VR piece “is a starting point. Its modular structure allows it to be enriched and expanded,” the statement said. “Next year we will celebrate the centenary of the Triennale and, thanks to virtual reality, we will be able to further explore the futures of the past. To be continued.”
Social media users questioned much of the American story, wondering if there was any evidence to prove its existence.
“Have you ever seen a real slave ship? I’ve seen all kinds of artifacts, but never a slave ship, have I? asked one Twitter user.
“S— not real,” someone else replied. “I’m beginning to believe that the transatlantic slave trade is a fake story.”
The Twitter user who first asked the question posted a screenshot of the exchange on Instagram, which has since been deleted. The post was flagged as part of Facebook’s efforts to combat fake news and misinformation on its News Feed. (Learn more about our partnership with Facebook.)
There is over 400 years of evidence that slave ships and the slave trade itself existed.
The remains of the Clotilda, the last known ship that carried kidnapped slaves from Benin, West Africa to the United States, were found in the Mobile River in Alabama in May 2019.
The Alabama Historical Commission conducted research to verify the ship was indeed the Clotilda, which illegally transported 110 people to the state in 1860, 50 years after the United States banned the importation of slaves . Black emancipation in the United States was not recognized until 1865.
“The co-conspirators, Timothy Meaher and Captain William Foster made an effort to evade authorities and destroy evidence of their criminal voyage by sinking, burning and abandoning ship, then dividing the kidnapped Africans between their captors, where they remained in slavery until the end of the Civil War,” the Alabama Historical Commission wrote on its website.
To keep the parts of the ship intact, the Clotilda remains at the bottom of the river. NPR reported that commission researchers are working to determine if it is possible to reassemble the ship without destroying it. In the meantime, the commission has released images and collected pieces of the wreckage to prove its location and existence.
Researchers recovered wood from the wreckage of the Clotilda, May 4, 2022. (AP)
PolitiFact contacted the Smithsonian’s National Museum of African American History and Culture to respond to the claim. A spokesperson for the museum referred to the Slave Wrecks Project, a collaborative international initiative between organizations in America, Africa and the Caribbean to research and study the global slave trade “particularly through the prism of shipwrecks. slaves”.
The project combines “maritime and historical archaeology, history and anthropology” to study the international slave trade. National Geographic provided a detailed overview of the project’s work to dive and search for historic maritime shipwreck sites.
A total of 12.5 million slaves were brought to the United States.
Social media users questioned the existence of slave ships and the transatlantic slave trade.
There is overwhelming evidence, including wrecks from slave ship sites, to prove that slave ships and the transatlantic slave trade existed.
The city of jackson offers beautiful landscapes, huge lakes, self-guided tours, tasty food trucks, hidden gems and historical museums, to name just a few of the many attractions.
Below, we’ve rounded up some of the best things to do and see in Jackson.
Here are 10 things to do in Jackson that you should add to your bucket list.
The History Museum is located in the heart of downtown Jackson. “The museum explores more than 15,000 years of state history, innovative exhibits, educational programs, and hundreds of artifacts,” according to their website.
Items such as modern images, videos and historical artifacts have an impact on the present and the past. Additionally, the museum shares space with the Civil Right Museum.
The Mississippi Museum of History and the Mississippi Civil Rights Museum opened on December 9, 2017 to celebrate the state.
“The State Capitol building was designated as a National Historic Landmark in 2016, the Mississippi State Capitol has been the seat of state government since 1903,” according to their website.
Tours include the Senate House and Chambers, the Old Supreme Court, and the Hall of Governors. Guided tours are organized from Monday to Friday four times a day.
The new building features ornate decor, theater lights, self-guided tours and scavenger hunts.
“The 171,000 square foot building was designed by Theodore Link, an architect from St. Louis, Missouri, and was built by the Wells Brothers Company of Chicago,” their website states.
The state capital is the third capital built in Jackson. The first building was completed in 1822. The second building was completed in 1839 and served as the Capitol until 1903.
If you are going to:
When: Monday to Friday 8 a.m. to 5 p.m.
Where: 400 High Jackson Street
Admission: Free. To reserve a guided tour for groups of 70 or fewer, please call 601-359-3114 or email [email protected] Self-guided tours for visitors, which do not require a reservation, will take place at 9:30 a.m., 11:00 a.m., 1:00 p.m. and 2:30 p.m., Monday to Friday. Groups of 10 or more should schedule a visit.
The Jackson Zoo is a highly recommended place to visit as the zoo continues to grow offering more exotic animals and events than ever before.
For those hot summer days, the zoo also has a paddling pool for kids and adults to beat the heat.
“The zoo was previously owned by the City of Jackson, but is currently under the management of the City of Jackson Parks and Recreation Department,” according to their website.
Under new management, the zoo now contains 11 endangered species and is home to over 200 animals.
In 1919, “the original zoo consisted of pet firefighters, squirrels, deer, raccoons, alligators, and rabbits,” according to their website. “The collection was housed in the Central Fire Station in downtown Jackson, which is now the Jackson Chamber of Commerce building.”
In 1921, “the city council voted to site the zoo on land acquired from Samuel Livingston and became known as Livingston Park Zoo,” their website states. “Some of the original exhibits such as the Monkey Castle and the Elephant House Café are still standing today.”
If you are going to:
When: Tuesday, Thursday, Friday, Saturday and Sunday from 10 a.m. to 4 p.m.
Where: 2918 West Capitol Street, Jackson
Admission: 13 years and over $8.00 each, 2 to 12 years old $5 each, under 2 years old, admission is free. $2 on Tuesdays: $2 for each person, of any age. Tickets can only be used on Tuesdays.
Alamo Theater is a nonprofit nostalgic theater known for its events, including concerts, movie premieres, and comedy shows.
The Alamo Theater is located in Jackson’s historic Farish Street neighborhood.
The theater has hosted famous singers such as Tiny Bradshaw, Nat King Cole and Elmore James.
“The newly remodeled structure was built in the early 1940s in the Farish Street Historic District,” their website states. “The first structure was located on Farish Street in the 100 block across from the McCoy Federal Building, and the second Alamo was located on West Amite Street at Roach Street.”
If you’re looking for relaxed and vibrant weekend events in the Jackson area, this is the place to be.
If you are going to:
When: Hours vary by event
Where: 333 N. Farish St Jackson.
Admission: Prices vary by event
Duling Hall is a hidden gem located in the heart of Fondren in Jackson. “The space is a well-known, award-winning live music and event venue with an intimate atmosphere,” according to their website.
Today, the building is known for weddings, receptions, fundraisers, private parties and rentals.
The building also offers summer cinema evenings at 7:30 p.m. on Wednesdays and Thursdays for young and old. Dishes such as shrimp and crawfish nachos, savory burgers and fries, and chicken po’ boys with a choice of beer or wine are served.
“Duling Hall was built in 1927 and is listed on the National Register of Historic Places,” their website says. “The venue is located in what was the institution of Lorena Duling School which served as the center for the community of Fondren.”
If you are going to:
When: Monday to Thursday 8 a.m. to 5 p.m., Friday 8 a.m. to 5 p.m.
Where: 622 Duling Ave, Jackson
Admission: Prices vary by event
Capital City Kayak Adventures is located in the Jackson area and was started by Jackson resident Christopher Lockhart in 2015.
Lockhart, 27, owner of Capital City Kayaks, opened Capital City Kayaks to share his love of kayaking with the community. The company offers canoe and kayak rentals, as well as trips along local waterways such as the Pearl River and Reservoir.
The kayaking adventure offers a chilled dash of fun while learning about the ends and exits of local rivers.
Guided tours last approximately 1-2 hours. “Tours are intended to build confidence for non-swimmers with pre-trip instruction and existing assistance,” according to their website.
Solo tours can last up to 5 hours.
If you are going to:
When: Monday to Sunday from 8:30 a.m. to 8 p.m.
Where: Dr Flowood, Jackson
Admission: $35 for a single kayak (275 lb capacity*), $60 for a tandem kayak (450 lb capacity*). A 10% discount will be given to families and groups making a consolidated payment with a credit or debit card.
The well-known park is located in Jackson with a wide range of outdoor activities such as camping, fishing, canoeing, nature trails and picnic areas.
The campsite is well equipped with water and electricity accessories accessible to recreational vehicles. Plus, the lodges and lakes are easily accessible for picnics and fishing.
Each year the park hosts annual family events such as the Pepsi Pops concert, the
Jubilee Jam and Canton Flea Market open to the public.
“The park is named after Louis LeFleur, a French-Canadian explorer who established a trading post on the shores of the Pearl River in the late 1700s,” according to their website.
If you are going to:
When: Monday to Sunday from 6:30 a.m. to 8 p.m.
Where: 3315 Lakeland Terrance, Jackson
Admission: $2.00 per person, children 5 and under are free
One Guy Steak and Chicken is a southern food truck known for its steak fingers, crab cakes, fried mashed potatoes and secret sauce.
Kendrick Gordon, owner of One Guy Steak and Chicken studied at Le Cordon Bleu in Paris where he perfected his techniques and sauces.
The Gordon Food Truck provides Jackson area residents and visitors with great food at a reasonable price.
The food truck is located in Floodwood but makes additional stops in the Jackson area.
If you are going to:
When: Monday to Wednesday from 6 p.m. to 9 p.m., Thursday to Saturday from 11 a.m. to 9 p.m.
Where: 1500 Old Fannin Road. (Location is subject to change based on events.)
Cost: $18 for a grilled chicken meal, $20 for a steak meal, $17 for a crispy chicken meal, $17 for a grilled chicken taco meal, and $18 for a Ribeye meal. All meals come with fries or a vegetable.
Steven Sahler, owner of Burgers Blues Barbecue, opened Burgers Blues Barbecue with the idea of having a place where anyone of any middle and age could come and have a good time while enjoying great food, drinks and music, according to their website.
Kwame Brathwaite, Sikolo Brathwaite wearing headphones designed by Carolee Prince, African Jazz-Art Society & Studios (AJASS), Harlem, ca. 1968; by Kwame Brathwaite: Black is Beautiful (Aperture, 2019)
On view August 19, 2022 through January 15, 2023, the acclaimed traveling exhibit comes to New York and showcases the life and work of a key figure in the Black Power movement
Beginning August 19, 2022, the New-York Historical Society is the exclusive New York location for the traveling exhibit Black is beautiful: the photography of Kwame Brathwaite, the first major show dedicated to this key figure who helped launch and popularize the “Black Is Beautiful” movement of the 1960s. On view until January 15, 2023, the exhibition presents 40 color and black and white photographs large-scale works that document how Brathwaite helped change America’s political and cultural landscape during the so-called Second Harlem Renaissance, using his art to affirm black physical beauty, celebrate community and African identity. American and reflect the vibrancy of Harlem’s jazz scene, local businesses and events.
“We are thrilled to bring this exhibit to New York, the hometown of Kwame Brathwaite and the location of many of his most powerful images,” said Dr. Louise Mirrer, President and CEO of New York. Historical. “His work is a testament to the power of visual media to impact the movement towards racial equity. We hope Kwame Brathwaite’s photographs will inspire a deeper understanding of the Black empowerment movement and how his legacy resonates today.
“This stage of the traveling exhibit is particularly meaningful because it is a New York story,” said Kwame S. Brathwaite. “My dad was born in Brooklyn, grew up in the Bronx and lives in Manhattan. These images introduce us to the origin of the Black is Beautiful movement which began in Harlem and show us how art, politics, music and fashion have combined to inspire, empower and change the status quo.
Exhibition Highlights The exhibition chronicles Brathwaite’s development as an activist and artist. Born in Brooklyn in 1938 and raised in the Bronx, Brathwaite was still a teenager when he saw the gruesome photographs of Emmett Till in his open casket published in Jet magazine in 1955. For Brathwaite, as for so many people, the impact of these photographs was decisive. As the son of a Caribbean American family, Brathwaite was also heavily influenced by the ongoing Pan-Africanist legacy of Jamaican-born activist Marcus Garvey.
Along with his brother Elombe, Brathwaite founded the African Jazz-Art Society & Studios (AJASS) and organized concerts featuring jazz luminaries such as Miles Davis, Abbey Lincoln and Max Roach. In addition to promoting musical events, the group advanced a message of economic empowerment and political awareness in the Harlem community, emphasizing the power of self-presentation and style. “Think Black, Buy Black” has become a rallying cry.
In the 1960s, Brathwaite and her collective also sought to address how white conceptions of beauty and body image affected black women and culture. To do this, they popularized the transformative idea “Black Is Beautiful” and founded Grandassa Models, a group of black women from diverse backgrounds in the community who embraced natural hairstyles and their African ancestry. The modeling troupe sought to counter both the lean, androgynous figure made famous by 1960s British supermodels Jean Shrimpton and Twiggy and the ubiquity of lighter-skinned, straight-haired black models in black-owned publications. as Ebony. Along with striking photographs of Grandassa models, the exhibit features several dresses and jewelry worn by women.
A new audio guide available on the Bloomberg Connects app is special for the New-York Historical exhibit. The audio provides context on the “Black Is Beautiful” movement, the African Jazz-Art Society & Studios, and the Grandassa patterns. The audio guide also explores other topics explored in the exhibit, including jazz, black activism, natural beauty, fashion, and Harlem during the time period depicted in Brathwaite’s photographs.
Organized by Aperture Foundation in partnership with Kwame S. Brathwaite, Brathwaite’s son and director of the Kwame Brathwaite Archives, the photographs, mostly taken in Harlem and the Bronx, tell the story of a movement and an era. Following its presentation at New-York Historical, the exhibition travels to the University of Alabama at Birmingham for the Abroms-Engel Institute for the Visual Arts in February 2023.
The exhibition is accompanied by the first monograph dedicated to Kwame Brathwaite. With essays by Tanisha C. Ford and Deborah Willis and over 80 images, Kwame Brathwaite: Black is beautiful (Aperture, 2019) offers a long-awaited exploration of Brathwaite’s life and work and is available on the NYHistory Store.
About Kwame Brathwaite Kwame Brathwaite (born in Brooklyn, New York, 1938) lives and works in New York. His photographs have been included in solo and group exhibitions at the Philip Martin Gallery, Los Angeles; David Nolan Gallery, New York; and the Museum of the City of New York; and published in Openingthe New Yorker, New York Timesand New York magazine. Brathwaite’s photographs are held in public and private collections, including those of the Block Museum of Art, Northwestern University, Evanston, Illinois; Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, New York; MIT List Visual Arts Center, Cambridge, MA; Museum of the City of New York; Museum of Modern Art, New York; Santa Barbara Museum of Art, CA; and Whitney Museum of American Art, New York. Organized by the Aperture Foundation, Black is beautiful: the photography of Kwame Brathwaite premiered at the Skirball Cultural Center in Los Angeles in 2019.
Programming On Wednesday, October 19, photographer Kwame Brathwaite Jr. and historian Tanisha Ford with moderator Khalil Gibran Muhammad discuss the exhibit and the legacy of the exhibited photographs. Special programs for families related to the exhibit will be held during Martin Luther King Jr. weekend. Private group tours can also be arranged throughout the exhibit.
Support Major support for Black is beautiful: the photography of Kwame Brathwaite at New York Historical is provided by Bank of America and Agnes Gund. The exhibition and accompanying publication Aperture are made possible, in part, through the generous support of the National Endowment for the Arts and the Photographic Arts Council Los Angeles. Exhibits at New-York Historical are made possible by Dr. Agnes Hsu-Tang and Oscar Tang, the Saunders Trust for American History, the Evelyn & Seymour Neuman Fund, the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with support from the Office of the Governor and the New York State Legislature. WNET is the media sponsor.
About the New York Historical Society Discover 400 years of history through groundbreaking exhibits, immersive films, and thought-provoking conversations between renowned historians and public figures at the New-York Historical Society, New York’s premier museum. A great destination for history since 1804, the Patricia D. Klingenstein Museum and Library conveys the stories of the diverse populations of the city and country, expanding our understanding of who we are as Americans and how we have become. Always up to the challenge of bringing to light little or unknown stories, New-York Historical will soon inaugurate a new annex housing its Academy for American Democracy as well as the American LGBTQ+ Museum. These latest efforts to help shape the future by documenting the past join New York Historical’s DiMenna Children’s History Museum and Women’s History Center. Digital exhibitions, applications and our For the ages podcast allow visitors from around the world to dive deeper into the story. Connect with us at nyhistory.org or @nyhistory on Facebook, TwitterInstagram, YouTube and Tumblr.
In 1896, Marco Island revealed one of the most important discoveries in the history of American archeology. Smithsonian anthropologist Frank Hamilton Cushing discovered the now famous Key Marco Cat and other 500-1,500 year old artifacts on Key Marco during the famous Pepper-Hearst Archaeological Expedition.
These wood and plant fiber artifacts were surprisingly well preserved as they were buried in oxygen-free mud. Some were painted and their original colors were still intact.
Many began to disintegrate after being exposed to air. They would have been lost forever had it not been for the artist and expedition photographer Wells Sawyer who captured them in watercolors and photos as they rose from the ground.
Now, for the first time since their discovery, the Key Marco Cat and other rare pre-Columbian Native American artifacts discovered with it are reunited at the Marco Island Historical Museum (MIHM). Additionally, a number of original Sawyer watercolors of the artifacts will be on display beginning in October.
Marco’s key caton loan to the MIHM from the National Museum of Natural History of the Smithsonian Institution, is on display at the MIHM now until 2026.
Sixteen additional Key Marco artifactslent by the University of Pennsylvania Museum of Archeology and Anthropology (Penn Museum), are on display at the MIHM now through April 2024.
In The art of digging: Wells Sawyer’s watercolors, six original watercolors by Wells Sawyer are on loan from the Florida Museum of Natural History in Gainesville. In addition, 25 reproductions of Sawyer’s works from the National Anthropological Archives of the Smithsonian Institution and the Penn Museum will be part of the exhibition at the October 13, 2022 through January 19, 2023.
The Key Marco Cat, a half-cat/half-human figure, is considered one of the finest pieces of pre-Columbian Native American art ever discovered in North America. At just six inches tall, the enigmatic feline has captured the public imagination for over a century and continues to intrigue all who see it.
Key Marco artifacts are featured in MIHM’s award-winning permanent exhibition Paradise found: 6,000 years of people on Marco Island. This exhibit features a life-size Calusa village and over 300 pre-Columbian Native American artifacts from Marco Island. Original artwork depicts Calusa life and ceremonies and the 1896 archaeological dig. A Calusa-inspired soundtrack by Emmy and Peabody Award-winning composer Kat Epple enhances the immersive visitor experience.
“The Key Marco Cat from the Smithsonian Collections is an extraordinary object that attests to the unique archaeological record of Key Marco and the peoples and cultures that lived there for millennia,” notes Torben RickChairman of the Department of Anthropology, National Museum of Natural History, Smithsonian Institution.
“The Key Marco Artifacts exhibit is the culmination of a 25-year vision on the part of the Marco Island Historical Society to bring these incredibly important artifacts back to Marco Island to educate and inspire people of all ages about the fascinating history of our region,” says Austin Bell, Curator of MIHS Collections. “It took years of planning and discussions with lending institutions and the support of a public-private partnership that includes the Marco Island Historical Society, Collier County and the community.”
The Key Marco Artifacts exhibit is supported in part by the Collier County Tourist Development Council. For information on Collier Countyvisit www.paradisecoast.com.
The Marco Island Historical Museum is located at 180 S. Heathwood Drive, Marco Island, Floridaand open from Tuesday to Saturday, 9 a.m. to 4 p.m. Free entry. Handicapped accessible. For more information, call 239.389.6447 or visit www.theMIHS.org.
Almost three years ago, Italian artist Maurizio Cattelan kicked off one of the art world’s biggest viral moments when he sold a banana duct taped to a wall for $120,000 at Art Basel. Miami.
But Joe Morford, an artist from Glendale, California, claims the world-renowned artist copied his own 2000 work called “Banana & Orange”. Now, a federal judge in the Southern District of Florida has ruled that Morford can pursue a case against Cattelan, saying that Morford “sufficiently alleges that there is a similarity in the (few) protected elements” of his work.
Should it go to court, the banana showdown will take place in Miami, where Judge Robert N. Scola, Jr. denied Cattelan’s motion to dismiss the case last Wednesday.
“Fortunately for the Court, the question of whether a banana stuck to a wall can be art is more of a metaphysical question,” Scola wrote in his decision. “But the legal question before the Court may be equally difficult – did Morford sufficiently allege that Cattelan’s banana infringed his banana?”
Morford seeks damages in excess of $390,000 – the total amount of Cattelan’s sales for three editions of the artworks – as well as court costs and travel expenses.
Maurizio Cattelan attends the 2020 Armory Show in New York. Credit: Paul Bruinooge/Patrick McMullan via Getty Images
Cattelan gained international attention when he sold three nearly identical versions of his banana artwork at the 2019 art fair, with the final piece fetching $150,000. Titled “Comedian”, the work became instantly recognizable as it was memorized on the internet and made headlines again after a performing artist ripped the fruit off the wall and ate it. This didn’t stop sales, however, as Cattelan wasn’t selling the original banana, but rather a certificate of authenticity and instructions for installing the piece, including the exact angle and height to tape the piece down. of fruit. Since then, “Comedian” has entered the collection of the Guggenheim in New York, thanks to an anonymous donor.
Emmanuel Perrotin, founder of the Paris-based Perrotin Art Gallery, which represents Cattelan, told CNN after the work’s debut that bananas are “a symbol of global commerce, a double meaning, as well as a way comedy classic. He added that Cattelan transforms mundane objects into “vehicles of both pleasure and criticism”.
But Morford alleges “Comedian” plagiarized his own artwork, “Banana & Orange,” made nearly two decades earlier. “Banana & Orange” features the titular fruits affixed with tape to green backgrounds painted on a wall.
“I did this in 2000. But some guy steals my bric-a-brac and pimps it for 120,000+ in 2019,” Morford said. wrote in a public Facebook post in 2019 with an image of the artwork. “A lot of plagiarism?
According to court documents, self-represented Morford had registered the work with the US Copyright Office and posted it on his website, Facebook and YouTube accounts long before Cattelan created “Comedian.”
Cattelan’s lawyers argued that Morford had “no valid copyright” in the elements of the artwork – the banana and duct tape taped against a wall – but the court determined that Morford ” may be able to claim copyright in the expression of that idea” through the “selection, coordination, (and) arrangement” of the elements.
“Although the use of silver tape to attach a banana to a wall may not espouse the highest degree of creativity, its absurd and grotesque nature meets the ‘minimum degree of creativity’ necessary to qualify as original”, Scola writes.
While allowing the Morford case to proceed, Scola’s decision did not weigh on his merits at trial. If Morford cannot establish that Cattelan had access to “Banana & Orange” in court, he will have to show that the works are “surprisingly similar”, according to court documents. Cattelan argued that the previous piece is “‘not sufficiently original’ to warrant protection”.
Attorneys for Cattelan and Morford did not immediately return CNN’s request for comment.
Top Image Caption: People post in front of ‘Comedian’ by Maurizio Cattelan presented by Perrotin Gallery and presented at Art Basel Miami 2019 at the Miami Beach Convention Center on December 6, 2019 in Miami Beach, Florida.
When the Uffizi Gallery in Florence sold an NFT by Michelangelo Doni Tondo for €240,000 last year, he seemed to have found a major new source of income. But it turns out that the tech company she partnered with to produce the digital work took on so much expense that the museum only raised €70,000 ($70,500). Now, the Italian ministry that regulates museums in the country has asked institutions to temporarily cease contracts with NFT providers.
The Uffizi sale was orchestrated by Milan-based tech company Cinello, which had secured a five-year contract (which expired in December) to digitally reproduce artwork from the Uffizi collection.
Each of the digital works, which Cinello calls DAWs, have been certified on the Ethereum blockchain and traded as NFTs in collaboration with Unit, a contemporary art dealer in London. The works were made in editions of nine, priced between €100,000 and €250,000 ($114,000 – $284,000) each.
A Cinello spokesperson Told the art diary that the company would split the proceeds with the Offices 50/50—after production costs. These costs, which included taxes, a platform commission, the cost of producing a frame and a 20% operating fee, amounted to €100,000.
Initially, the NFT was designed to be in a hybrid digital and physical artifact, combining a wooden copy of the original frame, with a screen and a chip where the copy of the artwork was saved as an NFT.
However, the sale came to public attention after the Italian daily The Republic made headlines last May wondering who owns the digital rights to Michelangelo Doni Tondo. In this articleUffizi director Eike Schmidt admitted the museum failed to do their due diligence when it came to structuring the deal around the NFT.
“It is fundamental to be informed not only from a technical point of view, but also from a legal point of view,” he said. Adding that “some platforms where you register the property may not give sufficient guarantees, and you risk losing everything,” he said.
By purchasing digital copies of works from the Uffizi collection, new owners can theoretically exhibit and control them in augmented and virtual reality, as well as in emergent environments such as the metaverse. This could leave institutions like the Uffizi off guard when it comes to vetting the works they sell from their own collection on budding metaverse platforms.
“Since this issue is complex and unregulated,” a spokesperson for the Italian Ministry of Museums Told the art diary, “the ministry has temporarily asked its institutions to refrain from signing contracts relating to NFTs. The basic intention is to avoid unfair contracts.
For his part, Cinello maintains that all rights to the work belong to the museum, adding that his goal is “not to disperse Italian heritage around the world”, but to help the museum collect royalties and collect essential funds to protect, conserve and maintain the originals in its collection.
Although its contract with the Uffizi is technically over, Cinello currently works with 10 other Italian museums, including the Museo di Palazzo Pretorio and the Pinacoteca di Brera di Milano.
The company did not respond to a request for comment on whether it will continue to offer and structure similar NFT offerings.
Other companies, such as LaCollection, have also recently announcement similar partnerships, notably with the British Museum and the Museum of Fine Arts in Boston.
The Hermitage Museum in St. Petersburg, Russia, and the Belvedere Museum in Vienna, have also deployed similar devices. In September, the Hermitage auctioned NFT replicas of his five best-known paintings, earning him $444,000 at the time. The Belvedere digitized and split a picture of Gustav Klimt The kiss, released as a series of 10,000 NFTs last Valentine’s Day, each priced at 0.65 Ethereum (about $1,950 at the time), generating about $4.5 million.
While the trend to digitize priceless works of art seems to be gaining momentum (despite recent calamity around NFT prices as a whole), the question of who will ultimately benefit in a still unregulated market remains.
American painter Amy Sherald, whose gender-bending portraits of black models have made her one of the most recognizable and commercially successful artists of this generation, will have a solo exhibition at Hauser & Wirth in London in October.
The world we create (October 12-December 23) will be Sherald’s first exhibition in Europe, as well as his largest to date at Hauser & Wirth. It will take place in the gallery’s two adjoining Savile Row spaces and will feature around 15 paintings, ranging from small to “monumental” works. A gallery spokesperson declined to give a price range for the works in the exhibition.
In addition to her portrayals of high-profile figures such as Michelle Obama and Breonna Taylor, Sherald is known for portraying ordinary black Americans at leisure, against monochrome backgrounds that separate them from context, time and place. In doing so, the artist addresses how the portraiture tradition has historically been used to erase certain groups of people from art history.
The upcoming exhibition will continue this practice, while making Sherald’s confrontation with the Western canon even more evident through a number of allusions to famous historical works. These include a man riding a motorcycle tilted through the air, in a pose similar to that of Napoleon Bonaparte on horseback, as depicted in the 1801 painting. Napoleon crossing the Alps by Jacques-Louis David. In another work, a child stands atop a slide, with his back to the viewer, mimicking a pose associated with that of Caspar David Friederich. Wanderer above the Sea of Fog (1818).
“As an artist, I use certain motifs to provoke my audience’s intuition,” explains Sherald. The arts journal. “The reference to Caspar David Friedrich is one possible interpretation within a canonical framing. Sharing these paintings in Europe is an opportunity for me to reflect on how the portraiture tradition finds continuity as one of many living lineages in my work.”
Notably, many of these poses are more stylized and dramatic than those typically associated with Sherald, who is known for her paintings that explore the everyday and ordinary aspects of black life to challenge notions of experience. black American as extraordinary or inherently traumatic.
Asked about this stylistic deviation, Sherald says: “What may seem exaggerated or staged is primarily a way of capturing a singular moment in time, exploring the possibilities of that moment and the potential of what I’m alluding to. in the title of the show, The world we create.”
Sherald also touches on ideas around the performance of masculinity, a key theme of the exhibit, she says. One of the most convincing examples is the painting For love and for country. It recreates the famous photograph VJ Day in Times Square by Alfred Eisenstaedt which depicts a United States Navy sailor kissing a woman in Times Square in New York on August 14, 1945 as Imperial Japan surrendered during World War II. Now the scene has been recreated with two black figures – both presumably male – coming together in a similar embrace.
“I was thinking about the story behind the photograph and the black soldiers who returned from the war soon after, and what it would mean to approach the iconic pose through another understanding of masculinity,” Sherald said. . “I view painting as a continuation of my interest in American culture and an expression of those stories once excluded from mainstream historical narratives.”
Although only five works by Sherald have ever been auctioned, its secondary market has drawn scrutiny due to the artist’s high prices and outspoken views on resale rights. Sherald’s auction record was set in December 2020 at $4.2 million (with fees) for Bathers (2015) at Phillips New York. More recently, his 2012 painting wellness queen sold for $3.9 million, prompting Sherald to issue a statement in Type of crop:
“Despite its common occurrence, it can feel personal when a painting is put up for auction by a collector. Especially, in this case, when it is someone you know and have worked with to agree on a ‘an alternative payment method to acquire the piece in the first place. It is every artist’s hope that collectors will do what is right for the work and for the artist by leveraging the gallery to help place the work,” Sherald wrote of the sale of the work.
But Sherald has also been able to leverage those awards for good: The artist recently donated $1 million to fund the Breonna Taylor Legacy Scholarship and the Breonna Taylor Legacy Scholarship for Undergraduate Students at the University of Louisville. This donation was made possible by the sale of his portrait of Taylor in 2020 to the Speed Art Museum and the National Museum of African American History and Culture at the Smithsonian Institution through the Ford Foundation and the Hearthland Foundation.
The London exhibition will be accompanied by the release of the first substantial monograph of Sherald’s work (£52; Hauser & Wirth Publishers), with essays by scholars Jenni Sorkin, Kevin Quashie and an interview with author Ta-Nehesi Coates. A much shorter catalog was released in 2019 to coincide with Sherald’s first institutional exhibition at the Museum of Contemporary Art in St. Louis.
The competition is powered by the Silk Road Online Museum (SROM) platform, a platform whose main concepts focus on “digital collaboration” and “3D online curation”. It has collected over 2,000 digital artifacts from over 40 museums around the world. Curators and designers can design and organize exhibitions through the SROM platform by selecting artifacts from the Digital collection, do in-depth academic research, build or select a gallery, select glass showcases, arrange the display tools, write explanatory labels, and finally create a 3D virtual exhibit. In addition, the works in the exhibition can also be shared on social networks, thus attracting more audiences.
The Silk Road online curation competition ended on the evening of July 8, with an award ceremony at the National Silk Museum of China. During the ceremony, Liu Shuguang, President of the Chinese Museum Association/ICOM-China, said, “It is such an innovative competition that is booming in the digital age. And it’s also such a joyful gathering of emerging curators, from where we can see their passion and dedication to Silk Road culture.” Director of the National Silk Museum of China, Dr. Zhao Fengas well as the president of the organizer of the competition, declared: “From the SROM and the competition, I hope that the museums of the future can be more accessible, collaborative and transparent, to help to build a more democratic and hybrid museum curation and education system.”
Since its establishment in 2021, the SROM platform has not only been active in fostering collaboration between museums, but also in bringing the influence of museums to universities and society. The competition attracted many candidates who have become “Digital Curators”. They energized the SROM platform and allowed it to display its creative functions more deeply, making the platform more user-based and sustainable.
OSWEGO – SUNY Oswego A May 2022 history graduate, Gabrielle Belmont recently curated her first collection, titled “The Perfect Woman: Women of the Gilded Age”, on display where she recently interned, the Richardson-Bates House Museum in Oswego.
Belmont hopes to one day work in a museum and curate collections full-time, and the project equipped with a donation of artifacts from members of the Bates family could represent the first step towards that dream. The collection, with items donated by Sarah T. Barber (Florence Morley Bates’ granddaughter and Sally Bates’ daughter), takes an important look at the life and role of women in the North during an industrious time in Oswego .
“As you browse through the images, you will see that I make extensive use of Florence’s life and personal effects in the exhibition to represent the roles and changes of the growing middle class (which includes her relationships with her servants)” , Belmont said. “The collection also contained personal effects and photos of the other woman who lived with the original family – Harriet Richardson-Bates and Naomi Richardson. I have used their history and possessions alike to find out more about their lives and their place in society as upper-class women.They are a classic example of an upper-middle-class family that benefited from Oswego’s industrial activity.
Many of the modern roles women fill today were formed or strengthened during the Gilded Age, which historians note as the second half of the 19th century. Belmont notes that while the family featured in the exhibit portrays the role of upper-class women in the Gilded Age, it also used other Oswego women to portray other roles that women filled, such as factory workers and servants, to get a full picture of not only what women did, but also how they were affected by their class.
“I really think gender and class co-exist,” Belmont said. “In my opinion, I think it’s hard to separate them, especially in a time like the Golden Age when layering was so prevalent.”
Using this collection of local history, Belmont explored women’s dress, family structure, and roles in society. Belmont encourages viewers of this collection to take note of how this era paved the way for the modern era.
“The Golden Age serves as the foundation of modern society,” Belmont said. “The modern housewife comes from this time, the working woman comes from this time – the dichotomy of roles continued in this time. My biggest goal is to show how that era still impacts modern society today.
Oswego, a booming port city in the Gilded Age, is home to many lessons that individuals near and far can learn from. Belmont notes both his interest and his gratitude for being able to maintain a collection in the town of Oswego, both because of its rich history at that time, and because it matched his interests at that time of American history.
“My goal as a future American historian and as a hopeful curator is to teach others about nations in an entertaining, truthful, and insightful way,” Belmont said.
“The transformations made during the Golden Age still affect us during this time, and through this we can learn from the good and the bad,” Belmont noted. “Through gender roles and this exhibition, in particular, I have sought to relate the drastic changes to how this has impacted women’s place in society through both expectations and pressure. about women, the struggles faced by lower-class women, but also the empowerment and motivation of women that still fuels the struggle for equality that we see today.
Belmont expresses its gratitude to institutions such as the Richardson-Bates House Museum, which is owned and operated by the Oswego County Historical Society and strives to preserve and protect local history.
“Working with this collection and interning at a local museum helped me realize how critical examining local history and individual lives is to understanding the big picture and a larger narrative,” Belmont said. “Tangible items such as artifacts and archives are essential for learning and acting as physical representations that help history come to life. Museums – unless they are large institutions – are often overlooked, but museums are essential for teaching others about history in a way that can be fun but also enlightening.
The Richardson-Bates House Museum is located in the City of Oswego at 135 E. Third St. Currently hours of operation are 1:00 p.m. to 5:00 p.m. Thursdays, Fridays, and Saturdays from April through December.
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Gordon’s wife and Wadawurrung eldest, Aunt Marlene Gilson, began painting in her late 60s and within a year was an exhibiting artist.
Ms Gilson had asked her children to help keep her busy while she was ill, so her son Barry gave her a wooden train to paint for her grandchildren, while her daughter Deanne left her a blank canvas.
Later that year, in 2012, his paintings were exhibited at the Ballarat Art Gallery, alongside Deanne’s work.
Three years later, she won the People’s Choice Award at the 2015 Victorian Indigenous Art Awards for her large-scale painting Bunjil’s Final Resting Place, Race Meeting at Lal Lal Falls.
Ten years after her first brushstroke, Ms. Gilson’s work is screened at the Sydney Opera House and shown in art galleries across the country.
“When Deanne first gave me the canvas, I said ‘I don’t know how to paint on it,'” Ms Gilson said.
“Now I continue to paint.”
Sharing stories from the goldfields
Art gave Ms Gilson a way to share stories from her culture, including those her grandmother told her as a child.
Ms Gilson is a descendant of King Billy, an indigenous tribal leader from the Ballarat area during the Eureka Stockade era, and his wife Queen Mary.
Many of his paintings tell stories about the goldfields, including his painting of Mount Warrenheip and the Eureka Stockade which is in the Ballarat Art Gallery.
She said she aimed to create a new emphasis on the participation of indigenous peoples in significant historical events.
Ms Gilson said she painted the Eureka Stockade – a rebellion in 1854 by gold workers against the cost of a miner’s license – from the stories of her grandmother.
“When the fighting broke out, some of the children and women ran to the Aboriginal camp,” she said.
“George Yuille (a white man) lived with one of the native women at the camp, so it wasn’t scary for the kids to run over there and be with them.”
The Mrs. Gilson Jones Circus painting in Eureka tells the story of young men from Wadawurrung who were recruited to be circus performers.
“That would have been our people,” she said.
“I love this story, it’s one of my favorites.
To live in the countryside
Ms Gilson has lived in her home country of Gordon for 51 years and said she ‘won’t live anywhere else’.
She said her children grew up painting, drawing, crafting and singing on the property, and used art as a way to tell cultural stories.
“We had a mine shaft on the property and all the time Deanne used to go up there and get clay out of it and make pots – I always have one of his pots somewhere. away,” she said.
Continuing the Legacy
Mrs. Gilson’s son, Barry James Gilson, uses the power of the spoken word to carry on the legacy of sharing his culture with the community.
He is known locally for his smoking ceremonies, storytelling events, and his powerful voice when singing in tongues.
He told stories at the National Celtic Festival in Portarlington last month and has taken part in numerous NAIDOC week events in the area.
“We need to educate the public about the stories of colonization and how we continue to survive,” he said.
Mr. Gilson will sing and tell stories again at the Meredith Music Festival this year and will perform at the Meadow Festival in Bambra, 20 minutes inside Lorne, in March, as well as A Day On The Green, Rainbow Serpent Festival and Golden Plains Music. Festival.
He said music festivals could be the future of sharing cultural stories.
“There is a thirst for knowledge, people can’t get enough of it,” he said.
“Instead of having an MC all the time, why not have a traditional caretaker to talk about the history of the place?”
Mr Gilson said singing and speaking in his language in front of thousands of people at these festivals was “electrifying”.
“I feel good educating people on important issues,” he said.
“You reach a wider audience at once. I think that may be the future of auditory storytelling in this country.
“We have changed in leaps and bounds over the past decade in accepting our culture and being represented and not sidelined.
“The significance of it is now exactly where it should be.”
NAIDOC Week is celebrated nationwide from July 3-10.
Titanic’s keepers are battening down the hatches for a court battle to prevent four artifacts recovered from the wreck site from being auctioned off.
A British gold coin, two US banknotes and a block of coal salvaged decades ago from the wreckage of the doomed liner have mistakenly fallen into the hands of a company trying to auction them off, RMS claims Titanic Inc., owner of the salvage rights to the ship, is suing to stop the auction.
RMS Titanic is the ‘steward and custodian’ of the wreck and claims in Manhattan Supreme Court papers that one of its former executives, G. Michael Harris, took the artifacts, which were later sold to Mobile Grocers of America Inc. when Harris later filed for bankruptcy.
Harris claimed the four items were gifted to him by fellow Titanic executive George Tulloch, whom he frequently clashed with, the group charges in court papers.
RMS Titanic maintains that Tulloch had no right to give the artifacts to anyone.
The coin and paper money were recovered during a 1987 expedition to the wreck site in the North Atlantic, and the piece of coal was recovered during a dive in 1994, according to the legal file. .
A preview from auction house UES Guernsey’s trumpeted that the items – billed as ‘Titanic’s Four Treasures Saga’ – will be part of an online sale in ‘late spring 2022’.
Guernsey agreed to suspend the auction after lawyers for RMS Titanic Inc contacted, according to court documents.
“We await the outcome of this legal action,” Guernsey President Arlan Ettinger told The Post this week.
RMS Titanic wants a judge to declare him the rightful owner of the artifacts and wants them returned.
The Titanic sank off Newfoundland in the North Atlantic Ocean after striking an iceberg on April 15, 1912. The wreckage was discovered on September 1, 1985 at the bottom of the Atlantic Ocean, some 13,400 feet below the water.
Seven expeditions to the wreck site – in 1987, 1993, 1994, 1996, 1998, 2000 and 2004 – recovered more than 5,000 artifacts, according to the suit.
Neither RMS Titanic’s attorneys nor defendant Mobile Grocers of America LLC returned a message.
ATLANTIC CITY, NJ – The Louvre, the Museum of Modern Art and… the Hard Rock?
Hoping to expand their appeal beyond slot machines and buffets, some casinos are turning to art galleries or exhibitions to attract new customers who wouldn’t otherwise visit a gambling hall.
In the process, they not only help expand their own clientele, but also put new eyes before some of the world’s greatest works of art.
Such an effort began Friday at the Hard Rock Casino in Atlantic City, where the highly acclaimed “Beyond Van Gogh: The Immersive Experience” exhibit opened. The 30,000 square foot exhibit uses over 300 of Van Gogh’s works, digitally reproducing them and projecting them onto screens, walls and floors.
“The whole point of an experience like this is to bring people in,” said Fanny Curtat, the exhibit’s art historian. “For a lot of people, museums are intimidating. It’s about exploring and having more ways to experience art.”
Joe Lupo, president of the casino, said casinos need to attract the widest possible range of potential customers.
“You have to try different experiential things to help the city gain new visits, whether it’s art or some other experience to gain that person who doesn’t view Atlantic City as just a gambling destination,” did he declare. “The Van Gogh exhibit was successful in every major market in the country, and Atlantic City should be considered one of those major markets. I think it elevates the city and the property with such a prestigious exhibit. “
The traveling exhibition projects Van Gogh’s works onto the walls and floor of an exhibition hall, with images that grow and merge into each other: cherry trees, for example, grow and sprout flowers, which then fly away in the breeze. Shimmering walls of color dissolve and merge into other shapes and images all around the viewer.
Other casinos do the same. The Bellagio Gallery of Fine Art in Las Vegas has exhibited works by Picasso, Monet, Warhol, Titian and Van Gogh.
The Palms Casino Resort features modern artwork by Jean-Michel Basquiat, Richard Prince and Andy Warhol, as well as many street artists.
MGM’s Aria Resort features public art, including sculptures by artists such as Antony Gormley, Richard Long and Henry Moore.
The Hippodrome Casino in London appointed in 2013 a digital artist in residence, Thomas D Gray, and offers a competition for British artists to exhibit their works there.
Maryland Live! Casino & Hotel has an art collection curated by Suzi Cordish, whose husband owns the casino. The collection includes over 40 works by artists including Warhol, Jennifer Steinkamp, Charlie Ahn, Robert Indiana and Not Vital.
“Many guests are intrigued once they realize the breath of the collection,” said Renee Mutchnik, spokeswoman for the casino. “We think any art lover would be impressed with our artwork, and we’re always looking for opportunities to promote the collection.”
Placing artwork in casinos doesn’t just benefit gambling halls by attracting new customers, according to Curtat, the historian of the Van Gogh exhibit. She said it also helps create new art lovers.
“It may seem like an unlikely pairing, but if someone comes away feeling like they have this Van Gogh connection, maybe the next time they’re in New York they’ll want to go to the (Museum of modern art) and see the real ‘Starry Night’ on the museum wall,” Curtat said. “It will be a victory.”
A Toronto-based filmmaker says she received a barrage of death threats and abuse from Hindu nationalists in India after depicting the goddess Kali smoking a cigarette.
The image, which featured on a poster for her indie film ‘Kaali’, has sparked national debate in India, with local politicians, diplomats and police among those accusing director Leena Manimekalai of offending religious sentiments .
The film, which uses an alternate English spelling of the goddesses’ names, was among 18 works set to explore multiculturalism at Metropolitan University of Toronto’s “Under the Tent” showcase at the Aga Khan Museum.
Described as a “performance documentary”, it imagines the Hindu goddess “going down on a queer filmmaker” and seeing Canada – and its diverse peoples – through her eyes, Manimekalai explained.
“She’s a free spirit. She spits on patriarchy. She dismantles Hindutva (an ideology that seeks to transform secular India into a Hindu nation). She destroys capitalism. She embraces everyone with a thousand hands. “
Kali “chooses love” and accepts a cigarette from “working class street dwellers”, Manimekalai added in an email.
A promotional poster, which features the director dressed as Kali, shows the Hindu goddess smoking and holding aloft a rainbow flag, a symbol of the LGBTQ community.
Manimekalai, originally from the southern Indian state of Tamil Nadu and currently a graduate of York University in Toronto, shared the poster on Twitter on Saturday. It quickly went viral, prompting furious responses from some Indian social media users, many of whom called for his arrest. Within days, tens of thousands of tweets had appeared with the hashtag #ArrestLeenaManimekalai.
In a statement Released on Monday, India’s High Commission in Ottawa, Canada’s capital, urged the country’s authorities to “take action” against what it called “disrespectful representation”. The Aga Khan Museum – after screening a clip of the film over the weekend – later announced that Manimekalai’s work was “no longer being shown”.
“The Museum deeply regrets that one of the 18 short videos of ‘Under the Tent’ and the accompanying social media post have inadvertently offended members of Hindu communities and other religious communities,” the museum said. museum in a press release. statement Tuesday.
Toronto Metropolitan University has also distanced himself from the film, expressing his “regret” for having “offended”.
In a statement, the school added: “We are committed to equity, diversity and inclusion while respecting the diversity of beliefs and points of view in our society.”
Manimekalai expressed his disappointment with the two institutions, accusing them of having “bartered academic freedom and artistic freedom to save themselves”.
“It is sad to see these institutions operating in a sovereign country like Canada bow to the international enforcement of the totalizing Hindutva narrative and the relentless nullification of freedom of expression.”
The controversy played out all week on TV debates, where critics argued that Manimekalai’s portrayal had disparaged a sacred figure. Indian lawmakers also weighed in, with Vinit Goenka, spokesman for the ruling Bharatiya Janata Party (BJP), calling the image an “insult to all Indians”. Indian-Canadian politician Chandra Arya also expressed concern, writing on Twitter that seeing the poster had been “painful”.
Delhi and Uttar Pradesh state police have filed formal complaints against the director, according to a CNN affiliate CNN-News18although Manimekalai said she had not received any official notification.
Torrent of abuse
The director attributes the anger of the online response to what she called a “mercenary troll army” made up of BJP supporters and right-wing nationalists. She said members of her film crew were doxed, while her family and friends were also abused online.
Manimekalai claims she was the victim of “incitement to hatred” on thousands of social media accounts. Dozens of screenshots, shared with CNN by the director, appear to show threats of violence, including direct death threats.
In the state of Uttar Pradesh, Hindu religious leader Mahant Raju Das has released a video in which he threatens the filmmaker with beheading. Meanwhile, the Times of India reported On Thursday, Tamil Nadu police arrested a woman over another video containing threats against the director.
The controversy is one of many cases in which depictions of Hindu gods have drawn accusations of religious insensitivity – from Nestlé removing wrappers from KitKat chocolate bars depicting various deities to Rihanna facing backlash for posing topless with a pendant of the god Ganesha.
Kali, the Hindu goddess of death, time and apocalypse, is revered throughout India. Wife of Shiva, she is often depicted in blue or black, with a long tongue and multiple arms.
Manimekalai argues that his depiction of the goddess is consistent with his own religious interpretation.
“In rural Tamil Nadu, the state where I come from (…), she eats meat cooked in goat’s blood, drinks (the alcoholic drink) arrack, smokes beedi and dances wildly “, she said, adding that this was the version of Kali that “I grew up with and … I portrayed in the film”.
Manimekalai plans to complete a director’s cut of “Kaali”, with a view to screening it at a film festival.
At Circle Center Mall, do as the Romans do: admire the frescoes painted by Michelangelo on the ceiling of the Sistine Chapel.
You no longer have to be in Vatican City to see the historic works of art, thanks to Michelangelo’s Sistine Chapel: The exhibition, which opened on Friday, which brings together the frescoes and personalizes them. For the past seven years, the exhibit has traveled across North America and finally lands in Indianapolis.
Accompanied by lush orchestral music, a red carpet weaves the path between the 34 frescoes and the white pillars which, while part of the architecture of the exhibition’s predecessor, Carson’s, add to the feeling of navigating a museum of immaculate art.
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Images of the iconic frescoes – images painted directly onto plaster – were taken with high-resolution photography and placed on canvas by a technique called GeckoTek.
Business development manager Sylvia Noland told IndyStar that the artwork appears exactly as Michelangelo painted it.
“When you’re up close you see the cracks, you can see the brush strokes, you see everything Michelangelo did,” Noland said. “That’s exactly his job.”
The exhibit came about after SEE Global Entertainment CEO Martin Biallas visited the Sistine Chapel to stand in line for two hours and only spent a few minutes inside.
Biallas decided there should be a way for people to see Michelangelo’s work up close, in addition to learning some of the history behind each piece.
The story continues under the gallery.
“This exhibit gives visitors a chance to experience Rome’s most iconic treasures in a way that would never have been possible,” Biallas said in a written statement.
There are 34 near life-size pieces of Michelangelo’s work on display – 33 of the frescoes he produced inside the chapel over the course of five years, and ‘The Last Judgment’, a work by sprawling 400-character art that, in the Vatican City Chapel, covers the entire altar wall.
At each fresco there is a sign indicating where that particular painting is on the ceiling of the Sistine Chapel.
Noland said this exhibit is special because one wouldn’t get to see the intricacies of every fresco in Vatican City, where they look like postage stamps from every available vantage point.
And, unlike Vatican City, visitors can take as many photos as they want, as long as they refrain from using flash.
“Art is an amazing thing,” Noland said. “It’s one of mankind’s most acclaimed artistic achievements…and to see it up close is awesome.”
How it works
The Sistine Chapel exhibit is a self-guided tour through 10,000 square feet of artwork.
In addition to the signs, Noland said there is an audio guide that tells the listener exactly who is in each painting, why Michelangelo painted them, and what their historical significance is.
The guide to each painting is available on an app, which can be downloaded at the entrance, but a QR code on each sign also allows for individual scanning.
The audio guide lasts an hour and a half in its entirety.
Plus, at the entrance, there’s a 20-minute Michelangelo cartoon video, created by Nathan Heck, that provides fun facts about the years-long process of creating the frescoes.
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Why Circle Center Mall?
Noland, who selects locations for the exhibit in each state, said she was very excited to bring a piece of Vatican City to Circle Center Mall.
Originally, the exhibition was actually supposed to open earlier this year, but had to be delayed after some ceiling drops were recognized that were not taken into account during the site inspection.
There are two art units for the exhibition – one large and one small – and although the large unit was originally brought to the mall, not all of the pieces could have fit in the space allowed by the height from the ceiling.
Noland said they weren’t just going to bring some of the murals, the smaller unit had to finish its run in another city before it could be brought to Indianapolis.
“The Sistine Chapel is an inspiring and unforgettable experience and bringing a little piece of it to downtown Indianapolis is something we are truly proud of,” Circle Center retail marketing manager Sarah Grannan said in a statement. written.
Independent parking: Daily parking rates increase at Circle Center Mall garages
Michelangelo’s Sistine Chapel: the exhibition — If you go there
Michelangelo’s Sistine Chapel: the exhibition runs from July 8 to August 18. 28 in the former Carson store in the Circle Center Mall. Entrance to the exhibit is located at 1 W. Washington St. and is accessible from outside the mall.
The exhibition is open from 10 a.m. to 6 p.m. from Wednesday to Sunday. Tickets start at $19.20 for adults and $13.40 for children. Discounts for seniors, students and veterans and family packages are available.
For more information, visit chapelsistine.com/exhibits/indianapolis.
You can contact Pulliam Fellow Griffin Wiles at [email protected] or on Twitter at @griffinwiles.
ATHENS—–The Hargrett Rare Book and Manuscript Library at the University of Georgia will hit the road this summer with a traveling exhibit of materials from the UGA Athletic Association archives. The tour will be in Peachtree City, GA on Tuesday, July 19 from 1:00 p.m. to 5:00 p.m. at the Peachtree City Library. Jason Hasty, UGA Athletics History Specialist for the Hargrett Library, will bring historic Georgia Bulldogs athletics material to several public libraries in South Georgia and the Atlanta metro area.
“It’s a great opportunity for everyone to see artifacts — uniforms, equipment, programs — that represent UGA’s rich sporting heritage,” Hasty said. “This traveling exhibit will feature a mix of older artifacts as well as items from newer student-athletes and teams – including some items from the CFP National Championship game.”
These traveling exhibitions are free and open to the public. The materials will be exhibited at the following dates and locations:
Friday, June 3, 11:00 a.m.-3:00 p.m. – Gilmer County Public Library (Ellijay, GA)
Monday, July 11, 2:00-6:00 p.m. – South Cobb Regional Library (Mableton, GA)
Tuesday, July 19, 1:00-5:00 p.m. – Peachtree City Library (Peachtree City, GA)
Thursday, July 21, 11:00 a.m.-3:00 p.m. – North Cobb Regional Library (Kennesaw, GA)
Wednesday, July 27, 2-7 p.m. – St. Mary’s Regional Library (St. Mary’s, GA)
Thursday, July 28, 11:00 a.m. – 3:00 p.m. – Wayne County Library (Jesup, GA)
The Hargrett Library is one of three special collections libraries that are part of the University of Georgia Libraries. It is housed in the Richard B. Russell Special Collections Libraries Building on the University of Georgia campus. For more information on these traveling exhibits, please contact Jason Hasty at [email protected]
The Suffolk Art League will present the first place winner of the 2021 Suffolk Art League Annual Exhibition John Alan Stock solo show Mental landscapes.
The show brings together several series, all of which are derived from brain/mind/sensation.
In his artist statement, Stock states, “A tragic fall at the age of twelve (12) damaged the spatial intelligence center of my brain. It was 1957, and neuroscientists at the time believed that this complex function could not be restored. But a medical therapist, ahead of her time, took charge of my case, and in 4 years I regained 90% visual acuity, although restored in another part of my brain.
“I became both an architect and an artist. My journey to rebuild my spatial intelligence has greatly broadened my perspective on my journey and I have learned to understand the potential of what is possible. And suddenly, my creative instincts evolved, let’s say, in an abstract way.
“As an architect, there was always a client’s needs to serve. As an artist, I have always been the first customer. Art is above all a selfish journey.
Stock, who lives in Virginia Beach, graduated from Ohio State University with a bachelor’s degree in architecture with a minor in fine arts.
Stock has exhibited his work in numerous solo and small group exhibitions as well as over 100 juried exhibitions. Her work has been included in exhibitions in the United States, Europe, South America and Asia, including three Smithsonian Institute juried exhibitions.
This exhibition will be on view at the Suffolk Art Gallery, 118 Bosley Ave., from July 22 to August 19.
Gallery hours are Tuesday through Saturday, 10 a.m. to 5 p.m. and Sunday, 1 p.m. to 5 p.m.
Joslyn Art Museum announced the appointment of Kenneth Brummel as Curator of 20th Century Art. Most recently, Brummel served as Associate Curator of Modern Art at the Art Gallery of Ontario (AGO) in Toronto, Canada, where he curated the AGO’s 20th Century Art Collection; organized numerous displays of the permanent collection; and inaugurated its 2017 resettlement campaign, In a hurry, with a suite of new modern art galleries. In 2021-2022 he co-curated with Susan Behrends Frank of The Phillips Collection the highly acclaimed exhibition, Picasso: Painting the Blue Period—enthusiastically reviewed by The Wall Street Journal as a curatorially unmissable exhibition featuring more than 100 objects from fifteen countries. Also in 2021, Brummel organized the AGO presentation of Andy Warhol, a career retrospective co-curated by Tate Modern and Museum Ludwig.
Brummel, who started at Joslyn in May, previously held curatorial positions at the Cincinnati Art Museum; the Boston Museum of Fine Arts; and the Nelson-Atkins Museum of Art, Kansas City. He holds an MA in Art History from the University of Chicago and a BA in Anthropology from the University of Illinois. Urbana-Champagne.
He comments, “I am delighted to join the exceptionally talented staff of the Joslyn Art Museum at this exciting time of growth and change for the institution. The Rhonda and Howard Hawks Pavilion, currently under construction, and the large donation of major paintings and sculptures from the Phillip G. Schrager Collection will significantly raise the national and international profile of the museum, making this an ideal time to serve as curator of the organization. 20th century art.
Executive Director and CEO of the Joslyn Art Museum, Jack Becker, said, “A published scholar with more than 10 years of relevant curatorial experience, Kenneth is uniquely qualified to create dynamic programs and exhibitions on American art after 1945 for our various audiences. He will continue to deepen his knowledge, to build collections and to mount important exhibitions in the field of modern art in Joslyn. We are delighted to have him on the team. »
MIDDLETOWN, Calif. — A new exhibit of contemporary Native American art curated by famed Pomo weaver and cultural educator Corine Pearce will open at the Middletown Art Center this weekend.
The public is invited to the opening reception for “Earth Sky and Everything in Between,” which opens at the Middletown Art Center from 6-8:30 p.m. on Saturday, July 9. An introduction and blessing will take place around 6:30 p.m.
This is the first exhibit of its kind in Lake County.
The exhibition includes baskets, paintings, photos, digital media and installations.
The artworks on display celebrate traditional cultural arts and resilience while highlighting current and long-standing challenges and issues including ongoing colonialism, land access and place-based land management – also known as Traditional Ecological Knowledge or SET – as well as intergenerational trauma, missing and murdered Indigenous women, identity and bloodshed.
“The Earth Sky and Everything in Between Expo is a very exciting event for the small town of Middletown and Lake County,” said Middletown Rancheria Tribe Elder Millie Simon. “Indians honor the works of art of our ancestors. Our past, present and future connect through the arts of basket weaving and badge making. Art is education, and cultural education is very important among the tribes.
The exhibit is part of the MAC’s year-long project, ‘Weaving Baskets Weaving Bridges’, co-designed by Corine Pearce with Millie Simon, Elem Cultural Educator Rose Steele, Adult Education Specialist at the Lake Campus of Woodland Community College and MAC Board Member Mary Wilson, and MAC Executive and Artistic Director Lisa Kaplan.
“Weaving” uses the art of basket weaving as a vehicle for cross-cultural healing and understanding through cultural exposure and the holistic practice of weaving – from the cultivation and preparation of native plants to community weaving.
Lake County Historical Museums will simultaneously display Pomo baskets that are normally in storage. Learn more about the project at www.middletownartcenter.org/weaving.
“It is an honor to have the opportunity to create an Indigenous space at the MAC that brings together Indigenous artists from this region and from all over (the country). It has been my pleasure to weave artists together and include family, friends and colleagues,” said Pearce, an enrolled Redwood Valley Rancheria member with Lake Tribe and Mendocino County ancestors. “Sharing a culturally significant topic with a wider audience benefits everyone. I hope this show is just the beginning of growing understanding and communication between diverse cultural communities.
Learn more about Corine Pearce, her weaving practice and work in communities to revitalize, maintain and share cultural traditions at www.corinepearce.com.
The Weaving project and the exhibition Earth, Sky, and Everything in Between are funded in part by Middletown Rancheria, Robinson Rancheria, Charlotte Griswold, and the California Arts Council, a state agency.
The MAC is located at 21456 State Highway 175 at the junction of Highway 29 in Middletown.
To learn more about Earth Sky and Everything in Between or other events, programs, opportunities, and ways to support MAC’s efforts to weave arts and culture into the fabric of life in Lake County, visit www. .middletownartcenter.org or call 707-809-8118.
The new component of the World Culture Gallery showcases West African cultures, art and artifacts from the museum’s collection and donations from local immigrants.
DAVENPORT, Iowa — A new exhibit has opened at the Putnam Museum and Science Center showcasing the cultures of West Africa.
The new exhibition Akwaaba: West African Culturesopened on Wednesday, July 5 in the museum’s Gallery of World Cultures as the second centerpiece.
The exhibit’s collection is built from artifacts from Putnam’s existing collection and pieces that were donated to the exhibit by West African immigrants in the Quad City area; namely, coins donated by former US Ambassador Richard Kauzlarich purchased during his family’s stay in Togo and coins loaned by the West African community in the Quad Cities.
West Africa, as a region, is made up of many cultural groups sharing languages and ethnicities.
It was organized by Quad Citizen and Togolese immigrant Nana Ouro-Agoro, who represents the United African Organization and serves on the board of the Quad Cities Alliance for Immigrants and Refugees.
Putnam says the name Akwaaba, which means “welcome